User:Yerevantsi/sandbox/Sasuntsi
a landmark,[1]
and the city's finest statue.[2][3]
Սասունցի Դավթի երկրորդ արձանը | Երվանդ Քոչար-125
https://www.youtube.com/watch?v=HQt274Z5Y1k https://ghostarchive.org/varchive/HQt274Z5Y1k
Սասունցի Դավթի առաջին արձանը | Երվանդ Քոչար-125 https://www.youtube.com/watch?v=OUkGhj7Uu94 https://ghostarchive.org/varchive/OUkGhj7Uu94
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[edit]The monument itself, against the backdrop of neglect and the demolition of several historical buildings, seemed to stand out from the perspective of the once-unified ensemble of the railway square.[4]
By 2011, thanks to municipal support and financial assistance from compatriots, the monument came back to life: the water supply system was replaced, night lighting was installed, a new bowl was set up, and the pool was improved.[4]
բրախել ենք այդ անլույս արվարձանում[5]
հպարտանում ենք Սասունցի Դավթի արձանով, բայց միայն անցյալ ժամանակով, քանի որ արձանի այսօրվա վիճակն ու նրան շրջապատող տարածքը ոչ միայն լուրջ մտահոգությունների առիթ է տալիս, այլեւ՝ ամբողջովին խեղաթյուրում է հեղինակային գաղափարը։[6]
արձանի միջավայրի մաքրման աշխատանքներ իրականացնել, քանի որ տարածքն անմխիթար վիճակում է գտնվում ու խիստ աղտոտված է, ինչպես նաեւ բացակայում են ջուրն[6]
Kochar worked on the statue at a large pavilion at Yerevan's Central Cemetery (Tokhmakh) as of August 1957.[7]
Мастерство Кочара-монументалиста, эпический склад творчества, национальный характер, ярко выявившийся в этом произведении, с еще большей силой выступают в памятнике Давиду Сасунскому, осуществленном на Привокзальной площади в Ереване в 1959 г. (удостоен Государственной премии Армянской ССР в 1967 г.). В эпическом и в то же время символическом образе Давида Сасунского Кочар увековечил героизм армянского народа, его многовековую борьбу за счастье и свободу. В то же время образ Давида вполне современен. Фигура всадника с конем полна стремительности, мощи, внутренней напряженности. Экспрессивная выразительность конного памятника способствует активному воздействию на зрителя. Памятник, стоящий на скалообразном пьедестале (арх. М. Д. Мазманян), подчиняет себе разнородную по стилю архитектурную среду, «организует» вокруг себя все пространство площади. Памятник Давиду Сасунскому справедливо считается эмблемой столицы Советской Армении - Еревана.[8]
The mastery of Kochar the monumental artist, the epic nature of his creativity, the national character vividly expressed in this work, emerge with even greater force in the monument to David Sasuntsi, erected in Yerevan's Railway Square in 1959 (awarded the State Prize of the Armenian SSR in 1967). In the epic and at the same time symbolic image of David Sasuntsi, Kochar immortalized the heroism of the Armenian people, their centuries-long struggle for happiness and freedom. At the same time, the image of David is entirely contemporary. The figure of the horseman with the horse is full of swiftness, power, and inner tension. The expressive expressiveness of the equestrian monument contributes to an active impact on the viewer. The monument, standing on a rocky pedestal (arch. M.D. Mazmanian), subordinates the stylistically diverse architectural environment, "organizing" all the space around it. The monument to David Sasuntsi is rightfully considered the emblem of the capital of Soviet Armenia - Yerevan.
He had long conceived the idea of creating a monument, but he could only realize it in his homeland, where there was an interest in the creation of such a memorial, and where he could receive state support, without which implementing his project would be impossible. Not only because it could be of interest and necessity only in his homeland, but also because the work on it required enormous expenses, which the Soviet government took upon itself.[7]
Lev Ospovat: По воспоминаниям Льва Осповата, художник говорил: «То, что вы видели в мастерской, я делаю для себя. А это [статую Давида Сасунского] — для кесаря. Но с кесарем я расплачиваюсь чистым золотом». [Осповат Л. Как вспомнилось. — М.: Водолей Publishers, 2007. — С. 275—276.]
