Английская Википедия:Armenian medieval sculpture
Armenian medieval sculpture is first of all the monumental sculpture that decorates churches and martyries. Free-standing monuments, such as four-sided stelae and khachkars (crossstones) are also rich in sculpures. The popularity of sculpture in the Armenian medieval art was due to midis- a three-layer layout of stones, when two rows of hewn stones were joined with lime mortar, and the surface got an artistic treatment.[1]
The adoption of Christianity by the king Trdat (Tiridates) the Great (278-330) in 301, as well as the educational and cultural activities of Gregory the Illuminator contributed to the building of churches and monasteries, which were decorated with Christian symbols and compositions. In this sense, the early period issingled out, as the artistic traditions of medieval Armenian sculpture outlined (4th-5th centuries) and then finally formed (7th century) in the context of Eastern Christian art.[2] No less important was the geographical position of Armenia, between Byzantium and Sasanian Empire, which also in its turn outlined the ways of the cultural development of the country. The academic studies of Armenian medieval sculpture started during the archaeological companies in historical capital of Ani under the direction of the prominent scholar Nikolai Marr. Later, and especially in the 20th century, the study of Armenian medieval sculpture gained momentum not only among Armenian, but also among foreign researchers. Although the Armenian sculpture has a wide sphere of expression, nevertheless the richest are the church buildings. In Armenian churches, sculpture acts as the main element of exterior and partly interior decoration, and such a tradition, like in the whole Christendom, was formed on the basis of symbolic perceptions about the Church (the Temple of Moses, the Heavenly Jerusalem). The church sculpture first of all emphasized the entrances, windows, facades, as the image-symbols had the meaning and function of communication with God.
Sculptural decoration of churches of the 5th-6th centuries
The Armenian basilicas of the early period (5th-6th centuries)
were characterized by symbolic images: crosses with the arms of equal length in a circle complemented by floral and geometrical motifs symbolizing eternal life. Crosses were often raised on a short pole or stepped base as the symbol of Golgotha. [3]
It is noteworthy, that in the South Caucasus only in Armenia one can find monogram crosses (crus monogramatica) with the combination of two stylized letters of the name of Christ (Aghtsk, Kasagh, Etchmiadzin). Such earliest forms of crosses are depicted in the rock cut complex of Vankasar (Artsakh), in the tomb of Aghtsk, as well as on the facades of the basilicas of Lernakert, Tigranakert (Artsakh), Tsitsernavank, Agarak, Yereruyk, Bayburd, Parpi. Also typical of this period are depictions of vine scrolls, palmettes, acanthus and lily flowers, as well as depictions of birds, sometimes animals’ combat as symbols of the triumph of faith and the eternal struggle.[4] Plot scenes are almost absent in the mentioned period. Perhaps, as an exception, one can consider the images of the apostle Paul and Saint Thecla on the cathedral of Etchmiadzin, as well as the scenes of Daniel in the Lions’ Den and hunting of a boar on the Arshakuni tomb in Aghtsk (5th century). [5]
7th century sculpture
The first high point of the development of Armenian medieval
sculpture is the 7th century and it coincides with the “golden age” of Armenian architecture. In this period new compositions appeared, various artistic and iconographic solutions were developed. Holy and patron imagery (Mren, Pemzashen, Ptghni) became almost mandatory. Various forms of crosses became popular: Latin crosses, lobed, braided crosses, crosses imitating a coating with gems/jewels. Geometric and vegetal elements (cornices, archivolts of windows) fascinated with their variety of classical ornaments. Images of animals and birds with symbolic meaning had an important place in the sculpture: deer, bull, ram, bear, goat, pigeon, peacock, eagle (Barekamavan, Tsob, Tspni, Talin, Agarak, Tsiranovor, Zvartnots, etc.). Sacred images and Christological themes became widely used: Christ (Mren, Odzun),[6] Virgin Mary with the Child (Dvin, Odzun, Pemzashen), the apostles (Etchmiadzin), Saints, including the Holy Soldiers (Dvin, Odzun), as well as the Ascension (Odzun, Ptghnavank), the Annunciation (Odzun). There are more images and scenes on the four-sided stelae that often remind icon compositions․ The most important achievement of the 7th century is the harmonious combination of church building and sculptural decoration, which is brilliantly expressed in Zvartnots (652).[7] Here, the blind arcades wrap all three tiers of the church and this composition has direct correlation both to the architecture of the Anastasis Rotunda in Jerusalem (327 AD) and the symbolic image of the Heavenly Jerusalem. Besides, in Zvartnots, the Heavenly Garden is presented for the first time, with alternating images of a vine scrolls and a pomegranate trees, against which human figures and animal(s), such as bear appear. The blind arcade and the Heavenly Garden, generally ascending to the late antique and early Christian art, thanks to Zvartnots, once and for all entered and became a source of inspiration for the Armenian church buildings of the later centuries. Referring to the monuments of the early period, the outstanding Armenian architect Toros Toramanyan especially mentions the living spirit of antiquity.[8] Varieties of blind arcades were popular in the Bagratuni (Bagratid) and Zakaryan (Zakarid) times. And the Heavenly Garden of Zvartnots receives a different interpretation in the Talin Cathedral (2nd half of the 7th century), in the Holy Cross Church of Aghtamar (915-921), as well as in the churches of Ani in the first half of the 13th century. The Armenian “golden age” is interrupted by Arab invasions.
