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We stepped inside and found ourselves in a remarkably well-preserved Soviet driving school. The interior felt like a time capsule—walls lined with posters on mechanization, civil defense, traffic regulations, and even diagrams of various firearm mechanisms. Scale models and early driving simulators sat quietly, untouched for decades, telling the story of an era when driving education went far beyond simply learning to operate a vehicle. This article sheds light on this fascinating place, offering a glimpse into a unique piece of Soviet history. < Back Exploring a Soviet-era abandoned driving school in Armenia We stepped inside and found ourselves in a remarkably well-preserved Soviet driving school. The interior felt like a time capsule—walls lined with posters on mechanization, civil defense, traffic regulations, and even diagrams of various firearm mechanisms. Scale models and early driving simulators sat quietly, untouched for decades, telling the story of an era when driving education went far beyond simply learning to operate a vehicle. This article sheds light on this fascinating place, offering a glimpse into a unique piece of Soviet history. Soviet driving schools, especially those operating under DOSAAF (Volunteer Society for Cooperation with the Army, Aviation, and Fleet), were far more than simple institutions where one learned to operate a vehicle. They were an integral part of the USSR's system for preparing skilled personnel for both civilian life and the military. This place was full of posters! I photographed as many as I could, though I won’t publish them all here. In the future, I plan to dedicate a separate article to the posters I’ve seen during my urban explorations. DOSAAF was officially established in 1951 , uniting several pre-existing organizations such as DOSARM, DOSAV, and DOSFLOT . Its roots, however, went back even earlier to OSOAVIAKHIM , a 1920s organization dedicated to training technical specialists, including drivers, mechanics, radio operators, and even pilots. The idea was to equip the Soviet Union with a steady flow of people ready to serve both the economy and national defense. These simulators blew my mind! I took a seat to get some driving lessons A Higher Standard of Training DOSAAF driving schools stood out for their high level of instruction . Graduates weren’t just drivers—they understood vehicle mechanics, basic repairs, and safe operation in challenging conditions. Many courses had a military touch , preparing participants to drive heavy trucks or army vehicles if needed. Training usually lasted around six months , combining theory and practical lessons in an intensive schedule. Lessons often included: Detailed knowledge of vehicle construction Maintenance and troubleshooting skills Driving in difficult terrain and weather Discipline and responsibility expected of future military drivers The shelves were filled with scale models of various mechanical devices More Than Driving Lessons DOSAAF schools were also about patriotism and discipline . They instilled a sense of duty to the nation, making driving part of a broader preparation for service. The skills learned ensured graduates could work in the civilian sector —transportation, logistics, industry—or be called upon by the army when required. For many young Soviets, getting a license from DOSAAF was considered prestigious. It meant you were not just a driver but a qualified, reliable professional , ready to serve wherever the country needed you. I’m Suren, a professional urban explorer in Armenia. I offer unique urbex tours to abandoned, hidden, and off-the-map places you won’t find in guidebooks. Want a custom itinerary? Contact me on WhatsApp or Telegram . Project Gallery You May Also Like The Forgotten 50 cm Cassegrain Telescope of Byurakan Observatory Destroyed Soviet Mosaics and Frescoes in Armenia Inside the Eerie Corridors of an Abandoned Russian Fortress Soviet Bus Stops in Armenia Urbex Tours in Armenia – Photo Gallery The 53 cm Schmidt Telescope at Byurakan Astrophysical Observatory Exploring an Abandoned Rest House with Impressive Bas-Reliefs A Spaceship on Earth: The Soviet-Armenian Echo of the Futuro House Previous Next

If you have taken the Tatev ropeway, you have undoubtedly seen a monastic complex nestled in the gorge, hidden deep in the woods. That's the mysterious Big Desert of Tatev, and a visit promises unforgettable memories! < Back The Big Desert of Tatev If you have taken the Tatev ropeway, you have undoubtedly seen a monastic complex nestled in the gorge, hidden deep in the woods. That's the mysterious Big Desert of Tatev, and a visit promises unforgettable memories! The Big Desert of Tatev is a 17th-century Armenian monastery located on the right bank of the river Vorotan, where it meets its tributary Tatev. It was built in the 1660s after an earthquake destroyed the nearby Harants (Fathers') Hermitage of Halidzor in 1658. The Great Hermitage of Tatev has the same layout as the older hermitage but is larger. It's a valuable example of medieval Armenian architecture with a unique design This is how you see the monastic complex when hiking down the gorge! The main part is surrounded by walls with towers, and there's an additional structure with a table-shaped plan on the southern side. It was of a military significance in the 18th century, during the liberation struggle organized by Davit Bek. In 1663, Saint Astvatsatsin, a 3-naved basilica church, was constructed in the south-western part of the desert using smoothly hewn basalt stone. It's an architectural marvel and when you step inside you can feel a rush of positive energy inside you! In 1743, Meliq Yeghan added a vaulted church-porch hall and a small chapel-mausoleum adjacent to the western part of the church. The dining hall in the southern part is a vaulted long structure with a kitchen, small windows, and stone tables. There are 64 vaulted cells for cenobites along the western and northern walls, some with two or three stories, doors, and windows. The desert once had gardens, threshing floors, a wine press, cellars, and a water mill (now broken). The climate here was suitable for viticulture. The Big Desert of Tatev served as a significant educational, religious, and cultural center. Around 700 monks dedicated themselves to spiritual service here, and the Catհolicos of All Armenians, Movses Khorenaci (Syuneci), received education in this spiritual and cultural hub. The Big Desert of Tatev played a vital role in the formation of manuscript centers, where many manuscripts were written in various monasteries and deserts. How to get to the Big Desert of Tatev? First of all, note that there is no road for cars to reach the location. You will need to take a short hike. You can hike to the Big Desert of Tatev by either starting from Tatev Monastery, descending all the way down towards the gorge and concluding your trip on Satan Bridge. Alternatively, you can park your car on Satan Bridge and commence your hike from that point. Inside the monastic complex, you may encounter a hermit who has been living there for several years and prefers not to be photographed, although he is very friendly! Gallery You May Also Like How to Visit ROT54 (Aragats Scientific Center) – Full Guide Shvanidzor’s 17th-Century Aqueduct: Armenia’s Ancient Engineering Marvel Grigor Khanjyan’s Monumental Fresco at the Yerevan Cascade From Stendhal Syndrome to Suren Syndrome Tirinkatar Sacred Valley: Armenia’s High-Altitude Valley of Dragon Stones How to Choose a Local Guide in Armenia Komitas Pantheon in Yerevan Gallery of Mineral Waters in Jermuk

If you're visiting Armenia, you might notice that people tend to stare a bit more than you're used to. As a guide, this is one of the most common questions I get from tourists: "Why do Armenians stare?" It's a valid observation and one that opens a window into the nuances of Armenian culture and the human tendency to observe the unfamiliar. < Back Staring in Armenia: Cultural Curiosity and Interest If you're visiting Armenia, you might notice that people tend to stare a bit more than you're used to. As a guide, this is one of the most common questions I get from tourists: "Why do Armenians stare?" It's a valid observation and one that opens a window into the nuances of Armenian culture and the human tendency to observe the unfamiliar. The Universal Habit of Staring Staring isn't unique to Armenia; it's a global phenomenon that varies in intensity depending on where you are. Studies have shown that the average duration of a stare varies significantly across cultures. In many Western countries, a direct gaze lasting longer than a few seconds can be considered intrusive or even confrontational. However, in other parts of the world, including Armenia, staring is not necessarily seen in a negative light. In fact, a study conducted in different countries revealed that the average stare time in the United States is about 2.9 seconds, while in more socially reserved cultures like Japan, it's around 2.2 seconds. On the other hand, in Mediterranean countries like Italy or Greece, the average gaze can extend up to 3.3 seconds, reflecting a more open and curious approach to social interactions. Armenia, situated at a crossroads of cultures, tends to align more with Mediterranean norms. Curiosity and Cultural Differences So, why do Armenians stare? One of the most straightforward reasons is curiosity. Armenia, while increasingly popular with tourists, is still a relatively small and homogeneous country. The sight of someone who looks or dresses differently can naturally pique interest. Consider this: the more extravagant your appearance—such as colorful hair, tattoos, or revealing clothing—the longer the staring time may be. For many Armenians, especially those in rural areas or smaller towns, encountering foreigners is not a daily occurrence. This makes them more likely to stare, not out of rudeness, but out of genuine curiosity and interest. In Armenia, hospitality is deeply ingrained in the culture, and staring is often a precursor to initiating conversation or offering help. Many Armenians are eager to learn about different cultures and see tourists as an opportunity to broaden their horizons. The Influence of the Soviet Past Armenia's recent history also plays a role in this behavior. Under Soviet rule, the country was relatively closed off from the rest of the world. Contact with foreigners was limited, and as a result, people