The water jug in the centre of the composition refers, at the same time, to the pre-Annunciation.
Annunciation is depicted within a closed ornamental frame, the composition is well-balanced.
Its focal point is the small bay in which there is a jug of water.
There are decorative arches to the left and the right of the bays.
The figures are placed against an ornamental background, which gives the composition balance.
The background, entirely covered with geometric and plant designs, deprives, the miniature of depth.
This lack is the reason why it seems as though the figures do not have sufficient space.
This device stresses the monumentalism of the figures.
The image of Maria is quite expressive.
Her features, face, eyes and especially thick eyebrows uniting over her nose, form an unusual arch, emphasizing the Armenian woman's ethnic type.
The angel and Mary are bound by the same action but they represent different emotional states, revealed also by means of the colouring of the miniature.
Warm red and yellow prevail in the clothing of the angel bearing happy tidings; while in Marys garment, the combination of cold blue and deep violet shows her contradictory feelings, that of joy and deep concern.
Great skill is displayed in depicting the figures, their gestures, their movements.
Somewhat elongated figures are remarkable for their shapeliness and proportions.
Both Maria and archangel are distinguished by their grandeur and beauty.
It is appropriate here to recall the definition of beauty given by Grigor Tatevatsi, which is in consonance with the images created by him.