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}_‡_ÎÊgÈÌ• ‹_{¾Òo_‡s‰}_‰egÈ ISSN 1829-0272 1/2006 armenian aartrt cculturalultural mmagazineagazine • 1(15)/2006 © "" E-mail: [email protected] Fax. (+374 10)563661 Tel. (+37410)52 3501,mobile(37491)403215 32, Hanrapetutian St., , ,375010 Address: Signed for publication:14.04.2006 ofregistration:Certificate 01M000095 oftheN.A.S.R.A. • The ofArcheology Institute andEthnography • ofthe N.A.S.oftheR.A., The ofArt Institute • The Mesrop Mashtots E-mail:[email protected] Published by thescientific collaboration of tel. (37410)520567 Hachatoor English Translator Angel Hachatoorian Journalist Vardan Amirkhanyan Computer designer Norayr Dallakyan Executive secretary Staff: Vardanyan Artsvi Samvel Sergey Bakchinyan Daniel Khalatyan Martin Khachikoghlyan Hasmik Erazhisht Murad Mickaelyan Paravon (president) Mirzoyan Harutyunyan Ararat Hasratyan Harutyunyan Editorial Council: Aghasyan Hasmik Executive director Ginoyan Karen Editor-in-chief Matevosyan "Seven by Information support Arts" "Momik" Founded by Ltd. Cultural ofArmenia The NationalGallery Published by Center OF “ARMENIANART”MAGAZINEISSPONSORED THE ENGLISHTRANSLATION BY THESWISSARMENIANUNION

...... contents...... 10, 33,34,37. 36. 34. 32. 30. 29. 28. 26. 24. 23. 20. 17. 15. 14. 11. 10. 8. 6. 4. 3. Silver Working Varoujan Hakhbandian Genocide ofArmenians Life ofGagik Vardanyan, theArchitect ofArmenia National Gallery www.armenianart.am Varazdat Harutiunyan, Davit Kertmanjian, Georges Aintablian, Avanesov,Artur G. Eghiazaryan, Varazdat Harutiunyan, Davit Kertmanjian, Frina Babayan, Armen Edoyan, Ananyan,Seda Henrik Igityan, HakobyanHrachia Hasmik Harutiunian, Grigor Gurzadyan, Mikaelyan, Martin Hasmik Harutiunian, Karen Matevosyan, Daniel Erajisht, Aram Kalantaryan, Bakhchinyan, Artsvi The YearofArmenia Armenian Messager, Hakob Kodjoyan, Cover Picture: Sargis Hamalbashian From to Los Angeles. Edward Vardanyan of The Art Varos Shahmuradyan isPrayer,When theSong thePrayer aSong Still Life and the Art ofHakobHakobyan StillLife andtheArt The Private Picture of Galleries Yerevan

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M E N I A culture and Gilliome Masho pieces were performed. Among the to a nation-wide idea. Throughout the month, the Bazel speakers were Tigran Mansuryan, harpist Kim Kashkashian City Movie Theater showed eight films by Sergey Parajanov (), and “Hiliard” chorus (London). Featured at on three different days. Displayed in the theater hall were THE ARMENIAN MONTH another concert, beside Mansurian were pieces by Mozart posters of five films by Parajanov dispatched from the and Shostakovich, played by Swiss and German musicians Yerevan Parajanov Museum. The films were demonstrated with the Munic conductor Kristof Paupen (the same concert to capacity audiences, particularly the film “The Color of was repeated in Bern). Bazel-based musicians Christine Pomegranate”. Also shown was the documentary by the culture IINN BBAZELAZEL Laxote and Mark Varshavsky performed pieces for chelo by Munic-based director Rom Holoway titled “Requiem” on by Parajanov. A colored German catalogue was published carrying articles by Tigran Mansuryan and Davit Halajan. The closing concert on Parajanov, as well as “Ararat” by . different authors on the Armenian nation, Armenian history, culture and the November 20 featured pieces by Komitas, Tigran Mansuryan, genocide. Claud Debussi, and Vache Sharafyan, pianist Michael Balyan Our Closest Neighbours (Yerevan – Brimen), Duduk-player Gevorg Dabaghyan In Bazel and environs different events took place for about a month (concerts, (Yerevan) and violinist Kamila Shatzi (Bazel). Emil Rovner, In Bazel the second most frequently spoken language is encounters, discussions, motion pictures), which were widely covered by the cheloist and vocalist – bass-baritone from Bazel, performed Turkish. One of the city areas is called Little Istanbul. That Swiss press. About two score articles were published introducing the German- pieces by Komitas. environment was clearly not too welcoming for Armenian speaking Swiss to the Armenian history, genocide, art, and social life. Culture. Once a Turk entered the anteroom of the Armenian Other Artists art exhibition and started shouting and tearing down articles Discussion on Armenians printed by the Swiss media and pasted on the The “Kairos” string quartet arriving from Berlin performed walls. He stated that that no genocide had ever occurred, The month of Armenian culture opened at the University of Bazel with a report pieces by contemporary German and Armenian composers and he had written a book on the subject. On another “Armenia as a Spiritual Experience” by Karen Svasian, a Swiss-based philoso- (Tomas Buchholz, Gevorg Fridrich Haas, Petros Hovsepian, occasion at the time of an Armenia-related discussion, the pher. An interesting array of cognitive-type reports were delivered: “Franz Khachatur Kanayan), the latter being second violin at the Turks organized a small meeting, which lasted only fifteen Werfel and “The 40 Days of Musa Ler” (Markus Shneider, Zurich), “The Grail in “Kairos”. A piece by Thomas Buchholz was named “A Crane”, minutes because of lack of serious attitude on the part of the the East. Early Christian Art” (Frank Teichman, Stutgard), “Armenia: an Itinerary, as inspired by the popular Armenian song. A great discovery organizers. However, the real Turkish image was shown to 1998 – 2004” (John Hews, Yerevan), “Creation of Armenian Letters” (Vehanush for the listeners (including those in Armenia) was a young the Swiss in full view when following the Turkey - Switzerland Melikyan, Hamburg), “Eastern Anatolia – Armenia: the Genocide and the People” virtuoso pianist Shushanik Hovakimyan (Yerevan - Los An- football match the Turkish footballers gave a brutal beating (Dominic Shaller, Bazel). A round table took place under the title: “The Future geles), who performed two concerts (Sergey Prokoviev, to their contestants, one of whom was rushed to hospital for Demands Explication of History. Armenia, Turkey and in the Shadow Komitas, Arno Babajanyan, Tigran Mansuryan, Martun internal injuries. of WWI” in German, French and English, featuring historians, politologists Israelyan, Ashot Zohrabyan). On different days the Bazel and and specialists in Armenian studies from different countries: Misha Brumlik Zurich audiences attended performances by the Gevorg Local Armenians In a little town in Switzerland (Frankfurt), Valentina Kaltzolari Bouvier (Jeneva), Mike Joseph (Cardiff), Haru- Dabalyan duduk trio (Komitas, Sayat-Nova, Medieval songs), tiun Reimond Gevorgian (Paris), Hans-Lucas Kizer, Gevorg Kreis (Bazel), Jirair as well as the “Sanctus” vocal quartet of Yerevan led by Radik It is interesting to see, what were the relations, both past and On October 26 – 27, 2005, in the city of Liparitian (Michigan), Hacob Taner (Zurich), Ajshe giul Altinai and Hiulia Adak Melikyan, performing Komitas, Mansuryan and Davit Halajan, present, of that city with the Armenians, the city located near a armenian r

Bazel in Switzerland a festival took place (Istanbul). Also two discussions took place: “Genocide and the Nation’s Future”, there were also concerts in Geneva. Incidentally, Gevorg the point bordering on France, Germany and Switzerland. m titled “Culturescapes 2005 – Armenia”. moderated by Gevorg Kris (Bazel), and “The Future of Armenia”, featuring Vigen Dabaghyan delivered two concert-lectures “Armenia and Bazel’s evangelic preachers visited the Armenian-populated e After Georgia (2003) and Ukraine (2004) Chitejan (Geneva), Mark Grigoryan (London), Eva Khachatrian (Erevan), etc. Duduk” as well as a report in the Central Museum of Bern. In areas in mid-19th century to teach Christianity to those “pagan” n

the Swiss city entertained the Armenian Bazel Dabaghyan received a proposition from a Swiss movie Armenians. There taught Abraham Amirkhanyants, a notable i artists. This event had been called to life Other undertakings included: literary soirees, encounters with two alien company to record a soundtrack for a motion picture in 2007. representative of the Armenian Evangelical movement, who a by the efforts of Yurian Koiman, manager writers having written Armenian-related books, Andrey Bitov (Russia), author In connection with the Armenia month the “Pre-Art Quartet” had translated the Gospels into different Turkic languages. n

of “Culturescapes” who visited Armenia of the book “Armenia’s Lessons”, and Edgar Hilzenrat (Germany), author of the of Zurich performed pieces of young Armenian composers From time to time the Eastern Armenians came, to study at art 1(15)/2006

three times in 2005, to establish this book “The Author of the Last Thought”. In the course of the event named “Wild Seda Babayan, Aram Hovhanesyan and Arthur Akshelyan in Bazel University, medical thesi were sustained here by Minas •

organization. To assist the festival, he also cat, Saturday Country, a Journey towards Ararat” Ralf Diutlin from Heidelberg the presence of the authors. Minasyan, 1895 and Hike Melkonyants, 1905. Even today •

Ô visited Great Britain and US in the hope Germany) read poems by Osip Mandelstam dedicated to Armenia, his prosaic Bazel has very few Armenian residents. A few women from 1(15)/2006 Î to obtain support from Armenian entities pieces and letters, all in German translation, at another soiree actor Diter En- Specimens of the Armenian modern art and video art were Yerevan, married or unmarried with the locals, nearly all go

â and foundations in those countries, dreiko (Bazel) read the letters by Armin Teophil Vegner written in 1915 - 1919 displayed at an exhibition titled “Memory and Autonomy” in for eurhythmics, or have established eurhythmics in the Ì however, no Armenian unions showed any on the . and arranged by Eva Khachatryan, curator of the Yerevan homeland. However, for the homeland Armenians it was Ò interest in that business, so that the Month Center for the Modern Experimental Art. The exhibition dis- a great joy, meeting the young designer Sona Hovsepyan, Å ÅÒÌâÎÔ

of Armenian Culture has been conducted Cultural Programs played pieces by artists Arman Grigoryan, Grigor Khachatrian, former resident of Yerevan, who tried hard in every way to using the assets of Swiss and other Vahram Aghasyan, Diana hakobyan, Karine Matsakyan et al. help the visitors from homeland, surrounding them with European organizations. In different parts Particularly rich were the musical programs. The guest of honor at the Month The exhibition’s concept was as follows: the Armenian mind warmth and care.

