Category Archives: CULTURE

Summary

Gayane H. Arakelyan
Every picture of unequaled master of light and shadow Andranik Kochar represents a photo structure, which is saturated with a combination of light shadows and soft lights. His portraits are so alive, conspicuous, modern and emotional, that they seem to be alive, breathing and living beings. In each photo he revealed the inner world of people of different fields and their way of thinking; the thing he liked to do most of all.

Andranik Kochar immortalized many Armenian great people-actors, sculptors, artists, musicians in his portraits, just like world-wide famous photographer Yousuf Karsh immortalized the most famous people in the world in his photos.

Kochar’s portraits help us to make notion about prominent Armenians. Many of his portraits became symbols.

Summary

Mandana M. Sepasi
Aim of the study is the comparison of woman’s portrait in the paintings of Iranian women or men. The study shows that the pictures of women in men’s works are desirable, descriptive, and figural; whereas women painters are more meaningful, allegoric and fictional; they paint females’ characterizations and implicit and mental meanings as beauty and elegance. But the women paintings are based on female experience and view; women painters try to show main problems of women’s life; however, men without paying attention to these matters present women in imaginary and fantasy atmospheres. The study of women paintings shows that they try to decrease visual views of male standpoint. They resist on becoming the subject of men’ paintings and they use new techniques in paintings to create gaps in male mental effects and functions in culture.

In living memory of the great composer and a unique person

Summary

Lilit. K. Yepremyan
The article is an attempt to newly reconsider the role and the meaning of Edward Mirzoyan in the history of the Armenian music. Here we’ve underlined that he was always finding some extraordinary ways to get beyond the bounds of determinations (form, style, genre, tendency) combining the incompatible and creating new and original quality, which was becoming regularity for the generations. Some particular attention is paid also to the original world-view of Edward Mirzoyan during the formation of the movement of “sixties”. The universality of Komitas became the main and principal tradition of his art, which was also reflected for the first time in Armenian symphonic music.

Dedicated to the 20th anniversary of the liberation of Shushi

Anna G. Asatryan
On May 26, 2012 the evening of the cmposer Ashot Babayan dedicated to the 20th anniversary of the Shushi’s emancipation took place in Alexander Spendiarian Armenian Opera and Ballet National Academic Theatre of Yerevan. The cantata “Empopee” was performed by the chorus and ensemble of the opera theatre directed by Karen Durgaryan. The soloists were Kristine Sahakyan and Georgi Arakelov. The work of A. Babayan is composed of operas, vocal-symphonic, symphonic and chamber compositions, vocal works for voice and instromental ensemble, vocal series by the accompaniment of puiano. The theme of the Artsakh struggle for freedom is always present in his works. His sonata for violoncello and piano (1993) is dedicated to Tatul Krpeyan, and the symphony “Monte” – to blessed memory of Monte Melkonyan (Avo). In 2002, A. Babayan wrote the cantata “The return of Shushi” on the occasion of the 10th anniversary of the liberation of Shushi set to words of Yuri Sahakyan, which was successfully played by State Armenian academic Chorus and State Armenian philharmonic ensemble directed by Hovhannes Chekijyan. In 2012 the composer edits the cantata and renames it “Epopee”. This cantata distinguishes from the other works of A. Babayan: the ocmposer who creates mainly in the genre of avant.gardism here appeals to the classiscal style. The cantata is formed of six parts: “Hello Shushi”, “Lullaby”, “You were calling”, “Attack”, “The song of martyrs”, and “Glory to you…”.

By its artistic merits, ideological content, high level of professionalism and good use of the ensemble and its seperate groups’ timbres, as well as due to the knowledge of timbre dramaturgy and polyphonic way of writing A. Babayan’s cantata “Epopee” is one of bright pages of modern Armenian vocal-symphonic music.

