DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.27365#0125
OF 3FCOND JL4VFF
113
murals reflect a wealth of manners and traditions. Several decades later, the murals of
the Tigran Honents church, and the Kirants and Kobair monasteries represented one
rather uniform style and resemble each other even more than Georgian art of the late
12th and early 13th centuries. The two latter murals have no direct analogues in
Georgian art.
One of the stylistic sources of Chalcedonian monumental painting can be found in
early 13th-century East Armenian miniatures, for instance, the Homiliary of Moush
and the Gospels of Haghbat and KhachcrCk There are not only technical similarities
but parallels in the facial features, heavy proportions and the archaism of
composition. The miniature painters might well have taken up monumental
art. Importantly, N. Sychev, an early 20th-century student of the murals in the
church of Tigran Honents, traced the cycle of Gregory the Illuminator back to book
miniatures^. The monumental painting of the first half of the 13th century allows us
to raise the question of a distinctive Armenian Chalcedonian artistic school. However,
its study requires a special effort beyond the scope of this book.
' See Der Nersessian, Z'art armenK-H, pp. 211-218; Der Nersessian, FtadM, pp. 518-319.
From an unpublished report by N.P. Sychev, now in the archive of the Institute of Archeology,
Leningrad, fund 51, hie 15, p. 18.
113
murals reflect a wealth of manners and traditions. Several decades later, the murals of
the Tigran Honents church, and the Kirants and Kobair monasteries represented one
rather uniform style and resemble each other even more than Georgian art of the late
12th and early 13th centuries. The two latter murals have no direct analogues in
Georgian art.
One of the stylistic sources of Chalcedonian monumental painting can be found in
early 13th-century East Armenian miniatures, for instance, the Homiliary of Moush
and the Gospels of Haghbat and KhachcrCk There are not only technical similarities
but parallels in the facial features, heavy proportions and the archaism of
composition. The miniature painters might well have taken up monumental
art. Importantly, N. Sychev, an early 20th-century student of the murals in the
church of Tigran Honents, traced the cycle of Gregory the Illuminator back to book
miniatures^. The monumental painting of the first half of the 13th century allows us
to raise the question of a distinctive Armenian Chalcedonian artistic school. However,
its study requires a special effort beyond the scope of this book.
' See Der Nersessian, Z'art armenK-H, pp. 211-218; Der Nersessian, FtadM, pp. 518-319.
From an unpublished report by N.P. Sychev, now in the archive of the Institute of Archeology,
Leningrad, fund 51, hie 15, p. 18.