Cultural rise (9th-11th centuries)
After the period of Arab rule in Armenia and the South Caucasus,
a new period of cultural flourishing began, and active church building was accompanied by new sculptural compositions and solutions. The “first signs” were khachkars (crossstones), which partially continued the tradition of four-sided stelae, forming an original compositional and iconographic system.[9] The period of great and small kingdoms in Armenia, the 9th-11th centuries, was characterized by the formation of several large cultural centers and artistic styles: in Shirak (Shirakavan, Argina, Kars, Ani), Tayk (Ishkhan, Banak, Chordvan, Khakhu), Vaspurakan (Aghtamar), Syunik (Tatev, Bgheno-Noravank). In 915-921 by the order of Gagik Artsruni, the Armenian king of Vaspurakan, one of the unique Armenian monuments, the Church of the Holy Cross on the Aghtamar island was built. The peculiarity of the building was the modest size of the church, the facades of which the architect Manuel managed to decorate with an unprecedented number of sculptures and extensive scenes. The animal types in reliefs are also unprecedented, including fabulous ones. Alternating each other uninterrupted rows of scenes and images of the Aghtamar church seem to be the visual embodiments of the Holy Bible. The monumental images of King Gagik and the deified ancestors of the Artsruni family also found their place in this “Heavenly World”. The 9th-11th centuries Armenian sculpture is rich in images of patrons. On the tympanum of the main entrance of the church of Yerznka (near Ani) (895) were depicted two princes on horseback before the Virgin and Child and accompanied by angels (destroid). In the second half of the 10th century, the high relief figures of the crowned princes Gurgen and Smbat Bagratuni were depicted on the eastern facades of the main churches of Sanahin and Haghpat monasteries (St. Amenaprkich church 966, St. Nshan church 976).[10] And the representatives of the younger branch of Bagratuni (in Tayk), Bagrat and David, were solemnly depicted in Oshkvank (963-973). The compositions of Aghtamar and Oshkvank had direct iconographic correlation to Byzantine imperial images (the mosaic of Constantine and Justinian, St. Sophia, end of the 10th century). And the almost round sculpture of Smbat Bagratuni in Haghpat got its further development in the two-meter statue of King Gagik of Ani, which once decorated the façade of the church of St. Grigor- Gagkashen (1001-1020, architect Trdat). A group of frontal sculptural faces are pre-their unique decorations. That composition consisted of blind arcades extending along the facades of the church and a sculptured “belt” of the Heavenly Garden inhabited by birds, animals, and sometimes with human figures.