üÅ© of Bazel one could see images of Yerevan of Armenian Culture was Tigran Mansuryan, whose pieces were performed associates the past with the Soviet period in the life of the roofs and a bright picture of an Armenian many times at different concert halls. In Martins Church of Bazel there were two nation, rather than with the genocide, while the idea of ARTSVI BAKHCHINYAN, 4boy, as well as posters advertising the films concerts, the first one featuring Armenian sharakans, also Tigran Mansurian’s autonomy is related to personal independence, rather than Bazel - Yerevan5 monuments of extraordinary scientific interest related archeologia to 4 – 3 millennium B.C. were excavated in the areas of Aragats Marz, villages Tsagkasar and Agarak. The ARCHEOLOGICAL EXCAVATION multi-level archeological site of Agarak, which has already been studied for a few years, used to be a IINN AARMENIARMENIA IINN 22005005 mighty religious center, known for its religious sites. The 2005 operations on the monument have widened our horizon on the architecture and material culture of the Stateprovided assistance was used only for excavations early period. We deal with the same culture on the sites ARAM KALANTARYAN, in the former Armenian capital cities, viz.: Artashat, Tsaghkasar and Gegharot to the North of Mount Aragats. Director, Institute of Archeology and Ethnography, Armavir, Dvin, which through financial deficiency had The Armenian-American excavations on the hills near National Academy of Sciences, Republic of Armenia sunk into neglect for long years. For over 15 years the the village Gegharot discovered a pagan temple within capital cities have seen no excavations, monuments Agarak an archeological site dated at 4 – 2 millenia B.C. The archeologia he study of the world civilization continues in a were absolutely falling to pieces. With the help of the discovered material shows that the temple has been in Tregular way, with each nation paying its tribute. We country’s Prime Minister this year finally the opportunity plane was one of the most important origins of that existence since 15 – 14 cc. B.C. and is of great interest can be proud that the Armenian people also have made came about to restart that activity. developed culture. with regard to the study of pagan cults in Armenia. a tribute to the world civilization, which has been highly valued in the world of science. Joint excavations with French and British archeologists Of the overseas excavations the most important Exclusive materials have been yielded by the excavations in the area of the village Hovk of Tavush marz, where the monument is the residential area in Nerkin Godedzor, of the capital Armavir. One of the most significant For the Institute of Archeology and Ethnography, National Academy of Science, Republic of Armenia, doing research in the spiritual and material culture of the Armenian people, the past year was rich in archeological

excavations in the Aratashen A Temple in Artashat A Temple in Gegharot a armenian areas of Ararat, Gegharot, 3rd millenium r

Armavir, Aragats, study of discovered caves and the artifacts found on the Sisian, dated at 5 – 4 cc. B.C, with an unexpected dis- discoveries is the temple structure opened in the m Gegharkunik, Siu- surrounding areas showed traces of a stone age culture covery of the Mesopotamic-type colored crockery. In summit of the citadel. e nik, Tavush. The in highaltitude zones of Armenia. excellent condition, great masses and variety of crockery n

excavations dis- shows that 6 – 7 thousand years ago Armenia was the in the capital Artashat on the shore of the Arax river i covered multiple Also to be noted are results of research materials from scene of socioeconomic upheavals and developments. basement walls of colossal monumental structures of a exclusive materials excavations of an early agricultural compound of The most surprising results of the last year’s Sisian the Hellenistic Armenia are being discovered which, n

in Paleolite – Neolite the Neolithic period 7 – 6 millennia B.C. in Aratashen unique excavations are as follows: according to the fragments of sculpture-ornamented art 1(15)/2006 – Bronze periods, and Aknashen villages on the Ararat plain. Analyses capitols and pillars and a fragment of mosaic floor, may

• Sisian, a Cup Fragment

Urartian culture, at different European laboratories have established have belonged to an important cultic structures of the •

Ô architecture, cultic the origins of stone instruments, radiocarbon dating city. 1(15)/2006 Î structures of Hel- determined the time of the lower strata of the site at â lenistic period, the art early 6th c. B.C. Excavations of those monuments are With the assistance from individual sponsors the Ì of building, Medieval well placed, for on the mentioned area of the Armenian Institute’s archeologists also worked in Artsakh, Ò culture. plateau archeological research of such an early dating particularly in Shushi. Å ÅÒÌâÎÔ

are being conducted for the first time. Meanwhile in A substantial part Western Armenia a few score of similar monuments The rich archeological material yielded by the of excavations was have been excavated with excellent results. It seemed excavations is currently being subjected to laboratory

üÅ© done in cooperation that in the southern part of this highland the existence treatment, with different analyses, the results and data with scientific of this culture is due to the proximity to the Interfluve, to be published. 6centers overseas. Sisian, a Lamp Vessel however, the current excavations reveal that the Ararat A Temple in Artashat 7 music Passion” made by the conductor Karl Richter. Mentioning the clearly beyond the human ability to sustain this expiring singing high professional standard, dramatic integrity and other high sound, like that produced by organ. qualities, he also noted superfluous theatrical quality, rather When the Song is Prayer, than submission. And the man, yearning to get absolved from guilt, as noted by Blez Pascal, this “intelligent herd”, the beat of his troubled heart The occasion for this extensive introduction was an audio CD being imprinted upon the eternal substance, is soaring and

music produced by the Mekhitaryan Union of Venice (directed and merging with the eternal. the Prayer a Song published by Minas Luryan). The disc contains spiritual songs for the Lent period performed by Father Vrtanes Uluhojan and DANIEL ERAJISHT blessings. E. g., organ chorals, preludes and fugas, phantasies the “Akn” choir conducted by and other instrumental pieces. And so, the merging of various Aram Kerobyan. With regard to "Armenian Church, the birth place of my soul", - wrote Vahan melodies pleases the listener, since harmony and beauty are the abovementioned criteria, the Tekejan. The Church is also a cradle of spiritual poetry and manifestations of the divine. Of course, the Creator has to be following is to be stated. song art: Mesrop Mashtots, Sahak Partev, sharakans by Movses addressed using proper language. Khorenatsi, Ekmalian, “Divine Service” by Ekmalyan and other The song by Father Vrtanes is a sacred songs. Quite naturally, Komitas was concerned about the erstwhile prayer, the prayer is a song. He disconsolate situation with the church music. On May 10, has a perfect command of his The origins of the West European Classical music have also been 1910, he wrote to Catolicos Mathevos Izmirlian: “The Armenian God-given voice. His performing found in the Church. As far back as in the 4th century, Saint church music has been on the decline within the last 19th c. art meets the most stringent Ambrose, a bishop in Milan, founded the so-called Ambrosian and particularly in this 20th century. The hymn has lost its requirements, his voice is coming Chant which so enraptured Saint Augustine and influenced the clear and elevated manner and childish simplicity, its innocent from the depth of heart, it is Grigorian Choral developed in Rome giving rise to multiple types faithful character giving way to disorderly, improper, whining peaceful and humble. of music. Established in 16th century was Lutheran choral music and plaintive chanting. The church songs (sharakan) of our which later became the origin of the art by Johann Sebastian ancestors, warm like the sun, clean like air and sweet like With regard to the choir, that Bach: choirs, prayers, Christ-inspired passions, etc. water, have been sidelined or displaced into the background.” is a religious community, that (¶Åëâı·Î ¶·ıÒÅá©Å´, àÒâıÅ´, 1970ë., çÁ 418): Komitas prays rather than sings. The Originally the purpose of psalms, chorals and sharakans was “to shared the same concern with the violinist Margarit Babayan choir seemingly does not set carry word to God from the depth of heart”. The basis of church in his letter dated August 7, 1913: “…the monastery music has high professional standards singing is prayer, word, while a pleasant tune, according to the become mean, course, yelping, roguish, ignorant”. ¶Åëâı·Î like uniform sound distribution, Church Fathers, must have carried saint word so that it should ¶·ıÒÅá©Å´, ÆûÅ©ùÅùÅ´ âÒÅì≠Ô·ıë©·ı´è 19-Òá áÅÒ·ıß organic merging, etc. They sing penetrate into the depth of soul. However, Saint Augustine âı 20-Òá áÅÒÅÎùãÉ·ıßØ, àÒâıÅ´, 1970ë., çÁ 423): and pray with love, sincerity and a armenian cautioned not to go after beautiful tunes, lest one should artless fervor, which is probably r

turn aside from the basic objective of the words and prayer. In the same way Albert Schweitzer was concerned about enough for the prayer to reach m (Музыкальная эстетика западноевропейского средневековья Bach. “The effect of music by Bach is stipulated not through its objective, since, as Jesus said, “…where two or three are Unwittingly one remembers the words by the poet: In a blue e и Ренессанса., Москва., 1966., стр. 27). performance, but rather through the spirit of performance. gathered together in my name, there am I in the midst of them.” country you melt, smoke dissolving far away, alone. Of whom n

Only one who has submerged into the world of Bach’s feelings, (Math. 18, 20). do you remind? You remind of me. This is the way the incense- i Later the melodies of spiritual music experienced an explosive who lives and thinks, who has become along with him a simple smelling song ascends to heaven. a development. In the 11th century Europe polyphony started and modest person, only that one can convey to others the According to Richard Strauss, a brilliant melody is felt even by n

to outgrow its primitive state, and the musical component music by Bach”. (Альберт Швейцер., И.С.Бах., Москва., 1969., whistling. One could hardly remain indifferent to St. Mesrop’s We have been brought up in the traditions of the Apostolic art 1(15)/2006

acquired independent significance and attraction. In the West стр. 648): In this connection Schweitzer noted that when repentance chant with these words: "The waves of life assault Church, we are spiritually close to the Ejmiadzin singing. And if •

European aesthetics the first ever mention of the beauty of Mendelssohn discovered the legacy of Bach, the Germans were me like enemies. O' Good Caption, be my suppatr!" we compare the Armenian spiritual singing with the language, it •

Ô music was made by Marketto Paduacci. Regarding music as like crazy in their homes singing the newly discovered cantatas, can then be stated that the Ejmiadzin singing is like our classical 1(15)/2006 Î the most beautiful of arts, and likening it to a blossoming tree, often hurriedly published or even with no binding, but they Or Nerses Shnorhali: "The origin of life is Mother of God language, while the singing of Constantinople, Jerusalem, the

â the Italian musicologist wrote: “Its branches are arranged like were so sincere and dedicated that they often outperformed coming from Paradise." which has to be sung bel canto. The Mechitaryans, Iranian and Indian Armenians can be likened to Ì numerical interrelations, the blossoms are types of chords, the battered philharmonic performances. Indeed, despite their choir performs it rather using in the recitative style. dialects, having their own fragrance and stress. Those branches Ò the fruits are pleasant harmonies, brought to perfection using common features, there is a significant difference between in their variety and completeness are reflective of the ups and Å ÅÒÌâÎÔ

consonants”. (Музыкальная эстетика западноевропейского the mess music performed in church and a performance in a The disk is summarized by Mashtots’ Repentance. "Ro downs of the spiritual life of Armenian nation, its historical des- средневековья и Ренессанса., Москва., 1966., стр. 59). concert-hall environment. Also their objectives and criteria are not abandon me, the hopeof my childhood, my God." A tiny. very different. splendid performance of this chant is sufficient to welcome

üÅ© In the art by Bach the melodies are so chrystallized, so dissolved the appearance of this CD. Here are the reasons why. The song- Indeed, as noted by Komitas, “Music is the purest mirror of in divine images and concepts, that even with no words those In this regard to be noted are the remarks by the pianist prayer of Father Vrtanes is soaring over the nasal sounds of society”. 8melodies are perceived as spiritually charged prayers and Alexey Liubimov on the occation of recording Bach’s “St. John the chorus. The continuous sounding symbolizes eternity. It is 9 Every artistic museum is open characterized in three languages “Apollo and Pan” (substantiated museum On December 15, 2005 a letter from the THE LOSSES OF before a visitor with its permanent in a guide-book of 1992. by E. Gaifejian). Armenian Primacy of Tebriz contained displays, presenting the artistic several photos showing evidence pieces with specially arranged Analysis of the Credence design The Flemish Section of the MANUSCRIPTS DURING of vandalism perpetrated December data (author, title, country, and style, reading of the symbols National Gallery of Armenia 10. Taken from the Iranian shore school, period, year, technique). and cryptograms yielded the displays a picture by Antonis Van of the river Arax, the photos show THE GENICIDE OF In certain cases the exhibit carries following data: the object was Deik (1544 – 1641), that entered Nakhijevan area with the Azerbaijani explanations with assigned data created in France, in early 16th the Museum in 1933 from the ARMENIANS soldiers demolishing the Armenian

the facts burials of Old Jugha, transporting In the years of WWI the Armenian nation was subjected to the first the tombstones and khachkars to the ever planned genocide which is the greatest crime against humanity. railroad trackside. Besides the irretrievable human losses there were huge cultural losses, genocide writers often make use of the expression “cultural massacre”, On the same day Armenian TV showed since having annihilated the Armenians living in Western Armenia, the video images of the atrocities done Turks in 1915 and on started to eradicate all traces of the rich Armenian MMUSEUMUSEUM D DISCOVERIESISCOVERIES by the neighboring country, the RA civilization. The Genocide resulted in huge losses of the Armenian Foreign Ministry reported on sending manuscripts. on school, an unknown author, century, during the reign of Astrakhan Armenian Church complaints to UNESCO. That was imitation, etc. Frances I (1515 – 1547), was under the title “Deposition from followed by scores of complaints at At the start of the war the largest collection of Armenian manuscripts ornamented mainly using the the Cross”. According to Christian different levels, continuing up to date. was held at the library of the Ejmiadzin Patriarchy. In February 1915, in Usually an exhibition contains sense of beauty, and Esse Homo image painting, the scene includes With no result. view of the possible war, some precious objects retained in Ejmiadzin, twenty percent of the total deposit. visions, figures of prophets, Christ, Godmother, Mary along with all 4660 manuscripts were moved to , to be stored A substantial part of the pieces apostles and ordinary people, Magdalene, John, Nikodemus, in the vaults of the Armenian Church. In the same year, when Western History repeats itself. They ruin and retained in the depositaries is also carried a corporate brand. As an Joseph. Our canvas shows the Armenia became the theater of military operations, the Turkish demolish, we complain and record authorities, improving the opportunity, displaced and massacred the periodically presented within the artistic object, it is unique, since deceased Christ and the angels. evidence. Then time passes and they local Armenian population. Armenian Catholicos Gevorg V issued a format of thematic, monographic it integrates the most important The current title of the picture is say “nothing happened”. Meanwhile special order to Hovhannes Vardapet Hiusyan, Superior of the Lake Van or temporary exhibitions. Both attributes of French architecture, “The Angels Taking Christ Away” the world remains silent believing the Island Monastery to save by sending to Ejmiadzin the manuscripts from exhibitory and depository pieces sculpture and applied arts of (analysis by V. Badalyan). one whose voice is louder and whose Lin, Ktuts, Akhtamar, Van, et al. Hiusyan fulfilled it only in part. He and are treated and studied, the the transition from Gothics to pocket is fuller. his faithful retinue succeeded in transferring about 1450 manuscripts research resulting in the pieces Rennaissance (substantiation by Research yielded curious evidence to Ejmiadzin. However, the losses were enormous. Suffice it to note previously known to have other H. Harutiunyan), with regard to the canvas “A that over a thousand manuscripts had been kept at the monastery of Lin. However, Region is close to Eastern Armenia and criteria entering the scientific Tribute to Amur” by Carle van so, part of the manuscripts here were saved thanks to the front line circulation with newly acquired A correct reading of literary, Loo (1705 – 1765) exhibited a armenian advance, while in the deeper regions of Armenia Minor and parts of characteristics. historic, mythological, artistic in the French section of the r