are still adjusting to the influx of tourists. This background makes the presence of visitors a novelty, especially for the older generation who grew up during the Soviet era. Breaking the Ice: How to Respond If you find yourself the subject of a curious gaze in Armenia, there's no need to feel uncomfortable. A simple smile or a friendly nod can go a long way in bridging the gap. More often than not, this will lead to a warm exchange, perhaps even an invitation for a coffee or a deeper conversation about your experiences and their culture. Embracing the Experience While it might feel unusual at first, understanding the cultural context behind why Armenians stare can transform your experience from one of discomfort to one of connection. It's a reminder that travel is not just about seeing new places but also about understanding different ways of life. So, the next time you notice someone staring at you during your travels in Armenia, take it as a sign of welcome and interest. It's their way of saying, "We're curious about you, and we're glad you're here." And who knows? That initial stare might just lead to a memorable encounter that enriches your journey. Gallery You May Also Like How to Visit ROT54 (Aragats Scientific Center) – Full Guide Shvanidzor’s 17th-Century Aqueduct: Armenia’s Ancient Engineering Marvel Grigor Khanjyan’s Monumental Fresco at the Yerevan Cascade From Stendhal Syndrome to Suren Syndrome Tirinkatar Sacred Valley: Armenia’s High-Altitude Valley of Dragon Stones How to Choose a Local Guide in Armenia Komitas Pantheon in Yerevan Gallery of Mineral Waters in Jermuk

Together with G. Mattu, with this article, we aimed to compile and document the destroyed bas-reliefs in Armenia, created by monumental artists during the Soviet era. Once integral parts of the country's cultural and architectural landscape, these works of art have been lost to time, metal scavengers, vandalism and neglect. Through this collection, we hope to preserve their memory and reflect on their historical and artistic significance. < Back Destroyed Bas-Reliefs of Armenia Together with G. Mattu, with this article, we aimed to compile and document the destroyed bas-reliefs in Armenia, created by monumental artists during the Soviet era. Once integral parts of the country's cultural and architectural landscape, these works of art have been lost to time, metal scavengers, vandalism and neglect. Through this collection, we hope to preserve their memory and reflect on their historical and artistic significance. Bas-reliefs in the Soviet Union were used both as a powerful artistic form and as a tool for ideological expression. They served as a means to communicate Soviet values, promote political ideals, and glorify historical figures and events. These artworks were often integrated into public buildings, monuments, and institutions, reinforcing the narrative of the Soviet state and its achievements. This metal bas-relief once adorned the walls of the Automatics Plant in Vanadzor, a significant site in Armenia’s industrial heritage. Sadly, it vanished a few years ago, and its fate remains unknown. Notably, it was one of the rare bas-reliefs dedicated to a cosmic theme. Founded in 1956, the Automatics Plant played a crucial role in the instrument-making industry of both the USSR and Armenia, releasing its first products in 1959. Specializing in electrical measuring instruments for monitoring and regulating technological processes, the plant supplied its products across the Soviet Union and exported them to 25 countries worldwide. An identical bas-relief featuring two cosmonauts once decorated the entrance of the former Kosmos Kindergarten. The fate of this artwork remains unknown. This bas-relief once graced the lobby of the Central Post Office in Vanadzor, created between 1977 and 1978. Vahagn’s Battle with the Dragon – Kapan, 1966 Chiseled aluminum | Height: 1100 cm Sculptor: A. Harutyunyan | Architect: R. Israelyan Ara Harutyunyan’s Spring – 1963 Material: Aluminum | Location: Sayat-Nova Avenue Harutyunyan’s daughter, Susanna, recounts the fate of this monument: It was installed on Sayat-Nova Avenue, on the sidewalk in front of the old Academy (that building was later demolished), where his parental home once stood. However, the monument was destroyed in a car accident and was never restored. "Masquerade" Ceramic Bas-Relief 1983 – Inside the restaurant of the former actor's house, now the French Embassy. Sculptor: Eduard Beroyan After the building was repurposed and renovated, the bas-relief was destroyed. Another bas-relief by the prolific ceramist Eduard Beroyan once adorned the interior of the ArmElectro factory. Unfortunately, it no longer exists. The nursery of the Spitak textile factory once featured a bas-relief on the wall of its swimming pool, depicting what appeared to be a fairy. The building and the artwork were destroyed during the 1988 earthquake. Installed in 1968 at the entrance of Charentsavan, in Armenia’s Kotayk Province, this bas relief (front side) was created by renowned Armenian sculptor Tereza Mirzoyan (1922–2016) in collaboration with sculptor Suren Nazaryan (1929–1999). The back side of the same monument at the Entrance to Charentsavan city. Vladimir Atanyan was one of the artists whose bas-reliefs suffered the most, two of which were located inside the Dvin Hotel and disappeared after its renovation. Ceramic Bas-Relief – "Dvin – Old Town" (1979) Size: 3m × 6m × 75cm Location: Restaurant of the Dvin Hotel Artist: Vladimir Atanyan "Eternity" Bas-Relief – 1979 Dimensions: 4 x 2 meters Location: First floor, Dvin Hotel Interior, Yerevan Created by: Vladimir Atanyan “Generation” 1983/84 by Vladamir Atanyan. A large ceramic relief framed by mosaics, Generation once adorned the lobby of the Scientific Institute of Avan. Sometime between 2005 and 2010, the entire building was demolished, and the fate of the artwork remains unknown. Presumably, it was destroyed along with the building. A rare photo of the bas-relief "Generation", as seen in an old magazine Another work by Vladimir Atanyan decorated the wall of the restaurant in Ani Hotel. Created in 1986, it was later destroyed. Another artist whose works were significantly lost over time is Hmayak Bdeyan. Below are several examples. Institute of Winemaking – Bas-relief (Destroyed) – Artist Hmayak Bdeyan, 1967 (Size: 240 cm × 600 cm) On November 11, 2006, the first building of the "Rossia" commercial and cultural center was turned into a cafe and shopping halls. Unfortunately, the sculptures and paintings by Yervand Gojabashyan, Henry Elibekyan, Ohan Petrosyan, and Hmayak Bdeyan were later removed and up to this day their fate is unknown. The partition walls by Hmayak Bdeyan adorned the interior spaces of the Rossiya cinema. In total, they were 10 meters long and 3.5 meters high. This is how Bdeyan describes the creation of partitions inside the Rossiya cinema: “I faced a rather challenging task: to create partition walls that would separate one functional space from another without, as much as possible, dissecting the interior volumes of the building. I proposed assembling them from openwork cubic cells coated with glaze. These partitions, in my opinion, do not disrupt the scale of the space and are perceived as movable grids. I embedded large theatrical masks into them.” This photo shows the destroyed partition wall by Hmayak Bdeyan, lying on the ground. The fate of the sculptures remains unknown. In this old image, one can see a bas-relief inside the Rossiya Cinema. The artist remains unidentified, though it is believed to be Hmayak Bdeyan. Further verification is required. Hmayak Bdeyan's ceramic compositions adorned the Argishti Cafe on Mashtots Avenue, formerly Lenin Avenue. Their fate is unknown. Armenfilm, also known as Hayfilm, is an Armenian film studio located in Yerevan. The facade of Armenfilm’s main entrance once featured a metal bas-relief inspired by Yervand Kochar’s iconic Sasuntsi Davit statue. It disappeared long ago, and its fate is still a mystery. The image of Sasuntsi Davit also served as the studio’s production logo, appearing at the beginning of every film — much like the iconic studio logos seen in other film industries. In this old photo, two bas-reliefs are visible on the wall of the “Vahagn” Teahouse. Their fate remains unknown. Special thanks to Gurdeep Mattu for co-authoring this article. I’m Suren, a professional urban explorer in Armenia. I offer unique urbex tours to abandoned, hidden, and off-the-map places you won’t find in guidebooks. Want a custom itinerary? Contact me on WhatsApp or Telegram . 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This article is about Che Guevara’s solo trip across central and northern Argentina on a motorized bicycle, covering a distance of approximately 4,000 miles. It ignited a stronger passion within the heart of the young explorer and unfolded new horizons for him. This marked only the commencement of his unfolding journey. < Back Che Guevara's first journey on a motorized bicycle This article is about Che Guevara’s solo trip across central and northern Argentina on a motorized bicycle, covering a distance of approximately 4,000 miles. It ignited a stronger passion within the heart of the young explorer and unfolded new horizons for him. This marked only the commencement of his unfolding journey. From early childhood, Ernesto "Che" Guevara loved to travel. His father wrote that with time he came to understand that "his obsession with traveling was just another part of his zeal for learning" (Guevara 1995:2). Ernesto's first noteworthy journey on his own took place in 1950 when he toured all of central and northern Argentina on a motorized bicycle - a trip of some 4,000 miles (Gambini 1968:22). At the time, he was 21 and a medical student at the University of Buenos Aires. It was a bicycle on which he had installed a small engine. During his journey, he stopped in Córdoba to visit his friends Tomás and Alberto Granado. Alberto was conducting research on lepers at a leprosarium near San Francisco del Chañar, and Ernesto, intrigued by his work, spent several days with him there. Che Guevara setting out on a 2,800 mile solo motorbike trip through the Argentine Northwest in 1950 From there, he headed north and encountered an interesting assortment of hobos, vagabonds, seasonal workers, poor indigenous inhabitants, and other socially marginalized people. He often stayed overnight in police stations and provincial hospitals, asking if