¶»Õ³ÝϳñÇã Ðñ³ã гÛñ³å»ïÛ³Ý /ê³ß/ ÍÝí»É ¿ 1950 Ãí ¸ÇÉÇç³Ý ù³Õ³ùáõÙ: 1974 Ãí ³í³ñï»É ¿ ºñ¨³ÝÇ ö³Ýáë »ñɻٻ½Û³ÝÇ ³Ýí³Ý ·»Õ³ñí»ëïÇ áõëáõÙݳñ³ÝÁ, 1979à ºñ¨³ÝÇ ¶»Õ³ñí»ëï³Ã³ï»ñ³Ï³Ý ÇÝëïÇïáõïÁ : 2001 Ãí ÐÐ ÜϳñÇãÝ»ñÇ ÙÇáõÃÛ³Ý ³Ý¹³Ù ¿: 2004 Ãí ¸³ÝdzÛÇ ÐÇÉ»ñáï ù³Õ³ùÇ §Üáñ ²ñí»ëïǦ ÙÇáõÃÛ³Ý ³Ý¹³Ù ¿ : àõÝ»ó»É ¿ ³Ýѳï³Ï³Ý ¨ ËÙµ³Ï³ÛÇÝ óáõó³Ñ³Ý¹»ëÝ»ñ г۳ëï³ÝáõÙ ¨ ³ñï»ñÏñáõÙ: Ðñ³ã гÛñ³å»ïÛ³ÝÇ ëï»Õͳ·áñÍáõÃÛáõÝÝ»ñÁ ·ïÝíáõÙ »Ý г۳ëï³ÝÇ, ²ØÜ -Ç,Ö³åáÝdzÛÇ, èáõë³ëï³ÝÇ,¸³ÝdzÛÇ, ²ñ·»ÝïÇݳÛÇ,
Ðáõݳëï³ÝÇ,
Æñ³ÝÇ, Èǵ³Ý³ÝÇ Ù³ëݳíáñ ѳí³ù³ÍáõÝ»ñáõÙ:
Painter Hrach Hayrapetyan /Sash/ Was born in 1950 in Dilijan city In 1974 graduated from Yerevan Panos Terlemezyan Art College 1979 Yerevan Institute of Fine Art 2001 member of RA Painters’ Union 2004 member of “New Art” union of Hillerot city of Denmark Had a personal and group exhibitions in Armenia and abroad Hrach Hayrapetyan’s works take their place in the private collections of Armenia, USA, Japan, Russia, Denmark, Argentina, Greece, Iran, Lebanon.
ARMINE MELIK-ISRAELIAN
¼ðàôò²ÎÆò` ´Ü²ÞʲðÐÆ ¶àôܺð²Ü¶ÆÜ® Üñ³ ³ñí»ëïÁ µÝáõÃÛ³Ý ·áõݳÛÇÝ ï³ñ»ñùÇ Ñ³ñ³ï¨ ÷á÷á˳ϳÝáõÃÛ³Ý Ù»ç ÙݳÛáõÝ ·»Õ»óÇÏÇ ß»ñï»ñÁ å»Õ»Éáõ áõ í»ñ³ñï³¹ñ»Éáõ íñÓݳϻñï ½ñáõÛóÝ ¿` Ù³ñ¹ - µÝáõÃÛáõÝ ³ñí»ëï »é³ÏáÕ٠ѳñ³µ»ñáõÃÛ³Ý µÛáõñ»Õ³ó³Í í»ñ³å³ïÏ»ñåáõÙÁ, áõñ Ðñ³ã гÛñ³å»ïÛ³Ý ·»Õ³ÝϳñãÇ ³ë»ÉÇùÁ ÝÙ³ÝíáõÙ ¿ µÝáõÃÛ³Ý ÑÝã»Õ ÙÇ ³ñÓ³·³ÝùÇ` ³Ïí³ñ»ÉÇ, ÛáõճݻñÏÇ, å³ëï»É³ÛÇÝ »ñ³Ý·Ý»ñÇ áõ ³Ý·³Ù ·Í³ÝϳñÝ»ñÇ Ù»ç: Æñ ÍÝݹ³í³ÛñÇ, г۳ëï³ÝÇ ³Ù»Ý³·»Õ»óÇÏ í³Ûñ»ñÇó Ù»ÏÇ` ¸ÇÉÇç³ÝÇ µÝ³ß˳ñÑÇ ³½¹»óáõÃÛáõÝÝ ¿, áñ ¹»é Ù³ÝÏáõÃÛ³Ý ûñ»ñÇó ³å³·³ ÝϳñãÇ Ù»ç óÝÓñ³óñ»óÇÝ ·áõÛÝÇ áõ å³ïÏ»ñÇ ÙÇçáóáí ³åñáõÙÝ»ñÇ áõ ïñ³Ù³¹ñáõÃÛáõÝÝ»ñÇ Ý»ñùÇÝ ÑÝãÛáõÝÝ»ñÁ ï»ë³Ý»ÉÇ ¹³ñÓÝ»Éáõ ϳñáÕáõÃÛáõÝÁ, áñÁ ÑÕÏí»ó áõ ѳñëï³ó³í í³ñå»ïÇ` ÅáÕáíñ¹³Ï³Ý ÝϳñÇã ì³ÝÇÏ Þ³ñ³Ùµ»Û³ÝÇ ßÝãÇ ï³Ï: - î³ë ï³ñ»Ï³Ý ¿Ç, »ñµ ѳ׳ËáõÙ ¿Ç ¹åñáóÇÝ ÏÇó µ³óí³Í ì³ÝÇÏ Þ³ñ³Ùµ»Û³ÝÇ Ýϳñã³Ï³Ý ËÙµ³ÏÁ: Üñ³ á·áí ¿ÇÝù ÏñÃíáõÙ áõ ½³ñ·³óÝáõÙ Ù»ñ Ýϳñã³Ï³Ý áõݳÏáõÃÛáõÝÝ»ñÁ, ݳ ¹³ëïdzñ³ÏáõÙ áõ å³ïñ³ëïáõÙ ¿ñ Ù»½ áã ÙdzÛÝ Çµñ»¨ ³å³·³ ÝϳñÇãÝ»ñÇ, ³ÛÉ ³é³çÇÝ Ñ»ñÃÇÝ` áñå»ë ɳí Ù³ñ¹® êáíáñ»óÝáõÙ ¿ñ ÷Ýïñ»É ·»Õ»óÇÏÁ, ï»ëÝ»É áõ ÑÙï³Ý³É µÝáõÃÛáõÝÁ ×Çßï ÁÝϳɻÉáõ ÝñµáõÃÛáõÝÝ»ñÇ, ÑÝÇ ×Çßï í»ñ³ñï³¹ñÙ³Ý Ù»ç, ÇÝãÁ Ý»ñùÇÝ ï»ëáÕáõÃÛ³Ùµ ÁÝϳɻÉáõ ϳñáÕáõÃÛáõÝ ¿ å³Ñ³ÝçáõÙ, áñÇÝ å»ïù ¿ ѳëݻɮ Þ³ñ³Ùµ»Û³ÝÇ ¹åñáóÇ ë³Ý»ñÁ Çñ»Ýó áõÕÇÝ ·ï³Ý ·»Õ³ñí»ëïÇ ³ëå³ñ»½áõÙ, - ³ëáõÙ ¿ ·»Õ³ÝϳñÇãÁ, áõ٠ѳٳñ ëï»Õͳ·áñÍ³Ï³Ý ï³ñ»ñùÁ ³Ù»ÝûñÛ³ ³ß˳ï³ÝùÇó í³Õáõó í»ñ³Íí»É ¿ Ñ»ï³ùñùÇñ ½ñáõÛóÇ µÝáõÃÛ³Ý ÝñµÇÝ ÷á÷áËáõÃÛáõÝÝ»ñÇ, ·áõÝ»ñ³Ý·³ÛÇÝ ³ÝóáõÙÝ»ñÇ Ñ»ï, áñáÝù í»ñ³ñï³¹ñíáõÙ »Ý Ðñ³ã гÛñ³å»ïÛ³ÝÇ µ³½Ù³Å³Ýñ ëï»Õͳ·áñÍáõÃÛáõÝÝ»ñáõÙ: ¶»Õ³ÝϳãÇ ï³ñ»ñùÁ ϳñ»ÉÇ ¿ ѳٳñ»É ÑÇÙݳϳÝáõÙ Ýñ³ ³Ïí³ñ»É³ÛÇÝ ³ß˳ï³ÝùÝ»ñÁ, áõñ ÇÝãå»ë ÇÝùÝ ¿ ³ëáõÙ` ³Ù»Ý ÇÝã Ý»ñϳ۳óíáõÙ ¿ ó÷³ÝóÇÏáõÃÛ³Ý Ù»ç, ³í»ÉÇ µÛáõñ»Õ³ó³Í® - æñ³Ý»ñÏáí ³ß˳ï»ÉÝ ³í»ÉÇ »Ù ëÇñáõÙ, ÙÇ ï»ë³Ï å³ñ½áõÃÛáõÝ, ûèáõÃÛáõÝ Ï³ Ù»çÁ, ãÝ³Û³Í ³í»ÉÇ ËÇëï Ùáï»óáõÙ ¿ å³Ñ³ÝçáõÙ, ÛáõճݻñÏÇ Ý³Ù³Ý ã¿, áñ
ß»ñï»ñÇ ßÝáñÑÇí ѳëÝ»ë áõ½³Í¹ ³ñ¹ÛáõÝùÇÝ®²Ýµ³ó³ïñ»ÉÇ Ñ³×áõÛù ¿ ÇÝÓ Ñ³Ù³ñ, »ñµ óó ·áõÛÝ»ñÁ ï³ñ³ÍíáõÙ »Ý ÃÕÃÇÝ ¨ ³Ý·³Ù ÙßáõßÝ ¿ ëï³ÝáõÙ Çñ ³ñï³Ñ³ÛïáõÃÛáõÝÁ: àÕç ¾ý»ÏïÁ ·áõÛÝÇ Ù»ç ÙÇ Ýáñ »ñ³Ý·Ç µ³ó³Ñ³ÛïáõÙÝ ¿, áñÁ ß³ï ųٳݳϳÏÇó ¿ ÁÝϳÉíáõÙ: æñ³Ý»ñÏáí ³ß˳ï»ÉÇë Ù»Ï ë»³Ýë ¿ ïñíáõÙ` í»ñçݳϳݮ, - Ëáëïáí³ÝáõÙ ¿ ÝϳñÇãÁ, áõÙ Ññ³åáõÛñÁ çñ³Ý»ñÏÇ Ë³ÕÇ Ñ»ï ³ÏÝóñóÛÇÝ íñÓݳѳñí³ÍÝ»ñÇ ßÝáñÑÇí ¹³éÝáõÙ ¿ ³Ïí³ñ»É³ÛÇÝ ³ß˳ï³ÝùÝ»ñÇ ÙÇ Ýáñ ß³ñù: ²³ÏÝóñÃÝ»ñÇ Ù»ç »Ý ëï»ÕÍíáõÙ ëï»Õͳ·áñÍáõÃÛáõÝÝ»ñ, áñáÝù Ý»ñϳ۳ÝáõÙ »Ý ¹ÇïáÕÇÝ Çñ»Ýó Ý»ñ³ß˳ñÑÇ íñÓݳ·Çñ Ù»ÏÝáõÃÛ³Ùµ: ¸ÇÙ³Ýϳñ û µÝ³Ýϳñ, í»ñ³ó³Ï³Ý, 黳ÉÇëï³Ï³Ý û åáõ³Ýï»ÉÇëï³Ï³Ý á×Ç Ù»ç Ý»ñϳ۳óí³Í ëï»Õͳ·áñÍáõÃÛáõÝÝ»ñ, ³Ù»Ýáõñ ½·³óíáõÙ ¿ ÝϳñãÇ ³ë»ÉÇùÇ ³é³ÝóùÁ® ´Ý³ÝϳñÇ ³Ýë³ÑÙ³Ý ÑÙ³ÛùÝ»ñáí ³åñáÕ ÝϳñãÇ ³é³ÝÓÇÝ ï³ñ»ñùÝ ¿ ¹ÇÙ³ÝϳñÁ, áõñ ëï»Õͳ·áñÍáõÃÛ³Ý áÕç ËݹÇñÁ 먻éíáõÙ ¿ Ñ»ñáëÇ Ý»ñ³ß˳ñÑÇ, µÝ³íáñáõÃÛ³Ý, Ï»ñå³ñÇ ¿áõÃÛ³Ý Ñ³Ù³ñÅ»ù í»ñ³ñï³¹ñÙ³Ý íñ³, áñÇ ßÝáñÑÇí гÛñ³å»ïÛ³ÝÇ ¹ÇÙ³ÝϳñÝ»ñáõÙ ³ë»ë å³ïÏ»ñíáõÙ ¿ ßÝã³éáõÃÛáõÝÁ, áñÁ ù³ñ³ó³Í ã¿ ·»Õ³ñí»ëï³Ï³Ý ÑÙïáõÃÛ³Ùµ áõ í³ñå»ïáõÃÛ³Ùµ Ï»ñïí³Í ã³÷ áõ Ó¨»ñÇ Ù»ç, ³ÛÉ Ññ³í³éí³Í ¿ Ñ»ñáëÇ Ý»ñùÇÝ ÉáõÛëáí® - ØÇßï ëÇñ»É »Ù ¹ÇÙ³ÝϳñÇ Ù»ç óùÝí³Í ß»ñï»ñÁ áõëáõÙݳëÇñ»É, µ³ó³Ñ³Ûï»É, å³ïÏ»ñ»É ³ÛÝ, ÇÝãÇ ßÝáñÑÇí ¹ÇÙ³ÝϳñÁ Ϲ³éݳ ѳÙá½Çã áõ ³ë»ÉÇù Ïáõݻݳ® γñÍáõÙ »Ù, ÇÙ ³ß˳ï³ÝùÝ»ñáõÙ ³Ûë ËݹÇñÝ»ñÇ Çñ³Ï³Ý³óÙ³Ý Ù»ç ѳçáÕ»É »Ù® ØÇ Ã»ñáõÃÛáõÝ áõÝ»Ù, Ñ»ßï »Ù µ³Å³ÝíáõÙ ÇÙ ·áñÍ»ñÇó, Ýñ³Ýó ï³Éáí ÇÝùÝáõñáõÛÝ ³åñ»Éáõ Çñ³íáõÝù, ÇëÏ ëå³éí»Éáõ í³ËÇó ÇÝÓ ÙÇßï Ñ»éáõ ¿ å³ÑáõÙ ³ÛÝ, áñ »ñµ»ù ·áÑ ã»Ù ÙÝáõÙ ÇÙ ëï»ÕͳÍÇó, Ó·ï»Éáí ³í»ÉÇÇÝ®, - ³ëáõÙ ¿ ëï»Õͳ·áñÍáÕÁ, áõÙ ÑáõÝ³Ï³Ý ß³ñùÁ ÙÇ ³é³ÝÓݳÏÇ ÑÙ³Ûù áõÝÇ Çñ Ù»ç ¨ ËáëáõÙ ¿ ³ñí»ëï³ë»ñ ³ÝѳïÇ ·»Õ»óÇÏÁ ·Ý³Ñ³ï»Éáõ ¨ Ù³ïáõó»Éáõ ׳߳ÏÇ áõ ³ñÑ»ëï³í³ñÅáõÃÛ³Ý Ù³ëÇÝ: Üñ³ »ñ³½³ÝùÝ»ñÇó Ù»ÏÁ` ï»ëÝ»É ²ÏñáåáÉÇëÁ` ¹³ñÓ³í ·áõÝ»Õ ³ñӳݳ·ñáõÃÛáõÝÁ Çñ³Ï³ÝáõÃÛ³Ý, áñÁ Ýáñ ÙÇ ó³ÝÏáõÃÛáõÝ áõÝÇ, ³åñ»É í»ñ³ÍÝÝ¹Ç ûñûñáóÝ»ñÇó Ù»ÏÁ` üÉáñ»ÝóÇ³Ý ï»ëÝ»Éáõ ٻͳ·áõÛÝ áõñ³ËáõÃÛáõÝÁ, ÛáõճݻñÏÇ áõ ³Ïí³ñ»ÉÇ »ñÏËáëáõÃÛ³Ùµ ѳÕáñ¹³ÏÇó ¹³ñÓÝ»Éáí ¹ÇïáÕÇÝ Çñ ½ñáõÛóÇÝ, áñÁ ³ñí»ëïÇ Ù³ëÇÝ ¿® - Æ٠ѳÙá½ÙáõÝùÝ ¿, ³åñ»É å³ñ½ áõ ѳݷÇëï, áõݻݳÉáõ ÙáÉáõóùÇó Ñ»éáõ, ß³ï µ³Ý ï»ëÝ»É ÏÛ³ÝùáõÙ, µ³Ûó ã³·³Ñ³Ý³É, ׳Ù÷áñ¹»É, Ýáñ í³Ûñ»ñ µ³ó³Ñ³Ûï»É, Ýáñ ѳÕáñ¹³ÏóáõÃÛáõÝ ³Ûë ÑÇÝ áõ Ýáñ ÙáÉáñ³ÏÇ Ñ»ï® áõ ëï»Õͳ·áñͻɮ ê³ Ñ³í»ñÅáõÃÛ³Ý ÙÇ Ù³ëÝÇÏÝ ¿ ÇÝÓ Ñ³Ù³ñ, - Çñ ѳÙá½ÙáõÝùÝ»ñáí ÏÇëíáõÙ ¿ ³ñí»ëï³·»ïÁ, ËáëáõÝ ëï»Õͳ·áñÍ³Ï³Ý ³ë»ÉÇùáí ѳëï³ï»Éáí, áñ Ðñ³ã гÛñ³å»ïÛ³ÝÇ, Ùï»ñÇÙÝ»ñÇ ßñç³Ý³Ïáõ٠ѳÛïÝÇ / ê³ßÇ / ëï»Õͳ·áñÍáõÃÛáõÝÝ»ñÇ µ³½Ù³½³ÝáõÃÛáõÝÝ áõ ѳݹ³ñï ³ÝóáõÙÝ»ñÁ ½³ñ·³óÙ³Ý Ýáñ áõ Ýáõñµ ¿ï³åÝ»ñÇ` µ³ó³éáõÙ »Ý ëï»Õͳ·áñÍ³Ï³Ý Ï³Ý·Ç Ùï³í³ËáõÃÛáõÝÁ, ù³ÝÇ, áñ »ñÏËáëáõÃÛáõÝÁ ÙÇÙÛ³Ýó ѳí³ï³ñÇÙ »ñÏáõëÇ ÙÇç¨ ³Ýó»É ¿ ѳñ³ï¨áõÙÇ ë³ÑÙ³ÝÇó ³Ý¹ÇÝ® ²ñÙÇÝ» Ø»ÉÇù-Æëñ³Û»ÉÛ³Ý ³ñí»ëï³µ³Ý
«¸ÇÉÇç³ÝÛ³Ý Ñ³Ù³Ûݳå³ïÏ»ñ», Ïï³í, ÛáõճݻñÏ,80x100, 2005 Ã. «Dilijan Landscape» canvas, oil 80x100, 2005
«ÐÇÝ ¸ÇÉÇç³ÝÇ Ï»ÝïñáÝÁ» , ÃáõÕÃ, çñ³Ý»ñÏ, 41х53, 2007 Ã.
«Old Dilijan. Centre» paper, aquarelle 41х53, 2007
§¸ÇÉÇç³ÝÛ³Ý áÉáñ³ÝÝ»ñ¦, ÃáõÕÃ, çñ³Ý»ñÏ, 41х54, 2008 Ã. «Dilijan passage» (Landscape) paper, aquarelle 38х47, 2006
«ÐÇÝ ¸ÇÉÇç³Ý, γٳñÇÝÇ ³ëïÇ׳ÝÝ»ñÁ», ÃáõÕÃ, çñ³Ý»ñÏ, ãáñ ï»ËÝÇϳ,41x52, 2000 Ã. «Old Dilijan. The stairway of Kamarin» paper, aquarelle, dry technique 41x52,2000
«ÐÇÝ ¸ÇÉÇç³Ý, ØÛ³ëÝÇÏÛ³Ý ÷áÕáóÁ» , ÃáõÕÃ, çñ³Ý»ñÏ, ãáñ ï»ËÝÇϳ, 42x54, 1991Ã.
«Old Dilijan. Myasnikyan street» paper, aquarelle, dry technique 42x54, 1991
«Autumn in Aghavnavank» paper, aquarelle 42х53, 2007
«²Õ³íݳí³ÝùÁ ³ßݳÝÁ» , ÃáõÕÃ, çñ³Ý»ñÏ, 42х53, 2007Ã.