Summary

Yvette N. Tajarian
Antoine Sevruguine lived in the Armenian diaspora in Tehran in Iran. Vasil de Sevruguine, Antoine’s father, studied Oriental languages at the famous Lazarev School in Moscow, after which he entered the Russian civil service, working as a diplomat at the Russian Embassy in Tehran. Vasil de Sevruguine met an untimely end in a riding accident. Achin returned to her hometown of Tbilisi and later moved to the Akuli. Antoine instead opted for a career as an artist, and went to Tbilisi to became a painter. He soon discovered the then fledgling art of photography, studying under the famous Russian photographer Dmitri Ivanovich Yermakov. In 1870s, Antoine and his brothers decided to devote themselves exclusivery to photography and founded a family buisness in Iran. In 1883, Antoine founded his photo studio in the city of Tabriz and then he went to Tehran to open a photo studio on the second floor of a house in Ala ed-Downla street. Thanks to his exceptional skill, Antoine soon became so well-known as a photographer that members of the upper class in Tehran visited his studio to be photographed. Soon his reputation was such that he became official court photographer to Naser ed-Din Shah. With time he was even allowed to photograph the royal harem, so close was his relationship with Naser ed-Din shah, who gave him the title of “Khan” and later the Medal of the Sun and the Lion, (Shirokhorshid). But the found recognition not only at court: his artistic work was honored with medals and awards in international photo exhibitions in Brussels in 1897, and Paris in 1900. In 1933, Antoine “Khan” Sevruguin died of kidney failure in Tehran at the age of 82. He was buried on the Russian cemetery in Tehran in the family grave.

On the occasion of the 100th anniversary of the birth of a prominent opera singer

Summery

Anna G. Asatryan
One of the central figures in 20th century Armenian music, tenor Avag Petrosyan (tenore di forza) was one of the most distinguished representatives of the Soviet-Armenian vocal school. He was a unique and profoundly national artist, a singer and dramatic artist harmonically combined, whose created characters were distinguished by the unification of his amazing vocal and stage presence.

A. Petrosyan became known for the heroic roles he played in Armenian operas:
Saro in A. Tigranyan’s “Anush,” Santur in A. Tigranyan’s “Davit Bek,” Ashugh and Sheikh in A. Spendyaryan’s “Almast,” Karo in A. Babayev’s “Artsvaberd,” Tirit in T. Chukhajyan’s “Arshak III,” Vahan in H. Stepanyan’s “Heroine,” Sos in V. Tigranyan’s “Sos and Varditer,” Seyran in L. Kojayeinatyan’s “Namus.” His roles as Saro and Santur (“Anush,” “Davit Bek”) became the masterpieces in his artistic repertoire.

A. Petrosyan was also a celebrated chamber singer, he was the delicate interpreter of Armenian, Russian and Western European classical songs, and was an unrivalled performer of Armenian traditional and folk songs.

A. Petrosyan presented Armenian musical culture to the cities of the Soviet Union, Moscow, St. Petersburg, Kiev, Tashkend, Tbilisi, Baku and also to the United States, Canada, India and France. Everywhere he went he spread Armenian song and received nationwide acclaim that very few artists have been able to garner.

Summary 

Mikhail A. Kokzhaev
This article is about one of the masterpieces of Armenian operatic art. Aleksander Harutyunyan’s “Sayat-Nova” presents the historical character of Armenian music. The originality is that Sayat-Nova himself was a poet and musician, known as ashugh, meaning a singer who creates love songs (both text and music and presents them to the public). Aleksander Harutyunyan cited some of Sayat-Nova’s songs written in the 17th century in his opera. Even when composing his own music, he displayed the style of the singer in his original music. As a result, unique composition is obtained, in which a synthesis of Armenian monody is conjoined with the classical genre of opera and the symphonic orchestra.

The article analyzes the dramaturgical features of the opera, for which two factors are essential: the content, and the peculiarity of the melody. The intonational structure is quite unique, causing the overall melodic environment to be unique as well. The component of the rhythm and the orchestration of the opera are also very interesting and meaningful. Each instrument or instrumental group is justified and used with reason.

Therefore, we can assert that Aleksandr Harutyunyan’s opera is a masterpiece not only within the framework of Armenian national operatic art, but in musical culture worldwide.

On the Occasion of the 175th Anniversary of his Birth

Summary

Anna G. Asatryan
T. Chukhajyan, who had received formal musical training and mastered completely the technique of European composing was among the first Eastern musician who tried to find a way of bringing Eastern and Western musical culture closer together; he brought his own Eastern musicality to the complicated genres of opera, symphony and chamber music.

T. Chukhajyan placed the foundations of the Armenian classical professional school of composing. He authored the first examples of Armenian romance, i.e. “Karun,” “Lora,” and the first piano opuses in Armenian reality.