he could sleep in vacant jail cells or empty hospital beds. As a result, "for the first time in his adult life, Ernesto witnessed the harsh duality of his country by crossing the divide from its transported European culture, which was also his culture, and...its ignored, backward, indigenous heartland" (Anderson 1997:63). Guevara relied upon the hospitality of strangers, a pattern that continued in his later travels with Granado. For example, after a puncture, he flagged down a lorry to take him to his next destination. In another instance, in Loreto, he sought hospitality from a local police officer when he had nowhere to stay. The trip influenced Guevara's style of traveling, as seen in the Motorcycle Diaries. For the young Guevara, the journey was an education. The motorized bicycle now at a Che museum in Alta Gracia, Argentina Upon returning to Buenos Aires, Ernesto took the motorbike back to the store where he bought it for reconditioning. When the store owner learned the details of the trip, he was astounded and asked Ernesto to provide a letter attesting to his fantastic journey using that particular brand of motorbike. This letter, along with a picture of Ernesto sitting on his motorbike, was published in a local sports magazine as an advertisement for that type of motorbike (Taibo 1996:35). They claimed it was very sturdy, given that Guevara had completed such a long tour using its power. The success of his Argentinian travels sparked in him a desire to explore the world more attentively and initiated the planning of new travel adventures. Gallery You May Also Like How to Visit ROT54 (Aragats Scientific Center) – Full Guide Shvanidzor’s 17th-Century Aqueduct: Armenia’s Ancient Engineering Marvel Grigor Khanjyan’s Monumental Fresco at the Yerevan Cascade From Stendhal Syndrome to Suren Syndrome Tirinkatar Sacred Valley: Armenia’s High-Altitude Valley of Dragon Stones How to Choose a Local Guide in Armenia Komitas Pantheon in Yerevan Gallery of Mineral Waters in Jermuk

This article offers a brief overview of Armenian Lavash, a staple in Armenian households for centuries and a symbol of Armenian identity. Today, it continues to attract the interest of foreigners keen on the traditions associated with this iconic bread. < Back Armenian Lavash Bread This article offers a brief overview of Armenian Lavash, a staple in Armenian households for centuries and a symbol of Armenian identity. Today, it continues to attract the interest of foreigners keen on the traditions associated with this iconic bread. Lavash, a traditional Armenian flatbread, holds a significant place in the country's culinary heritage. It is a flat, very thin wafer, typically 2-5 millimeters thick and round-shaped. It generally adheres to a standard size, with a typical length of 90-110 centimeters, a width of 40-50 centimeters, and a weight not exceeding 250 grams This unleavened flatbread is crafted from simple ingredients: flour, water, and salt. The dough is rolled thin and stretched over a cushion before being baked in a clay tandoor, resulting in a thin, flexible bread with a delightful crispiness. Lavash is individually spread out until it cools down, after which it is stacked on top of each other, often arranged in 8-10 rows. When exposed to open air, lavash dries rapidly and can remain dry for an extended period, surpassing one year. AI generated image of Armenian woman baking lavash Lavash Bread Recipe: Crafting the perfect Lavash bread at home requires just a few ingredients and some patience. Here's a basic recipe: Ingredients: 3 cups all-purpose flour 1 teaspoon salt 1 cup water Instructions: Mix flour and salt in a bowl. Gradually add water, kneading the dough until it becomes smooth. Divide the dough into small balls and let them rest for about 30 minutes. Roll out each ball into a thin sheet. Bake on a hot griddle or in a preheated oven until it puffs up and turns golden. But for a perfect lavash one of course needs a clay tandoor! Lavash Wraps: Lavash's versatility extends beyond being a standalone bread. It serves as an ideal wrap, bringing together lunchtime classics such as turkey cold cuts, goat cheese, and a vibrant blend of veggies and greens in Lavash bread. Whether crafting a Mediterranean-inspired wrap with fresh vegetables, hummus, and feta, or opting for a savory wrap with grilled meats and tzatziki, Lavash provides a delicious and pliable canvas for culinary creativity. Eduard Artsrunyan. Fresh Lavash (1971) Women baking or carrying lavash is a common theme that has inspired Armenian painters. Lavash as a symbol Lavash is considered a symbol of family and abundance in Armenia. Traditionally, during weddings, the groom's mother throws lavash on the shoulders of the newlyweds, symbolizing the wish that the young couple will always live in abundance and togetherness. Lavash Bread Calories: A 100-gram serving of Armenian Lavash bread contains approximately 281 calories. Where to Buy Lavash Bread: Armenian Lavash bread is readily available at Armenian, Middle Eastern, and Persian markets throughout the country. Gallery You May Also Like How to Visit ROT54 (Aragats Scientific Center) – Full Guide Shvanidzor’s 17th-Century Aqueduct: Armenia’s Ancient Engineering Marvel Grigor Khanjyan’s Monumental Fresco at the Yerevan Cascade From Stendhal Syndrome to Suren Syndrome Tirinkatar Sacred Valley: Armenia’s High-Altitude Valley of Dragon Stones How to Choose a Local Guide in Armenia Komitas Pantheon in Yerevan Gallery of Mineral Waters in Jermuk

Shifts in ideological paradigms, political caprice, the desire to break away from a totalitarian past, and acts of vandalism led to the dismantling or destruction of many monuments associated with communist ideology and beyond. This process accelerated after the collapse of the Soviet Union in 1991. In this article, we will explore the statues that once adorned Armenia, only to be lost to history. < Back The Destroyed Statues of Armenia Shifts in ideological paradigms, political caprice, the desire to break away from a totalitarian past, and acts of vandalism led to the dismantling or destruction of many monuments associated with communist ideology and beyond. This process accelerated after the collapse of the Soviet Union in 1991. In this article, we will explore the statues that once adorned Armenia, only to be lost to history. The practice of dismantling monuments is not unique to the post-Soviet space. After the October Revolution of 1917, the Bolsheviks actively demolished monuments tied to the tsarist regime as part of the so-called "Lenin's Plan of Monumental Propaganda." This underscores that a change in political systems is often accompanied by a revision of the symbolic landscape and the removal of monuments from the previous era. Thus, the destruction of monuments during and after the collapse of the USSR was driven by a mix of ideological shifts, a desire to reevaluate historical heritage, and public sentiment, often expressed through acts of vandalism, particularly as many statues were made of valuable materials like bronze, copper, and others. Joseph Stalin's statue was considered a masterpiece by the sculptor Sergey Merkurov. The pedestal was designed by architect Rafayel Israyelian. The statue of Stalin was unveiled in Yerevan on October 29, 1950. Designed by architect Rafael Israelyan and sculpted by Sergey Merkurov, the bronze figure stood 17 meters tall. With its imposing 33-meter pedestal, the monument reached a total height of 50 meters, making it the tallest Stalin statue of its time. In 1952, a monumental statue of Joseph Stalin, standing 24 meters tall, was erected at the Volga–Don Canal in Stalingrad (now Volgograd). The pedestal added an additional 30 meters, bringing the total height to 54 meters. As a result, it became the tallest Stalin statue in the Soviet Union, a record that was never surpassed. Yesterday... today... In 1962, the statue was dismantled, and in 1967, the "Mother Armenia" monument, created by sculptor Ara Harutyunyan, was erected in its place, utilizing the original pedestal. The statue of Joseph Stalin by Ara Sargsyan Another notable statue dedicated to Joseph Stalin was created by renowned artist Ara Sargsyan and was once located in Gavar (formerly Nor Bayazet until 1994). The statue's current fate remains unknown. Lenin's Statue in the Republic Square (Lenin Square in Soviet times) of Yerevan! Its body now resides in the courtyard of the National Gallery of Armenia, while the head is kept in storage Lenin’s image was omnipresent during Soviet times, dominating central squares, schools, cultural halls, and workplaces. The most iconic of these was the Lenin statue in Yerevan, erected in Republic Square—then known as Lenin Square—in 1940 to mark the 20th anniversary of Soviet rule in Armenia. Crafted by renowned sculptor Sergey Merkurov, with artistic contributions from architects Natalya Paremuzova and Levon Vardanov, the monument depicted Lenin addressing a crowd, symbolizing his leadership and revolutionary ideals. It served as the focal point for public events, military parades, and political gatherings for decades. Following Armenia’s independence in 1991, the statue was dismantled. Today, its body rests in the courtyard of the National Gallery of Armenia, while the head remains in storage. The pedestal was removed in 1996 and is currently housed in a Yerevan Municipality warehouse in Charbakh. For now, I will refrain from publishing additional photos of the destroyed statues of Lenin and Stalin, as there are countless examples, particularly in the case of Lenin. Instead, I plan to publish separate articles on this subject in the future. Sasuntsi Davit (David of Sassoun) Statue by Yervand Kochar In 1939, Yerevan was preparing to celebrate the 1000th anniversary of the epic poem Sasna Tsrer (Daredevils of Sassoun) with grand festivities. The celebrations were set for October, and during the summer months, it was decided that the event would be incomplete without a statue of the epic's central hero. A competition was announced, inviting Armenian artists to submit designs for a statue of David of Sassoun. However, some sculptors argued that the task would take 1–2 years, while others were preoccupied with other commissions. At this juncture, Yervand Kochar, who had recently returned from Paris, took on the challenge. He required only a few assistants to complete the work. Kochar’s plaster statue of David of Sassoun, mounted on a wooden pedestal several meters high, was completed