Aghasyan
[edit]Aghasyan, A. V. [in Armenian] (2024). "Սասունցի Դավթի կերպարը Երվանդ Քոչարի արվեստում [The image of David of Sassoun in the art of Ervand Kochar]" (PDF). Reports. 124 (2). National Academy of Sciences of Armenia: 44–56. doi:10.54503/0321-1339-2024.124.2-44.
Решенная в условно-стилизованной манере, плотно облегающая фигуру одежда Давида не только не нарушает пластическую характеристику образа, но еще более акцентирует его атлетическое, поистине бога- тырское телосложение. Обутые на босу ногу сандалии на толстой подошве, штаны, обшитые по бокам "лампасами" из грубого ворса, туго обтягивающий талию широкий ку- шак, холщевая рубаха с открытым воротом, короткая ман- тия наподобие плаща, увесистый меч, подстать его облада- телю - эти лаконичные, строго отобранные детали костюма и предметные аксессуары наделяют Давида, с одной сто- роны, чертами армянского пастуха-простолюдина, а с другой представляют его как воина, народного заступника-феданна. На двойственность образа указывает и сам жест Давида, резко развернувшего плечи и далеко оттянувшего за спину меч. Этот не совсем "правильный", подходящий скорее ко- сарю, нежели ратнику, жест хорошо иллюстрирует мысль о мирной натуре героя, и шире - о миролюбии народа, вынужденного браться за оружие в годины горестных ис- пытаний. Давид Кочара воии не по призванию, а поневоле, в ратном подвиге он отстанвает и воплощает миротвор- ческие идеалы народа-труженика. Фигура всадника испол- нена огромного напряжения. Готовясь нанести удар, он привстал, опираясь на стремя выпрямленной, до конца разогну- той в колене левой ногой. Движение плеч и могучего торса Давида, остановленное встречным движением его решительно повернутой головы, образует динамичный кон- трапост, и это шаткое равновесие разнонаправленных сил - еле сдерживаемых, грозящих "прорваться" - насыщает об- раз герол неимоверной внутренней энергией. Если правый передний аспект композиции раскрывает фигуру Давида во всей ее титанической мощи, то левый боковой аспект, на оборот, обнаруживает поразительную легкость и "окрылен- ность" фигуры, ее безудержный и стремительный духовный порыв. Прижатая к крупу коня, согнутая в колене правая нога, наклон корпуса и головы, растрепанные волосы героя, складки его подхваченного ветром плаща и застывшее на весу точеное лезвие меча - все это, складываясь в беспокойный, подвижный, но в то же время ясно очерченный на фоне неба, словно отчеканенный силуэт, создает ощущение ничем не обремененного, раскованного полета.[9]
tightly fitting clothing ... accentuates his athletic, truly heroic physique.[9]
The sandals on his bare feet with thick soles, the pants trimmed on the sides with rough wool "stripes," the wide belt tightly cinching his waist, the linen shirt with an open collar, the short cloak resembling a cape, and the hefty sword matching its owner[9]
The figure of the rider is filled with immense tension. Preparing to strike, he has risen slightly, supporting himself on the stirrup with his left leg, which is fully extended at the knee. The movement of David's shoulders and powerful torso, countered by the resolute turn of his head, forms a dynamic contrapposto, and this precarious balance of opposing forces—barely restrained, threatening to "break free"—imbues the image of the hero with incredible inner energy.[9]
If the right front aspect of the composition reveals David's figure in all its titanic power, the left side aspect, on the contrary, reveals the figure's remarkable lightness and "winged" nature, its unstoppable and swift spiritual impulse. The right leg, bent at the knee and pressed against the horse's flank, the tilt of the torso and head, the hero's windblown hair, the folds of his cloak caught by the wind, and the poised blade of the sword—all of this, combining into a restless, dynamic, yet clearly defined silhouette against the sky, creates a sense of unburdened, unfettered flight.[9]
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[edit]Книга воспоминаний, статьи, из переписки, современники о художнике, Советский художник, 1987, Page 156-7
"медный Давид Вновь украсил город"
Добро вам: рассказы - Page 204 - Василий Гроссман · 1967 · Snippet view
Found inside – Page 204
... Памятник поражал мощью : герой , конь , меч все было огромно , полно движения , силы . коне Я стоял на просторной ... монумент ... Сейчас мне показалось , что и движение , заложенное в бронзу , и мощь коня , и мощь Давида Сасунского ...
