Armenian artists - Page 9 - Форум по искусству и инвестициям в искусство

Armenian artists · 04-01-2010, 08:21

Armenian artists on our site ARTinvestment.RU

A

National Gallery of Armenia
Minas Avetisyan (1928-1975)
Hakob Hakobyan
Hmayak Hakobyan
125th anniversary of Sedrak Arakelyan
Avakimyan Makarovich Victor (1935 -2007)
Agamyan Karen Gurgenovich
Avanesyan S. Rook
Vahan Ananian (1959-2007)
Aslamazyan Arshakovna Miriam (1907-2006)
Aslamazyan Eranui Arshakovna (1910-1998)
Arutyunyan, NA Solov'eva, Arutyunyan, SA, Solovieva AV
Avoyan Ayvaz
Adalyan Ruben
Avakian, Sergei
Armenian Ceramics of Jerusalem
Armenian Ceramics of Jerusalem (2)
Armenian Ceramics of Jerusalem (Marie Balian)
Armenian ancient ceramics (Jerusalem).
Arthur Avetisyan, Ananikyan Hagop (1919-1972gg), Ananian Pato (1908-1991), Gagik Antashyan, Michael Arakelian, Vahram Haroutunian, Arutchyan Sergei Voskan Asatryan, Rafael Atoyan
Abajian Edward
Agamyan Karen
Arevik Arevshatian
Aladzhalov Manuel Hristoforovich
Amalbashyan Sarkis
Robert G. Avetisyan
died folk artist Edward Artsrunyan
Suren Ayvazian
Suren Abrahamian Artashesovich
Abrahamian Seda Artashesovna
Abrahamian Elena Levonovna
Abrahamian Vladimir Smbatovich
Abrahamian Karapet Rafaelovich
Abrahamyan Sargis Surenovich
Abrahamian David Aramaisovich
Abajian Eduvrd Gareginovich
Abrahamian Artashes Saakovich
Abrahamyan Gagik Aramaisovich
Atamyan Karabed Charles (1872-1947)
Stepan Aghajanian Meliksetovich (1863 - 1940)
Gyumri home Aslamazyan sisters
Arutyunyan, NA Solov'eva, Arutyunyan, SA, Solovieva AV
Arpine Vartanovna Bekaryan
Ashot Adamian Kh (1951g.r.)
Adamian Olivia Ashotovna (1974g.r.)
Adamian Ovsepovich Stepan (1959.)
Harutyunyan, Anna (1976)
Stepan Aghajanian Meliksetovich (1863 - 1940)
Adiyan Anna V. (born 1972)
Azatyan Alexander Tadevosovich (1930gr)
Azatyan Levon Garushevich - 1957gr.
Azizian Tsolak L.
Susanna Azatyan Garushevna - 1947gr.
Azizian Tsolak (Private collection of pictures)
Abraham Azarian Karapetovich (1950gr).
Azizian Minasovich Gregory (1923 to 2009)
Azizian Rafael Karenovich-1937gr
Azizian Khachatur Surenovich-1948gr
Azizian Isabella Hachaturovna - 1973gr.
Atayan Alexander Keropovich-1953gr.
Armen Atayan Arshakovich-1922gr.
Atayan Armen (2)
Museum of the History of Armenia

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Friends in comments sure to write headlines, if the artist is: Name (Birth year).
If there is an error please contact admin.

Just Armenia ... I really like this country ..

Евгений · 16-01-2010, 08:25

Quote:

Originally Posted by Guriev, Igor

Petros Nersesovich Konturadzhyan, he knows someone?

A talented artist with a tragic destiny ...
He lived in Paris, in 1947 he returned to Armenia.
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Shaen KHACHATRYAN article about the artist Hakob Hakobyan, a little thought and P. Konturadzhyanya
"..... besides, we still feel about him heavy, stagnant atmosphere of our artistic life, which is characteristic for the 50-ies and ruinous for free creative development. Fresh was the memory of a wonderful artist, an immigrant from France Petros Konturadzhyane, exhibited together with such masters as Picasso, Braque, Matisse: unable to withstand this stifling atmosphere, he committed suicide ... "
http://www.golos.am/index.php?option...=view&id=28217
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1.Petros Nersesovich Konturadzhyan
2.Kartiny from the collection of National Museum of Armenia (Yerevan)