Anatolia with large Armenian population, the valuable objects and pieces, created on the basis of museum. The authenticity of the m manuscripts in many cases were irretrievably lost. E.g. in Cesaria about We shall quote one of those biblical plots and understanding piece is confirmed by its origin e 700 manuscripts perished. examples: A group of pieces of imagery enable the wrongly and the legend on making a copy n

received from Hermitage included assigned titles to be properly of the picture on the reverse side i

The huge losses of manuscripts during and after WWI are described a a brilliant specimen of European updated. Thus, a canvas by by F. Tabuntsov in St. Petersburg

by Prof. Suren Kolanjian in “Ejmiadzin” journal (1965, ëïÌ Ç-Ü, à-å, 1966, n furniture, Credence (a cabinet), the well-known Italian Venice- in 1848. In the catalogue of the ëïÌ é, ê-í, 1967, ëïÌ à, ä) (in Armenian). Without touching too much on its act of commission reading: school artist Tintoretto (1518 artist’s works (Paris, 1977) one of art

1(15)/2006 the details, let us note that among the lost or ruined books there were some unique masterpieces, like the manuscript by the 10th c. author “Credence, in excellent condition, – 1599), had been registered as his missing pictures “Offering to •

St. Grigor Narekatsi that was destroyed in the Aliur village church. from the Bazilevsky collection”, “Apollon and Marsius” prior to Amur” was reproduced from the • Ô and that was it. Nothing showed 1981. According to the Antique exact engraving in Yerevan and 1(15)/2006 Î After a prolonged period of war and devastation, in 1922 the 4660 the place of origin or time. How mythology, Apollon took part in is accompanied by the following â manuscripts were returned from Moscow to Ejmiadzin, to be merged and when it was determined as a musical competitions twice: with circumstances. in 1760 the picture

Ì with the 1730 pieces collected by that time. In 1920 Ejmiadzin’s library

Ò German piece of the 17th century, Marsius, a Frigian faun and Pan, belonged to a Paris resident of manuscripts was nationalized by the Soviet Armenia. In 1939 it was is unknown. For many years this god of fields and forests. In this de Juliene, whose collection

Å ÅÒÌâÎÔ transferred to Yerevan. piece of furniture was represented picture, the author reproduced went public in 1767, while the Today the number of manuscripts in the St. Mashtots Matenadaran in this way at permanent the scene described in Ovidius’ mentioned picture was bought by exceeds 11 thousand. Their number could have been twice that large exhibitions winning admiration “Transfiguration” (II, 155 – 170), L. A. Golitsin for Katherine II.

üÅ© if not for the genocide. for masterfully engraved images struggle against Pan, as witnessed and ornamentation. That art by the depicted characters. The The Hermitage archives of 1774 10 K. MATEVOSYAN PHOTOS THE ACCUSING object was included and properly current title of the picture is and 1859 confirm the presence11 of the picture in Winter palace, wide-brimmed cone-shaped hat, Shapiro. They were good friends, gives a feeling of a restrained by Shagal: “Perhaps, his (Shagal’s) On the other hand, the piece is museum while a collection of 1935 notes with the right hand plunged into and the artist could have presented masculine appeal. hair that has never seen a comb, so saturated with the spirit of that in 1958 it was transferred to a thick hair of another man head. or sold the piece to the museum. his narrow face, roving, moving Shagal that a question arises, how Ermitaj under the title “A Tribute Hidden under the thick planks of In 1960, Shapiro published a book eyes, immersed into creative powerful was Shagal’s influence to Amur”. It was transferred to the frame were other details, so Jacob Shapiro (1897 – after 1960) titled “La Ruche” (the Beehive), passion, with their small pupils, upon Shapiro, that he would our museum under the same title. that when the canvas was removed was born in Latvia, studied in narrating about a communal life of like grains of rice…¦ The 1920s paint a large canvas, only to Thus, what we deal with here is from the frame, the limits of the art schools of Kharkov (1915) artists in workshops called Beehive photos of M. Shagal corroborate cut it into pieces and to use one the same picture. figure were widened, opening the and Kiev (1918). In 1920s he in 1920s, and about his encounters the version described here. fragment for this still life. What eyes of the other image and the decorated the stage productions with Kh. Sutin, O. is this, a manifestation museum That was the story of a picture top part of the crooked nose. by K. Stanislavsky, V. Meyerhold, Tsadkin, M. Shagal, M. of “Shagalism”, or a by Carle van Loo which had E. Vakhtangov in Petrograd Kisling. In the chapter previous version of once vanished from view in its Clearly, between these two pieces and Moscow, participated in on Shagal, the author Shagals theatrical homeland, had been kept in St. there is no stylistic similarity, exhibitions. in 1922, when he was noted: "...In those years composition that he had Petersburg for about two and a while the back side has a theatrical 25, as noted by P. Rostovtsev, “In I was in close relations rejected? half centuries, then for 74 years nature reminding the designs by his portrait of an old Jew made by with many Moscow its life continued in Yerevan. Mark Shagal (1887 – 1985) and charcoal there is acuteness and theaters, artistic and The answer is still Moreover, the fact that the picture his characters. expression. To judge him as a full- theatrical individuals." uncertain, although was retained by a well-known fledged artist is too early. One can Shagal’s instructions the considerations collector in 1760 enables us to date The dating of the picture, 1923, still note influences by Altman played an important role are interesting by the canvas to those produced by suggests that its entrance into and Shagal.” in my expressionistic themselves, by the simple the author before 1760. (analyzed the museum could have been formation. I remember, reason that directly or by V. Mkrtchian). associated with the name of In 1925 the artist settled in Paris, in one of the theatrical indirectly are related Ruben Drampian, invited from took part in exhibitions, arranged places there was a canvas to Shagal, as well as Similar clarifications are quite Petrograd in 1924 who became personal exhibitions Bonapart occupying an entire Jacob Shapiro, "Still Life", 1923 elucidate the functioning numerous, they occur in scientific the first director of the National (1936) and Elysee (1946), at wall and representing of the little known catalogues of the gallery on Gallery in 1936, his activities, galleries and Beaux-Art magazine the leadership. Shagal painter Jacob Shapiro specific collections. particularly art collection, (1936). They wrote about him: “J. identified there within the context and is invaluable for the gallery Shapiro is an artist, who acutely Granovsky, the head of the environment of the There are cases in museum formation and development, feels the nature, is very sensitive the house, with his hands great Russian artists in operation when the origins of resulting in acquisition of a to objects, perceiving them as his raised and holding a the 1920s. certain pieces are unknown. Most valuable collection of Russian Art, inner life. In his art, objects and small individual who was catalogues note those as “origin including “A Country House” by feelings are deeply interconnected. Shagal himself. Those The situation with the unknown”. M. Shagal. Shapiro paints what touches him, in La Ruche, did they work here described a armenian r

and in the first place it is the really carry one another shows that the staff m Next story is related to origin This issue was largely clarified sacramental language of color. on their shoulders? Or of the gallery have e and clarifications by the author, due to the data on R. Drambian’s His pictures are penetrated with in their hearts? I don’t serious discussions n

an enigmatic story of a double- pencil portrait made by Jacob the inner life, and what is pictured know, but that strange of similar cases and i sided picture retained in and idealized poet in take comprehensive a the repositories of the fact supported us a great Jacob Shapiro, "A Fragment of a Composition", 1920-1923 decisions, this picture n

gallery. Origin unknown, deal. now has been subjected art 1(15)/2006 the front side carries a to thorough rehabilitation and is •

legend “Jacob Shapiro Perhaps Shapiro meant a Of Jacob Shapiro’s works we going to be displayed in one of the • Ô 1923” (canvas, oil paint, decorative panel by Shagal from know only two: a still life picture showrooms. 1(15)/2006 Î 58 x 76cm) (in Russian), the Jewish Chamber Theater belonging to the gallery and a â still life, slightly inclined (1920, canvas, tempera, gouache, pencil portrait of R. Drampian. We In general, this story pursues an Ì

Ò on the plane, a thin green 284 x 787, the Tretiakov Gallery). have also inquired on his standing important objective: to focus the bottle, a large-handle At the same time, the bearded in French and Russian media. This attention of the gallery visitors Å ÅÒÌâÎÔ

coffee mug, three onions man’s face on the back side of our however is not sufficient to form upon the invisible part of museum covered with enamel. On canvas creates an impression that a complete idea and to come to a activities. the back side of the picture he is trying to uplift another man, definitive conclusion with regard

üÅ© upside down, a crooked who retained only his head on to assigning the backside drawing HASMIK HARUTIUNIAN, figure of a man with a the fragment, and whose image to this origin. Deputy Director 12 beard, side-whiskers, Jakobo Tintoretto, Appolo and Pan is relevant to the following lines of National Gallery of Armenia 13 fine arts I have finished two essays, one is titled “The Andromeda Paradox”, the other one “The MARTIN MIKAELYAN - Yes, sometimes, answered Mysteries of Saturn”. Andromeda is a galaxy, while Saturn is a giant planet. Following Perpetuum Borhes. those two, I came over to Paravon. I saw the pictures by Grigor Gurzadian for Gurzadian is always himself, when Within a couple of months he gave two exhibitions and produced a hefty book of the first time in the 70s. writing on Democritis, Narekatsi or pictures. I also visited his workshop, what I saw there was like a separate exhibition. “Why should this gifted Mobile a cub poet, when leaving his basic scientist want to have his work, taking up the easel. Pictures by Paravon… Three traditional domains: portrait, landscape, still life, each of

fine arts own painted landscapes around?”, I used to ask Here is the legend he wrote on a Grigor Gurzadian myself. This exhibition however, has proved this regard to the huge amount of data available to them. book presented to his junior friend disorder to be quite serious. But then Giurzadian, as well as the five British painters Vahan Kochar: “To my beloved (at the “Academia” exhibition opened three years Vahan whom I discovered on the The desire for painting had infected him decades before) express their underdeveloped feelings and first year of the third millennium. PARAVON... ago, when he observed canvases by Harutiun Kalenz in the home of them can become a subject of Artem Alikhanyan. discussion. We shall leave that domain to art critics. What I Now his landscapes and want to do here is to highlight still life pictures remind the fourth, the issue of female of the Armenian painting body. specimens of the 1960s, which “radiated light”, as The issue of female body, as was said about scores incorporated in the Hellenistic of images on different sculpture, has a history of 25 occasions. centuries, and about 20 centiries in the frescos (Pompey, Rome). Giurzadian seems to have created joint sketches The Armenian art has no with Levon Kojoyan, tradition in this field, hardly while in the company of about a hundred years. My Hovhannes Zardaryan personal quest is in the appeal, a armenian r

he tried to enliven in poetry and lyrics in the female m his workshop what he body. Like science fiction, like a e had picked up in nature. nostalgic dream. Rodin is my ideal. G. Gurzadian and P. Mirzoyan n

