Browsing by Author "Zarian, Armen"

Now showing 1 - 2 of 2
  • Thumbnail Image
    Item
    Եւրոպայում Բագարանատիպ Կառուցուածքների Տարածման Հարցի Շուրջը
    (1972) Zarian, Armen
    After the advent of Christianity to Armenia a great number of temples, dedicated to the new religion, are built in two different architectural styles namely, the basilica, and the vaulted or convex. Of the latter type we have the Etchmiadzin (reconstructed in 618) and the Baccaran (erected, 624-631) temples. Armenians preserve the architectural form of their pagan temples in the edifice of their churches. In the course of time, the vaulted style becomes dominant. This idea of centralism in architecture leads to the anthropocentric conception, which gives the Armenians an objective outlook even in ancient times. A correlation is discerned here between Armenian thought and that of Leonardo da Vinci whose sketches demonstrate his interest in cerntralized themes. The idea of of architectural centralism travels to the West through different channels, one of which is the moving of the Visigoths from the East to the West. The churches the west Goths build in France indicate the existence of an archetype which bears the stamp of inspiration of an Eastern model, indubitably that of Etchmiadzin. The convex architectural style of Baccaran moves to the West also through Byzantium. Atanas of Aton, at the request of the Emperor, Nicephorus Phocas (963-969), both of Armenian origin, establishes abode in Atos, starts an order, and builds the temple of the Great Lavra, whose plan and style are those tectural style is forgotten. During the Renaissance, however, as a reflection of the thinking of the time, the building of churches of this style is resumed in Europe.
  • Thumbnail Image
    Item
    Ձեւի Պահանջը (Ճարտարապետութեան Մէջ)
    (1973) Zarian, Armen
    In Greek classical thinking the human type is conceived objectively; in Armenian medieval thought man is a moral reality. In Greek aesthetic art the statue is its supreme expression; in Armenian art, it is the church. All the elements in Armenian architecture and rules of central harmony are in consonance with the central, square, dome-covered structure, representing man. In the 7th century, as Byzantium attempted to effect a merger of the Armenian church and the Byzantine, in Armenia the idea of merger found expression in the architecture of the Armenian church (Bacavan, 631-639; St. Gayane, 630-641; Mren, 631-639) in which the fundamental form of the edifice is the cross-shaped cupolaed structure. But the Armenian creative architectural mind devised a richer and novel structure in two temples, «Zvartnotz» (642-659) and in «Banaki» (beginning of the 7th century). When form no more reproduces a cosmological import, it is reduced to a mere type, devoid of creativity. The Byzantine Empire created the official edificial type of St. Sophia, over against which, the Armenian mind provided an architectural form that is the supreme expression of its intellectual and spiritual freedom.