§¶áß³í³Ýù¦, ÃáõÕÃ, çñ³Ý»ñÏ, 41х52,2010Ã. «Goshavank» paper, aquarelle 41х52, 2010
«Ð³Û³óù ÑÇÝ ÃÕ³Ù³ëÇÝ» , ÃáõÕÃ, çñ³Ý»ñÏ,38х47, 2006 Ã.
«Look at the old quarter» Paper, aquarelle 38х47, 2006
«ÐÇÝ ¸ÇÉÇç³Ý», Ïï³í, ÛáõճݻñÏ, 55х60,1992 Ã. «Old Dilijan» canvas, oil 55х60,1992
§ÑÇÝ øÛ³ñ³ÙÇ Ýñµ³ÝóùÁ¦, Ñ»ÕÇݳϳÛÇÝ ÏñÏÝáõÃÛáõÝ, ÃáõÕÃ, çñ³Ý»ñÏ, 40х51, 1997 Ã. «Kyaram lane. Old Dilijan» paper, aquarelle 40х51, 1997
§²Ýï³é³ÛÇÝ ¿ïÛáõ¹¦, ÃáõÕÃ, çñ³Ý»ñÏ,20х25, 2006 Ã.
«Forest etude» paper, aquarelle 20х25, 2006
«²Ù»Ý³÷ñÏÇãÁ, ²ÝÇÇ ³í»ñ³ÏÝ»ñáõÙ», ÃáõÕÃ, çñ³Ý»ñÏ, 41х52, 2003Ã
«Church Amenaprkich Ani» paper, aquarelle 41х52, 2003
«Î³Ï³ãÝ»ñ», ÃáõÕÃ, çñ³Ý»ñÏ, 42х53, 2010 Ã
«Poppies» paper, aquarelle 42х53, 2010
« ¸ÇÉÇç³ÝÛ³Ý µÝ³Ýϳñ» , ÃáõÕÃ, çñ³Ý»ñÏ,42 х 53 , 2009Ã.
«Dilijan Landscape» (Panorama) paper, aquarelle 42 х 53, 2010
«ÐÇÝ ¸ÇÉÇç³Ý, γÉÇÝÇÝÇ ÷áÕáó» , ÃáõÕÃ, çñ³Ý»ñÏ, ãáñ ï»ËÝÇϳ,41х52, 2000 Ã.
«Old Dilijan. Kalinin street» paper, aquarelle, dry technique 41х52,2000
INTERLOCUTOR – TO THE NATURE COLOUR SPECTRUM … In the change of permanent variability of nature color element his art is a brush-created conversation of searching and reproducing the slices of enduring beauty – crystallized reproduction of man-nature-art tripartite relation, where Hrach Hayrapetyan painter’s word is like a vibrant response of nature – in aquarelle, oil paint, pastel colors and even in the drawings. The influence of the nature of one of the most beautiful places of Armenia – Dilijan, that still since the days of his childhood curdled in the artist through colour and image the capability to make visible the internal sounds and moods, which was abraded and enriched under the breathe of the master – national painter Vanik Sharambeyan. - He was 10 years old, when attended opened adjacent to school the painting coterie of Vanik Sharambeyan. We were educated under his spirit and developing our drawing skills. He educated and prepared us not only as future painters, but first – as a good person… He taught to seek the beauty, see and be skilled in the delicacy of right perception of the nature, in the right reproducing of past, what requires ability to perceive with internal vision, which one must achieve… The pupils of Sharambeyan’s school found their way in the sphere of art, - said the painter, for whom the creating element from every-day work became an interesting conversation with nature pure changes, shades’ passages, which are reproduced in the works of various genres of Hrach Hayrapetyan. as
The element of he says himself,
the painter can be treated everything is presented in
basically his aquarelle works, where, the transparency, more crystallized…
- I like to work with aquarelle more – there is a kind of simplicity, lightness in it, though it requires more severe approach, it is not like oil paint, when you can achieve the desired result through the slices… It is an unexplainable pleasure to me when the wet colours are spread on the paper and even the mist gets its expression. The whole effect is revelation of a new shade in the colour, which is perceived to be very modern. While working with aquarelle is given one session only – the final…, - confesses the painter, whose attraction with the watercolor nuances thanks to momentary paint-brush touches becomes a new series of watercolor works. Within the moments are created works, which are presented to the audience with brush-painted interpretation of insight. Works presented in portrait or landscape, abstract, realistic or pointellistic style, everywhere is felt the core of the painter’s of word…
§Ü³ïÛáõñÙáñï ¹³ßï³ÛÇÝ Í³ÕÇÏÝ»ñáí¦, Ïï³í, ÛáõճݻñÏ, 60/ 70, 2010Ã. «Wildflowers Still life» Canvas, oil 60 х 70, 2010 A separate element of the painter living in infinite charms of landscape, is the portrait, where the whole problem of the creative work is focused upon the insight of the hero, nature, on the equivalent reproducing of the character’s nature, thanks to which in Hayrapetyan’s portraits seems to be illustrated the breathing, which is not crusted in the sizes and forms created with art skill and mastership, but is illuminated with inner light of the hero… - I always liked to study the slices hidden in the portrait, reveal, describe the thing, thanks to which the portrait would become convincing and would have something to say … I think I succeed in my works in the realization of these problems… I have a drawback – it is easy to me to diverge from my works, giving them the right to
§ ÆÝùݳÝϳñ¦, ëïí³ñ³ÃáõÕÃ, ϳíÇ×, ã»Ë³Ï³Ý Ù³ïÇï, 1984 Ã. «Self-portrait» cardboard, sanguine, czech pencil 47 х 57, 2008
§Î»ã³éÇëÇ í³ÝùÁ¦, ÃáõÕÃ, çñ³Ý»ñÏ, 40х51, 2007Ã.
«Kecharis Monastery» paper, aquarelle 40х51, 2007
live independently, and from the fear to exhaust it brings me back the fact that I am always unsatisfied with my works, seeking for more, - says the painter, whose Greek series has a special charm in it and talks about the art individual’s ability to estimate the beauty and to deliver the taste and about the professionalism of the art individual. One of his dreams – to see Acropolis, became the colorful record of the reality, which has a new wish – to have a great joy to see one of the lullabies of Renaissance – Florence, making initiate the onlooker through the dialogue of oil paint and water color with his conversation, which is about the art… - My conviction is to live simple and quiet, to be far from delusion, see a lot in life, but not to become greedy, to travel, find out new places, new communications with this old and new planet… and create… This is a part of eternity for me, - with his convictions shares the artist, sustaining with expressive creative ideas, that the variety of works of Hrach Hayrapetyan, known among his close people as Sash, and quiet passages to new and fragile phases – excludes the fear of creative stop, as the dialogue between two faithful ones to each other has gone beyond the limit of perpetual… Armine Melik-Israyelyan art critic
«Ìáí³ÛÇÝ µÝ³Ýϳñ»
ÃáõÕÃ, çñ³Ý»ñÏ, 42х53, 2003à «Seascape» paper, aquarelle 42х53, 2003
«²ýñÇÏÛ³Ý ÙáïÇí», ÃáõÕÃ, çñ³Ý»ñÏ, 41х54,
2004 Ã.