No external likeness to i Kalenz, of course. “It is impossible to copy Kalenz, as ideas by painting landscapes. In the meantime, the Text – superhuman, soul – cool, But then, the advent of Paravon brought poetry into female body. In our art it is a a noted by Giurzadian, an imitation, perhaps, could be progressive painters create images allegedly rich in heart – all goodness, talent – new phenomenon, quite new, which has not been there in the past. The naked body n

more successful, just try to hit the keys of the piano so thoughts, that may perhaps have a certain superficial abundant. in large brush strokes, from head to toe in large generalizations, the poetry of the art 1(15)/2006 as to remind a great pianist. appeal, but those canvases lack humane qualities, body like a cosmic creation. Body in its entirety, in the same tonality, in its hypnotic •

like those of the mentioned Englishmen or even the Gurzadian easily describes simplicity. A nude body in the environment, in the nature, against the sky, now bluish, •

Ô Grigor Giurzadian depicts mountains, rocks turned- amateur artist Gurzadian. individuals of the old world, now reddish, now yellowy orange… It is all poetry, an otherworldly vision, from which 1(15)/2006 Î up skywards, gorges, fields, flowers wrapped in medieval time, as well as the you cannot take your eyes. â extraterrestrial mystery. Hadn’t Gurzadian written his wonderful books, hadn’t modern age. Ì he authored his works in astrophysics, the fact of A nude is a nude, but in Paravon they are never alike. In posture, or in disposition, Ò Landscape, still life, portrait, occupy a great place in “Orion-2” would be enough for us to take pride in the We cannot characterize him, we or else, in color score, they are completely different. Of all that the most difficult is Å ÅÒÌâÎÔ

the Armenian fine arts of the 1960s. At that time the person of this genuine scientist, with vision and po- cannot place this type of man a female body at rear view. This is a situation offering scarce means of expression. Armenian painters being somewhat naive, (very few etry. “Orion-2” is the first ever orbital observatory, it is a within an acknowledged set of There is a work of genius of this type, a woman, back view, “Venus” by Velazquez, the were aware how sealed was our society) were satis- revolution in astronomy. ideas or within an existing model, National Gallery of London.

üÅ© fied with those genres and very limited available since he knows no interruption information. There is no one who could apprehend - Are you Jorge Luis Borges?, - they asked the great or pause, he is constantly on the The female body back view by Paravon is quite different. Instruments of expression are 14 Gurzadian or contemporary English painters with writer who had already lost his sight. move. nearly nonexistent, a great mastery and skill is needed here. It is this mastery that I saw 15 museum I am of the same opinion. It is necessary that he should provide new surprises, the problem of female body is a phenomenon that can never be resolved… Like the Universe… HISTORY OF THE

To my mind, Paravon has to keep hearing his inner voice, that can tell him the right things. NATIONAL GALLERY

Multiplicity of devices is evident in Paravon most of the time,

fine arts including when painting the nude nature. The pastel technique, OF ARMENIA e.g., has many traditions in all domains, Paravon, in fact, uses a remarkable pastel technique while painting the nude nature, in a very great variety of applications. And the pastel strokes. HASMIK HARUTIUNYAN

My corner (He and I), 1995 uring the years of E. Isabekian’s leadership the gallery experienced a new uplift Dstipulated by concepts of museum staff skill enhancement and the intention to develop the existing collections in light of modern research, to present them better, to enlarge in a targeted way, and to improve storage facilities.

Eugenia Khachatrian who had been working as fund keeper for quite a few decades, was replaced Snezhina's Portrait, 2003 by Alis Bakrjan who had inherited her experience, in the canvases by Paravon, including the feeling, rather than dedication and the museum-type longevity. Young seeing, in the extreme uniformity of color, the tenderness and painters are gathered around Vardkes Bagdasaryan, poetry of the body. head of the restoration workshop, disciple of L. Durnovo, the only restorer painter having the In the domain of the female body Paravon has become a highest qualification in Armenia. He teaches them, phenomenon in the history of art. transfers his complex professional secrets, they

also attend enhancement courses in the museums a armenian Paravon continues his search, he is in full control of his resources. of Leningrad and Moscow as well as at the I. r Grabar Restauration Institute acquiring skills and m Of course, I knew what pastel was, what The Evening, 1998 proficiency, receiving the relevant instruction, e I ignored were the surprises that it could to occupy the responsible jobs of restoring and n

carry. The strokes of his brush are easily i

depositing the museum objects. a observed, there is nothing superfluous, Kobair. The Savior everything is as it should be: the body, n

light, color, shade, and the whole intricate It was at that time that a documentary copy was members of the Museum’s European art research art 1(15)/2006

variety of strokes in pastel. executed of the fresco at Kobair Monastery (12 – units who communicate with renowned Russian •

13th cc.) This work was approved by the scientific artists and do important work with regard to • Ô This pastel array by Paravon has to find board of the gallery and placed on permanent determining the schools and authorship of different 1(15)/2006 Î its permanent place in the Museum. display. The works of the Feodosiya expedition are pieces in their local collections. â nearing completion on copying the central apsides Ì In my office in Garni you can hear the Ò of the Crimean Holy Cross (1338) and the Feodosiya Meanwhile, publication is accomplished of albums sounds of symphony music everywhere, Saint Stepanos (15th c.) churches. Å ÅÒÌâÎÔ and catalogues “Hakob Hovnatanian and His day and night. The walls are covered in Predecessors”, “Sargis Khachatryan”, “Eghishe pictures, while below there are rows and The State Hermitage Museum and the Russian Tadevosyan”, “Vano Khachabekian”, “Sedrak rows of classical books. The volume by Museum provide skill enhancement courses for Rashmajian”, “Sedrak Arakelian”, “Edgar Shahin”, et üÅ© Paravon, filled with pictures, has found its place in that range. ciceroni and heads of affiliated branches. The al. Donations to the museum collections are going Hermitage in particular, annually receives staff on. This process seems to find new breath, remind- 16 November 30, 2005, Garni 17 ing the inspiration of the 1920s and 1930s with Convened in the 1980s were jubilee exhibitions and regard to our newly established relations with the catalogue publications by Hakob Giurjan, Sedrak ûÄ®ÄÍÓÄ™î ÄäÑÄ®î™ ‰ÄÓúàÄÍÄûî ÑÄ™†àé Diaspora. Rashmajian, Sedrak Arakelyan, Hakob Kojoyan, TREASURES OF NATIONAL GALLERY OF ARMENIA Gevorg Yakulov. Entering the European Art Section is “The Portrait of Gaizago Shalamon” by the Hungarian painter Large exhibitions were exported to many cities of Ignaz Roshkovich donated by the Armenian the Former , fetching recognition to the community of Hungary, brought to Hungary masters of Armenian art. Exhibited in was

museum by their Armenian ancestors in 1672. (Shalano Geovrg Bashinjagyan, in Kaunas Sedrak Arakelyan, Gaiazago was a Hungarian freedom fighter of the in Makhachkala – Armenian painting and applied 19th century, known as an author and a playwright). art, In Lviv – the Armenian embroidery, weaving The portrait is on a permanent display. and silver working, while the artists of Kiev had an opportunity to see the Russian painting of the 19 The artist Raphael Kheranian (Paris) donated – 20 cc. represented in the Armenian Gallery. “Portrait of a Man” by the English master Markus Herardsi and “The Portrait of a Boy” ascribed to In May 1986 the position of the gallery director was Francisco Goya. “The Anointment of David” by abandoned by Edward Isabekyan, which terminated Antonio Molinari, late 17th – early 18th c., was his untiring 19-year of service in the domain of donated by the new Sebastian Armenian Union of culture. Since July 1986, the post of director was USA. A canvas with an Old Testament plot and a occupied by Alexandr Ter-Gabrielian, who having marble sculpture by G. Biajiotti. Sculptor Khoren previously worked for long years as chief of art Ter-Harutiun donated “A Nudie” by Ogiust Rodin”, section at the Ministry of Culture was well aware of while the French Armenian Albert Ashchian the gallery activities. donated three pictures by Ripolesi, a contemporary Spanish painter. During the Soviet years the Picture Gallery was engaged within the All-Union cultural system, By virtue of the 1970s donations the Russian securing our participation in the country-wide collection was enriched. Thus, the archive in conferences and skill-enhancement courses for Zagorsk donated some well-known Russian museum staff. In capital cities and big cities of painters of the 20th c. Le-Dantew Baxti, Rosanova, different republics, like Moscow, Lviv, Alma-Ata, the black-and-white art pieces by Konashevich. Vladimir, Vilnius, et al., sessions were convened The Union-wide Artistic Production association with invitations extended to representatives of released 9 pieces by the well-known sculptor Sara the museum as collective members of the Soviet Lebedeva, as well as V. Rojdestvensky, V. Stojarsky, Branch of the International Board of Museums. The A. Savitscas and other pieces of fine art. link between museums and exhibitions continued. Hermitage presented to the Armenian public the Among the donated pieces there are many works by exhibitions “The 18th-century West-European 1(15)/2006

Armenian authors. Collectionist Aghasi Darbinyan Etching” and “The West-European Broad-view

• (Paris) donated a piece by the great etcher Tigran Landscapes of the 19th Century”. In connection

Ô Polad, while the painter R. Jeranian (Paris) donated with the days of the Russian culture in Arme-

Î 14 pieces of the latter, Jansen sent his 30 etchings nia there was an exhibition “The Soviet Russian

â and black-and-whites, Garzu – 118 lithographs, Landscape” from the State Russian Museum of Ì

Ò Vardush Muradian, Archil Gorky’s sister, donated Leningrad. The response exhibition was convened úÒâáâ´Î, ¸ÒÅ´ÎïÅ Credenza, France “A Sitting Woman” – black-and-white art. in Moscow on the occasion of the Decade of the 16-Òá áÅÒï I-ï´ ùâÎ 16th c., Ist half Å ÅÒÌâÎÔ

Armenian Culture. Exhibitions of the Gallery’s In 1975 the “Aurora” Publishers published “The collections were organized in Sochi, Alma-Ata, and State Gallery of Armenia” by N. Mazmanian - a Izmail. üÅ© large album (in English and French). 18 (To be continued) î´˘´Å´ùÅÒ ù´·Á üâÔ / Self-portrait with wife

¨ ´·Ò üÅ ≠ÅÔ Öâ£Å ´ ùÅ Òï„ ûÄ‚®Ä ûÄú‡ Ç®Ä ™î (1935-1982) ÅÒ ÌâÎÔï´ ßâÒ üÅ´ áâδ Å´ áÒÅ- áÅÒ °âó ç Å´ Û©Åó ÔÅ Òï (ëïÌ 2, çÁ 24-26): ÍÔ· Òâı ´âÒ ùÅ ©ÅÛ ´·ıß â´˘ ´ùÅÒ „ï ßï ≠ÅÒ˘ Å≠ ôÅ ÔÅ´˘- ´â Òï Ìâ ÒÅ Ô Â·ı ë©·ı´ ´â Òè âı ´ÒÅ üâÔ ßÅ ü·ı Å´ üÅ- ÔÅùÅ´ Û·ıÛÅ üÅ´ áâ Î ´â Òï ÛÅ´ùè:

1984ë. • ™ùÅ Òï„ ´â Òï Ô·ı´, àÒâ ıÅ´ 1984ë. • ‰ÅÔùâ ÒÅÎ ÒÅü, ˙áâÎÅ ˆ·ë·ÒùÅõï´´âÒè, 1980ë. / Born from the storm 1986ë. • ‰ÅÔùâ ÒÅÎ ÒÅü, åÁßï Å õï´ 1987ë. • ‰ÅÔùâ ÒÅÎ ÒÅü, úïÒ· ÌÅ ùÅ´ 1988ë. • ™ùÅ Òï„ ´â Òï Ô·ı´, ¶·Î ù ÌÅ Æûï´ àÒâıÅ´Ø ≠ÅÒ˘ïÛ / From "Old Yerevan" series 1989ë. • ™ùÅ Òï„ ´â Òï Ô·ı´, ñâ ´ï´ Ö ÒÅá 1986ë. • ‰ÅÔùâ ÒÅÎ ÒÅü, ËïÖÅ 1991ë. • Äó⢠¶Å´·ı ù©Å ´ï ùâ´Ô Ò·´, ˆÅÒïã 1995ë. • Äã ÖÅ ©ï´ ÂÅÔ ùâ ÒÅÎ ÒÅü, àÒâ ıÅ´ 2000ë. • Äã ÖÅ ©ï´ ÂÅÔ ùâ ÒÅÎ ÒÅü, àÒâ ıÅ´ Ïïóâ´Å / Vilena

Last year the current publication highlighted the art by the talented artist HRACHIA HAKOBIAN (1935 - 1982) (see #2, pp. 24 - 26). Indicated herein are several reproductions of pieces by the artist and a list of his posthumously convened personal exhibitions:

1984 • Painter's House, Yerevan 1984 • Picture Gallery, Odessa 1986 • Picture Gallery, Ejmiadzin 1987 • Picture Gallery, Kirovakan 1988 • Painter's House, Moscow 1989 • Painter's House, Leningrad 1986 • Picture Gallery, Riga 1991 • Alec Manukyan Center, Paris 1995 • National Picture Gallery, Yerevan 2000 • National Picture Gallery, Yerevan fine arts Born in 1956 in Giumri.