in just 18 days. The statue was installed in the square near the station and stood there for about two years until Kochar’s arrest. One of the charges leveled against him was that the figure of the rider, with a drawn sword, appeared to be rushing toward "friendly" Turkey. He was accused of formalism, a charge that equated to being labeled an “enemy of the people.” As a result, he was imprisoned, and the statue was destroyed. After spending 2 years and 2 months in prison, Kochar was released due to a lack of evidence. In 1957, by then recognized and respected by artists, art lovers, and both the public and the ruling elite, he was commissioned once again by the Supreme Soviet to create a statue of David of Sassoun. The statue Kochar crafted remains on display in the same square today and is one of the most beloved and renowned monuments in the country. Glory to Labor or Worker's statue by Ara Harutyunyan The "Glory to Labor" monument (better known as the "Worker's Statue") is located in the Shengavit administrative district of Yerevan. It is one of the notable works by Ara Harutyunyan, a People's Artist of the Armenian SSR, Honored Artist of the Arts, and a renowned sculptor. This monument represents one of Harutyunyan's last monumental works. Unveiled in 1982, it was positioned in the square adjacent to the "Gortsaranayin" metro station in the Shengavit district. Over time, the square became popularly known as "Worker's Statue Square," and even after the statue was dismantled, it continued to carry this name. The cast iron statue was designed to portray an Armenian worker walking towards Western Armenia. Its artistic and volumetric solutions were unique for the time. In 1997, the 11-meter statue, widely known as the "worker's statue," was dismantled and dismembered. Seven years later, in 2004, a group of individuals began searching for the statue, which had gone missing. After some time, the dismembered statue was discovered at one of the factories in Shengavit. Subsequently, the statue's parts were moved to private property under unclear circumstances. The head, hands, fist, legs, shoes, and the back of the torso were all preserved from the original statue. On June 1, 2022, the "Worker's Statue: Post Scriptum" exhibition opened at the National Gallery of Armenia, where the head and fist of the statue were displayed for the first time. Sergei Kirov by Ara Sargsyan The statue of Bolshevik leader Sergei Kirov, created by sculptor Ara Sargsyan in 1942 from basalt, was installed in 1950 at Kirov Square in Kirovakan, now known as Vanadzor. Not long after the collapse of the Soviet Union, the statue was removed, and its fate remains unknown. The bust of Kirov in Yerevan The bust of Sergei Kirov, created in 1936, was displayed in the courtyard of the Kirov Chemical Factory, now Nairit, in Yerevan. Ara Sargsyan’s "Lightning" Among Armenia’s vanished artistic treasures, one of the most striking is "Lightning", a decorative sculpture by renowned sculptor Ara Sargsyan, created in 1934. This three-meter-high masterpiece, crafted from concrete, once adorned the facade of the Yerevan Central Post Office. Characterized by expressive classicist forms, "Lightning" was a bold and dynamic addition to the architectural landscape of Yerevan. Unfortunately, during a later renovation of the building, the sculpture was removed and was not preserved. Size: Height: 300 cm Width: 250 cm Depth: 60 cm The statue of Ghukas Ghukasyan The monument to Bolshevik revolutionary Ghukas Ghukasyan was located in the Student Park, at the heart of Yerevan, between Abovyan and Teryan streets. Created from basalt, the statue was designed by sculptor Suren Stepanyan, with architectural contributions by Hayk Asatryan. In 1990, under cover of night, unknown individuals detonated the statue of the Bolshevik revolutionary and party figure. In December 2009, a new sculpture of the renowned astronomer Viktor Hambardzumyan was installed in the same park, where Ghukasyan’s statue once stood. The Stocking Woman by Frid Soghoyan The Monument to the Stocking Woman, created in 1964 by artist Frid Soghoyan, stood 5 meters tall and was made of aluminum. Located in Gyumri (formerly Leninakan), Armenia, the statue was an iconic piece of public art. Unfortunately, it was either destroyed or stolen under unknown circumstances during the 1990s. Harvest Festival by Suren Nazaryan The "Harvest Festival" statue, created in 1968 by sculptor Suren Nazaryan, was located in Yerevan. Sometime in 2011, a part of the statue—a man—was stolen, most likely by metal scavengers looking to sell it as scrap. While I was writing this article, G. Mattu reached out to Suren Nazaryan's son Arshak Nazaryan for more information about the statue. Here’s what he said: "I took this picture myself in 2011. It was vandalized sometime after—one of the figures was broken and stolen. The rest of the statue was taken down and stored in the Nor Nork city storage. I don’t know its current status!" While researching old Soviet Armenian magazines, G. Mattu came across a page featuring a statue that remains unidentified. To this day, its creator, location, and fate remain a mystery. The small image depicts Akhtamar, perched high on the cliffs above the Sevan highway. While reviewing old Soviet magazines, G. Mattu uncovered another intriguing monument that was previously unknown to us and for which we have been unable to find any information. The article mentions, accompanied by an image, that a monument dedicated to bakers was unveiled at the Yerevan Bread Factory No. 3. The fate of this monument remains unclear. The bust of Karl Marx. Sculptor: Artashes Hovsepyan, 1962 The bust of Karl Marx stood in front of the Polytechnic Institute in Yerevan named after him. After the collapse of the Soviet Union, the bust was removed, and the university was renamed the State Engineering University of Armenia. In November 2014, by decision of the Armenian government, it was renamed the National Polytechnic University of Armenia. In 1968, at the entrance of Vardenis city, Armenia, a unique monument was erected. It consisted of a bull statue and a sculptured monument. The authors of the monument were the sculptor Rafael Yekmalyan and architect Rafael Israelyan. Unfortunately, the monument has not survived. According to sculptor Harutyun Yekmalyan, son of Rafael Yekmalyan, it was destroyed by Azerbaijanis. The bull statue was severely damaged and, by some accounts, buried by Azerbaijanis in the 1980s. Efforts to restore the monument were once blocked under the pretext of avoiding heightened tensions with Azerbaijan. The remnants of the monument today Another lost masterpiece is Ruzan Kyurkchyan's statue "Family." Once standing at the intersection of Sayat-Nova and Abovyan streets in Yerevan, the sculpture has since disappeared, and its fate remains unknown. "Family" by Ruzan Kyurkchyan Another statue that did not withstand the test of time was located in Yerevan's Youth Palace, which was demolished in 2006. Spring by Tadevos Gevorgyan Before the Youth Palace was demolished in 2006, Tadevos Gevorgian's statue Spring disappeared, and its fate remains unknown. An unrecognized statue in front of the former 'October' Cinema in Yerevan Another statue once stood in front of the former "October" Cinema in Yerevan, right where the Komitas Pantheon is now. What happened to that monument—and even who created it—remains a mystery to this day. I’m Suren, a professional urban explorer in Armenia. I offer unique urbex tours to abandoned, hidden, and off-the-map places you won’t find in guidebooks. Want a custom itinerary? Contact me on WhatsApp or Telegram . Project Gallery You May Also Like The Forgotten 50 cm Cassegrain Telescope of Byurakan Observatory Destroyed Soviet Mosaics and Frescoes in Armenia Inside the Eerie Corridors of an Abandoned Russian Fortress Soviet Bus Stops in Armenia Urbex Tours in Armenia – Photo Gallery The 53 cm Schmidt Telescope at Byurakan Astrophysical Observatory Exploring an Abandoned Rest House with Impressive Bas-Reliefs A Spaceship on Earth: The Soviet-Armenian Echo of the Futuro House Previous Next

Yerevan Vernissage stands as a beloved tourist attraction in the heart of Yerevan! In this brief article, I aim to guide you through a must-visit spot during your strolls around the city. If you are the one looking for souvenirs to buy then this market is just for you, each corner holds a piece of local artistry waiting to become a part of your everyday life. < Back Yerevan Vernissage - A Tourist's Favorite Open-Air Market Yerevan Vernissage stands as a beloved tourist attraction in the heart of Yerevan! In this brief article, I aim to guide you through a must-visit spot during your strolls around the city. If you are the one looking for souvenirs to buy then this market is just for you, each corner holds a piece of local artistry waiting to become a part of your everyday life. Yerevan Vernissage is a large open-air market in Yerevan, Armenia. The name of the market is derived from the French word 'vernissage.' The market extends along Aram Street and Buzand Street, covering a length of 350 meters (1,150 feet), just a few minutes' walk from Republic Square. It primarily features a diverse collection of traditional Armenian artworks crafted and sold by local artisans. Made by local masters silver jewelry has a high demand among tourists because of a high quality and affordable price! Established during the 1980s, Yerevan Vernissage was initiated by Armenian artists who began showcasing their artworks in the square adjacent to the Artists' Union of Armenia (now Charles Aznavour Square). Some also utilized the park next to Komitas State Conservatory for their exhibitions. Over time, Vernissage moved to Martiros Saryan Garden in front of the Opera House and gradually expanded. Eventually, it found its current location on Aram and Buzand streets, spanning from the Republic Square metro station to the statue of Vardan Mamikonyan. Despite this move, painters still utilize Saryan Park to exhibit their paintings. Before the invention of metals our ancestors were making knives from obsidian! Now local masters are reviving this tradition! By the way these knives are optional and are very sharp! The market operates every day, with an increased number of sellers and displayed products on weekends. These wooden statues appear to be crafted by a very skilled artisan. At Vernissage, visitors can explore carved wood and art pieces, traditional carpets, antique coin and medallion collections, books, jewelry, musical instruments, electronics, and even pets. Gallery You May Also Like How to Visit ROT54 (Aragats Scientific Center) – Full Guide Shvanidzor’s 17th-Century Aqueduct: Armenia’s Ancient Engineering Marvel Grigor Khanjyan’s Monumental Fresco at the Yerevan Cascade From Stendhal Syndrome to Suren Syndrome Tirinkatar Sacred Valley: Armenia’s High-Altitude Valley of Dragon Stones How to Choose a Local Guide in Armenia Komitas Pantheon in Yerevan Gallery of Mineral Waters in Jermuk

