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Culture of Nagorno-Karabakh (Also known as Artsakh as its historic name and known to its local Armenians) includes artifacts of tangible and intangible culture that has been historically associated with Nagorno Karabakh and Artsakh—a historical province in the Southern Caucasus most of which is controlled by the Nagorno-Karabakh Republic. These include monuments of religious and civil architecture, memorial and defense structures, and various forms of art. == General information〔This article uses materials produced by nkrusa.org; NKR Office in the USA releases the rights to use the content of the original article found here () for any user of Wikipedia. For all inquires please contact: NKR Office in the USA 1140 19th Street, NW, Suite 600 Washington, DC 20036 phone: (202) 223-4330 e-mail: info@nkrusa.org www.nkrusa.org〕 == Nagorno Karabakh and adjacent territories belonging to historical Artsakh (some of which fell under the Nagorno-Karabakh Republic’s control in 1992-1994) has been called an open-sky treasure-house of various forms of Armenian architecture.〔A. L. Yakobson. From the History of Medieval Armenian Architecture: the Monastery of Gandzasar. In: “Studies in the History of Culture of the Peoples in the East.” Moscow-Leningrad. 1960. pp. 140-158 (Russian ).〕〔Jean-Michel Thierry. Eglises et Couvents du Karabagh, Antelais: Lebanon, 1991, p. 4-6〕 Overall, Nagorno-Karabakh hosts several thousand architectural artifacts and historical monuments in a larger sense. In addition to ecclesiastical structures, this number includes samples of civil architecture, ancient castles and fortresses as well as numerous khachkars.〔Jean-Michel Thierry. Eglises et Couvents du Karabagh, Antelais: Lebanon, 1991. p. 4〕 The art and architecture created in Nagorno Karabakh has progressed through the same major stages as did Armenian art in a larger sense. They began developing in the pre-Christian times, proceeded through the adoption of Christianity early in the fourth century, and entered the era of modernity after blossoming in the Middle Ages.〔Volume 19: Gharabagh. Documents of Armenian Art/Documenti di Architettura Armena Series. Polytechnique and the Armenian Academy of Sciences, Milan, OEMME Edizioni; 1980, ISBN 978-88-85822-25-2〕〔John Halajian. Armenian Church Architecture: From Dormancy to Revival. Tate Publishing & Enterprises (August 2006), ISBN 978-1-59886-090-0, p. 28.〕 The principal expression of Artsakh’s art in the Middle Ages was through ecclesiastical architecture: churches, cathedrals, chapels and monasteries. Most other forms of art in that period, including illuminated manuscripts, khachkars (Armenian: խաչքար; unique-to-Armenia stone slabs with engraved crosses) and mural paintings were likewise tied to Artsakh’s religious life and its primary institution—the Armenian Apostolic Church.〔Rev. Hamazasp Voskian. The Monasteries of Artsakh, Vienna, 1953, chapter 1〕〔Volume 17: Gandzasar. Documents of Armenian Art Series. Polytechnique and the Armenian Academy of Sciences, Milan, OEMME Edizioni; 1987, ISBN 978-88-85822-25-2〕 Works of architecture in Nagorno-Karabakh are constructed according to similar principles and with the use of the same techniques as those in the rest of Armenia.〔Tom Masters, Richard Plunkett. Georgia, Armenia & Azerbaijan (Lonely Planet Travel Guides). Lonely Planet Publications; 2nd edition (July 2004). ISBN 978-1-74059-138-6〕 Limestone is the principal building materials that form the nucleus for the walls. They are then covered with facing and/or plated with volcanic tuff rock slabs. In large buildings in cities or in monasteries the exterior facing can consist of carefully cut blocks of tuff. The monasteries of Gandzasar and Dadivank serve as the primary examples of that style. For more modest structures, such as parish churches in provinces, it was common to use less carefully cut stone, a practice which creates a more rustic appearance.〔Volume 19: Gharabagh. Documents of Armenian Art Series. Polytechnique and the Armenian Academy of Sciences, Milan, OEMME Edizioni; 1980, ISBN 978-88-85822-25-2〕〔Boris Baratov. Paradise Laid Waste: A Journey to Karabakh, Lingvist Publishers, Moscow, 1998〕 Names of monasteries in Nagorno Karabakh, like in the rest of historical Artsakh and Armenia, customarily include the term “vank” (Armenian: վանք), which means “monastery.” Examples: Dadivank, Gtichavank, Khunisavank, Khadavank, Khatravank, Yerits Mankants Vank, etc.〔〔Robert H. Hewsen. Armenia: a Historical Atlas, Chicago, IL: University of Chicago Press, 2001, map 10, p. 3〕 Monasteries are often located in or near settlements that bear the name Vank (Վանք); the most notable cases include Dadivank Monastery, Gandzasar Monastery and Spitak Khach Vank Monastery. Names of castles and fortresses in Nagorno Karabakh like in the rest of historical Artsakh and Armenia, customarily include the term “berd” (Armenian: բերդ) which means “fort.” Examples: Jraberd, Handaberd, Mairaberd, Khokhanaberd, etc.〔〔Boris Baratov. Paradise Laid Waste: A Journey to Karabakh, Lingvist Publishers, Moscow, 1998, p. 45〕〔Volume 19: Gharabagh. Documents of Armenian Art Series. Polytechnique and the Armenian Academy of Sciences, Milan, OEMME Edizioni; 1980, ISBN 978-88-85822-25-2, Preamble〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Culture of Nagorno-Karabakh」の詳細全文を読む スポンサード リンク
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