Евгений · 16-01-2010, 09:11

Sarkis Mouradian Mambreevich (Սարգիս Մուրադյան). Armenian artist
1951 - Graduated from the Yerevan Fine Arts and Theater Institute.
Since 1954 - was a member of the Artists' Union of the Armenian SSR.
1964-1968 - was the chairman of Arts Council of the Art Fund of the Armenian SSR.
1982-1987 - Chairman of the Artists' Union of the Armenian SSR.
1985-1990 - a deputy of the Supreme Council of the Armenian SSR.
1990-1995 - Deputy of the Supreme Council of Armenia. Member of the ARF.
Since 1995 - teaching at the Yerevan State Academy of Fine Arts. Member of the Scientific Council of the Academy.
Bronze Medal VDNH (1969) for now the sons have not returned (1968).
USSR State Prize (1976) for work under a peaceful sky (1972) and Before the Dawn (1971).
Corresponding Member of the USSR Academy of Arts (1983). People's Artist of Armenian SSR (1977). Professor since 1979.
Famous paintings:
Last night: Komitas (1956)
Memories of fallen son (1958)
Wedding of the Razdan (1960)
My daughter (1969)
My current seedlings (1970)
Sardarapat (1970)
Armenian virgin territory (1971)
Sasuntsi (1974)
Portrait of Anna (1987)
Meeting (Pushkin at the tomb ASGriboedov) (1978)
Eva (1997)
1.Muradyan Sarkis.
2 4.Izvestnye paintings of the artist.
5.Rabota from personal kollektsii.34h50sm.H/m.1959g.

Samvel · 16-01-2010, 10:59

Avoyan Ayvaz-1956g.r.
Born in the mountains. Echmiadzin, graduated Er.hud.-theater. Institute.
Lives and works in Echmadzine.

Евгений · 16-01-2010, 13:27

1929 - Born in Simferopole.1938-with his family moved to Yerevan.
1944-1950 - studying at Art College. F. Terlemezian.
1950-1956 - studies at the Faculty of Painting in the Art and Theater Institute.
Since 1954 begins on display at exhibitions.
1960 - becomes a member of the USSR Union of Artists.
1967 - for now "Hiroshima" awarded the prize of the Ministry of Culture of Armenia.
1971 - for the painting "Execution" awarded the prize "for best picture of the year".
1972 - Decree of the Presidium of the Supreme Council of Armenia, it will receive the honorary title of Honored Artist of Armenia.
Participates in the exhibition of artists of the three Transcaucasian republics in the Manege.
1976 - participated in the exhibition of six Armenian artists, Prague.

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1978 - participated in the exhibition of four Armenian artists, Moscow.
In Yerevan released the album charts.
1990 - Decree of the Presidium of the Supreme Council of Armenia, it will receive the honorary title of People's Artist of Armenia.
1991 - published in Yerevan, the album works.
2001 - personal exhibition in 2000 nominated for the State Prize of Armenia in the field of literature and art.
2002 - awarded the State Prize of Armenia.
Personal exhibitions:
1952 - Art and Theater Institute, Yerevan.
1974 - Union of Artists of Armenia, Yerevan.
1982 - in the Museum Collection "by Professor Aram Abrahamyan, Yerevan (sculpture, graphics).
1997 - at the National Gallery of Armenia and Union of Artists at the same time (retrospective).
2000 - the Union of Artists of Armenia, Yerevan (graphics).
Works can be found in the National Gallery, Museum of Modern Art (Yerevan), in other museums of Armenia, as well as in private collections in Armenia and abroad.
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My I - a search, when I every time, every new job I'm not afraid of himself. I am very different and variable. I tried not to limit yourself monotonous way of thinking. I think that freedom of action the most important thing for an artist to be able to do what he feels what he sees. Freedom of thought and action must be the conviction for any artist
Ruben Adalyan
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Adalyan - artist extraordinary range. In this sense, with very few people can compete. First of all, this painting. He worked almost all of its genres, long and passionately developing each of them as part of its aesthetics. For many years he has tried everything that could be called paintings - from the quite realistic to abstract compositions. Because it operates certain stages-blocks, then squeezed out of each all that prevented him from imagination and skill.
Artistic phenomenon Adalyan trudnoulovim and clearly draws only when the front of his eyes sweeping the set of his works. The difficulty is that it can do and romantic portrait, and it is the Earth's still-life, expressive and passionate "nude", and abstraction. Virtuoso his brush can capture subtle movements of the soul and the nuances of thought, skepticism of the artist painted in the most unexpected colors. Adalyan undoubtedly belongs to the rare type of thinking artists, for which paper or canvas - the best and even the only way to express these thoughts.
Karen Mikaelian
With saytahttp: //arm-modern-art.livejournal.com/7279.html#cutid1

Samvel · 16-01-2010, 15:23

Quote:

Originally Posted by Eugene

Adalyan - artist extraordinary range. For many years he has tried everything that could be called paintings - from the quite realistic to abstract compositions. Because it operates certain stages-blocks, then squeezed out of each all that prevented him from imagination and skill.

That's one of those phases (1994-1997g.g.) R. Adalyan. He lives and works in Moscow and Yerevan.
Sorry for the bad quality photos.