Experience the unique traditions of Armenia through this captivating article. Explore the intriguing Red Apple ritual, revealing a cultural perspective on virginity. Delve into the Salty Cookie tradition of St. Sargis feast day, intertwining hope and culinary art. Immerse yourself in Trndez, a festival marking the end of winter with fire rituals and communal celebrations. Lastly, discover Vardavar, Armenia's vibrant water festival rooted in pagan history. Gain insight into Armenia's rich cultural heritage with these engaging narratives. < Back Strange Armenian Traditions Experience the unique traditions of Armenia through this captivating article. Explore the intriguing Red Apple ritual, revealing a cultural perspective on virginity. Delve into the Salty Cookie tradition of St. Sargis feast day, intertwining hope and culinary art. Immerse yourself in Trndez, a festival marking the end of winter with fire rituals and communal celebrations. Lastly, discover Vardavar, Armenia's vibrant water festival rooted in pagan history. Gain insight into Armenia's rich cultural heritage with these engaging narratives. The Red Apple: The Symbol of Purity The Red Apple, or “Karmir Khndzor” in Armenian, is a centuries-old tradition that has its roots in the cultural fabric of Armenia. This tradition, while not as widely practiced today, continues to be a topic of interest due to its unique and somewhat controversial nature. The Red Apple tradition is a ritual that aims to confirm a woman’s virginity on her wedding night. After the wedding night if the bride’s virginity is confirmed, a ceremony is performed. Several married women from the groom’s relatives prepare a bowl of red apples and take it to the bride’s parents’ house. This visit is a sign of respect towards the bride’s parents for raising a dignified daughter! While it may seem controversial from a modern perspective, understanding such traditions provides valuable insights into the evolution of societal norms and values. As Armenia continues to evolve, so too will its traditions, reflecting the dynamic nature of culture and society. An AI generated image of Red Apple Aghi Blit: The Salty Cookie of Armenia Aghi Blit, also known as the Salty Cookie, is a unique Armenian tradition that is deeply intertwined with the celebration of St. Sargis feast day. This tradition, while intriguing, is not widely known outside of Armenia. The tradition of Aghi Blit revolves around the feast day of St. Sargis, the patron saint of youth and love in the Armenian Apostolic Church. On the eve of the feast, young people eat salty cookies, hoping that their future bride or groom will appear in their dreams to offer them water. The process of making Aghi Blit is simple yet meaningful. The ingredients needed are flour, salt, and water. The flour and salt are mixed together, and then water is added to form a solid dough. The dough is then shaped into pellets, flattened with a rolling pin, and baked in the oven until they turn pink. The consumption of Aghi Blit is more than just a culinary tradition; it’s a ritual filled with symbolism and hope. The saltiness of the cookies is believed to induce thirst, which in turn triggers dreams of water. It is believed that the person who offers water in the dream is destined to be the dreamer’s future spouse. In conclusion, Aghi Blit is a fascinating tradition that offers a glimpse into the cultural practices of Armenia. Whether you’re an Armenian youth awaiting a dream or a curious outsider, the Salty Cookie tradition is sure to leave a lasting impression. This is how AI sees Armenian girl making salty cookie Trndez: A Celebration of Purification and Renewal Trndez, a significant celebration in the Armenian Apostolic Church, is observed 40 days after the birth of Jesus Christ, marking it as a feast of purification. The festival has its origins in sun and fire worship in ancient pre-Christian Armenia. The term ‘Trndez’ translates to “towards God”. This celebration symbolizes the end of the cold season and the arrival of spring and fertility. On February 13, communities across Armenia celebrate Trndez. The festival begins with church ceremonies, followed by the lighting of a fire. Newlyweds receive blessings and, along with other members of the community, jump over the lit fire. This act is believed to bring good luck and is a highlight of the festival. In addition to the fire rituals, candles play a significant role in the Trndez celebrations. The clergyman lights the candles on the church table, symbolizing the welcoming of Joseph, Mary, and baby Jesus. Despite its ancient origins, Trndez remains a vibrant part of Armenian culture. It not only marks a religious event but also brings communities together in a joyful celebration of life and renewal. As such, Trndez serves as a powerful reminder of Armenia’s rich cultural heritage and the enduring appeal of its traditions. This is how AI imagines Trndez Vardavar: Armenia’s Joyous Water Festival Vardavar is a unique and vibrant festival celebrated in Armenia, where people drench each other with water. This tradition, which dates back to pagan times, is deeply rooted in Armenian culture and continues to be a significant event today. Vardavar’s history is intertwined with the worship of Astghik, the ancient Armenian goddess of water, beauty, love, and fertility. The festival was originally associated with Astghik and was named “Vardavar” because Armenians offered her roses as a celebration (in Armenian, ‘vard’ means ‘rose’ and ‘var’ means ‘to burn/be burning’). Celebration of Vardavar. Image: Yuri Semenkov After the Christianization of Armenia, the Armenian Apostolic Church linked the rose with the transfiguration of Jesus, and Vardavar continued to be celebrated along with the Feast of the Transfiguration. Some believe the tradition dates back to Noah, who commanded his descendants to sprinkle water on each other and release doves as a symbol of remembrance of the Flood. Vardavar is celebrated 98 days (14 weeks) after Easter. The festival begins with church ceremonies, followed by the main event where people of all ages drench each other with water. It is common to see people pouring buckets of water from balconies onto unsuspecting passersby below. This water festival is particularly popular among children, as it is one day where they can get away with pulling pranks. Vardavar It is not just a religious event, but also a community celebration that brings people together in a joyous and refreshing way, especially during the hot and dry summer days of July or late June. Gallery You May Also Like How to Visit ROT54 (Aragats Scientific Center) – Full Guide Shvanidzor’s 17th-Century Aqueduct: Armenia’s Ancient Engineering Marvel Grigor Khanjyan’s Monumental Fresco at the Yerevan Cascade From Stendhal Syndrome to Suren Syndrome Tirinkatar Sacred Valley: Armenia’s High-Altitude Valley of Dragon Stones How to Choose a Local Guide in Armenia Komitas Pantheon in Yerevan Gallery of Mineral Waters in Jermuk

Explore the rich tapestry of Soviet art with this guide to Soviet monuments and statues in Armenia. From the statue of Hayk Nahapet to the statue of Vladimir Lenin, discover how these landmarks reflect the artistic and ideological spirit of their time. Journey through history with iconic Soviet monuments and experience a unique blend of cultural heritage and artistic expression. Perfect for anyone interested in tours in Armenia and exploring its remarkable artistic history. < Back Iconic Soviet Statues and Monuments in Armenia Explore the rich tapestry of Soviet art with this guide to Soviet monuments and statues in Armenia. From the statue of Hayk Nahapet to the statue of Vladimir Lenin, discover how these landmarks reflect the artistic and ideological spirit of their time. Journey through history with iconic Soviet monuments and experience a unique blend of cultural heritage and artistic expression. Perfect for anyone interested in tours in Armenia and exploring its remarkable artistic history. When Armenia became part of the Soviet Union in 1920, the Soviet education system profoundly impacted the development of the arts in the country. The Soviet regime closely intertwined art and education, emphasizing the creation of works that reflected socialist ideals and the collective spirit. Beginning in 1921-22, the Leninist program of monumental propaganda was implemented in Soviet Armenia, marking the initial phase of Armenian Soviet sculpture. Sculpture as a professional art form flourished in Soviet Armenia, largely thanks to the pioneering efforts of Ara Sargsyan, Suren Stepanyan, Stepan Taryan, Aitsemnik Urartu, and Yervand Kochar, who later relocated to Armenia. These artists enriched Armenian sculpture with numerous monumental, mechanical, and decorative works, securing its place in Soviet multinational art. Prominent Armenian sculptors based in Moscow and Leningrad, such as Sergey Merkurov, Grigor Kepinov, Tigran Davtyan, and A. Stepanyan, also made significant contributions. Many Armenian artists often took creative risks, producing works that reflected their national history—a bold move that could be perceived as nationalistic by the Kremlin. Despite this, the Soviet government heavily invested in arts education, establishing specialized schools and institutes that trained a new generation of Armenian artists, sculptors, and architects. Yervand Kochar was a prominent sculptor and modern artist of the twentieth century, celebrated for his innovative contributions to art and his role as the founder of the Painting in Space movement. Inspired by the revival of their young country, these artists aimed to capture the distinctive character and atmosphere of the new historical period in their work. Their commitment and creativity during the 1920s and 30s helped shape the key characteristics of national sculpture—simplicity, restraint, and meaningful forms. Their monumental works were installed in Yerevan and other Armenian cities, while their