T. Chukhajyan was the founder of the Armenian musical theater. It was through his activity that the beginnings of Armenian musical theater in the second half of the 19th century were conditioned. Not only did he set the foundations for Armenian operatic music, but with his six operas, the historical romance, “Arshak II,” the triad of comedic operas, “The Cunning of Arif,” “Kyose Kehyan,” and “The Father and Son Leblebij,” the patriotic “Indiana,” the mythological “Zemyre,” he set into motion the first stage in the development of Armenian musical theater.

The creation of the first Armenian opera was accompanied by the creation of the musical theater. T. Chukhajyan understood the necessity for a national theater of opera in the 1870s. The “Ottoman Opera Theater Group,” under the leadership of T. Chukhajyan and T. Galemjyan, was the first musical theater group composed completely of Armenian artists in Armenian reality (the theater group was the first in the entire Middle East). They had the monopoly in directing the musical productions.

The author places great importance on the production of T. Chukhajyan’s operas at the A. Spendiaryan National Opera and Ballet Theater, the establishment of the Tigran Chukhajyan Museum in Yerevan and also the publication of the composer’s complete collection of works.

Summary

Yvette N.Tajarian

André Sevrugian , known later as “Darvish,” was the son of photographer AntoineKhan Sevruguine , born on May 1,1894 in Tehran. Vasil, Antoine’s father, studied Oriental languages at the Lazarev School in Moscow, after which he entered the civil service, working as a diplomat at the Russian Embassy in Tehran. Vasil, due to his political position, was obliged to change the surname “de Sevruguine.” Antoine adapted the name slightly, while his son André returned to the Armenian spelling. Antoine Sevruguine left the world of photography an exceptional oeuvre, consisting of photographs of the various regions of Iran and the court of Naser ad-Din Shah of the Qajar Dynasty.

André inherited his father’s artistic predisposition, and was fascinated from a very early age by Persian poetry, which was later to be central to his artistic oeuvre. He was present when his father’s friends visited his home, and would listen in fascination when his father recited verses from the Shahname. Often he would put on an old helmet, jump on a chair and pretend to be Rostam, Afrasyab, Qejqaus or Bijan, the heroes of the epic. He belonged to the generation of artists of the first third of the 20th century who attempted to bring something new into the rich and renowned tradition of Pesian art, which had stagnated since the 19th century.

He proceeded to illustrate his childhood dreams, inspired by evening recitations of the Persian national epic Shahname in his parents’ house. In these pictures he was able to integrate the styles of the early and Safavid masters, such as Behzad and Reza Abbasi with their ornamentalized focus on detail, with modern elements, such as perspective, light and shadow, and spatiality. The result was again a series of illustrations of Omar Khayyam,Hafez and Baba Taher. Paintings on Armenian history and folk life, and particularly the songs of the Armenian bard Sayat-Nova, have a specific place in Darvish’s oeuvre. André Sevrugian let himself be inspired by the centuries-old tradition of Persian book illustrations, and yet his paintings are a unique synthesis of Western and Eastern art.

Summary

Lusine V. Sargsyan

The examination of the canon tables of the Gospels of 1329 (an index of the four synoptic Gospels, Matthew, Mark, Luke and John which works like a concordance; usually displayed under decorated arches in vertical columns and placed at the beginning of the Gospel Books) played an important role in the works of Avag Tsaghkogh and are worthy of a separate assessment.

The study of relations with other monuments makes it possible to identify where Avag’s range of ornaments derived from. The decoration of these canon tables employed by Avag takes us to the Cilician traditions of Armenian miniature painting, which have their stable role in the ornamental paintings of Gladzor. In addition to this, the ornament of canon tables by Avag provides us with types, which are derived from the early period of Armenian decorative paintings.

In the art of canon tables of the 1329 Gospel one can also sense the master’s independent and courageous approach to the art form. Whenever he had the possibility to defer from adopted norms, he did so diligently, trying to reflect truthfully plants and surroundings (birds, pomegranate branches, flowers, etc.) as accurately, as possible. In this regard the work of Avag significantly differs from the canon tables painted by Taronetzi in 1323, which glitter with gold and paints, and create the element of surprise with imaginary sceneries and miraculous creatures.

Thus, Avag Tsaghkogh’s miraculously created canon tables with their imaginary and decorative motifs summarize and at the same time continue and develop the decoration techniques of the previous centuries. Each of the canon tables on its own is a complete piece of art.