Кирилл Сызранский · 16-01-2010, 16:37

Quote:

Originally Posted by Samvel

Note from Eugene
1.Rabota from personal kollektsii.63h80sm. X \\ m 1963.
2 3.Iz collection of the Nukus Museum.
5 9.Raboty from private collections.

What wonderful work! Number number 2-I ,3-I and especially 4-I.

4th could see on the show "In Bukhara fly a kite"
pursued within the forum of cultural intersections "Rose of Peace", held in Moscow for the third time, from 6 to 18 November 2008 the first city.
http://artinvestment.ru/news/exhibit...ra_buhara.html

Samvel · 16-01-2010, 20:10

Avakian, Serge 1956g.r.
Lives and works in Moscow.

Евгений · 16-01-2010, 21:36

Interesting information .. (Part 1)
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David Hovhannisyan, Nshan Balian and his wife Takuya, Mkrtich Karakashyan Ifkeris with his wife and six other Armenian masters of ceramics from Kutahya appeared in Jerusalem in 1919. Since the late Middle Ages Turkish city of Kutahya was the center for the unique pottery, from the XVIII century Armenian masters were in the forefront of this industry. From the XIV century, mainly from the XVI and XVII centuries, one can identify large numbers of Armenian craftsmen who built ceramic tiles for wall decoration in churches and mosques and a variety of ceramic products. Numerous examples of ceramics from Kutahya can be found among the ceramic tiles, painted by Armenian artists and sent as a gift the Church of the Holy Sepulcher and the Church of St. James in Jerusalem. Painted mostly in blue, green and yellow colors, these tiles still adorn the walls of the Cathedral of St. James. They are characterized by carefully and skillfully executed drawing on some shows multi-figured compositions.

Читать дальше...

Евгений · 16-01-2010, 21:43

Nurit Kenaan-Kedar (Tel-Aviv. Israel) (Part 2)
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Joint Workshop Karakashyana-Balian In 1922 Mkrtich Karakashyan Nshan Balian and left the studio of David Hovhannisyan and founded his own entitled "The Palestinian Ceramics" here in Jerusalem, the streets of Nablus, 14. Continuing the tradition of Kütahya ceramics, they have created a vast vocabulary of pictorial forms, intended for the tiles, and for pottery vessels. Since the beginning of the workshop Karakashyana-Balian highlighted ancient Christian elements, in contrast to the traditions of Iznik and Kütahya, which focused on images of flowers and plant branches.

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The transition to a new set of forms to reflect the new reality - Jerusalem, where the artists lived in the local Armenian Christian community. The first monumental work-shop Karakashyana Balian was done for the Armenian cemetery on Mount Zion - that's four out of six large panels installed in the wall in the public gallery as background for the large stone sarcophagi in the tombs of Armenian Patriarchs of Jerusalem. The panels were set up in 1930 after the cessation of work on the restoration of the Rock mosque, for which the Armenian artists were invited to Jerusalem.

In the center of all panels shows the grand cross, similar cross-stone cross - here he was to serve as a symbol of the resurrection of the dead and the triumph of the Church. Two of the panels signed intertwined Armenian letters? and? - Initial letters of names and Mkrtich Nshan. Subsequently, the artists used as a signature only their names. In the daily work of the studio Karakashyana-Balian source of inspiration and a model were also two local mosaic floor - a mosaic of birds VI century from the Armenian chapel, a crypt in Jerusalem (see the article by N. Kenaan-Kedar in "ANIV» № 10 (1) 2007 .) and VIII century mosaic from the Umayyad palace near Jericho. The first was opened in 1895 and contains a token for the language of early Christian art images. Curls vine symbolize the blood of Christ, a basket of fruit - the flesh of Christ, the birds - the souls of believers, a bird in a cage - the soul imprisoned in body shell. The initial work of the studio Karakashyana-Balian borrowed scheme and the images of this mosaic. In some cases, the whole composition was included in the painted vases. Mosaic from the palace of the Umayyad depicts the tree of life in the form of a spreading apple tree. Left - two gazelles graze peacefully, right - the lion that attacked gazelle. In works from studio Karakashyana-Balian has lost value dilution on opposite sides of good and evil characters, underwent a small image of a tree, but numerous changes. Antelope, gazelle or a young deer, which graze on pasture alone and looking up, also became an important motivation for the workshop.