The sculpture of David of Sasun, created by Ervand Kotchar, was installed in the station square in 1959. A 1989 tourist guide also remarks on its fame: "Since its inauguration in 1959, it has traveled across the planet thanks to countless postcards, brochures, photographs, magazine covers, book illustrations, and tourist guides featuring it. It has become a symbol of the Armenian people's love for freedom and of their capital, Yerevan." (Rem Aninakian, Yerevan: Tourist Guide, op. cit., p. 90.)
La sculpture de David de Sassoun, réalisée par Ervand Kotchar, est installée sur la place de la gare en 1959. Un guide touristique de 1989 dit d'ailleurs à propos de sa célébrité: «Depuis son inauguration en 1959, il voyage à travers la planète grâce aux innombrables cartes postales, prospectus, photographies, couvertures de revues, illustrations de livres et de guides touristiques dont il fait l'objet. Il est devenu le symbole de l'amour de la liberté du peuple arménien et celui de sa capitale, Erevan». (Rem Aninakian, Erevan: guide touristique, op. cit., p. 90.)[10]
In the same way, the statues to David Sasuntsi and Vardan Mamikonyan are not represented as signifiers of the struggle for a brighter future, implying that its logical continuation would https://web.archive.org/web/20240809142824/https://www.janerendell.co.uk/wp-content/uploads/2013/02/Rendell-You-tell-me-prepub-PDF-pp73-89.pdf https://www.janerendell.co.uk/wp-content/uploads/2013/02/Rendell-You-tell-me-prepub-PDF-pp73-89.pdf https://intellectdiscover.com/content/books/9781841502120
https://elibrary.ru/item.asp?id=35563511 Деконструкция мифа столичности на примере столицы Армении города Еревана ГС Мкоян - Современная социокультурная среда города и …, 2018 - elibrary.ru … В советский период истории столицы одним из ее признанных символом была величественная конная статуя героя армянского эпоса Давида Сасунского (скульпт. Е. Кочар). …
https://istina.msu.ru/conferences/presentations/187639248/ https://elibrary.ru/item.asp?id=42474024 СОВРЕМЕННЫЙ ВЗГЛЯД НА ИСТОРИКО-КУЛЬТУРНОЕ НАСЛЕДИЕ: АРМЯНСКИЙ ЭПОС И СТУДЕНТЫ МГУ ЕВ Жбанкова - Диалог культур и цивилизаций, 2019 - elibrary.ru … Кочар изваял фигуру Давида Сасунского на коне Джалали. Автор данного исследования поставил перед собой задачу выяснить, какой след оставил «Давид Сасунский» в …
https://web.archive.org/web/20231205112207/https://arar.sci.am/dlibra/docmetadata?showContent=true&id=170182 Սովետական Հայաստանի քանդակագործությունը 1920-1930-ական թվականներին 1959
Simyan
[edit]It was only thanks to the petitions of Kochar's friends from the Nersisian School, Karo Khalabian and Anastas Mikoyan, that the outstanding Armenian sculptor was rehabilitated in 1943.[11]
After the collapse of the USSR in 1991, the square in front of the railway station in Yerevan, in a sense, became marginalized. One of the residents living near the station, 77-year-old Grandpa Henrik, recounts that "the station was one of the lively centers of Yerevan, it was lively in every way, life was in full swing, and now it is an abandoned outskirts. The functional significance of the station has been minimized [Yerevantsi 2011, 58]8. The quote emphasizes the change in the status of the station square. Of course, after 2011, the station square underwent transformation, but the adjacent territories are still used for wholesale and retail trade in agricultural products, as peasants sell their products brought by trains there.[12]
The perception of the sculpture in the post-Soviet era could have been authentic if the infrastructure (railway connections) had been preserved. However, since the location of David of Sasun was marginalized, for guests of Armenia and for the younger generation of the Armenian diaspora, guides, kitschy artifacts of the Vernissage, in other words, the emblematic nature of the sculpture, are modeled indirectly rather than directly from the perception of the sculpture.[13]
