The proposed paper is focused on the miniatures of two Armenian Four Gospels, produced in the first three decades of the 14th century, allegedly in the city of Surxat. These illustrations demonstrate a strong influence of the Palaeologan style as well as use of certain iconographic models typical for Dugento and Trecento art tradition. These artistic interactions are reflected in the social-economic life of the peninsula: the latter was governed partly by Genoese merchants and has become a shelter for many Greeks for centuries. The concept of the artistic adoption and adaptation is crucial for the discussion of the artistic interactions of Crimean-Armenians, since these artistic transfers were not a sheer emulation of artistic forms and iconographic models but an adaptation of the artistic patterns to the traditions and taste of Armenian art, as well as Armenian theological doctrines. Herein the question of coexistence and segregation of minorities in the multi-cultural societies can be investigated by applying to the art-historical perspective and combining it with the multidisciplinary method; using information received from the colophons and chronicles.
This paper discusses the relations between the Latin Catholic Church and the Armenian Apostolic Church in the Middle Ages using the example of manuscript illuminations. It is known that in the first half of the 14th century Dominican and Franciscan monks started implementation of uniting campaign mission in Sultania. These important historical realities immediately find their reflection in the art of Armenian miniaturist from the 14th century: Avag, who being the confederate and follower of one of the most fabulous Armenian medieval intellectuals; Yesayi Nchetzi, on his turn had struggled against that movement. Such evidence is provided by the miniatures of Gospels of 1329 and 1337-1340 (created in Sultania), representing the Last Judgment.