ART HISTORY

ART HISTORY: FRESCOES FROM THE THEODOSIA ERA TO THE 18th CENTURY

THE NEW COLONY THEODOSIA

Armenian immigrants created a new colony in the Crimean city of Theodosia near the Black Sea and where they erected twenty eight churches. Theodosia is the natal city of Aivazovsky. Among the most famous Armenian religious centers housing splendid frescoes were the Church of St. Theodosia, the Church of St. Stephanos in Theodosia and the Church of the Holy Cross in Surkhat.

BRIEF SYNOPSIS OF ST. THEODOSIA HISTORICAL PASSAGES

Armenian colonists built a monastery and a very imposing church consecrated to St. Theodosia who had suffered a martyr's death in 729 during the Iconoclast period. The martyrdom of the Armenian saint and martyr is closely associated with the mosaic icon of Jesus Christ placed above the Chalke Gate. Byzantine accounts tell about a group of courageous women led by Theodosia who objected to the imperial decision of the iconoclast Emperor Leo III (717-741) to have the historical icon of Jesus Christ removed. The fearless women group assaulted the soldiers following Theodosia who went after a soldier who climbed a ladder to reach for the Jesus Christ icon and destroy it. St. Theodosia was killed in that battle and her relic was brought to Dexiokratos. Early Armenian historians reported that in virtue of a considerable number of miracles which occurred at St. Theodosia grave, the Armenian church renamed the church of St. Euphemia as the church of St. Theodosia. Historian Ducas told us the story of barbaric and atrocious events which occurred in the church, while the Armenian congregation was celebrating the feast-day of St. Theodosia. On May 29th 1,453, the Turks entered the church and slaughtered every single worshiper in the church including the elderly, women and children. After the capture of Constantinople by the Ottomans, the church became a military depot and under sultan Selim II, the church of St. Theodosia was transformed into a mosque.

IN THE 17^th CENTURY AND THE 18^th CENTURY

In the 17th and 18th centuries, Armenian churches were again painted with murals. With this period also begins the revival of Armenian art. To this end, Armenians, who had been in large numbers deported and had settled in the outskirts of the Persian capital city of Isfahan in the city of New Julfa, presented a tremendous scope to a number of skilful artists, while in Armenia the painters of the Hovnatanian family were very active. The patron of that dynasty of painters, poet and artist NAGHASH HOVNATAN (1661-1722), painted the frescoes of the-churches in Echmiadzin, Erevan, and Tiflis. The murals which he begun in the Cathedral of Echmiadzin were completed by his sons and his grandson Hovnatan Hovnatanian. Their work initiated a new period and introduced a new dimension into Armenian fresco painting. Composed of floral and ornamental motifs, the whole Hovnatanian frescoes were totally restored in the 1950's. The Gallery exhibits fragments from the old murals of the Echmiadzin cathedral. One of these represents the portraits of King Trdat III, the Queen and her sister. The attractive colorful composition already displays the new influences of European painting. It is worth mentioning that the reproductions of the frescoes displayed in the galleries were executed in 1930-1960 under the supervision of the well-known Armenian art expert Lidia Durnova. The group under her direction is also responsible for the over 500 copies of the miniatures made from the manuscripts kept in the holdings of the Matenadaran. The best samples of these masterly executed reproductions can be seen in the cases displaying medieval art.

THE HOVNATANIAN FAMILY COMES TO THE RESCUE

The 17th century and the 18th century mark the beginning of the resurrection of Armenian arts and particularly the art of miniatures and portraiture. This is the dawn of a pre-modern art era. And all started with one single family. The illustrious Hovnatanian family, father and sons. The family head was Naghash Hovnatan (1,661-1,722). He painted frescoes of several Armenian churches including but not limited to the churches of Erevan, Tiflis and of course the Echmiadzin. I have reserved a chapter to Hagop Hovnatanian, the family’s favorite son who is considered as the pioneer of Armenian pre-modern painting era. Also, I have displayed several of his paintings accompanied by a brief study of his style and techniques. This time in history probably would be considered as the last hurrah and the last golden era of Armenian frescoes. With the beginning and mid of the 19th century , Armenian frescoes were no longer the major art platform for numerous reasons I have explained at length in the section and chapters dedicated to Armenian modern paintings. Please refer to. The Hovnatanian family brought a fresh breeze to the aging Armenian art of frescoes. They introduced vivid colors, delightfully decorated patterns, various floral designs, innovative decorative and ornamental motifs and compositions. Their style reflected a new vision of art, a giant step in the direction of romanticism and liberal neo classicism without breaking the tradition with the old Armenian style, rules and medieval aesthetic convention. They were innovators, pioneers, yet they respected the old school. Naghash Hovnatan was the last frescoes master and Hagop Hovnatanian became the first portraiture master of the Armenian art of painting.

End of the article.