The culture of Armenia encompasses many elements that are based on the geography, literature, architecture, dance, and music of the people.

Literature

Literature began in Armenia around 401 A.D. The majority of the literary arts were created by Moses of Khorene, in the 5th century. Through the years the elements of literature have changed as the stories and myths were passed on through generations. In the late 17th century, Alexander Tertzakian was a renowned Armenian writer who created several works considered to be among Armenia's classics. During the 19th century, writer Mikael Nalbandian worked to create a new Armenian literary identity. Nalbandian's poem "Song of the Italian Girl" may have been the inspiration for the Armenian national anthem, Mer Hayrenik.

Mesrop Mashtots is considered to be the creator of the Armenian alphabet. This event which took place in the 5th century is considered to be one of the most important turning points of Armenian Literature

Movses Khorenatsi was a prominent Armenian historian from the period of late antiquity and the author of the History of the Armenians.

Khorenatsi is credited with the earliest known historiographical work on the history of Armenia written in Armenian, but was also a poet, or hymn writer, and a grammarian. The History of Armenia was written at the behest of Prince Sahak Bagratuni and has had an enormous impact on Armenian historiography. It was used and quoted extensively by later medieval Armenian authors. Although other Armenians, such as Agathangelos, had previously written histories on Armenia, Movses' work holds particular significance because it contains unique material on the old oral traditions in Armenia before its conversion to Christianity and, more importantly, traces Armenian history from Movses' day back to its origins.

Dance

The Armenian dance heritage has been one of the oldest, richest and most varied in the Near East. From the fifth to the third millennia B.C., in the higher regions of Armenia there are rock paintings of scenes of country dancing. These dances were probably accompanied by certain kinds of songs or musical instruments. In the 5th century Moses of Khorene (Movsés Khorenats'i) himself had heard of how the old descendants of Aram (that is Armenians) make mention of these things (epic tales) in the ballads for the lyre and their songs and dances.

One of the most energetic Armenian dances is the martial dance Yarkhushta. Yarkhushta is believed to have its origins in the early Middle Ages as it is mentioned in the works of Movses Khorenatsi, Faustus of Byzantium, and Grigor Magistros. Yarkhushta has traditionally been danced by Armenian soldiers before combat engagements, partly for ritualistic purposes, and partly in order to cast off fear and boost battle spirit.

The dance is performed by men, who face each other in pairs. The key element of the dance is a forward movement when participants rapidly approach one another and vigorously clap onto the palms of hands of dancers in the opposite row.

Architecture

Classical Armenian architecture is divided into four separate periods. The first Armenian churches were built between the 4th and 7th Century, beginning when Armenia converted to Christianity, and ending with the Arab invasion of Armenia. The early churches were mostly simple basilicas, but some with side apses. By the 5th century the typical cupola cone in the center had become widely used. By the 7th century, centrally-planned churches had been built and a more complicated niched buttress and radiating Hrip'simé style had formed. By the time of the Arab invasion, most of what we now know as classical Armenian architecture had formed.

Carpets

Though women historically dominated carpet-weaving in Armenian communities, several prominent carpet-weavers in Karabakh are known to have been men, and in some cases whole families took up the art. The oldest extant Armenian carpet from the region, referred to as Artsakh during the medieval era, is from the village of Banants (near Gandzak) and dates to the early 13th century. The first time that the Armenian word for carpet, gorg, was used in historical sources was in a 1242-1243 Armenian inscription on the wall of the Kaptavan Church in Artsakh.

Art historian Hravard Hakobyan notes that "Artsakh carpets occupy a special place in the history of Armenian carpet-making. Common themes and patterns found on Armenian carpets were the depiction of dragons and eagles. They were diverse in style, rich in color and ornamental motifs, and were even separated in categories depending on what sort of animals were depicted on them, such as artsvagorgs (eagle-carpets), vishapagorgs (dragon-carpets) and otsagorgs (serpent-carpets). The rug mentioned in the Kaptavan inscriptions is composed of three arches, "covered with vegatative ornaments", and bears an artistic resemblance to the illuminated manuscripts produced in Artsakh.

The art of carpet weaving was in addition intimately connected to the making of curtains as evidenced in a passage by Kirakos Gandzaketsi, a 13th-century Armenian historian from Artsakh, who praised Arzu-Khatun, the wife of regional prince Vakhtang Khachenatsi, and her daughters for their expertise and skill in weaving.

Armenian carpet was also renowned by foreigners who traveled to Artsakh; the Arab geographer and historian Al-Masudi noted that, among other works of art, he had never seen such carpets elsewhere in his life.

Art

The National Art Gallery in Yerevan has more than 16,000 works that date back to the Middle Ages, which indicate Armenia's rich tales and stories of the times. It houses paintings by many European masters as well. The Modern Art Museum, the Children's Picture Gallery, and the Martiros Saryan Museum are only a few of the other noteworthy collections of fine art on display in Yerevan. Moreover, many private galleries are in operation, with many more opening every year, featuring rotating exhibitions and sales.

Lacemaking

Like Lacis, Armenian needlelace seems to be an obvious descendant of netmaking. Where lacis adds decorative stitches to a net ground, Armenian needlelace involves making the net itself decorative. There is some archaeological evidence suggesting the use of lace in prehistoric Armenia and the prevalence of pre-Christian symbology in traditional designs would certainly suggest a pre-Christian root for this art form. In contrast to Europe where lace was the preserve of the nobility, in Armenia it decorated everything from traditional headscarves to lingerie. Thus lacemaking was part of many women's lives.