Inevitably in a country with an architectural tradition in stone dating back to Urartian times, the craftsmen who so carefully carved blocks of stones for walls, fortresses, and sanctuaries had acquired the skill to sculpt stone as relief decorations for buildings or as independent works of art. Little sculpture has survived, however, from the pre-Christian period because of the excessive zeal of St. Gregory and the newly convert royal court of Armenia in destroying all vestiges associated with earlier pagan religions. The major exception is a series of extremely large carved monolithic stones found in various parts of Armenia and often associated with water sources. They resemble large tailless whales. On them are fish-like designs, but they are know as vishap-k'ar, dragon stones. They date from 2nd-1st millennia BC.
Excavations have uncovered a miscellany of sculptures from the Artaxiad and the Arsacid periods, roughly 2nd Century BC to 4th Century AD. The famous bronze head of Aphrodite, found at Satala near Erzinjan, now in British Museum, or the small female torso in white marble dug up at Armavir, testify to popularity of Hellenistic sculpture in Armenia. Other stone heads, anonymous but no doubt of Armenian nobility, display a static pose far removed from classical style. Nearly a dozen boundary markers of king Artaxias I (Artashes) from early 2nd Century BC have also been uncovered in various areas of Armenia, but these are more important for their Aramaic inscriptions than for their art. Temple of Garni from 1st Century AD offers an enormous repertory of sculpted lion heads, acanthus friezes and geometric and floral reliefs associated with Ionic order of Hellenistic temple architecture.
There is a relative paucity of wooden and ivory sculpture perhaps because these materials were precious commodities in Armenia in historical times; furthermore, stone, especially the easily carved tufa, was very plentiful. The most important piece of ivory carving preserved in Armenia is the binding, with upper and lower plaques, each in five fitted sections, of Etchmiadzin Gospels. These were probably carved in 6th Century in Byzantine workshop and later imported into Armenia. The upper cover shows shows the Virgin with Christ with scenes from her life, including the Presentation of the Magi at the bottom. The lower cover has a beardless Christ in the central panel with scenes from His life.
There are also a number of finely carved ivory bishop's crosiers often with twin dragon heads. Wood was a much more fragile medium than stone or metal and much of what must have been produced has been burned or otherwise destroyed. We know, however, that wood carving was as favored a craft in ancient times as it is today in modern Armenia.
What remains of sculpted or carved wood from medieval Armenia are church doors, capitals used on columns of a 9th Century church, an important carved plaque of the Crucifixion, and a few miscellaneous items including lecterns. Most important carved wooden doors are dated by inscriptions: 1) 1134, double paneled door, Monastery of the Holy Apostles, Mush, now in Erevan, Armenian Historical Museum; 2) 1176, single panel door, Monastery of the Holy Apostles [ 26], Sevan, Erevan, Armenian Historical Museum; 3) 1253, single panel door, Monastery of Tat'ev; 4) 1327, double paneled door, Church of the Nativity, Jerusalem; 5) 1355/6, double paneled door, entrance to Chapel of St. Paul, Armenian Patriarchate, Jerusalem; 6) 1371, double-paneled door, from Armenian church in Crimea, now in the Hermitage, Leningrad; 7) 1486, single panel door, Church of Holy Apostles, Sevan, now in Erevan, Armenian Historical Museum. Borders or frames of all of these are covered with geometric bands or vine scrolls. Those of Mush show mounted warriors at top either fighting or hunting exotic animals; on sides there are rows of animals, too.
📷 : One of doors of 9th Century AD, Sevanavank Monastery Complex, Armenia.
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