These images that adorn the palace of the Umayyads, had met frequently in early Christian art. Lan, as a symbol of the soul of the believer ( "As a deer wants to flows of water, so wants my soul after thee, O God" Psalm 41:2), often depicted in the baptismal chapels next to the images of the reservoirs and streams, symbolizing the source of life. After the departure of David Hovhannisyan, in 1948, the joint workshop Karakashyana-Balian remained the only workshop of Armenian ceramics in Jerusalem. In 1963 Mkrtich Karakashyan and Nshan Balian created the last of his monumental work for the facade of the cathedral of St. James in the Armenian quarter of the city. Painted in green and blue colors of the panel are saturated with light areas on the surface of the stone facade. In the center of each of the two panels on the right and left of the main entrance is a niche for the latticed doors. The inscription in Armenian have left the niche reads: "This work is made Mkrtich Karakashyanom and Nshan Balyan in memory of their fathers. 1963 ". Workshop Karakashyana-Balian worked in accordance with long tradition, where the artist plays a leading rol.Vnachale he draws on paper, then in the workshop of his drawings are transferred to the product and paint.
And, of course, in some cases, the artist draws directly on the pan, affirming the rights of the creator. The differences and variations between the initial design on paper and all copies thereof to the dish, as well as the art of direct painting utensils or ceramic tiles are not yet known and should be the subject of future studies. Such drawings - a treasure house studio and archive its vocabulary of forms. They allow you to use the old designs in our days, in combination with new elements.
In the division in 1964 between Sedrak Balyan (1922-1996) and Stepan Karakashyanom (born 1929) was also divided into common property - raw materials for paints and samples of design on paper. Numerous pictures were similar in each of the studio - they were on hand, as the sketches used by several workers in the same time. This allowed the artists to continue their work with the very point at which there was a partition. Although the symbolism of images seen in both studios alike, the development of a common heritage going on in different ways.

Samvel · 16-01-2010, 23:16

Quote:

Originally Posted by Eugene

Interesting information .. (Part 1)
-------------------------------------------------- -----
David Hovhannisyan, Nshan Balian and his wife Takuya, Mkrtich Karakashyan Ifkeris with his wife and six other Armenian masters of ceramics from Kutahya appeared in Jerusalem in 1919. Since the late Middle Ages Turkish city of Kutahya was the center for the unique pottery, from the XVIII century Armenian masters were in the forefront of this industry. From the XIV century, mainly from the XVI and XVII centuries, one can identify large numbers of Armenian craftsmen who built ceramic tiles for wall decoration in churches and mosques and diverse pottery

What a pleasant surprise! Thank you, Eugene!

16-01-2010, 09:11	Original language: Russian #82
Евгений Гуру Join Date: Jun 2008 Posts: 14,663 Thanks: 18,865 Thanked 16,457 Times in 4,506 Posts Blog Entries: 254 Reputation: 32444	Sarkis Mouradian Mambreevich (1927-2007) Sarkis Mouradian Mambreevich (Սարգիս Մուրադյան). Armenian artist 1951 - Graduated from the Yerevan Fine Arts and Theater Institute. Since 1954 - was a member of the Artists' Union of the Armenian SSR. 1964-1968 - was the chairman of Arts Council of the Art Fund of the Armenian SSR. 1982-1987 - Chairman of the Artists' Union of the Armenian SSR. 1985-1990 - a deputy of the Supreme Council of the Armenian SSR. 1990-1995 - Deputy of the Supreme Council of Armenia. Member of the ARF. Since 1995 - teaching at the Yerevan State Academy of Fine Arts. Member of the Scientific Council of the Academy. Bronze Medal VDNH (1969) for now the sons have not returned (1968). USSR State Prize (1976) for work under a peaceful sky (1972) and Before the Dawn (1971). Corresponding Member of the USSR Academy of Arts (1983). People's Artist of Armenian SSR (1977). Professor since 1979. Famous paintings: Last night: Komitas (1956) Memories of fallen son (1958) Wedding of the Razdan (1960) My daughter (1969) My current seedlings (1970) Sardarapat (1970) Armenian virgin territory (1971) Sasuntsi (1974) Portrait of Anna (1987) Meeting (Pushkin at the tomb ASGriboedov) (1978) Eva (1997) 1.Muradyan Sarkis. 2 4.Izvestnye paintings of the artist. 5.Rabota from personal kollektsii.34h50sm.H/m.1959g. Attached Thumbnails

16-01-2010, 10:59	Original language: Russian #83
Samvel Гуру Join Date: Jul 2008 Location: Москва Posts: 1,066 Thanks: 4,574 Thanked 3,129 Times in 444 Posts Reputation: 5931	Armenian artists Avoyan Ayvaz-1956g.r. Born in the mountains. Echmiadzin, graduated Er.hud.-theater. Institute. Lives and works in Echmadzine. Attached Thumbnails

