Imprinting is one of the oldest forms of Armenian functional art. Patterns were carved on oak or pear wood and fabrics were imprinted with dyes applied on the particular wooden cast. A variety of casts were used to produce imprints of different colors. Fabrics of wool, cotton, silk, and others were utilized in this artform, while dyes were made from animal, plant, and mineral sources.
    Armenian imprinted cloth reached Russia and numerous other European countries via caravan routes. Particularly appreciated were Armenian fabrics imprinted with the Armenian crimson.
    Samples of Armenian imprint art can also be found in the internal binding of manuscripts showing the great mastery and taste of the masters. Van, Ardzke, Shorot, Khizan, New Julfa, Istanbul, and Madras were the most important centers of Armenian imprinting.
    Noteworthy samples of this artform are Armenian church curtains. The imprinted curtains preserved in the functional art collection of St. Etchmiadzin are of the late period. They were prepared in the 17th century in Tokat, Madras, Tiflis, and other locations.
    The imprinted curtains of Etchmiadzin have a delicate compositional construction. Pictured on them are scenes depicting St. George slaying the Dragon and the glorification of Etchmiadzin. A great number of these imprinted curtains present scenes with multiple themes such as, the Glory of Christ, Christ Rising, the Annunciation, the Crucifixion, the Ascencion, Adam and Eve, Abraham's sacrifice, etc. The artistic formations of these curtains are not only intimately conjoined with the Armenian fine arts of the period and the engravings printed in European countries but also with the other branches of Armenian functional art.

MANIA KHAZARYAN