significant pieces are preserved and exhibited in galleries. Armenian sculpture reached a new level of artistic expression in the post-war years, as artists began to celebrate new peacetime heroes. Leading figures, alongside a new generation of sculptors like Nikolay Nikoghosyan, Ara Harutyunyan, Ghukas Chubaryan and Karlen Nurijanyan continued to create sculptures ranging from monumental works to fine plastic art. They crafted images of their contemporaries, national heroes, and notable figures using stone, wood, and bronze, contributing lasting pieces to Armenian sculptural heritage. Ara Harutyunyan is another renowned sculptor of the 20th century, known for his impactful contributions to Armenian and Soviet art In the 1960s and 70s, Armenian sculpture gained new dimensions as younger sculptors like Levon Tokmajyan, Serzh Mehrabyan, Yuri Minassian, Vladimir Antashyan, Artashes Hovsepyan, Benik Petrosyan and Ara Shiraz began working alongside established masters. This generation sought to reinterpret ancient traditions and develop diverse and bold plastic expressions, enriching Armenian sculpture with fresh artistic visions. Mother Armenia in Yerevan The current Mother Armenia statue replaced a monumental statue of Joseph Stalin, originally erected as a World War II victory memorial and considered a masterpiece by sculptor Sergey Merkurov. Following Stalin's death, his statue was secretly removed in 1962. In 1967, Ara Harutyunyan's Mother Armenia statue was installed, modeled after 17-year-old Zhenya Muradian. The statue stands 22 meters tall, with the entire monument reaching 55 meters atop its tuff stone pedestal. In 1970, the pedestal was converted into the Museum of Armenia in the Great Patriotic War 1941-1945, marking the 25th anniversary of the victory. Mother Armenia in Gyumri Unveiled on May 9, 1975, the Mother Armenia statue in Gyumri commemorates the 30th anniversary of the victory in the Great Patriotic War and honors the memory of Gyumri's wartime participants. Created by sculptor Ara Sargsyan and architect Rafael Yeghoyan, the monument stands as a harmonious blend of architecture and sculpture, consisting of a 21-meter-high pedestal and a 20-meter-high statue. Mother Armenia in Ijevan The "Mother Armenia" monument, located in Ijevan, Tavush region, Armenia, is a significant historical and cultural landmark created in 1971 by sculptor Serzh Mehrabyan. Mother Armenia in the Tavush region, on the Armenia-Azerbaijan border In 1976, the 10-meter (some say 17-meter) aluminum sculpture of Mother Armenia, or Arevik, was created by Adibek Grigoryan and placed near Aygehovit village in Armenia's Tavush region, along the road to Azerbaijan. Originally intended for Central Asia, it was rejected for allegedly overemphasizing the female form. Later revised, the statue was installed at the border, symbolizing Armenia’s welcoming spirit to visitors from Russia, Georgia, and Azerbaijan. Today, the area where it stands is part of the village of Aygehovit in Tavush region. Unfortunately, on the night of September 28-29, 2014, a strong wind caused the edging frame, resembling the 'rays of the sun,' to fall from the statue, but Mother Armenia remains standing tall. The monument was initially named "Let the Sun Always Shine," dedicated to the memory of the residents of Akhuryan who died in World War II. However, it later became known as the "Mother Armenia" monument. Let the Sun Always Shine. 1967. Aluminum. Height: 9 meters. Author: Fridrikh Soghoyan. A monument at the entrance of Martuni city, sculptor Rafael Ekmalyan, 1965 The statue of Alexander Tamanyan The Alexander Tamanyan Monument stands prominently in the heart of Yerevan, directly in front of the iconic Cascade Complex. It was unveiled in 1974 as a tribute to the chief architect behind Yerevan’s modern master plan. Designed by architect Seda Petrosyan and sculpted by Artashes Hovsepyan, the monument is made of basalt and granite, and stands 3 meters tall. The Statue of Martiros Saryan in Yerevan The Martiros Saryan Monument stands in the heart of Yerevan, nestled within the leafy Martiros Saryan Park—bounded by Mashtots Avenue, Marshal Baghramyan Avenue, and Zoryan Street. It’s just a short walk from the street that also bears the name of the iconic Armenian artist. Unveiled in 1986, the monument is crafted from marble and rises 6 meters tall. Saryan’s own autograph is delicately engraved on the lower left corner of the pedestal, adding a personal touch to the tribute. Authors: Architect: Artur Tarkhanyan Sculptor: Levon Tokmajyan The Statue of Komitas (Yerevan) The statue of Komitas was unveiled on January 8, 1988, in the park adjacent to the Yerevan State Conservatory that bears his name. The monument, made of bronze and granite, stands 3 meters tall and immortalizes the legacy of the talented Armenian composer, musicologist, singer, and spiritual figure. Authors: Sculptor: Ara Harutyunyan Architect: Fenix Darbinyan The Weaver's Statue in Gyumri city The Weaver's Statue, sculpted by Tereza Mirzoyan in 1964, is a notable monument in Gyumri, Armenia, capturing the spirit of the city’s weaving and textile traditions. Tsovinar: The Iconic Soviet Monument of Hrazdan This striking Soviet monument, officially named "Long Live the Blue and Clear Sky," stands on the shores of Aghbyurak Reservoir in Hrazdan city. Dedicated to the 40th anniversary of victory in the Great Patriotic War (1941-1945), it stands as a powerful reminder of the Armenian nation's active participation in the war. Sculpted in 1985 by the artist Khachatur Hakobyan (1951-2015), the monument is also referred to as "Parvana" in certain documents. However, it is more widely known by its unofficial name, "Tsovinar." When the reservoir level rises, the statue is partially submerged, creating a striking visual effect that further emphasizes its connection to the water and its mythological significance. "Strip of Eternity," sculpted by David Bejanyan in 1979, is a prominent monument located along the Yerevan-Sevan Highway. The monument in Gyumri titled "Научно-техническому прогрессу широкий размах" (translated as "A Broad Sweep to Scientific and Technical Progress") is a tribute to the spirit of innovation and technological advancement. Muse of Cybernetics by Yervand Kochar The Muse of Cybernetics sculpture stands on the grounds of the Yerevan Research Institute of Mathematical Machines (commonly known as the Mergelyan Institute). Created in 1972 by renowned sculptor Yervand Kochar, it embodies a striking fusion of technology and mythology. The sculpture—a muse—is depicted in a relaxed, almost meditative pose, half-reclining. Its form is partially veiled, yet mechanical fragments—wires, springs, and structural elements—protrude from within. It appears to be in a state of transformation: either shedding its skin or slowly taking shape. What remains constant is the skeletal axis at its core. Resting against a tangible, familiar object—an Armenian clay jug once meant to release a gentle stream of water—the cybernetic muse once symbolized both life and movement. Today, however, the sculpture stands dry and silent, the flow long since halted, lending it an eerie, contemplative stillness. David of Sassoun by Yervand Kochar Equestrian statue, located in David of Sassoun Square, Yerevan Architect: Mikael Mazmanyan Sculptor: Yervand Kochar Material: Forged copper and basalt Dimensions: 6.5 × 2.2 × 9.3 m | Installed: 1959 "The Sun Giver" or "Welcome" by Karlen Nurijanyan, engraved aluminum, Tsaghkadzor, 1968 Took this photo in the end of March, 2025 The statue of Hayk Nahapet in Yerevan The statue of Hayk Nahapet is located in Yerevan, in the 2nd district of the Nor Nork administrative region, near Gai Avenue. The statue was initially installed near the "Moscow" Cinema (in 1970) and was later moved to its current location in 1975. The statue is made of forged copper and has a height of 3.5 meters. Sculptor: Karlen Nurijanyan, 1970 The statue of Tork Angegh in Yerevan The statue of Tork Angegh, created in 1982 by sculptor Karlen Nurijanyan, is located in Yerevan, Armenia. Tork Angegh is a deity of strength, courage in Armenian mythology. Known for his immense strength and power, Tork Angegh is considered one of the great-grandsons of Hayk Nahapet, the legendary patriarch of the Armenian nation. "King Trdat Defeats the Bull" in Abovyan city "King Trdat Defeats the Bull," created in 1977 by sculptor Karlen Nurijanyan, is a cast copper monument located in the Saralanj district of Abovyan city. Vahagn the Dragon Slayer by Karlen Nurijanyan, 1969 Vahagn is the supreme god of military victory and thunder in ancient Armenian mythology. A central figure in ancient Armenian beliefs, he was worshipped in pre-Christian Armenia alongside Aramazd, the chief deity akin to Zeus, and Anahit, the goddess of fertility and wisdom. He was the most revered and bore the title "Dragon Slayer" for his legendary battles against the dragons of darkness. This striking copper sculpture, mounted on a rough-hewn basalt block, portrays Vahagn locked in battle with a dragon. It symbolizes the timeless clash between life and death, and the ultimate triumph of good over evil. Originally unveiled in 1969 in Yerevan on Lenin Avenue (now Mashtots Avenue), the sculpture was relocated in the 1970s to the courtyard of the Union of Artists of Armenia. In the 1980s, it was moved again, this time to the Echmiadzin Highway. During the 1990s, a powerful gust of wind toppled the statue, and a passing car inflicted additional damage. In 2001, the broken monument was entrusted to renowned sculptor and painter Nerses Charkhchyan. Following its meticulous restoration, it remained for several years in Jrvezh, near the artist’s home. On December 19, 2004, the sculpture found a permanent home on Admiral Isakov Avenue. Vahagn the Dragonslayer in Armavir village This statue is a replica of Vahagn the Dragonslayer by Karlen Nurijanyan, with the original monument currently standing in Yerevan on Admiral Isakov Avenue. The replica was installed in 1971 in front of the House of Culture in the village of Armavir, Armenia. Vahagn the Dragonslayer in Yerevan This statue of Vahagn the Dragon Slayer (Vishapakagh) stands in Yerevan’s Arabkir district, in the courtyard of Building No. 12 on Vagharshyan Street. Erected in 1985, the monument was crafted by sculptor Vahe Harutyunyan and designed by architects Armen Aghalyan and Grigori Grigoryan. The iconic "Chayka" at the entrance to Yerevan This monument at the entrance to Yerevan