New cultural upsurge, Zakarian period (12th-13th centuries)
The very composition is iconographically goes back to the Zvartnots decoration and became one of the artistic style of Ani during the Zakaryan time named as “picturesque” style. In the same period, also appeared a unique style of decoration of the eastern facades with a combination of a large cross, a decorative window frame and geometric rosettes (Hovhannavank, Akhtala, Kobayr). Perhaps one of the most characteristic decoration techniques of the time was stalactite vaulting (muqarnas), which was widely used both in small decoration elements (cornice, entrances and window frames) and in monumental compositions (skylight of the gavits, staircases, corner section of the walls), forming an illusion of a constructive element.[11] Perhaps the most impressive is the design of the portals (Neghuts monastery, the gavit of the St. Apostoles church of Ani). In this period, great attention was paid to the design of the altar elevations, which were decorated with blind arcades (Goshavank, Tsaghats kar), sculpted rhombuses or rosettes (Harich, Gandzasar, Makaravank, Marmashen), net-like ornaments, stars or polygons (Ushi, Astsvatsnkal, Aghjots Vank, Vanstan, Gtchavank). In this series, exceptional is the alter elevation of the church in Tegenyats monastery with a combination of geometric, floral and bird images, which has compositional commonality with early Christian chancel-barriers. All ornaments were made with “needlework” style of carving, and the polychromy – the combination of multi-colored stones, are often used. The entrances are also decorated with this same principle and artistic style, with the combination of multi-colored stars, quatrefoils and polyhedron attached to each other (Nor Varagavank, Deghdznut, Harich).[12] The 13-14th centuries church tympanums and sometimes even the church facades stand out with their monumental sculpture and volumetric compositions on biblical themes.[13] Among them are the images of Christ with the apostles Paul and Peter (Noravank), the Second Coming of Christ, the apostles Peter and Paul
(Aghjots Vank), the Parable of the Ten Virgins (Hovhannavank), The Virgin with the Child (Amaghu-Noravank, Areni, Spitakavor), as well as the image of Ancient of Days (God the Father) (Noravank).
Late medieval sculpture (16th-18th centuries)
The late medieval period of Armenian sculpture encompassed the 16th-18th centuries. On the one hand, it was closely connected with medieval art traditions, on the other hand, communicated with European and Iranian cultures through trade routes. Those influences were more vividly reflected in the monuments created respectively in Iran and in the Armenian colonies of various European countries. It is in that context, that the influence of Western iconography is obvious in a number of 17th century sculptural compositions of churches, such as “The Incredulity of Saint Thomas” (St. Tovma of Agulis), “The Virgin and Child” (St. Christopher of Agulis, St. Astvatsatsin of Tsghna), “The Coronation of the Holy Mother of Christ” (St. Vardan of Astapat), the Crucifixion of Christ (St. Astvatsatsin of Tsghna).[14] However, most of the monuments of the time are based on and continuation of the medieval Armenian art traditions. The bell tower of Etchmiadzin Cathedral, built at that time, has a rich and original sculptural decoration. The reliefs covering the entire surface of this three-story structure consists of ornamental belts, cornices, frames and semi-columns consisting of floral, crochet and geometric elements, which are complemented with dimensional images of real and fabulous animals and birds, as well as with figures: Christ Pantocrator, Gregory the Illuminator, Trdat the Great, etc. For its harmonious and complicated external sculptural decoration stands out the St. Stephen (Stepanos) Church of Darashamb (historical Artaz province, now-Makvi region of the Republic of Iran) in the context of which the traditions and principles of the entire Armenian Middle Ages art are condensed. The western porch of the church is decorated with a magnificent stalactite composition, and the facades are decorated with the compositions of “Crucifixion”, “Resurrection”, “the Stoning of St. Stephen”, “The Virgin and Child”, “The Annunciation to the Virgin Mary”, “Nativity and the adoration of the Magi”. The source of inspiration for the design of the church’s drum was the drum of the Etchmiadzin Cathedral, with its spiral semi-columns, intertwined pointed arches and, which is most important, with the images of the apostles on the facets of the drum.[15] Presented
by the church of St. Stepanos, it is obvious the hereditary relation of Armenian art to the national traditions and artistic perceptions․[16]
References
- ↑ Шаблон:Cite book
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- ↑ Шаблон:Cite book
- ↑ Шаблон:Cite book
- ↑ Шаблон:Cite book
- ↑ Шаблон:Cite book
- ↑ Шаблон:Cite book
- ↑ Шаблон:Cite book
- ↑ Шаблон:Cite book
- ↑ Шаблон:Cite book
- ↑ Шаблон:Cite book
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