African motive » paper, aquarelle 41х54, 2004
«Ø³Ï³ñ³í³ÝùÁ, ·³ñݳݳÛÇÝ µÝ³Ýϳñ», ÃáõÕÃ, çñ³Ý»ñÏ, 38х50, 2010 Ã. Makaravank, spring» paper, aquarelle 38х50, 2010
«²ÝÓñ¨áï ׳ݳå³ñÑ», ÃáõÕÃ, çñ³Ý»ñÏ, 38х50, 2005Ã.
«Wet road» paper, aquarelle 38х50, 2005
§²ÏñáåáÉ, ²Ã»Ýù¦ , ÃáõÕÃ, çñ³Ý»ñÏ, 30x40, 2001Ã. «Acropolis. Athens» paper, aquarelle 30x40,2001
§²ÏñáåáÉ, ²Ã»Ýù¦ , ÃáõÕÃ, çñ³Ý»ñÏ, 40х51, 2002 Ã. «Acropolis. Athens» paper, aquarelle 40х51, 2002
«¼µáë³Ýù» , ÃáõÕÃ, çñ³Ý»ñÏ, 40х54, 2004 Ã. «Promenade» paper, aquarelle 40х54, 2004
§ÐÇÝ ¸ÇÉÇç³Ý¦, Ïï³í, ÛáõճݻñÏ, 20x25,1996Ã. «Dilijan serpentine» paper, aquarelle 20x25,1996
«Èáéí³ ÓáñÁ, µÝ³Ýϳñ» , ÃáõÕÃ, çñ³Ý»ñÏ,42х53, 2010 Ã.
«Canyon Lori» paper, aquarelle 42х53, 2010
§¸ÇÉÇç³ÝÛ³Ý ÓÙ»é¦, ÃáõÕÃ, çñ³Ý»ñÏ, 42х53, 2004 Ã. «Winter in Dilijan» paper, aquarelle 42х53, 2004
§¸ÇÉÇç³ÝÇ ÑÇÝ Ï»ÝïñáÝÁ, í³Õ ·³ñݳÝÁ¦ , Ïï³í, ÛáõճݻñÏ, 40х50,1977 Ã. «Church Chukhtakvank. Dilijan» canvas, oil 40х50,1977
§ÐÇÝ, ÷³Ûï³ß»Ý ¸ÇÉÇç³ÝÁ¦, ÃáõÕÃ, çñ³Ý»ñÏ, 37х43, 2010 Ã
§Old wooden Dilijan» paper, aquarelle 37х43, 1997
§²Ýï³é³ÛÇÝ Ùßáõߦ , ÃáõÕÃ, çñ³Ý»ñÏ, 44х56, 2013 Ã. «Forest mist» paper, aquarelle 44х56, 2013
§øÛ³ñ³ÙÇ Ýñµ³ÝóùÁ¦, Ïï³í, ÛáõճݻñÏ, 44х56, 1977 Ã. «Kyaram lane» canvas, oil 50х70, 1977
§ ꨳݳ ÉÇ×Á¦ , Ïï³í , ÛáõճݻñÏ, 40х52, 1995 Ã. «Lake Sevan» canvas, oil 40х52,1995
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1.§ Ðáñë ¹ÇٳݳϳñÁ¦ , ÃáõÕÃ, ë³Ý·Çݳ, 40х50, 1979 Ã. 1.«Portrait of father» portrait, sanguine. 40х50, 1979
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2. §¶É˳ñÏáí ³ÕçÇÏÁ¦ , Ïï³í ÛáõճݻñÏ, 50х40,2011 Ã. 2.«Girl in the hat» canvas, oil 50х40, 2003 3. §êáõë³ÝݳÛÇ ¹ÇٳݳÏñÁ¦ ëïí³ñ³ÃáõÕÃ, ϳíÇ×, 41х49, 1987 Ã. 3.«Portrait of Susanna» cardboard, sanguine 41х49, 1987
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1.§ ´»Éɳ ²Ñ³ñáÝÛ³ÝÇ ¹ÇÙ³ÝϳñÁ¦, Ïï³í, ÛáõճݻñÏ, 40х50, 2010Ã. 1.«Portrait of Bella Aharonyan» canvas, oil 40х50, 2010
3. § 껹³ ÎíñÛ³ÝÇ ¹ÇٳݳϳñÁ¦, Ïï³í , ÛáõճݻñÏ,40х55, 2011 Ã. 3.«Portrait of Seda Kvryan» canvas, oil 40х55, 2011
2.§²Ý»ïÇ ¹ÇÙ³ÝϳñÁ¦, ÃáõÕÃ, çñ³Ý»ñÏ, 43х55, 2010Ã. «Portrait of Anette» paper, aquarelle 43х55, 2010
§ ÐÇÝ ¸ÇÉÇç³Ý¦, Ïï³í, ÛáõճݻñÏ, 20х25, 1996 Ã. «Old Dilijan. Myasnikyan street» paper, aquarelle 20х25, 1996
§ÒÇ»ñ¦, ÃáõÕÃ, çñ³Ý»ñÏ, 44x56, 2012Ã. «Horses» paper, aquarelle 44x56, 2012
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1.§øÛ³ñ³ÙÇ Ýñµ³Ýóù¦, Ïï³í, ÛáõճݻñÏ, 47х56, 1992 Ã. 1.«Kyaram lane» (Author reduplication) canvas, oil 47х56, 1992 2.§ ²ÝݳÛÇ ¹ÇٳݳϳñÁ¦ , ÃáõÕÃ, Ù³ïÇï, 40х50, 2007 Ã. 2.«Portrait of Anna» paper, czech pencil 40х50, 2007 3.§ ¸ÇÉÇç³Ý, ù³Õ³ù³ÛÇÝ ÉÇ×Á¦, ÃáõÕÃ, çñ³Ý»ñÏ, 27х33, 2006 Ã. 3.«City lake. Dilijan» paper, aquarelle 27х33, 2006
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3 1.§Ð³Ûñ³Ï³Ý ïáõݦ Ïï³í, ÛáõճݻñÏ, 40х50, 2007 Ã. 1.«Ancestral home» canvas, oil 40х50, 2007
2. §¸ÇÉÇç³ÝÛ³Ý µ³Ï¦ ,ÃáõÕÃ, çñ³Ý»ñÏ, 41х53, 2003à 2.«Dilijan patio» paper, aquarelle 41х53, 2003 3.§ γٳñÇÝÇ ³ëïÇ׳ÝÝ»ñÁ¦ Ñ»ÕÇݳϳÛÇÝ ÏñÏÝáõÃÛáõÝ, ÃáõÕÃ, çñ³Ý»ñÏ, 40х52, 2012 Ã. 3.«Stairs of Kamarin» (copyright repetition) paper, aquarelle 40х52, 2012
§ ê³ÕÙáë³í³Ýù¦, Ïï³í, ÛáõճݻñÏ, 50х70, 1995 Ã. «Saghmosavank Monastery» canvas, oil 50х70, 1995
§ γϳãÝ»ñ ²ñ³·³ÍÇ É³Ýç»ñÇݦ, ÃáõÕÃ, çñ³Ý»ñÏ, 35х41, 2011 Ã. «Poppies on the slope of Aragats» paper, aquarelle 35х41, 2011
§ î»Õ»ñ »Ï»Õ»óÇݦ, ÃáõÕÃ, çñ³Ý»ñÏ, 42х51, 2010Ã. «Tegher Monastery» paper, aquarelle 42х51, 2010
§êÇñ³Ýáõß ï³ïÇ ¹ÇÙ³ÝϳñÁ¦, ÃáõÕÃ, Ù³ïÇï, 35х45, 2012 Ã. «Portrait of grandmother Siranush» paper, aquarelle 35х45, 2012
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1.§¾çÙdzÍÇÝ í³Ý³Ñ³Ù³ÉÇñÁ¦ ÃáõÕÃ, çñ³Ý»ñÏ, 30х40, 2010à 1.«The complex of Echmiadzin Monastery» paper, watercolor, 30х40, 2010
2.§ ²ñù»åÇëÏáåáë ê»åáõÑ ê³ñ·ëÛ³ÝÇ ¹ÇٳݳϳñÁ¦ , Ïï³í, ÛáõճݻñÏ, 50х60, 2011Ã. 2.«Portrait of Аrchbishop Sepukh Sarkisyan» canvas, oil 50х60, 2011 3.§ÌÇñ³Ý³·áõÛÝ ³ñ¨³Í³·¦, ÃáõÕÃ, çñ³Ý»ñÏ, 25х30, 2006Ã. 3.«Apricot sunset» paper, aquarelle 25х30, 2006
§ö³ñÇ½Ç Ð³ÕÃ³Ï³Ý Ï³Ù³ñÁ¦, ÃáõÕÃ, çñ³Ý»ñÏ, 25х30 2014à «Paris Triumphal arch» paper, aquarelle 25х30, 2014
§¸ÇÉÇç³ÝÇ ³ßáõÝÁ¦ ÃáõÕÃ, çñ³Ý»ñÏ, 42х53,2009Ã.
