Աստուածածնի պատկերագրութիւնը վաղ միջնադարեան հայ արուեստում

Abstract

In 301 AD Armenia was the first country to adopt Christianity as its state religion. It is one of the ancient cradles of Christian culture. Guided by Christian belief and doctrine, as well as the theology of the Armenian Church, medieval Armenian art developed independently with a distinctive national artistic vision contributing to the development of centuries-old traditions of Christian art. This article studies specific examples of this phenomenon through research of iconography of the Holy Virgin, the first examples of which are preserved in Armenian churches (Odzun church niche, 6th c., Pemzashen St. Astvatsatsin church lintel 6th c.) and quadrilateral monuments of 4th-6th centuries (Talin, Arouch, Koghb, Yeghvard, Harich, kharabavank, etc.). In Armenian churches there are few subject scenes; however, reliefs of Christ and the Madonna predominate as the Armenian Church worships Mary and Christ among others. In ancient Armenian reliefs representation of an Enthroned Hodegetria prevailed, and this remained popular in all forms of national art in later centuries. In early medieval Armenian art iconographic representation was strictly governed. Variations were also created. In ancient monuments the Enthroned Hodegetria is mainly represented in a two-figure composition, where Madonna and Christ are in the frontal position, a feature typical of the icon. Elements indicating the Virgin Mary’s royal descent as well as symbolic details of veneration of the Mother of God – a cushion on the throne, a plinth under her feet and so on – are depicted. The infant Christ is depicted as seated on the left knee of the Virgin and making the blessing sign, his right hand extended over his Mother’s breast and with a book, the Gospels, in his left hand. In Byzantine examples of the same period Christ is depicted seated on her Mother’s lap (his head nestled against Mary’s neck) with a scroll in his hand. A multi-figure type of composition of the Virgin Hodegetria was created during this period too. Here guardian angels are standing full length by the Virgin Mary (plinth of Talin stela 5-6th c.). Occasionally, donors are depicted (Pemzashen lintel). According to Armenian and foreign scientists, such a large number of highly artistic monuments of the Virgin Hodegetria provide evidence that Armenia was one of the first countries of origin of this type of iconography. National features are visible in the rhythmic sequence of clear-cut lines and the general treatment of figures, as well as in the solemn representation of the Madonna and Child. Comparison of ancient representations of the Holy Virgin in Christian and Armenian art reveals similarities as they are based on common principles and local characteristics of national and spiritual artistic expression. It is worth mentioning that in early Armenian monuments the symbolic expression of religious dogmas (typical of Eastern Christian art) and figurative elements of Byzantine art are combined. They complement one another and form the national spirit of artistic language and vision, determining the development of Medieval Armenian art in subsequent centuries.