16-01-2010, 13:27	Original language: Russian #84
Евгений Гуру Join Date: Jun 2008 Posts: 14,663 Thanks: 18,865 Thanked 16,457 Times in 4,506 Posts Blog Entries: 254 Reputation: 32444	Ruben Adalyan 1929 - Born in Simferopole.1938-with his family moved to Yerevan. 1944-1950 - studying at Art College. F. Terlemezian. 1950-1956 - studies at the Faculty of Painting in the Art and Theater Institute. Since 1954 begins on display at exhibitions. 1960 - becomes a member of the USSR Union of Artists. 1967 - for now "Hiroshima" awarded the prize of the Ministry of Culture of Armenia. 1971 - for the painting "Execution" awarded the prize "for best picture of the year". 1972 - Decree of the Presidium of the Supreme Council of Armenia, it will receive the honorary title of Honored Artist of Armenia. Participates in the exhibition of artists of the three Transcaucasian republics in the Manege. 1976 - participated in the exhibition of six Armenian artists, Prague. Читать дальше... 1978 - participated in the exhibition of four Armenian artists, Moscow. In Yerevan released the album charts. 1990 - Decree of the Presidium of the Supreme Council of Armenia, it will receive the honorary title of People's Artist of Armenia. 1991 - published in Yerevan, the album works. 2001 - personal exhibition in 2000 nominated for the State Prize of Armenia in the field of literature and art. 2002 - awarded the State Prize of Armenia. Personal exhibitions: 1952 - Art and Theater Institute, Yerevan. 1974 - Union of Artists of Armenia, Yerevan. 1982 - in the Museum Collection "by Professor Aram Abrahamyan, Yerevan (sculpture, graphics). 1997 - at the National Gallery of Armenia and Union of Artists at the same time (retrospective). 2000 - the Union of Artists of Armenia, Yerevan (graphics). Works can be found in the National Gallery, Museum of Modern Art (Yerevan), in other museums of Armenia, as well as in private collections in Armenia and abroad. ---------------------------------------------- My I - a search, when I every time, every new job I'm not afraid of himself. I am very different and variable. I tried not to limit yourself monotonous way of thinking. I think that freedom of action the most important thing for an artist to be able to do what he feels what he sees. Freedom of thought and action must be the conviction for any artist Ruben Adalyan ----------------------------------------------- Adalyan - artist extraordinary range. In this sense, with very few people can compete. First of all, this painting. He worked almost all of its genres, long and passionately developing each of them as part of its aesthetics. For many years he has tried everything that could be called paintings - from the quite realistic to abstract compositions. Because it operates certain stages-blocks, then squeezed out of each all that prevented him from imagination and skill. Artistic phenomenon Adalyan trudnoulovim and clearly draws only when the front of his eyes sweeping the set of his works. The difficulty is that it can do and romantic portrait, and it is the Earth's still-life, expressive and passionate "nude", and abstraction. Virtuoso his brush can capture subtle movements of the soul and the nuances of thought, skepticism of the artist painted in the most unexpected colors. Adalyan undoubtedly belongs to the rare type of thinking artists, for which paper or canvas - the best and even the only way to express these thoughts. Karen Mikaelian With saytahttp: //arm-modern-art.livejournal.com/7279.html#cutid1 Attached Thumbnails

16-01-2010, 20:10	Original language: Russian #87
Samvel Гуру Join Date: Jul 2008 Location: Москва Posts: 1,066 Thanks: 4,574 Thanked 3,129 Times in 444 Posts Reputation: 5931	Armenian artists Avakian, Serge 1956g.r. Lives and works in Moscow. Attached Thumbnails