«Autumn Landscape Dilijan» paper, aquarelle 42х53, 2009
§²Ýï³é³ÛÇÝ ïñ³Ù³¹ñáõÃÛáõݦ, ÃáõÕà , çñ³Ý»ñÏ, 41х53, 2003 Ã.
«Forest mood» paper, aquarelle 41х53, 2003
§²ÏñáåáÉ, ²Ã»Ýù¦, ÃáõÕÃ, çñ³Ý»ñÏ, 41х51, 2002 Ã. «Acropolis. Athens» paper, aquarelle 41х51, 2002
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1.§ÎÇÝÁ Ùáñû ÃÇÏÝáóáí¦, ÃáõÕÃ, çñ³Ý»ñÏ, 38х41, 2006 Ã. 2.«Woman in fur boa» paper, aquarelle 38х41, 2006 2. §Îáñǹ³¦ ¾ïÛáõ¹ , ÃáõÕÃ, çñ³Ý»ñÏ, 38х48, 2001Ã. 2.«Corrida» (Etude) paper, aquarelle 38х48, 2001 3.§Ðñ³½¹³ÝÇ ÏÇñ×Á¦ ÃáõÕÃ, çñ³Ý»ñÏ, 41х54, 2000 Ã. 3.«The Hrazdan Gorge» paper, watercolor, 41х54, 2000
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1.§ºñ¨³Ý, سßïáóÇ åáÕáﳦ ÃáõÕÃ, çñ³Ý»ñÏ, 40х52, 2002 à 1.«Yerevan, Mashtots Avenue», paper, watercolor, 40х52, 2000
3.§ ²ñ÷ÇÇ ¹ÇٳݳϳñÁ¦, ÃáõÕÃ, ·áõݳíáñ Ù³ïÇï, 40х55, 2013Ã. 3.«Portrait of Arpi» paper, pencil 40х55, 2013
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2.§ Ú³ë³Ù³ÝÝ»ñ¦ , ÃáõÕÃ, çñ³Ý»ñÏ, 40х51, 2013Ã. 2.«Lilac» paper, aquarelle 40х51, 2013
§ ÒÙ»é³ÛÇÝ »ñ»Ïá ºñ¨³ÝáõÙ» , ÃáõÕÃ, çñ³Ý»ñÏ, 41х52, 2003 Ã. «Winter evening» paper, aquarelle 41х52, 2003
§ÐÇÝ ºñ¨³ÝÁ` ²µáíÛ³Ý ÷áÕáóÁ¦, ÃáõÕÃ, çñ³Ý»ñÏ, 45х57, 2000 Ã. «Old Yerevan. Abovyan street» Paper, aquarelle 45 х 57,2000
§üáõ»ï»» , ÃáõÕæ çñ³Ý»ñÏ, 40х52, 2004 Ã. «Fuete» paper, aquarelle 40х52, 2004
§ ºÏ³ï»ñÇݳ ´»Éáó»ñÏáíëϳ۳ÛÇ ¹ÇٳݳÏñÁ¦, ÃáõÕÃ, çñ³Ý»ñÏ, ·áõݳíáñ Ù³ïÇï, 47x57, 2008 Ã. «Portrait of Ekaterine Belocerkovskaya» paper, aquarelle, crayon 47x57, 2008
§ ³ñí»ëï³µ³Ý ²Ý»ï ²Ñ³ñáÝÛ³ÝÇ ¹ÇÙ³ÝϳñÁ¦, Ïï³í, ÛáõճݻñÏ, 55х65, 2013 Ã. «Portrait of art critic Aneta Aharonyan» canvas, oil 55х65, 2013
§¸³ßï³ÛÇÝ Í³ÕÇÏÝ»ñ¦, Ïï³í, ÛáõճݻñÏ, 60х70, 2010Ã. «Wildflowers» canvas, oil 60х70, 2010