from the Abovyan side was designed by Van Khachatur in 1960 and is commonly known by its Russian name, “Чайка (Chayka),” meaning “Seagull.” Uniquely, the monument displays the word Чайка (Chayka) written in Armenian script (Չայկա), rather than the Armenian equivalent “Ճայ.” Initially, the design faced criticism, with some doubting its structural integrity and predicting it would collapse. However, the monument's ingenious engineering—a narrow, elongated form on one side balanced by a thicker, shorter section on the other—provides perfect stability. More than six decades later, it stands as a testament to innovative design and enduring craftsmanship. "Rebirth" memorial complex in Charentsavan city "Rebirth" memorial complex, 1980 at the entrance of Charentsavan city, architect Henrik Arakelyan, sculptor: Khachik Miridjanyan Stepan Shahumyan Monument in Stepanavan The statue of Stepan Shahumyan, located in the center of Stepanavan city in Lori Marz, was installed in 1982. Created by sculptor Ara Harutyunyan, this monument is an important cultural and historical landmark. It is listed among the immovable monuments of history and culture in Stepanavan, commemorating the significant contributions of Shahumyan to Armenian history. Stepan Shahumyan Monument in Yerevan The Stepan Shahumyan Monument, located in Yerevan, was erected in 1931 in Stepan Shahumyan Square, named after the prominent figure of the Communist Party, the USSR, and the international labor movement, Marxist theorist, sociologist, journalist, and publicist Stepan Shahumyan. The monument is made of granite and stands at 3.5 meters tall. The architect was Ivan Zholtovsky, and the sculptor was Sergey Merkurov, a People's Artist of both the USSR and Armenian SSR, and a full member of the USSR Academy of Arts. Previously, the site where the Shahumyan statue stands was occupied by the Russian church of St. Nicholas, which was demolished in the late 1920s, along with several other churches in old Yerevan. Alexander Myasnikyan Monument The Alexander Myasnikyan Monument, located in Yerevan, was erected in 1980 in honor of the Armenian party, political, and public figure Alexander Myasnikyan. The monument is made of granite and basalt and stands at a height of 8.6 meters. On one of the walls of the monument, the first line of a quatrain written by Yeghishe Charents on April 16, 1936, in memory of Myasnikyan, is engraved: «Նայիրյան արևն էր քո մեջ՝ լենինյան հրով ճառագած»: "The sun of Nairi was within you, shining with Lenin's fire." Bust of Nelson Stepanyan Nelson Stepanyan was a Soviet-Armenian flying ace, Il-2 pilot, and regimental commander in the Soviet Air Force who was twice awarded the title of Hero of the Soviet Union. The bust of Nelson Stepanyan is located in the center of Yerevan, in a children's park between Movses Khorenatsi, Grigor Lusavorich, Beirut, and Zakyan Streets. It was installed in 1950. Authors: Architect: Grigor Aghababyan Sculptor: Ara Sargsyan The bust is made of basalt and bronze, with a height of 4 meters. The pedestal displays Nelson Stepanyan's awards, including two stars of the Hero of the Soviet Union and the Order of Lenin. Additionally, it is inscribed with the March 6, 1945 decision of the Presidium of the Supreme Soviet of the USSR to award Nelson Stepanyan a second Gold Medal of the Hero of the Soviet Union and to install a bronze bust in his birthplace. On the back of the bust, the name of the sculptor, Ara Sargsyan, and the year the sculpture was created (1950) are engraved. World War II monument in Vanadzor This World War II monument was erected in 1973 through donations from the workers of the Kirovakan (now Vandzor) chemical factory. Architects: Rafik Boshyan, Boris Kocharyan, and Ashot Kanayan. Sculptors: Zhirayr Ketikyan, Ara Sargsyan, Mehrab Mirzakhanyan (Master Mehrab) The Statue of Mesrop Mashtots and Koryun by Ghukas Chubaryan, 1962 This statue, created by sculptor Ghukas Chubaryan in 1962, depicts Mesrop Mashtots, the creator of the Armenian alphabet, with Armenian letters positioned behind his right hand. Kneeling beside Mashtots' left leg is his devoted student, Koryun. To the left of the Armenian letters, on the wall, is the first sentence written in the Armenian script: "Ճանաչել զիմաստութիւն եւ զխրատ իմանալ զբանս հանճարոյ". On the right side of Koryun, an eagle holding a sword and shield is depicted, symbolizing strength and protection. The ceremonial unveiling of the monument took place on May 26, 1962, in honor of the 1600th anniversary of Mashtots' birth, celebrating his monumental contribution to Armenian culture and language. The statue of Hovhannes Tumanyan in Dsegh village The statue of Hovhannes Tumanyan in Dsegh village, Lori region. The monument was erected in 1969. Authors: Sculptor: Ghukas Chubaryan Architect: Liparit Sadoyan Lenin in Armenia During Soviet times, statues of Lenin were ubiquitous across Armenia, but things changed rapidly after the collapse of the Soviet Union. While many of these statues have been removed or relocated, only a few remain in their original locations. Here is one of them. A monument in Gagarin village dedicated to Yuri Gagarin and his historic first spaceflight Yeghishe Charents Monument in Yerevan The Yeghishe Charents Monument, erected in 1985, stands in Yerevan's Circular Park, opposite the Radio House. This 18.5-meter-tall bronze monument, created by architect Jim Torosyan and sculptor Nikoghayos Nikoghosyan, is a multi-figure composition. On the other side, a memorial column rises, crowned with an eternal flame. On the second column, there is an inscription with lines from Charents' poem, «Անկումների սարսափից» ('From the horror of falling')." «Ես եկել եմ դարերից ու գնում եմ հաղթական Դեպի դարերը նորից՝ դեպի վառվող Ապագան…»։ ("I have come from centuries and I am moving forward victoriously Toward the centuries again—toward the blazing Future..."). Architect: Jim Torosyan Sculptor: Nikoghayos Nikoghosyan Arshaluys Statue The Arshaluys statue, located along the Yerevan-Sevan highway and created by renowned sculptor Ara Harutyunyan, is one of the most iconic Soviet-era monuments. The statue gained international recognition when famed photographer Norman Parkinson captured a striking image of model Jerry Hall posing on it, which was featured in Vogue magazine. This photograph was later republished in color in the Sunday Times Magazine in 1982, further cementing the statue's cultural significance. The Lion of Geghard Decorative sculpture, cast copper and basalt, installed along the road to Geghard Monastery, Armenia. Authors: Architect: Rafael Israelyan Sculptor: Ara Harutyunyan Dimensions: Height: 4 m | Year: 1958 King of the Forest Statue in Dilijan In 1966, while staying at Aghasi Khanjyan’s summer house in Dilijan, sculptor Ara Sargsyan was inspired by a giant tree. This led to the creation of his 1968 statue "King of the Forest," a reimagined version of his earlier work, "Goatman." The statue now stands near Khanjyan’s former residence, embodying the spirit of the forest. The Monument to the 50th Anniversary of Soviet Armenia This monument was installed in 1970 to mark the 50th anniversary of Soviet Armenia and can undoubtedly be called the most recognizable landmark of Dilijan, a unique symbol of the city. It is visible from nearly every part of Dilijan. The five edges of the monument represent each decade of those 50 years. The monument was designed by Seyran Avetisyan, Khoren Vatinyan, and Artur Tarkhanyan. Musa Dagh Heroic Battle Monument The Musa Dagh Heroic Battle Monument built in 1976 stands on a hill in the village of Musaler, Armavir region. Designed to resemble an impregnable fortress, the monument embodies the unwavering will, indomitable spirit of resistance, and extraordinary courage of the participants in the historic Musa Dagh Heroic Battle. Authors Architect: Rafael Israelyan Sculptor: Ara Harutyunyan The Arch of Charents or The Temple Of Ararat The Arch of Charents, also known as the Temple of Ararat, is a monument situated in the village of Voghjaberd, Kotayk region, on the right side of the Yerevan-Garni road, at an altitude of 1500 meters. The memorial was erected in 1957, and originally, the architect intended to pay tribute to mount Ararat, naming it "The Temple of Ararat." Several flights of stairs lead to the top of the hill, where the temple is located. Upon reaching it, on a clear day, Mount Ararat emerges in all its majesty, perfectly framed within the arch's opening. The arch is constructed externally of basalt and internally lined with orange tuff. The composition of the arch is rectangular in plan: 10 x 5.5 m, with a height of 5 m. Sculptor: Rafael Israelyan Monument to the Armenian Hayduks The Monument to the Armenian hayduks (hayduk or fedayi is a type of irregular infantry) is situated in the village of Ujan, in the Aragatsotn Province of Armenia. It is listed as an immovable historical and cultural monument of Ujan. Erected in 1989, the monument honors Armenian fedayis and is crafted from wrought copper. The monument features busts of Garegin Nzhdeh, Arabo, Makhluto, Gevorg Chavush, Aghbyur Serob, Sose Mayrik, and Soghomon Tehlirian. The sculptor behind this work is Yuri Minasyan. Arus or the "Armenian Sphinx" - A double-sided statue by sculptor Arto Chakmakchyan, 1963 The name "Arus (Арус in Russian)" is both a common Armenian woman’s name and an acronym for Armenian Accelerator (Армянский Ускоритель). It is said that the title "Armenian Sphinx" was coined by Artem Alikhanyan, founder of the Institute of Physics. Created by sculptor Arto Chakmakchyan , Arus is more than art—it’s a tribute to the dreams and determination behind Armenia’s scientific rise. And it guards the entrance to the underground halls where science once roared. Melody – Statue by Sargis Baghdasaryan, Yerevan, 1965 The monument is made of aluminum and granite and stands 1.4 meters tall. It was unveiled in 1965 and is located next to Swan Lake. Monument to David Bek – Kapan, Syunik The monument to David Bek stands prominently on the northeastern edge of the central square in Kapan, Syunik Province. Erected in 1978, the statue is crafted from wrought copper and honors one of Armenia’s most iconic military leaders. Sculptors: Sargis Baghdasaryan, Marat Nurijanyan Architect: Varuzhan Sahakyan Armenian-Russian Friendship Memorial Complex (1978) Located in the heart of Abovyan, directly across from the Abovyan Municipality and adjacent to the Museum of Armenian-Russian Friendship, this memorial complex was