Graduated from P. Terlemezian Art School, 1975.

Since 1988 has taken part in many domestic and overseas expositions. Works deposited in the Armenian National Picture Gallery, Yerevan Museum of Modern Art, some museums overseas, as well as in private collections.

Personal Exhibitions

• 2006 Armenian National Picture Gallery • 2002 “Melina Mercury Hall”, (Nicosia, Cyprus) • 2002 Viki Hovhannesian Gallery of Modern Art (Chicago, USA) • 2001 “Bodenshatz” Gallery (Bazel, Switzerland) • 1999 “Ayios Kassianos” 13 Gallery (Nicosia, Cyprus) • 1997 “AUX” Gallery (Yerevan) • 1996 “La Hune” Gallery (Paris, France) • 1992 “New Academy” Gallery, London

Sargis Hamalbashian is a new transmitter of national painting, its trend that had been established in the 20th century by Sargis manages the artistic space in an original way rarely the Great Saryan and Archil Gorky, who found the worthy addressing heterogeneous materials. He often makes use of continuers in the persons of Kazents, Vruir, Minas, Ashot stencils, which is very heavily prepared. What is usually being Hovhannisian, Gayane Khachatryan. Those dissimilar bright done with regard to the real objects – pieces of newspapers, personalities were infected with what could be named as the entourage, is reduced by him to a technical device, which music of fine arts, the magic of color. is completely his own operational product. The method developed after long years, stipulated the emergence of the Sargis was born in Giumri, in the heart of Shirak, the cradle style that exclusively belongs to him. of numerous gifted artists. …He had long ago intended to move to Yerevan. In 1988, the terrible December earthquake No one can foresee, how much time is given to him, at only speeded up that earlier decision. Yerevan is the focus what time, at what age he will achieve his top point, when a armenian r

of the basic potential of our nation, determining the the potential of artistic inspiration will be depleted. Those m atmosphere and criteria of the national culture. Indeed, speculations keep Sargis in permanent tension. “Each artist, e great distance generates nostalgic reminiscences, which is a like myself, has doubts. What if the pilgrimage will end n

certain stimulus for a sensitive creative temper. halfway? One has to accomplish a lot, to say, to pronounce, i to utter to the end. That is conversation with God and a Focusing upon the quiet of his workshop and severed Universe. There is always something to say, and you always n

from the world’s turmoil, the capacity to aspire to ask God: give me time to make it, to say it to the end, so art unknown places, enabled Sargis to embrace the unlimited long as to become empty and calm. I often think I will work

geographic latitudes and to penetrate the depths of history. until I confess and run dry. Then I become scared of that Architectural monuments, medieval squares, equestrian thought, since I started to imagine that the time to leave is • statues, decorations of luxurious castles, are compared to the coming. Therefore I started to wish for the contrary: not to 1(15)/2006 miserable huts of Giumri and courtyards with old structures. get exhausted, to retain the permanent desire to run. In the neighborhood of vulgar grotesque figures there are manful warriors, mailed knights and aristocrats, cows, dogs, God willing, Sargis Hamalbashian will stay long, long, since fish, or a guardian angel that smoothly sores over the chaotic he needs an integral world, like all those people who believe and luxurious world. East and West with their multi-colored in life, nature, Infinity of Universe and the almighty power. representatives live in peace and quiet, tanks and canon threaten noone, being submitted for permanent storage in HENRIK IGITYAN, the Sargis Hambashian’s museum. Director of Armenia’s Museum of Modern Art 23 of curtains, details of the interior design, which were fine arts Petrosian, Seiran Khatlamajian) he was aware of his excellent means to resolve plastics within a space: advantages, but humble as a man, tough and consistent “Nocturnal Vision” (1970), “A Window” (1970), “Still as an artist. The results of his incessant work, inquiring Life in Blue” (1971), “Room #13 (1972), “A Workshop mind, artistic taste and expressive methods are shown "Seif-portrait", 1962 Window” (1974). This array of widows with diverse in his canvases: “Automasks” (1962), “An Encounter” perspectives makes the onlooker become a partaker (1963), “A Landscape” (1965) to the tumultuous infinity outside. This symbolic,

ambiguous and offensive atmosphere is immediately fine arts Since the initial years of his creative life Shahmuradian creating the mood of poetic anticipation, a strife for merged with the domestic roaring and turbulent uneasy uncertainty. whirlpool. He was an enthusiastic partaker in the domestic and overseas exhibitions (Yerevan, Moscow, Poeticism as formation of artistic mentality is Poland, Hungary, Denmark, Germany, Portugal, characteristic to the art by Varos, poetry being a rich Argentina, France, USA, et al.). In that period (1967 source of inspiration. Naturally, at this period he creates – 75) he also taught painting at Yerevan specialized a graphic album of illustrations to Baudelaire which he Institutes, continuing his research with Armenian intended to publish with the Armenian translation. miniature painting and the early 20th c. French art, Matis and Picasso having become his idols. In early 1970s Shakhmuradian created an entire array of lyrical heroines with emphasized individualities: Since the mid-1960s the brush touches of the painter “A Nude”, “In the Mirror”, “Expectation”, ”An Actress”, became bold and sure, his line skillful and discrete, the “A Portrait of Veronica”. Large compositions by color set subordinated to the interior balance of the Shahmuradian, stipulated by artistic and philosophical generalizations: “Zangezur”, “In the Workshop of an Artist”, “A Sonata, Spring-Autumn” are impressive

for their treatment of details, and for their bold color "A Dream", 1971 (turquoise-blue, scarlet-red, orange-gold, silver-brown) The Art of Varos that if Baudelaire had compared a poet to a heaven- selection, often creating transitory conditions between light and shade, and changing the relations of colors bound bird, then Varos did so with his tragic demise. thus underscoring the inner topical meaning. Incidentally, this poem has been translated by Henrik Bakhjinian, an outstanding connoisseur of French literature. a armenian

The choicest taste and harmonic proportions are r

Shahmuradyan m characteristic not only to Shahmuradian as an artist but

also as a personality. His personality and art were also Thus the poet, you sore under tempest and blizzard e

merged: a restrained, dignified person, good-hearted Irresponsive to arrows, defiant to fate, n The painter Varos Shahnazaryan (1940 – 1977) lived composition. “Ancient Blessing” (1965) is in line with But for walking the ground in railing and whistle i and respectable, an attentive listener, soft-spoken, a a only 37 years. He was destined to be one of the exclusive the Medieval Armenian miniature painting, whereas

near-perfect personality. The span of your wings is exceedingly great. n personalities who by the unwritten laws of nature are “My Predecessors” (1969), “Midday”, “Family” (1970) are

obliged to create the lasting artistic treasures within the modern extensions of the the 19th-c. Armenian portrait art 1(15)/2006 The picture’s background is pale blue showing a large Particularly fruitful was the artist’s life of the latter limited fragments of time allotted to them. painting in classical noble manner. • period, when he never let go his palette. In 1976 he beautiful wounded bird drenched in blood and doomed

•

Ô created “A Butterfly”, a large-scale festive canvas, where to destruction by repetitive falls. This expressive work He was born in Leninakan, in a well-to-do intellectual Gradually enriching his palette, decorative expression 1(15)/2006 Î a colored butterfly was in vain striving to freedom. painted in large bold touches produces a smashing family. He was the elder son, since early years noted for and motivation, the painter achieves the extreme â Harmonically combined with it was a noble image, impression, symbolizing the painter’s heartfelt cry.

Ì sensitive soul and artistic temper. Educated in Yerevan, spiritual tension, steadily increasing and becoming

Ò moving forward to encounter the light and beauty. Then where his family had been established by that time, in almost alarming. The images of everyday things and follows “Crucifixion”, and again “Albatros”, this time very Varos Shahmuradian would have been 65 today, and Å ÅÒÌâÎÔ 1967 graduated from the Industrial Artistic Higher articles acquire symbolic meaning within a composition, expressive, in restrained colors. regrettably, he will not be around to celebrate his School in Moscow. becoming the tools for presenting the inner world of anniversary, however, his legacy will atone for his the painter. Wasn’t it a feeling of impending tragedy that he touched unlived years. üÅ© Having himself experienced the search and discoveries upon in those images? They say that gifted individuals characteristic of the young artists of the 60s and 70s Windows looking at an alarming blue light against the can be apprehensive of their approaching decease. So 24 (Brothers Elibekyan, Varujan Vardanyan, Martin darkened background of the canvas, the wrinkled silk SEDA ANANYAN, Paris.25 fine arts Armen EDOYAN in motion, proceeding in parallel with That resulted from the program of the As noted by the painter, in his early egg expresses the future. Life and inherent to the 20th century. It is his time. earlier period, when it was expedient period he tried to create a void around death, the etherial and the mineral, mainly expressed in that in nearly 1962, when Hacob to present poverty and human isola- the object, and, proceeding from the this counterdistinction is a feature all directions the classical human Hacobyan repatriated The still lives by Hacobyan related tion. By that reason the object used partial to the general, he obtained an of Hakobyan’s painting. The egg percep-tion is being changed. In In to Armenia from to the late 60s and early 70s differ to be merged with the environment: entire structure, which, like a sculpture symbolizes the beginning. Indeed, the 20th century art, man loses his Egypt, the Armenian art acquired fundamentally from those of the interior, etc. in the interior, was placed in the surrounded by mineral or dead nature, classical face. Man is being reformed another artist with his original world. early period. The difference first center of the canvas. Hakobyan’s idea it remains capable of reproduction, and converted into schematic In Armenia Hacobyan’s art received its and foremost is a new method of We can classify the early period as was to depict the situation. In his still carrying life in itself. arrangements. Hakobyan, too, is sort

fine arts natural development, while original interpreting the objects by Hakobyan, “photographic”, whereby Hakobyan was lives of the Soviet period Hakobyan is of putting a tabu upon man, featuring artistic vision secured him the place which is reflected in the new vision by featuring as an operator, trying to find a him by using instruments. at the side of the greatest Armenian the artist. In the painting plane we see convenient vantage point, to show an artists. And the fact that Hacobyan’s no more photographic effect, which already prepared still life, however in The “humanized” instruments art reflected the phenomena of the was evident in the early period. In the later period he became a director, emerged in the 70-s. Hakobyan 20th century, like “dehumanization”, earlier works one can see occasional constructing the composition, with himself explained the removal of indicate an artist that is perpetually instantaneous “stolen freeze frames”. regard to his own system of signs. The man from his art by that in Armenia table, an almost inseparable part of he found man no more in his models Hakobyan’s still life pictures, has become which had been devised abroad. a theatre of operations, wherein his However, man does not disappear Still Life dramatic exercises take place. The from Hakobyan’s pictures, but rather objects interest the artist no more he changes his face. In other words, as such, and, retaining their external man disappears as an exterior model. aandnd tthehe AArtrt ofof model, they lose their functionality to That change resulted from the human properties. By this reason the change in Hakobyan’s ideas. As noted Armenian still lives are constructed upon by Gutin, each new idea is like a new HAKOB an internal semantic system, dictating organ that we acquire. Our ideas are the artistic resolutions. Environment like observation points wherefrom we becomes neutral, retaining a decorative scan the whole world. We perceive HAKOBYAN background. objects using the ideas that we have about them, however in the natural process of thinking we are not aware trying to depict motion. The painter Objects are perceived by man with of that, like the eye that does not see is attracted by ordinary objects, regard to their importance. In this itself in the process of vision. It can however, in this case they become hierarchical ladder one object is more be assumed that Hakobyan just did a armenian r

metaphoric. In the later period, only significant than another, still another not see, did not perceive his previous m everyday objects remain from the old one has no significance at all. In his models, because his ideas about man e times, however everyday life as such, initial period Hakobyan depicted had changed. n

or the descriptions of everyday life, do simple inconspicuous objects. In a Hakobyan’s new man is hidden i not attract the painter any more. later period his attention remained behind the instrumental model and is a concentrated upon the simplest merged with it. “Creative Instruments” n