A completely different picture would have emerged if, as a result of the debates in the press in the 2000s, the sculpture had been moved to the "center." After the completion of the celebration of the 1700th anniversary of the adoption of Christianity in 2001 and the demonstration of the cross installed in connection with the celebration of the adoption of Christianity in 301 on Republic Square (formerly Lenin Square), it was strongly suggested to move Kocharyan's sculpture to the center [Abramyan 2003, 48]. The relocation of the sculpture to the "center" was discussed several times in the Armenian press ("Aravot," 1998, 2006, "Grakan Tert," 2001, "Novoe Vremya," 2002), but there was no response from the authorities of the Republic of Armenia [Gukasyan 2002; Mikaelian 2002 a; Novoe Vremya 2002, 8].[13]
After the collapse of the USSR, the destruction of infrastructure, the relocation of the monument from the "periphery" to the "center" would probably have been appropriate also because David of Sasun is a collective image, politically "neutral" and beloved.[13]
Voskan Yerevantsi suggested, while dismantling the "frame of Armenian identity" of the Soviet era, to take it "out of the commercial environment" and install the sculpture "on some free territory near the airport" [Yerevan 2014]. There was even a proposal to place Kocharyan's sculpture at the intersection of Mashtots Avenue and Sayat-Nova, closer to his museum and other monuments: the artist Saryan, composer Komitas, architect Tamanyan, composers and conductors Khachaturian and Spendiarov, writers Saroyan and Tumanyan [Yerevan 2014]. The idea of placing the epic hero David of Sasun in the center, surrounded by a "constellation" of Armenian cultural figures, is quite acceptable, but due to the size, Kocharyan's sculpture is large and therefore would not fit well on the small Place de France. Additionally, it would block semantically marked perspectives and panoramas for the city residents.[14]
The majority of voices advocated for relocating Kochar's sculpture to Republic Square. Notably, Kochar himself, according to the sculptor's son Aykaz Kochar, envisioned his creation precisely on this square [Yerevan 2014].[15]
- "Нам кажется, что памятник Е. Кочара вполне может вписаться в архитектонику площади Республики, поскольку на площади Ленина (нынешняя площадь Республики) образовалась бы «водяная» синтагма
- поющие фонтаны, скульптура Давиду Сасунскому, возвышающаяся из круглого (или прямоугольного) бассейна и фонтан «Эребуни Ереван – 2750»16 (илл. 8). При такой динамичной синтагме совсем по-другому смотрелась бы скульптура Давиду Сасунскому."[15]
V. Gukasyan's point of view regarding the relocation is quite convincing and well-grounded: "Without a doubt, David will live a new life in a new place and will truly become the meaningful counterpoint of the heart of the capital. Indeed, a beloved and dear epic hero, embodying the typical traits and character of his ethnicity. A fearless and blameless knight recognized by all parties, including the Communists. It is quite possible that if Ulyanov [Lenin] did not stand on this square, David would have been installed here in 1959" [Gukasyan 2002, 2]. V. Gukasyan is indeed correct, noting that the relocation of the sculpture to a new place would be perceived in an entirely new way thanks to a new architectural (Tamanyan) context.[15]
After the debates in the press and the expressed opinions about relocating the sculpture from the "periphery" to the "center," the question remained unresolved and received no reaction from the authorities.[16]
In conclusion, it can be noted that Ervand Kochar's sculpture dedicated to the epic hero David of Sasun is a strong marker of the Armenian epic in urban space and has been replicated multiple times in Soviet and post-Soviet times. The sculpture, in historical perspective and in the context of the epic text, has been analyzed and interpreted differently in various time periods, and the "fate" of the statue and the artist Ervand Kochar have become a significant "sign" indicating the realities of the Soviet era and post-Soviet Armenia.[16]
- Simyan, Tigran (2017). "Армянский эпос в социальном и коллективном сознании советской и постсоветской эпохи (на примере китчевых товаров Ереванского вернисажа) [The Armenian epic in the social and collective consciousness of the Soviet and post-Soviet eras (using the example of kitsch goods at the Yerevan Vernissage)]" (PDF). ΠΡΑΞΗMΑ. Journal of Visual Semiotics (in Russian). 2 (12). Tomsk State Pedagogical University: 92–111.
