Armenian culture in the context of "Music of Armenia"

Armenians have lived in Lebanon for centuries. According to Minority Rights Group International, there are 156,000 Armenians in Lebanon, around 4% of the population. Prior to the Lebanese Civil War, the number was higher, but the community lost a portion of its population to emigration.

Lebanon experienced a significant migration of Armenian refugees primarily between 1918 and 1920, seeking sanctuary from the Armenian genocide carried out by Ottoman authorities. These refugees established Bourj Hammoud, a suburb east of Beirut, in the site of what was then a swampy marshland. Another wave of migration occurred in 1939, as refugees fleeing the Turkish annexation of Alexandretta founded the town of Anjar in the Beqaa region. The Armenian population gradually grew and expanded until Beirut (and Lebanese towns like Anjar) became a center of Armenian culture. The Armenians became one of Lebanon's most prominent and productive communities.

Armenian illuminated manuscripts (Armenian: Հայկական մանրանկարչություն, romanized: Haykakan manrankarch'owt'yown), form an Armenian tradition of formally prepared documents where the text is often supplemented with flourishes such as borders and miniature illustrations. They are related to other forms of Medieval Armenian art, Persian miniatures, and to Byzantine illuminated manuscripts. The earliest surviving examples date after the Golden Age of Armenian art and literature in the 6th century. Armenian illuminated manuscripts embody Armenian culture; they illustrate its spiritual and cultural values.

The most famous Armenian miniaturist, Toros Roslin, lived in the 13th century. The art form flourished in Greater Armenia, Lesser Armenia and the Armenian Diaspora. Its appearance dates back to the creation of the Armenian alphabet in Armenia, in the year 405 AD. Very few fragments of illuminated manuscripts from the 6th and 7th centuries have survived. The oldest fully preserved manuscript dates from the 9th century. Art experienced a golden age in the 13th and 14th centuries when the main schools and centers started to pop up (fifteen hundred centers of writing and illumination). The most striking are those of Syunik, Vaspurakan and Cilicia. Many Armenian illuminated manuscripts outside the country of Armenia have also survived the centuries. Despite the creation of the Armenian printing press in the 16th century, the production of miniatures continued until the 19th century and survives through modern Armenian painting and cinema.

Dvin (Classical Armenian: Դուին Duin or Դվին Dvin; Greek: Δούβιος, Doúbios or Τίβιον, Tíbion; Arabic: دبيل, Dabīl or Doubil) was a large commercial city and the capital of early medieval Armenia. It was situated north of the previous ancient capital of Armenia, the city of Artaxata, along the banks of the Metsamor River, 35 km to the south of modern Yerevan. It is claimed it was one of the largest cities east of Constantinople prior to its destruction by the Mongols in the 13th century, but with an overall area of approximately 1 km, it was far smaller than many of the great cities of Asia. It had an estimated population of 45,000 in 361, 47,000 in 622, and around 100,000 at its height in the 8th-9th centuries. Nyura Hakobyan proposed a peak population of 100,000 to 150,000.

The site of the ancient city is currently not much more than a large hill located between modern Hnaberd (just off the main road through Hnaberd) and Verin Dvin, Armenia. Excavations at Dvin since 1937 have produced an abundance of materials, which have shed light on the Armenian culture of the 5th to the 13th centuries.