«Սահմանն անցնելու քաջություն» - Քրիստինա ՄԱՐԱՆՉԻ

The article "Daring to Cross the Border" is devoted to a conversation with the American Armenologist Christina Maranci, a specialist in medieval Armenian architecture and manuscript illumination, professor at the University of Wisconsin-Milwaukee. The material reveals both the researcher's biographical path and the key directions of her scholarly work.

Introduction and the Formation of Scholarly Interests
It is noted that Maranci has Armenian roots (Istanbul, Erzurum, Shabin-Karahisar), yet did not come to Armenology immediately — her initial area of interest was European Romanesque and Gothic sculpture. Her turn to the Armenian theme occurred after finishing college and grew from a personal interest into a stable scholarly specialization, connected above all with the problem of cultural contacts and the possibility of an "outside view" on the European and Byzantine traditions.

Scholarly-Organizational Activity
The article covers her experience in organizing Armenological conferences, in particular the symposium "Armenia: Customs, Culture and Identity" (Society for Armenian Studies), as well as her participation in Richard Hovannisian's projects. The strategic value of presenting at broad medievalist and Byzantinist forums is emphasized — such presentations allow Armenian themes to be integrated into the general context of medieval studies, which, in Maranci's view, are undeservedly neglected there.

The Problem of Regional Differences and Cultural Exchange
Maranci cautiously assesses the possibility of distinguishing clear regional schools of Armenian art (Greater Armenia and Cilicia, Jerusalem and Isfahan, the Khizan school), pointing to the insufficient study of the material for making sharp generalizations. Special attention is given to the thesis of the bilateral and dynamic nature of cultural contacts: Armenia is traditionally viewed as the receiving side, whereas the task of scholarship is to identify the specific demands of Armenian patrons and craftsmen.

Religious Dogma and Architectural Tradition
The connection between theological questions and the forms of church architecture (using the example of the temple at Zvartnots) and manuscript illumination (the theme of khorans) is examined.

The Figure of Trdat and the Concept of "Circles of Power"
The researcher takes particular interest in the architect Trdat as a figure unique for the Middle Ages, having worked in two cultural traditions (Ani and Constantinople) and documented by written sources. In her forthcoming book "The Geometry of Power: Armenian Architecture of the Seventh Century," she develops the concept that domed churches, built by semi-independent Armenian princes, served — alongside inscriptions and topography — as a visual symbol of the centralized power of small political entities, analogous to the role of Hagia Sophia in Byzantium.

The Legacy of Josef Strzygowski
The significance of Strzygowski's work for the historiography of Armenian architecture is noted separately, despite the ambiguity of his political views; his archaeological investigations are recognized as the most relevant today.

Conclusion
The key conclusion of the article is that the Armenian architectural and artistic tradition is revealed most fully not in isolation, but within the context of intercultural dialogue, which requires further systematic study both from Armenology and from general medieval studies.