“Chickens and eggs. Still life” (1969), objects, however he no more tries (1976), “Instruments” (1977), “In- art 1(15)/2006 “Fish in the Basket” (1976), “Apron and to concentrate upon them as such. struments and Eggs. Aggression” •

Eggs” (1972), “Fish and gloves” (1973), Hakobyan just makes a U-turn, (1980), “Scared Instruments. Still Life” •

Ô “Still Life with Fish" (1982). Those reversing this hierarchical ladder. He (1979), “Instruments on the Table” 1(15)/2006 Î pictures show objects which are feels no need to distort the natural (1980). Those works comprise an inte- â esthetically neutral. We can say that forms, he is satisfied with their gral illustration. We see aggressive Ì the primary objective of the painter is interior functional distortion. The and scared instruments involved into Ò not esthetical. In the piece “Chickens tendency to cover one by another fighting, game and conversation. Å ÅÒÌâÎÔ

and Eggs. Still Life”, we start to see the shows Hakobyan as escaping from metaphoric interpretation of reality, reality. This metaphoric reproduction Those mise en scenes by Hakobyan that reaches its pinnacle in still life of reality can be perceived in his so- can be regarded as still life with

üÅ© using it as a creative instrument. A called “instrumental” still life pictures, some difficulty. Paradoxically, his bird on a dish, dead, is becoming a that took place in the 70-s. dead nature lives. However, it is this symbolic expression of the past, the This type of escape from reality is 26 contiued p. 34 27 new diaspora questions and often asked for permission to take pictures the discovered objects. thinking was able to subdue many criteria adhering to Gagik Vardanyan is an architect born by the Shirak traditions, Years ago a certain young man was identified in this group. He was a student of human thought and modeled formulas. That opened that traditionally has artistically characterized style, a situation, Panos Terlemezian art school. He often visited us. He used to talk on motherland the potential for him to fashion new approaches to the that is relevant to the Giumri artists generally. Among the and on heavenly concepts of art, attended the excavation sites, took images of existing values, viz.: sensuality, diverse formations of attending circumstances of Armenian art of the last decades is discov-ered clay jugs, pitchers and sculpture-ornamented stone fragments. physical contact. That means mundane freethinking, a new manifestation of nostalgia, which is characteristic of the that since the renaissance and even earlier had entered contemporary diaspora. Actually, the Diaspora, created through all branches of art. That is the subject of the primacy of expatriation caused by the Great Genocide had another expansion From Dvin to Los Angeles love, emphasized by erotic and sensual variations. including specialists and artists expatriated from contemporary Armenia. Stimulated by the living conditions, alienated from the The same idea is shown in “Expectation”, a woman on the native land, the intellectuals born and professionally developed in canvas, seeming to be a visual illustration to the words Armenia, generated a completely new orientation in all branches Edward Vardanyan by Kuchak: of art, particularly distinctive are the artists of Giumri, including the architects, who have created serious works in fine arts. Your breast is white. It is a shining temple, your tits are Indeed, art is a song glinting at the brush strokes of those artists, they his story is not about Dvin, "Astkhik" Years went by, our peaceful life changed. like a dazzling fire, I will go out to cry and chime, and are the sounding patriotic particles in the foreign environment. They however, before coming to the We heard that Edgar was in Karabakh. come again to be flooded by this light. also spread out vigorously on Gagik Vardanyan’s canvases, which new diaspora Tessence of the matter, I want The painter’s brush was substituted by a to make a short reference to history, weapon. He was defending his country. And another picture, as a continuation of the theme” “In THE INWARD ARTISTIC LIFE OF to the 30s of the 4th century, when He won, he made it free, and he was Paradise”. “Lilit”. In Paradise, indeed. The matter is that the in the heart of the Ararat Valley in wounded. In 1992 we heard of him no “expectation” of the previous image was materialilzed the shadow of Minor and Greater more. And suddenly of late I ran across in an encounter and physical engagement. That is not GAGIK VARDANYAN Ararat foundation was laid of Dvin, him in Los Angeles. He grew older, a scene reflecting the mythic story of a frustrated love the capital city of Armenia. This large but his eyes were worried. Missing between Adam and Lilit, but rather a real, material love medieval city has completely vanished his birthplace Artashat, his kinfolks, that has taken place, amongst the dreams and feelings, from the face of the earth. However, comrades, Dvin, the soil and water, the and expectations of fertility. for long years, the citadel of the city tree and flower of Motherland. Living has been archeologically excavated away from native land however, he Edward the painter is also concerned with other showing the ruins of the Catolicos’ can dispel his homesickness in his own subjects. “December Devastation”. A scene of grief with residence, areas of the royal palace and way. He paints. There is no free space no characters, demanding no words. The sadness of other structures. The resulting large on the walls of his small workshop. It is humanity demands no comment. mass of archeological material was covered in publications filling in large "In Paradise". "Lilit" "Were to?" gaps in our knowledge. Archeological unimportant, whether they sell or not research attracted not only specialists (my impression was that he is not quite and tourists, but also the current willing to cede a picture to any money- population of the historical city of Dvin. giver). Cut off from everyday noise, the a armenian A great number of them have taken painter focused his mind on a dream THE ARCHITECT r

part in those operations, with love world of his own creation. basically are exploratory intellectual landscapes, contemporary m and affection, removing crockery from urban scenes, suburbs and grasslands on the horizon, and from time e the ruins, as well as other artefacts, What is the dream world of the artist? to time dreamy images of Armenian monuments with unending n admiring and taking pride in their Village. He thinks in colors. The structure return to Motherland symbolized by churches. The art by Gagik i

high-art legacy. Many of the residents and composition of his pictures receive Vardanyan is a gamut of colors, its natural environment is bright, a

were children, teens, students, who images and expressions due to the use while the residents are transient and painted in cool colors. n

approached the archeologists, asked of colors. art

1(15)/2006 Canvases by Gagik Vardanyan are filled with life and melody as

"Expeectation" The thematic orientation of the artist is a woman and a flower. well as with a variety of forms. The current and old natural or urban •

He thus celebrates life, beauty, motherhood and goodness. environments are free and dynamic in their outlines, they possess • Ô convulsion, rather than curved-line serenity, a moment is always 1(15)/2006 Î “Astkhik”, this is the title of the picture, representing active, relevant to surfaces with deep dynamic perspective, the joy

â a beauty matching her name. But is she indeed just the of light and shade, and particularly with the variety of brush strokes,

Ì Goddess of love, water and fertility, or simply a real, full- which, in combination with colors, sound in unison with texture. Ò blooded, ideal beauty, a woman, a charmingly attractive and

Å ÅÒÌâÎÔ enticing female? Another canvas “Where to?” With faces showing grief and Art by Gagik Vardanyan is tender poetry written in color. Those nos- desolation, women driving a donkey proceed along the talgic letters have a melodic undertone, whereby formal expression In the words by St. Narek: Your eyes will spread like road of exile. The painter’s art is optimistic, nonetheless. and a hot and cold contrastive color shriek displays dramatism, like morning sea, and filled with laughter is the mouth of two As shown by his pictures, exuding warmth, flooding with that of “Mona Lisa”. Seen here is a novella dualism emphasizing the üÅ© petals dripping the juice of roses. light and color, beaming with professional aptitude and concept of “AS IS” at a given moment. power. VARAZDAT HARUTIUNYAN, DAVIT KERTMANJIAN 28 The artist well familiar with the eclectic art using his original FRINA BABAYAN, Archeologist 29 art business Private picture galleries primitivists, symbolist-abstractionists, merit, enter the art market, hire the in America and Europe. A number of is a new phenomenon in Russian, European art, portraits, the salesmen to sell Armenian art. Art is exhibitions have been convened in THE PRIVATE traditional April 24, as well as displays priceless, but if it enters the market, it Holland, , next on the list is Armenia, born by independence. by Vahram Gaifejian, Hov han nes has to be appraised. Denmark. All over the world in the art Ter-Tadevosyan, Mkrtich Kamalyan, business promotion of this PICTURE GALLERIES Khachatur Esayan, Gayane Khachatryan, “Arame” picture gallery was founded For the last two years, 2003 – 2004, type of institutions goes Ashot Hovannisyan, et al. There were in 2003 (Yerevan, Abovyan 13). The “Arame” took part in the world art slow in Armenia, since there many charitable ac-tions to help founder director is Aram Sargsyan, expo in New York. It should be gladly is also an open-air market, OF YEREVAN children. Each exhibition is presented Ph.D., candidate of philological noted that “Arame” is presented in the so-called Vernisaj, which to the public following long months of science. Since its inception the every catalogue on five pages. “That is competitive through low careful work, in an academically correct gallery operates following distinctly is an outstanding phenomenon”, says prices. However, experience and tasteful display. formulated principles. It presents Aram Sargsyan, “with our principles

art business of other countries show that mainly different trends of realistic in mind we promote the art that we the future of art business Like other gallery directors, Armen art based upon figurative thinking. consider the most expedient, that belongs to private art Mkrtchyan thinks that the more According to the Director, in the does not mean we exclude other galleries and artistic salons. galleries, the better for developing last three years the gallery has trends of art, we positively welcome “Armenian Art” Magazine art, adding: “Serious painting can consolidated a number of gifted all trends, however, we think that will periodically present be only at a gallery, you cannot sell artists like Ruben Abovyan, Emil each gallery may have its face, its to its readers the private a serious thing in the street”. In his Gazaz, Taron Muradyan, Sargis style, and it is good that Yerevan picture galleries of Armenia. opinion, art business would profit Hamalbashyan, Armen Gevorgyan, today is the scene of this process, a lot by grouping the galleries. Kaits Vanikyan, Gevorg Egiazaryan, the profiling of the galleries, when GAYANE YEGIAZARYAN “I suggest to create the Directors’ et al. With three of the mentioned each one is trying to create its team, Council, as practiced in developed painters: Ruben Abovyan, Emil concentrate around the artists who perating in Yerevan countries. If we go in for serious Gazaz, Gevorg Egiazaryan, “Arame” is adhere to a certain tendency and today are around a dozen business, we have to establish a so- working with exclusive rights. promote the art that seems most Oprivate picture galleries, called syndicate. That will enable us indigenous. each one differing from others by its to get empowered, to create a net, The purpose of the gallery is not A Dedication Ceremony at the "Mkrtchyan" Picture Gallery adopted principles. Perhaps a general both inside and outside. The Council only to display, but also to promote As of today, the galleries are very few. concern is the problem of shaping a public as a generator of artistic taste, collection, presenting not only the will have its foundation, that would some authors, it has deployed the A European city of the size of Yerevan common taste. since the purpose of a private gallery fine arts, but also about 500 exhibits be helpful to the artists with whom it publishing activity. It has printed would have hundreds. It is by virtue is not only to sell objects of art, but of decorative or applied art, rugs, and is currently engaged. The operational catalogues of several artists and of these galleries that the art market According to Armen Mkrtchyan, first and foremost, to disseminate even folk musical instruments. This field will stabilize, there will be no monthly inventories of the new is formed accompanied by an ever director of “Mkrtchyan Picture culture”. collection in 1992 was in five cities of drops in prices, on the contrary, collection, sending them to different increasing public interest. a armenian r

Gallery”, the art business requires a the State of California drawing full- by careful cooperation we shall countries. “Arame” has established m serious approach, since it deals with This year “Mkrtchyan Picture Gallery” scale attention and media coverage. become represented worldwide by cooperation with different galleries In the West, every intellectual, self- e spiritual values, whereby the human is becoming 15 years old. In these respecting businessman must have n The "Arame" Gallery

factor is appreciated. “People have tense and difficult years it could not Later the “Mkrtchyan Gallery” was an art collection. In this country that i to be educated since early age. Taste only survive and get consolidated, on display in US, France, Belgium, culture has yet to come about. a has to be developed”. To that effect but also remained in the leading Cyprus, Moscow, etc. In 1994 – 1996 n

Armen Mkrtchyan and his wife Alla position. Established in 1991 as a it cooperated with the showroom Nonetheless, there are galleries in art 1(15)/2006 Aghavelyan often hold meetings with cultural salon “Krunk”, it was renamed of the Lebanon’s “International Yerevan, that are second to none in •

schoolchildren and students, as well “Mkrtchyan Picture Gallery” in 1994 Art Center”, and with “Studio 22” Europe, and even excel many. •

Ô as with the visitors of the museum. (44, Isahakyan St., 44, Yerevan). In in Antwerp in 1997. In 2002 the 1(15)/2006 Î Meanwhile, Aram Sargsyan, director the course of its fruitful existence “Mkrtchyan Gallery” was honored by They have discovered the correct â of “Arame” picture gallery, welcomes the gallery has convened about four “International Quality Crown Awards” operational mechanism. Ì all galleries, adding that founding score exhibitions both in Armenia and by the London XIV International Ò of each gallery is an event of great abroad. In the cold and dark years of Convention. Since 1993 the gallery The difficulties of this stage, to my Å ÅÒÌâÎÔ

significance. Distancing himself from 1991 – 92, when the Armenian people has prioritized the classical fine arts, mind, will be overcome, the time of the idea that new galleries cause had a problem of bread and survival, and this preference remains to date. the private exhibitions will have yet competition, Aram Sargsyan thinks the Mkrtchyans spared no effort to to come.