16-01-2010, 21:36	Original language: Russian #88
Евгений Гуру Join Date: Jun 2008 Posts: 14,663 Thanks: 18,865 Thanked 16,457 Times in 4,506 Posts Blog Entries: 254 Reputation: 32444	Armenian Ceramics of Jerusalem Interesting information .. (Part 1) -------------------------------------------------- ----- David Hovhannisyan, Nshan Balian and his wife Takuya, Mkrtich Karakashyan Ifkeris with his wife and six other Armenian masters of ceramics from Kutahya appeared in Jerusalem in 1919. Since the late Middle Ages Turkish city of Kutahya was the center for the unique pottery, from the XVIII century Armenian masters were in the forefront of this industry. From the XIV century, mainly from the XVI and XVII centuries, one can identify large numbers of Armenian craftsmen who built ceramic tiles for wall decoration in churches and mosques and a variety of ceramic products. Numerous examples of ceramics from Kutahya can be found among the ceramic tiles, painted by Armenian artists and sent as a gift the Church of the Holy Sepulcher and the Church of St. James in Jerusalem. Painted mostly in blue, green and yellow colors, these tiles still adorn the walls of the Cathedral of St. James. They are characterized by carefully and skillfully executed drawing on some shows multi-figured compositions. Читать дальше... The Art of Kütahya from time to time referred to in the works for traditional ceramics, the most thorough study of the Armenian painted tiles in the churches of Jerusalem belongs to John Carswell. Researchers of ceramic art in İznik, Kütahya and other centers of production in Turkey takes, basically, describing, cataloging and dating of works of XVI-XIX centuries. Little attention was paid to social and conceptual research. Production of the XIX century was regarded as less valuable artistically, imitating ancient models. XX century was estimated as a time of mass production. For this reason, Armenian Ceramics of Jerusalem was beyond the scope of scientific research. I never studied it as a contribution to the art itself ceramics, and in the life of the city. Scientists have avoided mention of Armenian artists of the XX century Kütahya for political reasons. After the proclamation of the Republic of Turkey production of ceramics in Kütahya engaged Turkish artisans, usually imitating Iznik ceramics. As pointed out in his book, Carswell: "When the Armenian element among the pottery has been removed as a result of ethnic tensions in the republic of education, workshops have become a purely Turkish, on this basis, developed modern industry." (Note unsurpassed "orderly" Mr. Carswell in expressions. Art historian hopes to do without a policy, to observe neutrality. The result can assess the reader. - Comm. Ed.) Armenian artists continue the ancient traditions of their ancestors from Kütahya and treated to a small group of families. The life and work of these families in three generations may shed light on unexplored aspects of the history kyutahiyskoy ceramics. Moreover, in this case is the lifestyle and work are rarely encountered in the XX century, the worldview of the inhabitants of the Old City and its unique environment. In 1986, the Ha'aretz Museum in Tel Aviv organized an exhibition "The Armenian Ceramics of Jerusalem, beginning the study of the Jerusalem School of Armenian ceramics. In the catalog of the exhibition of its curator Yael Olenikov trace the history of this school from the beginning. She presented the work at least two generations of Armenian art of ceramics since 1922. Were exhibited tools, a review of the formal traditions and its possible sources for these workshops. Olenikov laid the initial foundation for future research. At the same time, like many other scientists, it erected to the Islamic tradition of paintings in Iznik and Kutahya, without going into the differences between practices of local shops Jerusalem. In January 2000, the Eretz Israel Museum in Tel Aviv has a new exhibition "Birds of Paradise", devoted to works of Marie Balian. The exhibition organizers have tried to put the creativity of the artist in the framework of the traditions of the Armenian ceramics in Jerusalem, numbering three generations of artists. The author was curator of the exhibition and catalog. Except for these two directories, one of the scientists are not subjected to thorough study of the Armenian ceramics of Jerusalem, had not conducted a comparative study, despite the fact that the artifacts were produced in large quantities, were given the honorary guests of the city, decorated with the President's residence in Israel. My goal - to present the work of the Armenian school of ceramics as an art form with its timeline and stages of development. In the XIX and XX century, especially in the painted ceramic tiles and glazed pottery from Iznik and Kütahya, and also from Persia and Central Asia quite differently valued in the West and the East. In the West, these items were valued as a wonderful handmade, decent storage and collectibles. In meetings leading European museums such pottery was exhibited as a product of the traditional collective artistic creativity with a distinct beauty and charm. Even if you mentioned the names of the creators, their pottery was estimated as conventional products, based on stereotypes samples. In the East, ceramist regarded themselves as creators, rather than craftsmen, although not formulated a conceptual theory of his work. Founder of the Jerusalem School David Hovhannisyan (1884-1963) has repeatedly expressed his artistic identity in an interview for the newspapers and other documents. I contend that the Jerusalem pottery has its own artistic expression and occupies a unique place in the history of the production of glazed ware, we must recognize the unique role of the artist in such workshops. You can distinguish between a craftsman who mechanically reproduces inherited forms and designs, and the artist, who develops traditional visual scheme, generating its own visual language, a dynamic and diverse. Armenian Ceramics - this art form, where the methods of design and execution were transmitted orally from father to son, from master - to the student. They never recorded and were not documented. This product uses the family stories and songs, the time-tested. The image of the artist's life, the order of work in the studio and the production process of products form an autonomous culture. Moving to Jerusalem. Workshop of David Hovhannisyan Three families of Armenian ceramic artists, led by artist David Hovhannisyan