inaugurated in 1978. It stands as a symbol of the historical and cultural ties between the Armenian and Russian peoples. Sculptor: Sargis Baghdasaryan Architect: S. Barkhudaryan "Worker and Kolkhoz Woman" – A Statue by Ervand Kochar (1951-1952 or 1956) Worker and Kolkhoz Woman by Ervand Kochar was intended for installation in the courtyard of the Building of the Book Chamber in Yerevan. However, for years, the statue stood largely unnoticed—placed behind the building, in a pond, away from public view. Over time, the sculpture’s compositional integrity has deteriorated. Several key elements, including two trays once held by the figures—designed to channel water into the pond—have disappeared, leaving the original concept incomplete and partially forgotten. “The Builder Eagle” on the Western Entrance to Yerevan This striking monument is located along the Yerevan–Etchmiadzin highway, built in 1960. Marking the southern gateway to the capital, it’s a landmark easily spotted by those driving in from the airport—standing proudly on the right side of the road. The composition features three 15-meter-tall tuff stone columns with triangular cross-sections and arched bases, arranged in parallel on a modest platform. Atop them soars a dramatic bronze eagle sculpture with outstretched wings. The eagle’s gaze is fixed on the horizon, its wings finely detailed. A sunbeam crowns its head, and a grape leaf—a national symbol of Armenia—adorns its chest. (The same symbol appears on the “Vahagn the Dragon Slayer” monument at the northern entrance to Yerevan, also designed by Israelyan and Harutyunyan.) In its talons, the eagle holds a ruler and hammer—symbols of strength, craftsmanship, and creative labor. Architect: Rafael Israelyan Sculptor: Ara Harutyunyan "The Dancing Girls" fountain by Karapet Metsaturyan, Jermuk city The "Dancing Girls" fountain in Jermuk, created by Karapet Metsaturyan, no longer serves its original purpose—there's no water flowing anymore. Today, it stands simply as a beautiful monument. This monument in the city of Sisian, is dedicated to those who died during the establishment of Soviet rule in Armenia. Today, locals more commonly refer to it as the "Girl's Statue." The front side bears the following inscription in Armenian: «Նրանք ընկել են Հայաստանում սովետական կարգերի հաստատման համար» (“They fell for the establishment of Soviet rule in Armenia”), along with the names of the fallen. Both sides and the back are adorned with beautiful metal bas-reliefs. According to some sources, the sculptor is Karapet Metsaturyan, though this information requires further verification. I’m Suren, a professional urban explorer in Armenia. I offer unique urbex tours to abandoned, hidden, and off-the-map places you won’t find in guidebooks. Want a custom itinerary? Contact me on WhatsApp or Telegram . Project Gallery You May Also Like The Forgotten 50 cm Cassegrain Telescope of Byurakan Observatory Destroyed Soviet Mosaics and Frescoes in Armenia Inside the Eerie Corridors of an Abandoned Russian Fortress Soviet Bus Stops in Armenia Urbex Tours in Armenia – Photo Gallery The 53 cm Schmidt Telescope at Byurakan Astrophysical Observatory Exploring an Abandoned Rest House with Impressive Bas-Reliefs A Spaceship on Earth: The Soviet-Armenian Echo of the Futuro House Previous Next

This abandoned Soviet-era factory in Armenia had a lot to offer! Two notable things we discovered during this urbex tour were a unique fresco and a 'Lenin, Engels, Marx' mosaic. < Back Exploring an abandoned chemical factory in Armenia This abandoned Soviet-era factory in Armenia had a lot to offer! Two notable things we discovered during this urbex tour were a unique fresco and a 'Lenin, Engels, Marx' mosaic. I wanted to get inside this abandoned factory in Armenia for a long time, and the time finally came! We had a vague information that there is a fresco in this factory and went to check it out. After wandering around for a while we finally spotted the fresco from outside and got inside the building! Glory to the Komsomol! My heart started to beat happily… the fresco was amazing! So far it is the only Soviet fresco that I found in Armenia with a Russian inscription on it: Слава комсомолу! Glory to the Komsomol! DETEKCNI TRUBICE We went on exploring further and got inside a room with lots of boxes called “Detekcni Trubice”! A quick google research said that: “Detekcni Trubice - UH - V detection tubes are intended for the determination of hydrocarbons and the lower explosive limit of solvent vapors in the air. The detection tube KT - 1 serves to determine the direction of air flow. Detection tubes are intended for single use.” We moved forward… suddenly my friend called “Hurry up! Look what I found”. With a smile on my face I am posing for a photo ... I entered a large room and saw on the wall a big mosaic of Lenin, Engels and Marx! It left a strong impression on me—a piece of history that may soon vanish… Needless to say that we also saw countless warning posters on the walls … For more check out the gallery below... I’m Suren, a professional urban explorer in Armenia. I offer unique urbex tours to abandoned, hidden, and off-the-map places you won’t find in guidebooks. Want a custom itinerary? Contact me on WhatsApp or Telegram . Project Gallery You May Also Like The Forgotten 50 cm Cassegrain Telescope of Byurakan Observatory Destroyed Soviet Mosaics and Frescoes in Armenia Inside the Eerie Corridors of an Abandoned Russian Fortress Soviet Bus Stops in Armenia Urbex Tours in Armenia – Photo Gallery The 53 cm Schmidt Telescope at Byurakan Astrophysical Observatory Exploring an Abandoned Rest House with Impressive Bas-Reliefs A Spaceship on Earth: The Soviet-Armenian Echo of the Futuro House Previous Next

In 1982, a group of climbers from Soviet Union embarked on a daring expedition to conquer Mount Everest, the world’s highest mountain. This was the first acknowledged Soviet expedition to the Himalayas! < Back 1982 Soviet Everest Expedition In 1982, a group of climbers from Soviet Union embarked on a daring expedition to conquer Mount Everest, the world’s highest mountain. This was the first acknowledged Soviet expedition to the Himalayas! The 1982 Soviet Himalayan Expedition was a significant event in the history of mountaineering. It marked the first time that Soviet climbers embarked on an expedition to the Himalayas. The expedition took place in the spring of 1982, following a lengthy period of preparation. The expedition was dedicated to the 60th anniversary of the formation of the USSR. The members of the 1982 Soviet Himalayan Expedition were selected from one and a half hundred candidates, and the final team consisted of 25 people. The selection process involved a series of training camps during which the organizing committee and the Federation of Mountaineering paid attention to the preparation of athletes, their health, and psychological compatibility. The candidates participated in both sports (who will climb faster to the peak of Communism) and medical tests (testing in a baro-chamber at altitudes up to 10,000 m). The expedition leader was Evgeny Tamm, the senior coach was Anatoly Ovchinnikov, the coach was Boris Romanov, and the team captain was Valentin Ivanov. For the assault on the mountain, the climbers were divided into four sports teams: Eduard Myslovsky, Nikolay Cherny, Vladimir Balyberdin, Vladimir Shoppin Valentin Ivanov, Sergey Efimov, Mikhail Turkevich, Sergey Bershov Yervand Ilyinsky, Sergey Chepchev, Kazbek Valiev, Valery Khristchaty Vyacheslav Onishchenko, Valery Khomutov, Vladimir Puchkov, Alexey Moskaltsov, Yuri Golodov The fourth team was initially intended to be a support team, assisting with the organization of high-altitude camps and the delivery of supplies, as there was uncertainty about the assistance of Sherpa porters on the chosen route. However, once in the Himalayas, the coaching council decided that the team would participate in the ascent on equal terms. Despite the fact that prior to the expedition, Soviet climbers had not ascended peaks higher than 7600 meters (the height of the highest peak in the USSR, Peak Communism, is 7495 meters), the ascent was made via a route on the southwest wall that had not been used by anyone before. This route was more complex than all the routes on Everest that had been passed before. The expedition team established seven camps at various altitudes on Everest for the direct preparation of the ascent: Base camp (21.03., 5340m) — slightly below the Khumbu Icefall Intermediate camp (21.03, 6100m) Camp 1 (22.03., 6500m) Camp 2 (31.03., 7350m) Camp 3 (12.04., 7850m) Camp 4 (18.04., 8250m) Assault camp (03.05., 8500m) Eleven Soviet climbers managed to reach the summit of Everest, mostly in pairs. Some climbers reached the summit at night. Several athletes received injuries; later, one of them had four frostbitten phalanges on both hands amputated. The ascents were stopped due to severely deteriorating weather. The ascent of eleven climbers to the summit of Everest without fatal cases was considered a success. The climbers who reached the summit of Everest were: Vladimir Balyberdin and Eduard Myslovsky on May 4, 1982 Sergey Bershov and Mikhail Turkevich on the night of May 4-5, 1982 Valentin Ivanov and Sergey Efimov on May 5, 1982 Kazbek Valiev and Valery Khristchaty on the night of May 7-8, 1982 Valery Khomutov, Vladimir Puchkov, and Yuri Golodov on May 9, 1982 After the ascent: After the ascentall participants of the expedition were awarded the title of Honored Masters of Sports. At the time of the ascent, seven out of eleven members of the expedition were already champions of the USSR in mountaineering, including all three Almaty residents who were two-time champions, and Ural resident Sergey Efimov, who was a three-time champion. On December 20, 1982, a special postal block (CFA [AO “Marka”] No. 5356) was issued in the USSR with a circulation of 800,000 copies. The work of Yu. Levinovsky, it featured the State Flag of the USSR, a scheme of the route of the First Soviet Himalayan Expedition, Soviet climbers making the ascent, and a commemorative text. As of the early 2010s, the route of the expedition had not been passed by any other climber. In the future, some of those who failed to conquer Everest during this expedition were able to reach the summit. However, it remained unconquered for Vyacheslav Onishchenko, Vladimir Shoppin, Sergey Chepchev, and Alexey Moskaltsov. 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