Յովհաննէս Սարկաւագի գրական ժառանգութիւնը որպէս փիլիսոփայական-էսթետիկական մտքի աղբիւր
| dc.contributor.author | Կարլէն Միրումեան | |
| dc.date.accessioned | 2025-10-03T09:15:16Z | |
| dc.date.available | 2025-10-03T09:15:16Z | |
| dc.date.issued | 1997 | |
| dc.description.abstract | Hovhannes Sarkavag (1045-1129), also known as Hovhannes Imastaser (the Philosopher) has bequited to posterity quite a number of prose and poetic writings. Of these one particular and lengthy poem (188 long lines), the Ban Imastoutian (Word of Philosophy) stands to be the most important of them all. In fact the poem is a dialogue going on between the poet and a blackbird, the Sarek, on the essence and component parts of art and esthetics. The poet (Hovhannes Sarkavag the Philosopher) holds that art is nothing but the portrayal of nature and the endeavour of man to do so. Art is based on the natural and what is learned, that is, the talent man endowed with, and the time and work he spends in acquiring from nature the elements of beauty. Sarkavag underlines the fact that art is not just the act of copying nature as it stands though the latter is an immense source of wealth for it. Art is but a combination of cognizance of nature and personal creativity. This means that the artist has to delve deep into soul and spirit of nature and what it means. In his analysis of the problem, the author, Karlen Miroumian, reaches to the conclusion that nature is the basis of all esthetic creativity, artistic ideal which artists aspire, and the object of artistic and esthetic cognizance, and creation and recreation, though the main stress has to be put on the relationship between man and nature, because of the mere fact that man is hut an indivisible part of the nature's system, while nature, in its turn, is imbued with human relationships, conditions and conditional ex-pressions. This means no less than the harmonization and balance of nature. If all these are right and irrefutable, than art is but the combination and expression of nature and man's emotional existence. Accepting and holding this approach to the definition of the term, Sarkavag concludes that, hearing the essence of spirituality and rationality in him, man is apt to diverge from the rightful way of natural thing, go astray and be someone else. This act of his is sinning. For the medieval poet-philosopher to sin is nothing but to follow the easy and open road of rationalism; this is why man (Spirit-Reason) and nature oppose each other without realizing the fact. It is at this point that God intervenes to put right the wrong committed. In art, Sarkavag finds that things are somewhat different; that is why he differentiates the expressions of art and the daily life of man; hence, he concludes, the divine revelation and the supernatural have nothing to do with art which belongs to a completely different category of things. Moreover, besides natural talent artistic and esthetic creation need hard purposeful activity. It is this incessant activity on the part of the artist that leads esthetic expressions to perfection and to the ideal. Yet whatever the means to art and esthetic expression, the medieval poet-philosopher sees art and the rest categorized; according to him art and its expression can be communicative, hedonistic, illuminative and educative. Whatever the facts, man is the supreme and the most perfect being in the all-inclusive category of nature, yet he is an indivisible part of it. This means an inseparable concord of the two different categories man and nature thus bringing forth an impeccable unity. It is only the wrong use of the free will and reason man is endowed with which has put man and nature astray and has advanced contradiction between them. In fact, the existence of this contradiction that has prepared the way to human and social diversity in real life has found expression in art. Being made up of the many, human society as such is divided, split up into its component parts and has been pulverized, and hence lost unity in one. This is due to the numerical greatness of man, while the small number of the birds, of which the blackbird is but a representative, has remained true to nature in its entity and free of internal and external contradictions. And hence united. Yet the opposition of oneness to diversity in nature is also prevalent in human society. In the long run of things one finds that Hovhannes Sarkavag reaches to the conclusion that it is individualism which will at last be established in the society as in artistic and esthetic expression, and though human art is the reflection of the Divine, man will, in time, aspire to the godly thus approaching to the equality between him and God. This means no less than the mostly desired end of union in man and nature of which art is only an expression of the real in man and the godly given to him by nature. | |
| dc.identifier.citation | Միրումեան, Կ., «Յովհաննէս Սարկաւագի գրական ժառանգութիւնը որպէս փիլիսոփայական-էսթետիկական մտքի աղբիւր», «Հայկազեան հայագիտական հանդէս», 1997, Պէյրութ, էջ 311-329 | |
| dc.identifier.uri | https://haigrepository.haigazian.edu.lb/handle/123456789/777 | |
| dc.title | Յովհաննէս Սարկաւագի գրական ժառանգութիւնը որպէս փիլիսոփայական-էսթետիկական մտքի աղբիւր |
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