Armenia as a nation has been subjected to numerous, often brutal invasions, which have resulted in the present land mass and population of Armenia being much smaller than in past centuries. Armenia was invaded in the Middle Ages by Seljuk, and in the thirteenth century by the Mongols. Large regions of the Anatolayan plain that was previously Armenia has been carved up in parts of what are now Iran, Turkey, and Azerbijan.

Because of Armenians’ geopolitical location, and its tragic history, many Armenians were forced into exile. Over the centuries, Armenian communities have established themselves around the world, integrating into their new societies, while maintaining their culture. For example, the Armenian ceramic tradition flourished in the eighteenth century, in Kutaya, among Armenians in exile.

Historically, Armenian pottery normally was either shaped into vessels, or pressed with molds into tiles. The bare tiles were fired, using the biscuit firing process. The fired tiles were then configured into large panels, covered with paintings. The master painter planned the design and outlined the drawing in ink, free-hand; for intricate paintings, the master painted painted the entire piece. Assistants were used to paint the more repetitive figures or geometric designs. Once the painting was complete, the individual tiles were dipped in glaze, and fired again. …

In early years, wood was used for firing; more recently, diesel or electricity is used to fire the kilns.

Commonly, stylized floral designs are incorporated, including tulips, hyacinths, the rosette, blossoming plumb, olive branches, and long serrated leaves are typical. These naturalistic patterns are arranged in a variety of compositions. Branches grow out of the ground, clusters of leaves form complex, symmetrical patterns, foliage is interlaced with arabesques and more geometric configurations.

Figurative motifs are abundant in Armenian ceramics. Animals, birds, and fish abound. Human forms are used occasionally. Often, figures are arranged in a frieze at the center of the painting. Or animals, fish or birds are scattered among the floral design. Birds are frequently depicted nesting among branches. While the deer may have been borrowed from Iranian pottery, an ancient Armenian favorite is the gazelle, depicted with its graceful tail, standing out against the vegetation.

Old Armenian motifs have inspired motifs used in synagogues and churches of Jerusalem. Near Damascus Gate, a chapel from the nineteenth century depicts a bird mosaic in memory of an Armenian martyr and the souls of “unknown Armenians whose names only the Lord knows.” The mosaic depicts forty-one birds, placed in a medallion, with wine scrolls, amphora. Similar motifs are found in synagogues and churches in Jerusalem and elsewhere in Israel.