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Details about  ARMENIAN MINIATURE Tatevatsi.. Syuniq Տաթևացի Миниатюра

ARMENIAN MINIATURE Tatevatsi.. Syuniq Տաթևացի Миниатюра

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Item specifics

Good: A book that has been read but is in good condition. Very minimal damage to the cover including scuff ... Read moreabout the condition
Subject: Art & Photography
Topic: Miniature Format: Hardcover
Language: English, Russian, Armenian Publication Year: 1987
Special Attributes: Large Print, Illustrated

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"Armenian Miniatures: Grigor Tatevatsi & Anonymous Painter of Syuniq" («Հայկական Մանրանկարչություն- "Գրիգոր Տաթևացի և Անանուն Սյունեցի"»)

"Григор Татеваци и Аноним из Сюника") (Color Illustrated Rare Album-Book).

in 3 Languages: English, Russian, Armenian- FREE USA & Discounted Worldwide Shipping

About The Book

Title: "Armenian Miniatures: Grigor Tatevatsi and Anonymous Painter of Syuniq" (Հայկական Մանրանկարչություն- "Գրիգոր Տաթևացի և Անանուն Սյունեցի"- Ալբոմ / "Григор Татеваци и Аноним из Сюника")

Author(s): Compilation by Alvida Mirzoyan, editors: E. M. Korkhmazian and B. L. Chookaszian (Կազմ., առաջաբ.և ծանոթագր.՝ Ա. Միրզոյան; Խմբ.՝ Է.Մ. Կորխմազյան, Բ.Լ. Չուգասզյան)

Language: English, Russian, Armenian (English/ Русский/ Հայերեն)

Publisher: "Sovetakan Grogh" publishing house (Սովետական գրող)

Place of Publication: Yerevan (Erevan), Armenia (Երևան)

Publication Date: 1987

Copies of Edition: Limited

Pages: 168 pages (High Quality, Glassy Paper)

Sizes: BIG SIZE: 25 (W)x33(H) cm; (9 13/16 x 13 inches)

Condition: Used: Good Condition

Cover / Illustrations: Hard Cover (since we carry several copies of this book, the color of the cover (only the color) of the book which you will get may vary from the one shown in this listing)/ Color Illustrated


About a century ago, Armenian illuminated manuscripts attracted the attention of scholars and lovers of art. Since that time intensive studies of medieval Armenian art have been conducted. A unique historical panorama of the art of illumination in Armenia, embracing more than thirteen centuries has been given (the first surviving miniatures date from the VI - VII centuries, while the latest ones were created in the XIX century).

The heritage of a number of miniature schools and their outstanding representatives have been studied; the significance of medieval Armenian painting in the history of world art has been revealed. Although a considerable number of studies have been made, from the 25 thousand surviving Armenian manuscripts, most of them illuminated, many have not yet been published.

Such masterpieces as the Etchmiadzin Gospel (Matenadaran, cod. 2374, dated 989), the Gospel of Queen Mlke (Venice, cod. 1144/86, dated 862), the Targmanchatz Gospel (Matenadaran, cod. 2743, dated 1232), the Hetum lectionary (Matenadaran, cod. 979, dated 1286) and others which require special monographic study, are presented by separate miniatures only in works more general in nature. Among the best examples of medieval Armenian illumination are those of the following two manuscripts: codex 7482 and 6305 of the Mashtots Matenadaran, Grigor Tatevatsi and Anonymous painter of Syuniq having participated in their creation.

The above-mentioned manuscripts have been created in Syuniq, one of the largest regions of historical Armenia. Its eastern frontiers stretched to Artsakh; in the west, to Ayrarat and Vaspurakan; in the north, to Utik and Gugark, and in the south, to the Arax River.

