Papers by Armine Petrossian
Yearbook, 2024
The decoration system of the Canon Tables of the Armenian Gospel Books, and the portals of many c... more The decoration system of the Canon Tables of the Armenian Gospel Books, and the portals of many churches have apparent iconographic similarities. It can be seen in the architectural and decorative compositions as
well as in the analogous images of birds. The development of the decoration
system of the Canon Tables and church portals has proceeded simultaneously; therefore, the iconographic and symbolic systems could be considered in the same context. Both the Canon Tables and portals have the
same function and meaning: to lead believers into the other, sacred space.
Consequentially, the artistic system aimed to have an effect on believers on
a cognitive level. Symbols of Christian perceptions such as the Heaven, Salvation, and Immortality are expressed in the decoration of the Canon Tables and portals through certain compositions and images. They help with the materialization of unperceivable and inexpressible phenomena into tangible and comprehensible images.
BULLETIN OF MATENADARAN, 2022
One of the main ideas of the Christian conception of the world is struggle, which is reflected in... more One of the main ideas of the Christian conception of the world is struggle, which is reflected in art in allegorical scenes and symbolic images. Among them, there are scenes of “struggling” birds that became widespread in the church decoration of the 10th–14th centuries (they count more than three dozen). On the basis of compositional features, we can distinguish the scenes of the struggle of a bird and an animal, the “torment” between two birds and the combat of a bird and a serpent-dragon.
The first iconographic composition represents a bird of prey (eagle or falcon) holding an herbivore in its claws. The earliest examples of this scene (on the Holy Cross Church in Aght‘amar, the Khakhu Church and the Ani Palace Church) are marked by realism and dynamism. However, in the subsequent compositions those features were developed towards frontal, static and allegorical representations in which the bird and the prey symbolize the salvation of the righteous soul (Oshkvank‘, Ani Cathedral, Dsegh, Ayrivank‘ (Geghard), Burt‘elashen, Eghvard, Herher, etc.).
In the scenes of “torment,” the birds are represented in profile: a larger one (bird of prey) pecks a smaller bird (in two cases an animal) on the neck or sometimes the breast or the head. The first example of this composition decorates the Aght‘amar Church and has become a common scene throughout Armenia (Hovhannavank‘, Т‘anahat, Ayrivank‘, Nor Varaga, Makaravank‘, Tigran Honents‘, etc.). This scene perhaps reveals different aspects of the common perceptions of eternal struggle.
The third composition represents a unique image of a bird and a serpent-dragon (Makaravank‘, 1198). The bird (eagle) is depicted in profile, standing in a serene position and meantime attempting to strangle a serpent-dragon curled around its neck. Reflecting the main idea of Christianity, vanquishing evil, this composition represents the common Christian idea of the triumph of the divine.
“Scientific Works” Shirak’s Center of Armenological Studies of NAS RA, 2021
Church of St. Gregory or Tigran Honents (1215) in Ani is distinguished by a rich sculptural decor... more Church of St. Gregory or Tigran Honents (1215) in Ani is distinguished by a rich sculptural decor of the facades. The arcade, surrounding the walls, is crowned with a frieze depicting animals on a rich plant background. The depictions of reliefs of real birds and animals can be seen in the spot, and in one case, some fantastic creatures are drawn in the form of twin sirens. The relief represents a rich cycle of single and heraldic compositions, motifs of bird and animal’s struggle, beast hound, etc. St. Gregory church has its sculptural frieze prototypes typical for the Armenian early medieval art, such an example is the external decor of the temple Zvartnots, which is associated with the Paradise Garden. The animal sculptures of the Ani temple have iconographic parallels in the "vineyard belt" of the Church of Holy Cross situated in Akhtamar. The similarities are noticed in the compositions of the wooden capital of the Sevan monastery, in the carved door of the monastery of St. Apostles in Mush, in the facades of the Church of the Virgin in Amagu Noravank. Except the rooted iconographic and symbolic traditions particular for the Christian culture, the decor of St. Gregory reflects the traditional artistic richness of Ani’s urban culture with its inherent style of nobility.