Telman Zurabian
[edit]Telman Zurabian https://web.archive.org/web/20231205070921/https://arar.sci.am/Content/362986/%D0%97%D1%83%D1%80%D0%B0%D0%B1%D1%8F%D0%BD_%D0%A2.%D0%A1._-_%D0%92%D0%BE%D0%BB%D0%BD%D1%8B_%D1%81%D1%87%D0%B0%D1%81%D1%82%D1%8C%D1%8F_-_1981.pdf
https://forum.artinvestment.ru/blog.php?b=43601
archived
[edit]Razmik Panossian: p. 58 "It should be mentioned that the rebellions against the Arabs inspired one of the more popular oral epics of heroism in the form of the legendary figure David of Sasun (a Bagratuni). This tale eventually became part of Armenian literature with clear national(ist) overtones against tyranny and foreign occupation."[19]
Yerevan's former chief architect Samvel Danielyan stated that he considers it one of the finest works of art not just in Yerevan, but the world.[20]
Tigran Simyan contrasted it with Varaz Samuelian's statue of David in Fresno, California, which is emotional and extroverted.[21]
See also?
[edit]Refs
[edit]- ^ Bedevian, Ruth (15 February 2007). "Yervand Kochar - Incomparable Talent Evoked the National Spirit of Armenia". Armenian News Network / Groong. University of Southern California. Archived from the original on 10 May 2020. Retrieved 28 February 2014.
- ^ Ishkhanyan, Avetik (1 July 2019). "Երկու արձան [Two statues]". Hetq (in Armenian). Archived from the original on 1 July 2019.
- ^ Cite error: The named reference
Aravotwas invoked but never defined (see the help page). - ^ a b Cite error: The named reference
noev-kovchegwas invoked but never defined (see the help page). - ^ Cite error: The named reference
Shekoyanwas invoked but never defined (see the help page). - ^ a b Cite error: The named reference
nunewas invoked but never defined (see the help page). - ^ a b Cite error: The named reference
Khachikianwas invoked but never defined (see the help page). - ^ Geodakyan, Gevorg, ed. (1980). Искусство Советской Армении за 60 лет [Art of Soviet Armenia of 60 Years] (in Russian). Academy of Sciences of the Armenian SSR Publishing. p. 112.
- ^ a b c d e Aghasyan 1999, p. 77-79.
- ^ Fourcade, Marie-Blanche (2011). Habiter l'Arménie au Québec: ethnographie d'un patrimoine en diaspora (in French). Québec: Presses de l'Université du Québec. p. 182. ISBN 978-2-7605-2653-2.
- ^ Simyan 2016, p. 85.
- ^ Simyan 2016, p. 88.
- ^ a b c Simyan 2016, p. 90.
- ^ Simyan 2016, p. 91.
- ^ a b c Simyan 2016, p. 92.
- ^ a b Simyan 2016, p. 93.
- ^ Simyan 2017, p. xxxx.
- ^ Cite error: The named reference
Zurabianwas invoked but never defined (see the help page). - ^ Panossian 2006, p. 58.
- ^ Tamazyan, Susanna (17 April 2013). "Հին ու նոր Երևանի խաչմերուկում [At the crossroads of Old and New Yerevan]". df.am (in Armenian). No. 47. Archived from the original on 17 February 2020.
- ^ Simyan 2016, p. 87.
- ^ Cite error: The named reference
Samuelianwas invoked but never defined (see the help page).