The significance of Syuniq in respect to the spiritual treasures created there during various periods were not always on the same level. As regards the variety and significance of cultural values whose origin depended upon the general political and socio-economic situation of the country, the most interesting is the post-Arabic period (X - XI cc), which coincides with the rise and flourishing of the Syuniq kingdom. Liberation from the Arab yoke and the political independence attained by a number of Armenian feudal lords brought about long years of peace and favored the economic and cultural revival of the country. The monastery of Tatev became the center of this new life in the country.

Grigor Tatevatsi

Grigor Tatevatsi was one of the greatest figures of medieval Armenia. He is known as a philosopher, a social-ecclesiastical figure, a teacher, scribe and miniaturist. He was born in 1346 in Vayots-Dzor where he spent his early years. He began to study under Hovhan Vorotnetsi in 1370. Together with the latter, Tatevatsi went to Jerusalem and it was Vorotnetsi who ordained him archimandrite in the district of Daranaghi in 1373. After his teacher's death, Tatevatsi headed the higher schools at Tatev and Aprakounis. He taught philosophy, theology and grammar at higher monasterial schools of Tatev, Aprakounis, Medsop and Yerevan. He died in 1409 and was buried near the St. Peter and Paul Church in Tatev.

The most significant of Grigor Tatevatsi's activities were those in Tatev, where the Syuniq prince Smbat Orbelian invited him in 1393. He worked there for fifteen years; those years being the most flourishing for the university. He conducted extensive pedagogical work and enjoyed great repute. He combined all-round knowledge in-born oratorical skills. Thovma Medsopetsi, Arakel Syunetsi, Mattheos Djughayetsi and other famous figures in XV century Armenian culture were pupils of Grigor Tatevatsi.

Great was Grigor Tatevatsi's role in the struggle led by the Armenian Church against tile Unitarians.

Grigor Tatevatsi's rich literary heritage covers almost all the fields of knowledge of that time. His more important works are: "Book of Questions", "Book of Sermons" (Summer and Winter volumes), ''Miscellany", "Concise Analysis on Porphyry's Work" and a number of others. His works, encyclopedic in nature, also contain valuable thoughts on aesthetics, which help in understanding certain aspects of his art and that of medieval art generally.

Grigor Tatevatsi's aesthetic views do not, of course, give a complete doctrine. It refers to separate thoughts and remarks scattered in different works in which he tried to explain his concepts of beauty, reveal the meaning of art and the role of art in society as well as problems on Christian symbolism of iconography and questions directly concerning to the practical work of the artist.

Art, for Grigor Tatevatsi, was a form of "rational" knowledge, the fruit of thought and work. "Each work of art is at first thought about, then seen through the eyes, and only after that, is it created by hand.

Grigor Tatevatsi began his work as a scribe. Numerous manuscripts have survived will colophons written by him. However, his name as an illuminator is mentioned only once, in the Gospel illustrated at the Tatev Monastery in the year 1378. The Gospel was copied in 1297 in Eghegis, the "glorified capital" of Syuniq. In the same year the scribe of the Gospel, Hovhan, executed khorans (canon tables) and marginal illustrations. Simple plant and geometric designs prevail in the canon tables. In 1378, some one hundred years after its creation, the priest Sargis, sent the manuscript to the Tatev Monastery to be restored and illuminated by illuminator Grigor.

More in the book


Գրիգոր Տաթևացի
Հովհաննես Որոտնեցին և Գրիգոր Տաթևացին (ձախից աջ)‎Սուրբ Գրիգոր Տաթևացին (1346-1409) Հայ Առաքելական Եկեղեցու մեծահռչակ, տիեզերալույս վարդապետներից է։ Տաթևացու գրավոր ժառանգությամբ առ այսօր ուսանում և քարոզում են Հայոց Եկեղեցու վարդապետները։ Նրա բազմաթիվ գրքերից պահպանվել են «Գիրք հարցմանցը», «Ոսկեփորիկը», «Ամառան» և «Ձմեռան» կոչվող նշանավոր քարոզագրքերը, բազմաթին մեկնություններ և այլ աշխատություններ, ինչպես նաև նրա նկարագրած երկու Ավետարանները։