üÅ© that “each one has to have a special uphold the interest of the population The Mkrtchyan showroom official orientation, to represent a definitive to art. The first, unprecedented seat has convened multiple exhi bi- Do we agree with Aram Sargsyan? 30 direction, to be recognized by the private showroom, with a multigenre tions: thematic, personal, Armenian (To be continued)31 Music by Komitas is the DNA of music Armenian music, its genetic code. ARMENIAN MOMENTS Eavesdropping And how sensitive must have been IN THE MUSICAL PEZARO Komitas’s inner hearing, so as to In the center of Italy Pezaro, sprawling upon the fabulous Adriatic coast, is known as a detect that moment, when life is city of great musicians. Born here were Gioacchino Rossini, the trailblazers of operatic awakening within the seed, when art Mario Del Monaco and Renata Tebaldi. The narrow streets of the ancient city, houses music and structures that have become evidence of old times mentally take you to distant past, On One's Own Roots the little heart starts beating. where everything is saturated with the smartness of a Figaro and witticisms, the subtle girlish artfulness or genteel Rossini-type flirtation. Following the late medieval ages, the Armenian In L. Grigoryan’s performance instrumental virtuosity Hearing L. Grigoryan play it The city’s central square is the starting point of Rossini Street, and the location of musical art experienced a downfall, with a further is completely absent, being fundamentally alien to seems that the pianist puts her two musical schools, one – the Renata Tebaldi, Mario Del Monako International Vocal uplift only in the late 19th century. We have had the music by Komitas. Like the medieval Japanese Academy, and the other one – the G. Rossini Conservatory. Taking part in the vocal art ear to the ground, not playing, but enhancement courses at the Academy since November 2005 were the young Armenian no Baroque period with its tender miniatures and poets, Komitas is a master of miniature. he does not rather waiting for the first buds to vocalists Hovannes Gevorgyan (bass), Veronika Padaryan (soprano), and Gor Markosyan developed polyphony, we remained untouched need to be eternalized. While listening to the CD (baritone). Parallel to the study, within the context of monthly concert programs they appear, to cherish them with care. have the occasion to perform professionally. with the determinism of classical style, we have not carrying nearly the entire piano legacy of Komitas, Her playing is touching, like a enjoyed the appearance of a contemporary composer one can do comparison: if the whole Armenian music On February 3, the students of sweet motherly caress, so close to the Academy (Armenians, Serbs, like Shubert, who reduced his entire composition to is a tree, Komitas is the seed of this tree. As long as Komitas’ poetry. When however Koreans, Georgians, Japanese) the folk vocalism, while from the whole inventory of the seed stays, this type of tree will not cease to be. performed their native vocal it is needed to play with force, the compositions. Our compatriots romanticism we regrettably assimilated only what is pianist does it as if reluctantly, featured both classical and related to parlor and demonstration. contemporary Armenian com- without hitting. posers. Accompaniment was provided by the professional The creative work by Komitas seems to fill in all Dutch concertmaster Villem Perik. It is often stated that Komitas In the concert section Hovhannes those gaps. Indeed, his music in many cases has cleansed the Armenian village Gevorgyan performed the aria of common margins with all the mentioned schools and David Bek from the opera of the music from foreign impurities. same name by Armen Tigranyan, styles. Moreover, his art opens such horizons that It would perhaps be right to say and the art song “A Willow Bowed until today have not fully opened in the European over a Brook” by Daniel Ghazaryan. Veronika Padaryan presented pieces by Arno that Komitas cleansed, idealized Babajanyan. Gor Markosyan performed Arshak II’s arioso from the opera of the same music: the impressionism of Debussi, the folklorism the entire Armenian nation, name by Tigran Chukhajan and Mosi’s aria from “Anush” by Armen Tigranian, continuing of Bartok, the extreme semantics in each sound of the Anush-Mosi duets accompanied by Veronika Padaryan. and isolated from the elixir of Webern’s pieces. It should be said that given the his music is what is the most The audience welcomed the Armenian performers with applause. Eventually, the unlimited musical talent, Komitas deliberately veteran Maestro Melani highly appreciated the execution by the Armenian performers, advanced, the most essential. underscoring at the same time their originality and appeal. sacrificed his own compositional language in favor Particularly valuable in L. GOR MARKOSYAN of the language of country song, thus becoming its a armenian

Grigoryan’s performance is that r

preacher and its symbol. It is impossible to say about m with a miraculous perception Komitas: “He is feeding on the musical origins of the The Mesrop Mashtots Center of Rhetoric and Oratory

she can pick up that Komitasian e Nation”. He himself is that origin, he is not feeding, New CDs has launched a subscription campaign for a double artery presenting it in an original CD: “KNOW YOUR LEGACY” and “YOUR LEGACY IS WITH n

he is the feeder. YOU” representing 36 pieces of exclusive Armenian literary and musical compositions. i

and sensitive way. She deeply feels a

the demand and measure of the CDs with original design include: live vocal performances by THE GREAT ARMENIAN n The purpose of a performer of music by Komitas performing freedom, and does MASTERS: PARUIR SEVAK, HAMO SAHIAN, VAHAGN DAVTIAN, HOVANNES SHIRAZ, SILVA KAPUTIKIAN, SOS SARGSIAN, HOVANNES CHEKIJAN on the subjects of love of country art

1(15)/2006 is to discover the cultural symbolics and codes

not prevent music from staying and language. accumulated therein, to be very sensitive so as • as it is: as if she sends it back to

not to violate the intonation of the song, and to This collection has been established by the RA Ministry of Science and Education as •

Ô its original state, the song. On the an audio tutorial for schools and Institutes of

finally merge its sound with the sound of the entire 1(15)/2006 Î other hand, his perfect command higher education.

â Armenian nation singing through Komitas. The of the instrument enables To subscribe, visit the Mesrop Mashtots Center of Ì pianist Lusine Grigoryan who produced a musical Rhetoric and Oratory, Yerevan, Tigran Metsi 9, t. 1 Ò her to play discretely and to CD of piano pieces by Komitas in 2004, under the simultaneously reconcile different seniak (next to Firdusi Fair), every day, Å ÅÒÌâÎÔ sponsorship of the “Narekatsi” Art Union, resolved 11.00 – 19.00 musical articulations, seemingly this triple task in a bright manner. The word “bright” FAX: 52-25-45: with no effort. E-MAIL: [email protected] Inquiries: does not stand anywhere near the extraordinary 52-56-62, 56-34-55, 25-46-33, 091-511141: üÅ© quality of the said music. Transaction Account: Ardshininvestbank CLOSED ARTUR AVANESOV, JOINT-STOCK COMPANY, 247013921181 32 Composer, pianist, Ph.D. in art. 33 continued from p. 27 confrontation that is the chief advantage of those pieces. This type of a music living still life can be seen in Salvador Dali, and it is named so, “Moving Still Life” (1956). The movement by Dali has a physical character. An impres- THE KING sion of unreality is achieved by rejecting the laws of physics. Hakobyan’s Varoujan objects never make any unreal movement: pliers hold tight, nippers cut, OF PERSIAN etc. The movement is done in the inside. Being merged with man, the instruments never look to us unreal in their imovement, however, man’s POP SONGS existence remains visible and real. Hakhbandian performed one of his songs. I wondered especially in these three particular songs GEORGES AINTABLIAN, Los Angeles

fine atrs why Armenians never acknowledge one composed by Hasan Shamayizadé and Hakobyan remains faithful even now to this system of world view estab- My interest in Varoujan started six months of their sons that have this immense based on lyrics by Ardalan Sarfaraz: Mano lished in the 70-s. ago with one song: Shabzadé (Nightstruck), effect on their neighboring country and To (Me and You), Karibé Ashena (Familiar performed by the legendary Persian singer Ebi. its people around the world although Stranger) and Oon manam (That’s Me). I kept listening to this particular song again and more than half of the 16,000 attendants again for more than twenty times at a time to of that concert were Armenians that night. A third Iranian pop music idol is Dariush who enjoy the harmony of its arrangement which is We also have similar master composers performed four of Varoujan’s compositions lacking these days in many Persian and Armenian whose works sit on Yerevan’s radio station in his repertoire of 200 songs. His real name songs. I also was very curious about the lyrics of shelves to accumulate more dust as years is Dariush Eghbali and was born in 1951. Armenian schools for two years in Ahvaz. this song which is written by Zoya Zakarian. Ebi, pass and technology remasters all kind of The most popular and very much loved When he moved to Tehran, he was hired by whose real name is Ebrahim Hamidi, was born possible vintage recordings around the Booye khoobe gandom (The Good Smell of Parviz Atabki as orchestrator for his Tanin in 1949 in Tehran. During his career and vast world except ours. I wonder how many of My Wheat) is based on a poem by Shahyar studio. Then he started composing songs repertoire of 200 songs, he had the chance to Amirkhanian’s compositions can one find Ghanbari. The other two songs have lyrics for the Zangooleha television show where perform only three songs composed and arranged today fully remastered from their original by Iraj Jannati Atayi: Baradar jan (Dear new voices were discovered. There he met by Varoujan and one song only arranged by him. 70’s recordings which were perfectly Brother) and Eshgheman ashegham bash the poet Shahyar Ghanbari and Googoosh. The other two songs composed by Varoujan arranged and orchestrated as compared to (Be My Lover O My Love). The fourth song His song Harf (Letter) based on Ghanbari’s have both lyrics by the poet Iraj Jannati Atayi nowadays less than average songs. is a crowd cheerer and a personal favorite poem was chosen as Best Song of the year and are the very popular Pooste shir (Lion Skin) of mine called Ejazé (Permisson) with lyrics in 1975. The same year he won the SEPAS and Kandoo (Beehive), which is taken from the Varoujan’s collaboration with Googoosh by Reza Atayi. Audiences all over the world Award for Best Film Music at the 5th Iranian homonymous film directed by Fereydoon Galé started in the early seventies and continued are always thrilled by this song whenever National Film Festival for the movie Kandoo. in 1975. Asal (Honey) has very rich arrangement on until his premature death in 1979. Dariush sings it at his concerts. Varoujan One of Varoujan’s other compositions based by Varoujan although the melody is composed Googoosh, whose real name is Fayeghé also arranged seven other songs for Dariush on Ghanbari’s work called Dehkadeye by Farid Zoland, another legendary composer AT THE "NAREKATSI" ART ASSOCIATION Atashin, was born in Tehran in 1951. based on melodies by other composers. koochake man (My Small Village) is lost in Persian song, and the lyrics come from his Varoujan composed twelve songs for her forever and no copy of it exists anywhere. February, 2006 longtime collaborator Ardalan Sarfaraz. Ebi later and arranged more than twenty others that Varoujan composed only one song for the This song was performed by Zia Atabay in 13 The “Haifesti” Youth Association and the “Ifeps” studio presented the “Hope, on performed seven Varoujan compositions in the Athens Music Festival in Greece and won Faith, Love” show program. Their purpose was to introduce the visitors to the now are undoubtedly an inseparable part lyrical and beloved Persian singer Farhad his Tajé tarané (The Crown of the Song) album a armenian symbols of the Church holidays Candlemas and St. Valentine’s. The soiree of every Persian in the world. Those songs called Hafteyé khakestari (Grey Week). He the Golden Medal for best song. In 1979, was closed with the Candlemas fire, with the young people leaping over it. that were originally composed for Googoosh. when he was arranging the soundtrack for r

evoke both nostalgia and remembrance of also composed one song for Satar called m 16 There was a display of the Armenian American sculptor Grigor Manukyan’s a past era in the history of Iran. The twelve Shabé akhar (The Last Supper). Leila the film Bar feraz asemanha (On Top of the monumental works. The opening was accompanied by string and piano Time passed, and I attended Iran’s utmost Skies), Varoujan had a heart attack and was e music, while the actress Hasmik Ter-Karapetian read poetry by the sculptor. Varoujan compositions are as follows: Bavar Frouhar sang only one of his compositions legendary singer Googoosh’s concert in taken to the hospital. After being confined n 16 There was a concert of the “Rabble Rouse” vocal and instrumental ensemble. kon (Believe!, lyrics by Iraj Jannati Atayi), called Yek nafas atre to bas (One Breath is Inglewood, California. Before going to the concert i