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Papers by Armine Petrossian
well as in the analogous images of birds. The development of the decoration
system of the Canon Tables and church portals has proceeded simultaneously; therefore, the iconographic and symbolic systems could be considered in the same context. Both the Canon Tables and portals have the
same function and meaning: to lead believers into the other, sacred space.
Consequentially, the artistic system aimed to have an effect on believers on
a cognitive level. Symbols of Christian perceptions such as the Heaven, Salvation, and Immortality are expressed in the decoration of the Canon Tables and portals through certain compositions and images. They help with the materialization of unperceivable and inexpressible phenomena into tangible and comprehensible images.
The first iconographic composition represents a bird of prey (eagle or falcon) holding an herbivore in its claws. The earliest examples of this scene (on the Holy Cross Church in Aght‘amar, the Khakhu Church and the Ani Palace Church) are marked by realism and dynamism. However, in the subsequent compositions those features were developed towards frontal, static and allegorical representations in which the bird and the prey symbolize the salvation of the righteous soul (Oshkvank‘, Ani Cathedral, Dsegh, Ayrivank‘ (Geghard), Burt‘elashen, Eghvard, Herher, etc.).
In the scenes of “torment,” the birds are represented in profile: a larger one (bird of prey) pecks a smaller bird (in two cases an animal) on the neck or sometimes the breast or the head. The first example of this composition decorates the Aght‘amar Church and has become a common scene throughout Armenia (Hovhannavank‘, Т‘anahat, Ayrivank‘, Nor Varaga, Makaravank‘, Tigran Honents‘, etc.). This scene perhaps reveals different aspects of the common perceptions of eternal struggle.
The third composition represents a unique image of a bird and a serpent-dragon (Makaravank‘, 1198). The bird (eagle) is depicted in profile, standing in a serene position and meantime attempting to strangle a serpent-dragon curled around its neck. Reflecting the main idea of Christianity, vanquishing evil, this composition represents the common Christian idea of the triumph of the divine.
well as in the analogous images of birds. The development of the decoration
system of the Canon Tables and church portals has proceeded simultaneously; therefore, the iconographic and symbolic systems could be considered in the same context. Both the Canon Tables and portals have the
same function and meaning: to lead believers into the other, sacred space.
Consequentially, the artistic system aimed to have an effect on believers on
a cognitive level. Symbols of Christian perceptions such as the Heaven, Salvation, and Immortality are expressed in the decoration of the Canon Tables and portals through certain compositions and images. They help with the materialization of unperceivable and inexpressible phenomena into tangible and comprehensible images.
The first iconographic composition represents a bird of prey (eagle or falcon) holding an herbivore in its claws. The earliest examples of this scene (on the Holy Cross Church in Aght‘amar, the Khakhu Church and the Ani Palace Church) are marked by realism and dynamism. However, in the subsequent compositions those features were developed towards frontal, static and allegorical representations in which the bird and the prey symbolize the salvation of the righteous soul (Oshkvank‘, Ani Cathedral, Dsegh, Ayrivank‘ (Geghard), Burt‘elashen, Eghvard, Herher, etc.).
In the scenes of “torment,” the birds are represented in profile: a larger one (bird of prey) pecks a smaller bird (in two cases an animal) on the neck or sometimes the breast or the head. The first example of this composition decorates the Aght‘amar Church and has become a common scene throughout Armenia (Hovhannavank‘, Т‘anahat, Ayrivank‘, Nor Varaga, Makaravank‘, Tigran Honents‘, etc.). This scene perhaps reveals different aspects of the common perceptions of eternal struggle.
The third composition represents a unique image of a bird and a serpent-dragon (Makaravank‘, 1198). The bird (eagle) is depicted in profile, standing in a serene position and meantime attempting to strangle a serpent-dragon curled around its neck. Reflecting the main idea of Christianity, vanquishing evil, this composition represents the common Christian idea of the triumph of the divine.