Սուրբ Գրիգոր Տաթևացին ծնվել է 1346 թվականին Սյունյաց գավառի Վայոց ձորում։ 7 տարեկանում ծնողները Գրիգորին ուսման տվեցին, և շուտով նա այնքան հմտացավ Սուրբ Գրքի գիտության մեջ, որ պատասխանում էր անգամ վարդապետների հարցերին։ Այնուհետև կրթությունը շարունակեց Տաթևի վանքում՝ աշակերտելով սուրբ վարդապետ Հովհաննես Որոտնեցուն։

1371 թվականին Գրիգորն իր ուսուցչի հետ ուխտագնացություն կատարեց Երուսաղեմ և այնտեղ ստացավ կուսակրոն քահանայի աստիճան, իսկ իրենց վանքը վերադառնալու ճանապարհին Որոտնեցին նրան հանձնեց վարդապետական գավազան։ 1380 թվականին նրանք տեղափոխվեցին Ապրակունյաց վանք։ Իսկ 1388-ին, իր ուսուցչի մահից հետո, նրա իսկ օրհնությամբ և բոլորի հավանությամբ Գրիգորը դարձավ այդ վանքի առաջնորդը։ Երկու տարի անց իր մեծաթիվ աշակերտների հետ նա վերադարձավ Տաթևի վանք։

Իմաստության և առաքինության պատճառով նրան իրավամբ կոչում էին երկրորդ Հովհաննես Ոսկեբերան և Գրիգոր Աստվածաբան։ Ապրում էր նա սրբակյաց և խիստ պահեցող կյանքով, շարունակ կրում էր մազեղեն հագուստ և պարեգոտի։

Վախճանվելուց առաջ, մահվան մերձենալը զգալով, նա պատարագ մատուցեց, օրհնեց իր աշակերտներին և, գոհանալով Աստծուց, խաղաղությամբ ավանդեց հոգին։

Григор Татеваци

Григо́р Татеваци́ (ок. 1346, крепость Тмок (ныне Тмогви, Грузия) - 25 или 27 декабря 1409, Татевский монастырь) — армянский философ, педагог, церковный деятель. Священник, святой Армянской Апостольской церкви. Наряду со своим учителем Ованесом Воротнеци является главным представителем татевской школы в армянской философии.

Сын армянина Саргиса, бежавшего с семьей в Грузию из-за набегов мусульман.

В Тбилиси Татеваци познакомился с Ованесом Воротнеци, двадцать восемь лет был его учеником, совершил с ним паломничество в Иерусалим, где был Ованесом рукоположен в сан священника и стал его преемником в монастыре и руководителем Апракунисской школы. Среди его учеников было более пятидесяти священников.

Из-за набегов мусульман Татеваци в 1402 г. переселился в Мецопский монастырь. Армянская церковь в это время была в состоянии борьбы с армянами принявшими главенство Рима. В этой борьбе участвовал и Татеваци, но именно он добился созыва собора, который снял отлучение с армян-католиков. После снятия отлучения путешествовал по стране, ведя дискуссии с униатами. Проповедовал и среди мусульман.

Память 27 декабря (возможно, умер 25 декабря, но день смерти был спутан с днем кончины Ованеса Арчишеци).

Философские взгляды
Философское и богословское наследие Григора Татеваци огромно. Его основные произведения обнаруживают заметное влияние философии Давида Анахта. Существенное место в трудах Григора Татеваци занимает вопрос об отношениях Бога и природы. Он трактует акт божественного творения природы в духе Аристотеля как превращение возможности сущего в действительность. Материальный мир находится в постоянном изменении, что является залогом его вечности.

