In Armenia, the art of books is linked to the invention of writing. Until the 5^th century AD, the inhabitants of the Armenian plateau had successively used the cuneiform script (Urartu), and later, with the various conquests, Aramaic (the Persian period), Greek (the Hellenistic and Parthian period) and Latin characters (under Roman domination).

Driven by the need to have a specific writing adapted to the language, around the year 405, an Armenian monk, Mesrop Mashtots, invented an alphabet composed of thirty-six letters or graphemes corresponding to the thirty-six phonemes of the oral language used in the 5^th century.

The most widely distributed and recognized book in this Christian nation was the first to be transcribed: The Bible.

This allowed the many copyists in monasteries to learn the alphabet, and they acted as network for disseminating Christianity, and thereby strengthening Armenian identity. This transmission of a culture and a religion made it possible for the identity of a civilisation remain intact despite the vicissitudes of history.

The texts were at first, for the most part, religious, biblical (The Bible—Gospels) or liturgical (Lectionaries—Hymnaries—Psalms—Homiliaries, etc.).

From the end of the 9^th century, there was an increase in the amount of manuscript works produced, propagating the faith of a people through this fundamental medium which is writing: it is the union of the written word and religion that allowed this people to survive, despite the lack of an organised state.

To embellish the written word, painters assisted the scribes, and it is in books that we find the best expression of Armenian pictorial art.

The Armenian book was printed in 1511, but manuscripts had such a predominant role that, unlike other countries, book printing in Armenia did not fully develop until the 18^th century and it was not until the 19^th century that it reached the stage where it could actually replace the work performed by hand.

These lengths of paper, or sometimes parchment, were considered "amulets of protection" or "hmayil". These were proper talismans, different from all other manuscripts, and very popular. Sometimes less than ten centimetres wide and often more than three meters long, they were rolled up in small pouches, the ""amulet holders"" and sewn onto or inside clothes, or hidden under pillows. They accompanied every traveller or trader to protect him from curses, bandits, bad encounters, diseases and all kinds of dangers during journeys into unknown countries lasting several months. The prayers also called for good luck, wealth, childbirth, repelled the evil eye, gossip, demons, the evil gaze. The oldest date from the 15th century. The beliefs of the time combined magical formulas with prayers interspersed with images of the Virgin and Child, the Catholicos Nerses Chnorhali, the archangels Michael and Gabriel, the holy warriors George, Sergius, Demetrios, Menas and Mercurius and other magical figures often accompanied by cabalistic signs. In order to discourage the use of these protective writings, the Church had forbidden them. If, by chance, a scroll is complete together with its colophon, it will contain the name of the beneficiary.

At the same time as bolorgir, the original 10th century lower case script, cursive versions were also used: chghagir and notrgir. They were used only by the secretary working as a scribe at court or at the Catholicossate, where it was necessary to be able write quickly. Notrgir and chghagir characters can be found in certain official documents signed by kings and princes. Chghagir is the usual cursive used regularly from the 17th century to the present day. The letters more connected and thinner than the bolorgir that can, for example, be found in the manuscript of the Gospel of 1584 in the Art of Writing hall.