and its partners - the potter Nshan Balyan (1882-1964) and artist Mkrtich Karakashyanom (1895-1963) were invited to the Holy Land newly created company "Pro-Jerusalem" to update the tile dome Dome of the Rock Jerusalem. In addition to concerns about the destruction of the tiles that adorn the mosque XVI century, it is an invitation to reflect the intentions of the new British authorities in Mandatory Palestine. They outlined the secretary of the society "Pro-Jerusalem" architect Charles Ashbee: revive traditional handicraft production of ceramics, glass, patterned fabrics, thereby bringing the image of the city of Jerusalem to the Mediterranean region, embodying the Western idea of Jerusalem as the "city of the East." Charles Ashby, an active member of the British movement "Arts and Crafts, presented after his arrival in the city of the East and the romantic concept of artistic tradition, formed in England in the early XIX century. Three years of work by the architect and secretary of the society "Pro-Jerusalem" (1919-1922) became critically important for the city. The architectural concept of Ashby was the desire to create Jerusalem as a city of multi-level images, rooted in Christianity, and in romantic notions about the East. David Hovhannisyan, the most experienced and mature of Armenian artists in Kütahya has been famous for its products and received orders for restoration work in the mosques and private houses finish. Through his skill he had visited many capitals of Europe and the Middle East, the family stories he was involved in the restoration of painted tiles, even in the holy cities of Arabia - Mecca and Medina. Among the admirers of his talent was a famous British diplomat - Sir Mark Sykes, ordered the tile for his estate in England. Friendship Ambassador influenced the arrival Oganesyana in Jerusalem. Work in Kütahya was interrupted with the outbreak of World War II. Despite the efforts of the governor to protect his protege, Oganesyan and his wife Victoria and their three children, like other Armenians, was sent under escort to the deportation and death in the deserts of Syria. Only his wealth and connections have helped the family survive. They found refuge in Aleppo before the end of the war, this is where David ran into an old friend - Sir Mark Sykes. He presented Oganesyana British officials, who later became customers and patrons of the Armenian artist in Jerusalem. In Jerusalem, Oganesyan and his students have found a new reality, integrated into the ancient Armenian community, and began to produce ceramics for the Christian, Muslim and Jewish customers. The new reality is needed in order to become part of city life, and new sources of inspiration have led these artists to create art, different in some key aspects of the ancient tradition. Soon, work on the restoration of the Rock Mosque was stopped due to the termination of funding. Oganesyan opened a workshop on the Via Dolorosa. In 1922 Karakashyan Balian and left the shop Oganesyan and founded his own on the streets of Nablus, 14. Like younger colleagues, David Hovhannisyan clearly see themselves as an artist and, moreover, as the founder of ceramic art in Jerusalem (see the inscription on the altar Armenian cemetery on Mount Zion). Works of David Hovhannisyan, stay in Jerusalem until 1948, were closely associated with the traditions of Iznik and Kutahya, with samples from the Sultan's palace. In his work Oganesyan depicts trees (mostly fir) and flowers, based on samples of the painting of the harem in Istanbul's Topkapi Palace. For its rich shades of color, surrounded by contours, characterized by the ratio of bright blue on a white background, red and black versions. I'm sure Oganesyan aware symbolic Christian meaning of buildings, which he decorated in Jerusalem. The walls and the dome over the fountain in the Rockefeller Museum is fully covered with a pattern of bright stars in the technique of the masters of the XV century in Tabriz, repeated in the XVI century with the decoration of the Mosque of the Rock. Y Oganesyan, we see a return to ancient Christian symbolism, where the dome is a heavenly body, a water fountain - Jesus Christ as the source of life. The same constellations are visible on the ceilings of ancient Christian tombs and chapels for baptism. Images of cypress trees on either side of the fountain in the hospital of St. John built in two of the triptych, and thus placed in the framework of the new symbolism of the tree of life. Thus, Oganesyan transformed the traditional figurative language of the universal Christian form suitable for the Jerusalem buildings. In the church of St. Andrew, built in the years 1927-1930 in memory of the Scottish soldiers killed in battles with the Turks in Palestine, he designed the fountain in the style of Muslim prayer niche - mihrab. In 1930 he created two of the six mosaic panels that adorn the graves of the Patriarchs in the cloister of the Armenian cemetery on Mount Zion, near the Church of the Savior. Armenian cross-stones, of course, served as the main source of inspiration for the composition. In his workshop Oganesyan not only determined the painting each tile and each item of cookware, but controlling all stages of production. He hired the Armenian orphans from Turkey and taught them skills with specialization in various stages of work. Some of them stayed in the studio until its closure in 1948. In an interview published in 1944 in the Palestine Post, the journalist described the work of the workshop: "Hovhannisyan - old-fashioned artist, a connoisseur of great tradition, reporting to the present day. No bowl, vase or tile will not go beyond the gate until it is completely made by hand, until the paint murals will not be mixed and covered with a glaze in his eyes. " When finished imported raw materials, Oganesyan devoted much time to research and develop new formulas for paints and glazes. Oganesyan the first Armenian artists adapted the motives of the Armenian mosaics VI century with birds and vines, discovered in Jerusalem in 1894. His comments on the product catalog workshop demonstrated the intention to preserve the eastern tradition of painting pottery, which she had been since the days of ancient Persia before the Byzantine era. David Hovhannisyan left Jerusalem in 1848 and four years later he died in Beirut. Although none of the children were not followed in his footsteps, his workshop students in Jerusalem continued moving along their chosen path. By Nurit KENAAN-Kedar (Part 1.) Attached Thumbnails