The ensemble members performed their compositions (artistic director Khabam ya bidaram (Sleeping or Awake, Enough to Feel Your Smell). Those three to bed for ten days he passed away on 26 a I discovered how Varoujan had shaped the

Robert Khudaverdian). lyrics by Iraj Jannati Atayi), Harf (Letter, compositions were all written by the Shahrivar (September 17). The next day n career of this Persian nightingale by composing

21 A personal exhibition was opened by Arevik Mkrtchian titled “From my lyrics by Shahyar Ghanbari), Mah pishooni acclaimed poet Shahyar Ghanbari. he was buried by friends in the Eastern Window”. and arranging no less than thirty of the most Armenian cemetery in Tehran. art 1(15)/2006 (Moonlit Forehead, lyrics by Iraj Jannati 23 By the initiative of Mariam and Armen Kanayans an event took place beautiful songs of not only her career but in the Atayi), Pol (Bridge, lyrics by Iraj Jannati Varoujan Hakhbandian was born in 1940 • dedicated to the holiday of Vardanants. It started with a prayer by the priest entire history of Persian pop songs as proudly

of St. Trinity Church of Yerevan, the latter noted that this holiday was for the Atayi), Faslé tazé (New Season, lyrics by in Kazvin, Iran. The same year he lost his From 1970 to his tragic death in 1979, recognized by all Persians around the world. • people whose names were not matched by the names of Saints. Khoren Zoya Zakarian), Hamsafar (Fellow Traveller, father. His mother died in 1942 and he Varoujan composed twenty seven film

Some name him the king of Persian pop songs 1(15)/2006 Palian and the partakers read fragments of the book by Eghishe “On the lyrics by Iraj Jannati Atayi), Gahvaré (Cradle, was sent to live with his grandparents. soundtracks and was highly ranked among Vardanants and the Armenian Wars”, and sang church songs. of the golden age and some lament his loss and lyrics by Zoya Zakarian), Vaghteshé (It’s When his grandmother died in 1947 he the best film music composers along with 26 There was a soiree of chamber music, sounding pieces by F. Mendelssohn. irreplaceability in Persian pop songs because Time, lyrics by Iraj Jannati Atayi), Asheghané was sent to the Italian boarding school Babak Bayat and Esfandiyar Monfaredzadé Participants included Ashot Avanesov, piano, Vilen Gabrielyan, violin, Hike things were very different after the Islamic Babayan, chelo. (Amorously, lyrics by Shahyar Ghanbari), in Tehran. He graduated from the Tehran in the history of film music in Iran. Revolution of 1979. Varoujan was no longer there ÅÒÌâÎÔ 27 The meeting of intellectuals was dedicated to the composer Alan Hovhannes, Daryayi (Of the Sea, Dzovayin, lyrics by Conservatory of Music where he learned and Googoosh was banned for twenty years from and the problem of correctly representing his legacy in Armenia. Iraj Jannati Atayi), Shabé shisheyi (Glass to play the piano. His teachers were Ruben Babak Bayat said about him: “All that we Other details of the “Narekatsi” Association activities can be found in singing. have in a song is from Varoujan. All the www.naregatsi.org Night, lyrics by Iraj Jannari Atayi). On the Grigorian and Ludwig Basil. After that he other hand, Varoujan’s arrangements for went to the United States to specialize in arrangements and the musical themes have üÅ© RUZANNA MOVSISYAN, Student of the , During the concert I was devastated by the name Googoosh recall masters of film music to music arrangement for four years. After he their origin and are influenced by the works Dept. of Journalism “Varoujan” in Farsi projected on the background mind like Lalo Schifrin and Ennio Morricone, returned to Iran, Varoujan teached music in of Varoujan.” 34 of the stage each and every time Googoosh 35 new books THE ARMENIAN ART OF New Books

The starting and ending pages carry images of “Paradise on Earth”, a view of Van City with its cliff fortress, city center and orchards formerly bustling with Armenians. Here one could see the small but very efficient Armenian community of jewelers. In actual fact, from this and other shops the Western Armenian A Silver dishes for honey and butter. Master Tigran, Van modernism had to exit that because of the Great by the author: “Ornamental art host box, different crosses, silver Genocide remained an unopened flower, imprinted new books shows the real life of the people. wine cups from Van, a chrism cup, into this little article of Armenian silver craft. It is not That art, from the beginning of cigarette boses, tumblers, inkpots, surprising that the author dedicated the book to his human history to this time has pens and different ornaments, genocide-surviving parents. rings, handbags, incense cups,

handles, etc. In this part of the Karbis Surenian, Diary, 1943-2001, Vol. 1. Yerevan, "Sargus Khachents" Publisher. As noted in the preface, “In reality both art and book an important contribution craftsmanship belong not to one nation or one is the professional explanation individual, but rather to the entire humanity, equally, of the silversmiths’ technical their protection and support has to be effected by the innovations, thermal treatment whole of humanity. But when I saw the destruction of and other techniques, gilding. An our monuments, and even small and subtle manually important undertaking was the produced and unique articles by the Armenian hands compilation of lists of renowned lumping the blame onto aliens, in the face of those jewelers, their personal details bitter happenings I could not remain indifferent”. The A Silver Bag for Keeping Rings, Van and trademarks. first part of the book is a review of the history of the

SSILVERILVER WWORKINGORKING A. Hakobian, A Study of Color and Imagination. Yerevan, "Zangak-97" Publisher, 2006. We are looking at the much anticipated edition by the Armenian nation, wherein of a particular interest “Van” publishers of Los Angelos and the “Tigran Mets” “The Silversmiths of Armenia” by is the subsection “The Cultural Life of Armenians publishers of Yerevan of “The Silversmiths of Armenia” Hovsep Tokat is a talented work, a armenian under the Ottoman Rule”, with all the most important by Hovsep Takat. The author is a distinguished not only because of artifacts and r

intellectuals and artists. Presented in the second section m collector of silver articles based in Los Angeles, whose innovations, but rather by the is the chronicle of Van City, with a special emphasis on long years of research and collected items and data method of presentation. This e the most significant specimens of the Van’s jewelers’ are put into service to the Armenian studies of the is an comprehensive merging n art. The second, fourth and fifth sections of the relevant periods. Actually, the multiple specimens of of the contemporary and the i book are of a particular interest, bearing the names: a

silver art exhibited in different museums of the world historical, the professional and n “Armenian Ornamental Art in silver and gold work”,

until now have not merited the appropriate attention. the commonly accessible, the

“Armenian Gold and Silver Working in Van”, To be art

1(15)/2006 This gap is filled by Hovsep Tokat with his professional Armenian and the International.

noted here is an original definition of ornamental art approach. The purpose of the book is to submit to The history of this book includes a • Liza Manvelian, String of Love. Aleppo, , "Arevik" Publisher, 2005.

the readers and specialists data on certain periods of wide-range cooperation between • Ô the Armenian history which, beside Constantinople, the domestic and overseas 1(15)/2006 Î Caesaria, Smyrna, Trabzon, Carin and other places, A Silver Guilded Cross. 18th c., Kilikia specialists. Indeed, while writing â mostly include Van-Vaspurakan, as well as places of the book, the author contacted Ì

Ò Armenian exile of the post-genocide period. This embellished the human body, about fifty foreign and domestic situation has been masterfully interpreted by the clothes, dwellings, furniture and specialists. Å ÅÒÌâÎÔ

specialists supplying the book: Harry Vorberian and utensils, instruments, books and Ishkhan Jinbashian. The work is printed in Armenian manuscripts, places of worship and English, with interesting selection of illustrations, and temples, even tombstones”. D. G. KERTMANJIAN,

üÅ© putting into circulation extensive evidence, including Among the exhibits there are Prof. Dr. of Architecture, ancient coins, sheaths of swords, book bindings, some specimens belonging to the V. M. HARUTIUNIAN,

member of RA National Academy L. Lajikyan, laundation to Mother Tongue. Yerevan, 2005. 36 containers for everyday use, ornaments, things, et al. Master Malchas. A Silver Book Binding author, like a silver gold-coated 37 Edutor's Briefcase

For subscription in Armenia and in Artsakh apply to "Armpress" (Haymamul) agency or to the Editorial Office, in Diaspora - to the REPRESENTATIVES of the Magazine

Argentina, Buenos Aires - Khuan Elangezyan [email protected] Australia, Sydney - Nora Sevagian [email protected] Melbourne - Beatrice Manukyan [email protected] Canada, Montreal - Maro Manavian

representative [email protected] Toronto - "Ararat Camar" Andranik Chilinkirian Denmark, Copenhagen - Marina Sargisian masha@tiscale,dk France, Paris - Matevosyan [email protected] Georgia, Tbilisi - Sargis Darchinyan Great Britain, London - Artour Oshakantsi [email protected] Iran, Tehran - Albert Kocharyan “PANORAMA” Magazine, #32, [email protected] 2005, Los Angeles, containing Esfahan - Ani Babayan [email protected] Sarian-related materials. - Rita Nazarbekyan [email protected] Italy, Pesaro - Gor Markosyan “SHAVIGH” Magazine, #5, 2005, Aleppo. [email protected] Lebanon, Beirut - Movses Hergelian [email protected] “KAMAR” Magazine, a Beirut based Russia, Moscow - Nikolay Tadevosyan newly opened literary and artistic St. Petersburg - Ashot Khachatryan periodical, the first number (2005): [email protected] Switzerland, Geneva - Nevrik Azadian Syria, Aleppo - Ani Fishenkjian All mentioned publications are culturally oriented, and loaded with essential [email protected] Turkey, Istanbul - Mushegh Najarian information. [email protected] USA , New York - Sahan Arzruni [email protected] Los Angeles - Tigran Sargsyan CONDOLENCE 1(15)/2006

[email protected]

• Boston - Ara Ghazarian The Editorial staff of “Armenian Art” offers condolence Milanda de Mont [email protected]

Ô to Norayr Vardanyan, executive secretary of the journal, Chicago - Rachel Koshkaryan Î [email protected] on the occasion of death of his beloved mother, SEDA â United Arab Emirates, Abu Dhabi - MKHITARYAN, which occurred on December 9th, 2005, at (Australia).

Ì Andranik Daghlian

Ò 82 years of age. [email protected]

Å ÅÒÌâÎÔ A Personal Exhibition, REPRESENTATIVES of the "Armenian Art" The Editorial staff of “Armenian Art” offers condolence to magazine are full members of the editorial staff. They receive and send Hasmik Ginoyan, Executive Director of the Journal, on the articles to the Editorial Office, organize occasion of death of her beloved mother, SONA GINOYAN the National Picture Gallery, üÅ© subscriptions. The representatives have a legal authority to allow advertisements which occurred on January 16, 2006, at 68 years of age. 38 and realize collaborative agreements. June 7. Milanda de Mont, A Dance

The Editorial Office of “Armenian Art” Magazine is advocating a compilation of an illustrated manual “The Armenian Painters and Sculptors of the Early 21st Century”, to include the expatriate Armenian professional artists.

Please find the relevant forms to be filled in and submitted at our web site www.armenianart.am