Anonymous Painter of Syuniq

This name, in all probability comes as a surprise to those who know from works on medieval Armenian art that the illuminator of manuscript cod. 6305 was Grigor of Tatev. This was the name given by the well-known connoisseur of medieval Armenian art, L. A. Durnovo, who was the first to study and publish the miniatures of that manuscript. Durnovo considered Grigor, whose name was mentioned in colophon, to be the scribe of the text and also the illuminator. However, as of today, the supposition has not been sufficiently proved. So far as the manuscript does not contain any indication as to the place where it was created, we reject the name "Grigor of Tatev" accepted by certain scholars and suggest the name "Anonymous Painter of Syuniq". We thus take into consideration the fact that though the miniatures of codex 6305 are stylistically close to the works of Grigor Tatevatsi, they are in many ways tied to works of other XIV century painters of Syuniq, especially Totos Taronatsi, Momik, Kirakos Davrizhetsi and others. There is yet another point which leads us to change the name. Some scholars studying manuscripts cod. 7482 and cod. 6305, confuse Grigor Tatevatsi with the illuminator of manuscript 6305. An insignificant difference in the names of the two painters is the reason for that confusion - in the one case, it is Grigor Tatevatsi and in the other, Grigor of Tatev. The colophon of codex 6305 does not give any information on the date it was created. However, that did not prevent L. A. Durnovo from giving the approximate date of the work by means of parallels and comparison as being the end of the XIV and the beginning of the XV centuries.

A comparison of both manuscripts shows that the Anonymous Painter developed some artistic features typical of Grigor Tatevatsi, as well as the evident similarities of miniatures of the Anonymous Painter of Syuniq, especially in the portraits of the evangelists with those of Grigor Tatevatsi.

It must be considered, however, that neither the iconographic types of the evangelists nor the architectural compositions are exact copies of Grigor Tatevatsi's works. There are cases when Armenian (and not only Armenian) painters copied compositions of well-known works, imitating the originals as much as possible, more often using characteristic elements of other manuscripts, subjecting them to their own artistic style, to the preferences of society and the demands of the time. The painters thus gave them new expressiveness and new effect. In this respect, the art of the Anonymous Painter is not an exception. Though his illustrations are fundamentally based on Grigor Tatevatsi's art in monumentalism, rhythmically balanced composition, exceptionally rich and varied decorative elements, the miniatures of codex 6305 reveal the artist's individual approach. They manifest, in particular, their joyous, sonorous coloring and a new kind of ornamentation. Grigor Tatevatsi, for example, preferred broad, frieze-like zones consisting of different acanthus and grape weavings organically connected with architectural planes and producing an impression of bas-relief. The ornaments of the Anonymous Painter, on the other hand, are small, four-petalled flowers, bouquets, star-shaped motifs, variations of geometric (oval and round) forms. They cover the background, the clothing of the characters, the walls of architectural structures, and it seems as if in their abundance, they would, blend with the real shapes. The two-storeyed building with an open veranda depicted in the architectural setting of Grigor Tatevatsi's composition in the portrait of the evangelist Luke presents a type of building prevalent at that time, while the painter of cod. 6305, being inclined to turn realistic forms into ornaments in the miniature with similar content (plate 25), presented the veranda without its functional meaning but simply as a decor encircling the building.


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Tags: Miniatures, Miniaturs, manrankar, manrankartutun, mantrankaritch, manrankarchutiun, miniaturas, painting, paint, painter, artist, old, matenadaran, museume, manuscripts; miniature paintings, art, artist, culture, illustration, art history, medieval art; Armenian SSR, iconography; religious art, Armenia, Armenian, Armenians, Haykakan, Hye, Hykakan, Hayastan, Hay, Ermenia, Arminia, Arminian, History, Historical, Genocide, Holocaust, Extermination, Massacer, massacre, Genoside, Map, Ararat, USSR, Soviet Union, Moscow, Russian, book, books, album, photo, photos, illustration, illustrations, pic. picture, pictures, Armianskaia Miniatura: Grigor Tatevatsi i Anonim iz Siunika (Rus); Haykakan Manrankarchutiun: Grigor Tatevatsi ev Ananun Stiunetsi (Arm) Գրիգոր Տաթեւացի, Տաթեվացի, Գրիգոր Տաթևացի

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