16-01-2010, 21:43	Original language: Russian #89
Евгений Гуру Join Date: Jun 2008 Posts: 14,663 Thanks: 18,865 Thanked 16,457 Times in 4,506 Posts Blog Entries: 254 Reputation: 32444	Armenian Ceramics of Jerusalem Nurit Kenaan-Kedar (Tel-Aviv. Israel) (Part 2) -------------------------------------------------- --- Joint Workshop Karakashyana-Balian In 1922 Mkrtich Karakashyan Nshan Balian and left the studio of David Hovhannisyan and founded his own entitled "The Palestinian Ceramics" here in Jerusalem, the streets of Nablus, 14. Continuing the tradition of Kütahya ceramics, they have created a vast vocabulary of pictorial forms, intended for the tiles, and for pottery vessels. Since the beginning of the workshop Karakashyana-Balian highlighted ancient Christian elements, in contrast to the traditions of Iznik and Kütahya, which focused on images of flowers and plant branches. Читать дальше... The transition to a new set of forms to reflect the new reality - Jerusalem, where the artists lived in the local Armenian Christian community. The first monumental work-shop Karakashyana Balian was done for the Armenian cemetery on Mount Zion - that's four out of six large panels installed in the wall in the public gallery as background for the large stone sarcophagi in the tombs of Armenian Patriarchs of Jerusalem. The panels were set up in 1930 after the cessation of work on the restoration of the Rock mosque, for which the Armenian artists were invited to Jerusalem. In the center of all panels shows the grand cross, similar cross-stone cross - here he was to serve as a symbol of the resurrection of the dead and the triumph of the Church. Two of the panels signed intertwined Armenian letters? and? - Initial letters of names and Mkrtich Nshan. Subsequently, the artists used as a signature only their names. In the daily work of the studio Karakashyana-Balian source of inspiration and a model were also two local mosaic floor - a mosaic of birds VI century from the Armenian chapel, a crypt in Jerusalem (see the article by N. Kenaan-Kedar in "ANIV» № 10 (1) 2007 .) and VIII century mosaic from the Umayyad palace near Jericho. The first was opened in 1895 and contains a token for the language of early Christian art images. Curls vine symbolize the blood of Christ, a basket of fruit - the flesh of Christ, the birds - the souls of believers, a bird in a cage - the soul imprisoned in body shell. The initial work of the studio Karakashyana-Balian borrowed scheme and the images of this mosaic. In some cases, the whole composition was included in the painted vases. Mosaic from the palace of the Umayyad depicts the tree of life in the form of a spreading apple tree. Left - two gazelles graze peacefully, right - the lion that attacked gazelle. In works from studio Karakashyana-Balian has lost value dilution on opposite sides of good and evil characters, underwent a small image of a tree, but numerous changes. Antelope, gazelle or a young deer, which graze on pasture alone and looking up, also became an important motivation for the workshop. These images that adorn the palace of the Umayyads, had met frequently in early Christian art. Lan, as a symbol of the soul of the believer ( "As a deer wants to flows of water, so wants my soul after thee, O God" Psalm 41:2), often depicted in the baptismal chapels next to the images of the reservoirs and streams, symbolizing the source of life. After the departure of David Hovhannisyan, in 1948, the joint workshop Karakashyana-Balian remained the only workshop of Armenian ceramics in Jerusalem. In 1963 Mkrtich Karakashyan and Nshan Balian created the last of his monumental work for the facade of the cathedral of St. James in the Armenian quarter of the city. Painted in green and blue colors of the panel are saturated with light areas on the surface of the stone facade. In the center of each of the two panels on the right and left of the main entrance is a niche for the latticed doors. The inscription in Armenian have left the niche reads: "This work is made Mkrtich Karakashyanom and Nshan Balyan in memory of their fathers. 1963 ". Workshop Karakashyana-Balian worked in accordance with long tradition, where the artist plays a leading rol.Vnachale he draws on paper, then in the workshop of his drawings are transferred to the product and paint. And, of course, in some cases, the artist draws directly on the pan, affirming the rights of the creator. The differences and variations between the initial design on paper and all copies thereof to the dish, as well as the art of direct painting utensils or ceramic tiles are not yet known and should be the subject of future studies. Such drawings - a treasure house studio and archive its vocabulary of forms. They allow you to use the old designs in our days, in combination with new elements. In the division in 1964 between Sedrak Balyan (1922-1996) and Stepan Karakashyanom (born 1929) was also divided into common property - raw materials for paints and samples of design on paper. Numerous pictures were similar in each of the studio - they were on hand, as the sketches used by several workers in the same time. This allowed the artists to continue their work with the very point at which there was a partition. Although the symbolism of images seen in both studios alike, the development of a common heritage going on in different ways. Attached Thumbnails

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