îÇñ³Ù³ÛñÁ îÇñ³Ù³ÛñÁ...… … ijٳݳÏÝ»ñÇ Ù»ç ã˳ÙñáÕ áõ Ùßï³Ï³Ý ÙÇ Ï»ñå³ñ, áñÇÝ å³ïÏ»ñ»É »Ý í»ñ³ÍÝÝ¹Ç ÑëϳݻñÝ áõ ųٳݳϳÏÇó ·»Õ³ñí»ëïÇ ßéݹ³ÉÇó ³ÝáõÝÝ»ñÁ: Ð³Û ·»Õ³ñí»ëïÇ å³ïÙáõÃÛ³Ý Ù»ç ²ëïí³Í³Ùáñ ϳ٠îÇñ³Ùáñ Ï»ñå³ñÁ É³í³·áõÛÝë å³ïÏ»ñ»É »Ý ÐáíݳóÝÛ³ÝÁ, êáõñ»ÝÛ³ÝóÝ áõ ʳÝçÛ³ÝÁ` ëï»Õͳ·áñÍáõÃÛáõÝÝ»ñ, áñáÝù ÙݳÛáõÝ ³ñÅ»ùÝ»ñ »Ý ÇÝãå»ë Ñ³Û ·»Õ³ñí»ëïÇ ³ÛÝå»ë ¿É Ñá·¨áñ ųÝñÇ ëï»ÕͳáñÍáõÃÛáõÝÝ»ñÇ ß³ñùáõÙ: ²Û¹ ٻͻñÇ ëï»ÕÍ³Í Ï»ñå³ñÝ»ñáõÙ îÇñ³Ù³ÛñÁ ѳݹ»ë ¿ ·³ÉÇë ѳÛáõÑáõ Ï»ñå³ñáí, ³é³ùÇÝáõÃÛáõÝÝ»ñÇ Çñ ³ñŻѳٳϳñ·áí ϳñÍ»ë Ùáï»Ý³Éáí áõ ÝáõÛݳݳÉáí ²ëïí³Í³Ùáñ Ï»ñå³ñÇ Ñ»ï: ÆÝãå»ë µáÉáñ ѳÛïÝÇ Ñ»ÕÇݳÏÝ»ñÇ ëï»Õͳ·áñÍáõÃÛáõÝÝ»ñáõÙ` îÇñ³Ù³ÛñÁ ÏñáõÙ ¿ Çñ Ù»ç ³½·áõÃÛáõÝ ¨ ³½·³ÛÇÝ å³ïϳݻÉáõÃÛáõÝ, áñÁ µÝ³Ï³Ý ¿ ¨ ÁݹáõÝ»ÉÇ: ijٳݳϳÏÇó ·»Õ³ñí»ëïÇ Ù»ç áõñ, Ï»ñå³ñí»ëïÇ ¹³ëÏ³Ý Ï³ÝáÝÝ»ñÁ ³ëïÇ׳ݳµ³ñ ½ÇçáõÙ áõ ݳѳÝçáõÙ »Ý ëï»Õͳ·áñÍáÕ ³ÝѳïÇ Ùï³å³ïÏ»ñ³ÛÇÝ Ï³éáõóí³ÍùÁ ¹³ñÓÝ»Éáí ·»ñÇßËáÕ Ýñ³ íñÓÝ³Í Ï»ñå³ñÇ Ù³ñÙݳíáñÙ³Ý Ù»ç... ²ëïí³Í³Ùáñ ¹³ë³Ï³Ý Ï»ñå³ñÁ ¹áõñë ¿ ϳÝáÝÇÏ Ùáï»óáõÙÝ»ñÇó, »ñ¨³Ï³ÛáõÃÛ³Ý ³½³ïáõÃÛ³Ý Ù»ç ëï»ÕÍ»Éáí Ï»ñå³ñÇÝ ßñç³å³ïáÕ Ýáñ ÙÇç³í³Ûñ, ÇÝãÇ ßÝáñÑÇí ²ëïí³Í³Ù³ÛñÁ ß³ï ³í»ÉÇ ÑáÕ»Õ»Ý ¿, áõëïÇ ³í»ÉÇ Ù»ñÓ áõ ÁÝϳɻÉÇ: λñå³ñÇ ¹Ûáõñ³óáõÙÁ µ»ñáõÙ ¿ Çñ ѳϳé³Ï ÏáÕÙÁ ¨ë` áõñ Ù»½³ÝÇó Ù»ÏÁ ÉÇÝ»Éáõ Ýñ³ ÁÝϳɻÉÇáõÃÛ³Ý Ñ»ï ÙdzëÇÝ Ï»ñå³ñÁ ¹³éÝ»õÙ ¿ ÙǨÝáõÛÝ Å³Ù³Ý³Ï ³é»ÕÍí³Í³ÛÝáõÃÛáõÝÇó áõ ëñµ³óÝáÕ Ñá·¨áñ ÉáõÛëÇó ³í»ÉÇ ³Ýç³ï: ì»ñ³ó³Ï³Ý ³ñí»ëïÇ Ù»ç ³í»ÉÇ »Ý ѳçáÕí³Í ëï»Õͳ·áñÍáõÃÛáõÝÝ»ñÁ ³ëïí³Í³ßÝãÛ³Ý Ã»Ù³Ý»ñáí, ù³Ý 黳ÉÇëï³Ï³Ý á×Ç ³ß˳ï³ÝùÝ»ñáõÙ, áñáÝù ã·»ñ³½½³Ýó»Éáí ³ÝóÛ³ÉÇ ÙݳÛáõÝ ·áñÍ»ñÇÝ ã»Ý ëï»ÕÍáõ٠ݳ¨ ųٳݳϳÏÇó ÙïùÇ ³ñï³Ñ³ÛïáõÃÛáõÝ, ÇÝãÇ å³Ï³ëÁ å³Ûٳݳíáñí³Í ¿ ÝϳñãÇ Ý»ñùÇÝ ÁÝϳÉáõÙÇ, Ï»ñå³ñÇ Ý»ñ³ß˳ñÑÇ áõ ³ñï³ùÇÝ ³ÙµáÕç³Ï³Ý ï»ëùÇ Ù³ñÙݳóáõÙÇ ÉdzñÅ»ùáõÃÛ³Ý µ³ó³Ï³ÛáõÃÛ³Ùµ, áõñ Ñ»ÕÇݳÏÁ ï³ÉÇë ¿ ³í»ÉÇ ßáõï
Ñ»ùdzóÛÇÝ Ï»ñå³ñÇ Ù»ÏÝáõÃÛáõÝ` ù³Ý Çñ³Ï³ÝáõÃÛ³Ý Ù»ç ϳï³ñ»ÉáõÃÛ³Ý ã³÷³ÝÇßÇ í»ñ³å³ïÏ»ñáõÙ: ¶ï³Íá ϳñ»ÉÇ ¿ ѳٳñ»É ųٳݳϳÇó ·»Õ³ÝϳñãÇ Ñá·¨áñ ûٳÛáí áñ¨¿ ѳçáÕí³Í ëï»Õͳ·áñÍáõÃÛáõÝ, ³Û¹ »Ý íϳÛáõ٠г۳ëï³ÝÇ Ñ³Ù³ñÛ³ µáÉáñ ·áñÍáÕ »Ï»Õ»óÇÝ»ñáõ٠ѳݷñí³Ý³Í ëñµ³å³ïÏ»ñ Ïï³íÝ»ñÁ, Ëáñ³ÝÝ»ñÇ Ýϳñ³½³ñ¹áõÙÝ»ñÁ, áõñ Ï»ñå³ñ³ÛÇÝ ³ÙµáÕç³Ï³ÝáõÃÛ³Ý Ù»ç å³Ï³ëáõÙ »Ý ëï»Õͳ·áñÍáÕÇ Ý»ñùÇÝ á·¨áñáõÃÛáõÝÁ, Ï»ñå³ñÇ Ï³ï³ñ»ÉáõÃÛ³Ý Ñ³Ù³Ï³ñ·Ç å³ïÏ»ñ³ÛÇÝ ³ñï³Ñ³ÛïáõÃÛáõÝÁ, Ñ³×³Ë Ý³¨ ÙÇç³í³ÛñÇ áõ ·áõݳÛÇÝ Ñ³Ù³¹ñáõÙÝ»ñÇ áã ×Çßï ÁÝïñáõÃÛáõÝÝ áõ ÁݹáõÝí³Í ã³÷³ÝÇßÝ»ñÇ Ù³ëݳÏÇ û·ï³·áñÍÙ³Ý Ñ»ï»í³Ýùáí ѳÛïÝÇ ëï»Õͳ·áñÍáõÃÛáõÝÝ»ñÇó ³ñí³Í ³ÝѳçáÕ §Í³Õϳù³ÕǦ ·³ÛóÏÕáõÃÛáõÝÁ: ØÇÝã¹»é, µáÉáñ ųٳݳÏÝ»ñáõÙ, ²ëï³í³Í³Ùáñ å³ïÏ»ñÁ áã ÙdzÛÝ ³ñï³Ñ³Ûï»É ¿ ïíÛ³É Å³Ù³Ý³Ï³Ñ³ïí³ÍÇ ¨ë ÙÇ Ñ³Ý׳ñ»Õ ÝϳñãÇ Ñ³ÛïÝáõÃÛáõÝ` ³Ûɨ ¹³ñÓ»É Çñ ųٳݳÏÇ ¹»ÙùÁ, Ñá·¨áñÇ ³ñï³Ñ³ÛïáõÃÛ³Ý Ëï³óí³Í å³ïÏ»ñÁ ïíÛ³É ¹³ñ³ßñç³ÝáõÙ: ²Ûëûñ, Çëϳå»ë, ï³ëݳÙÛ³ÏÝ»ñÇ ëï»Õͳ·áñÍ³Ï³Ý ³í³Ý¹Ç Ù»ç ɳåï»ñÇ ÉáõÛëáí ϳñ»ÉÇ ¿ ÷Ýïñ»É г۳ëï³ÝÇ »Ï»Õ»óÇÝ»ñáõÙ ²ëïí³Í³ÍÝÇ Ñ³çáÕí³Í ëï»ÕͳáñÍáõÃÛáõÝÝ»ñÁ©©©…ÆëÏ Å³Ù³Ý³ÏÁ ãÇ ëå³ëáõÙ, ³ÛÝ ¹ÝáõÙ ¿ å³Ñ³ÝçÝ»ñ áõ ³ñӳݳ·ñáõÙ ëï»ÕÍí³ÍÁ, Ù³ïݳÝßáõÙ µ³ó ÃáÕÝí³ÍÝ áõ ï³ÝáõÉ ïñí³ÍÁ©©©… ¶»Õ³ÝϳñÇã Ðñ³ã гÛñ³å»ïÛ³ÝÇ §ºñÇï³ë³ñ¹ îÇñ³Ù³ÛñÁ¦ áõñáõÛÝ ëï»Õͳ·áñÍáõÃÛáõÝ ¿, Ù»ÏÁ ³ÛÝ »½³ÏÇ ëñµ³å³ïÏ»ñÝ»ñÇó, áñ Çñ ³ÙµáÕç³Ï³ÝáõÃÛ³Ý Ù»ç ÏñáõÙ ¿ îÇñ³Ùáñ ¿áõÃÛ³ÝÁ Ù»ñÓ áõ ѳñÇñ å³ñ½áõÃÛáõÝ, Ù³ÛñáõÃÛ³Ý ³ÙµáÕç³Ï³Ý ¿áõÃÛáõÝ ¨ ëñµáõÑáõÝ áõ ²ëïÍá ÁÝïñÛ³É ÏÝáçÁ µÝáñáßáÕ ³é³ùÇÝáõÃÛáõÝÝ»ñÇ á·»Õ»Ý ³éϳÛáõÃÛáõÝ: гÛñ³å»ïÛ³ÝÇ îÇñ³Ù³ÛñÁ µ³í³Ï³ÝÇÝ »ñÇï³ë³ñ¹ ¿, ÝϳñÇãÁ ϳñÍ»ë å³ïÏ»ñ»É ¿ ¹»é¨ë Ïáõë³Ï³Ý ÃñÃÇéÝ»ñÇ Ù»ç ³åñáÕ ¨ ëáõñµ á·áõ áõÅáí Ù³Ûñ³ó³Í ¹»é³ïÇ ÏÝáç, áõÙ ³ñï³ùÇÝ ¹ÇÙ³·Í»ñÁ µ³ñ»å³ßï³Ï³Ý ³åñáõÙÝ»ñÇ Ù³ëݳÏÇó »Ý ¹³ñÓÝáõÙ ³ÛÝ ¹ÇïáÕÇÝ: ²Ûëï»Õ ÝϳñÇãÁ »Ýó·Çï³Ïóáñ»Ý
§ ºñÇï³ë³ñ¹ îÇñ³Ù³ÛñÁ¦, Ïï³í, ÛáõճݻñÏ, 120х64, 2012 à «Young Mother of God» canvas, oil 120х64, 2012
ѳñ³½³ï ¿ Ùݳó»É ²ëïí³Í³ßÝãÛ³Ý ÇñáÕáõÃÛ³ÝÁ© سñdz٠²ëïí³Í³ÍÇÝÁ` Áëï Ãí³·ñáõÃÛ³Ý, øñÇëïáëÇÝ ÍÝ»É ¿ ¹»é³ïÇ ï³ñÇùáõÙ, ÉÇÝ»Éáí Áݹ³Ù»ÝÁ 15 ï³ñ»Ï³Ý©©©… гÛñ³å»ïÛ³ÝÇ íñÓÝ³Í ëï»ÕÍ·³áñÍáõÃÛ³Ý Ù»ç Ù³ñÙݳó»É ¿ ³é³ùÇÝÇ, í»Ñ áõ ·áñáí³·áõà ÙÇ Ï»ñå³ñ, áñ Çñ »ñÇï³ë³ñ¹áõÃÛ³Ý Ñ»ï Ù»Ïï»Õ ݳ¨ ÇÙ³ëïáõÝ ¿©©©…¶»Õ³ÝϳñãÇ ëï»ÕÍ³Í Ï»ñå³ñÁ ¨ Çñ³Ï³Ý ¿ ¨ ÙǨÝáõÛÝ Å³Ù³Ý³Ï áõÝÇ Ýáõñµ ë³Ñٳݳ½³ïáõÙ ³ß˳ñÑÇÏÇ áõ Ñá·¨áñÇ ÙÇç¨, ÇÝãÇ ßÝáñÑÇí îÇñ³Ù³ÛñÁ ûÅïí³Í ¿ Ý»ñùÇÝ å³ÛͳéáõÃÛ³Ùµ, ÇÝãÝ ¿É ³ÛÝ ûÅïáõÙ ¿ ¿Ý»ñ·»ïÇÏ Ñ³ïáõÏ ÉÇóù»ñáí, áñÁ ÷á˳ÝóíáõÙ ¿ Ý³Ë ³ÛÝ »Ï»Õ»óáõ Ñá·»¹³ßïÇÝ, áñï»Õ áñ ѳݷñí³ÝáõÙ ¿ ëñµ³å³ïÏ»ñÁ` Çñ Ï»ÝïñáݳÓÇ· Ó·áÕ³Ï³Ý ¹³ßïáí ѳñëï³óÝ»Éáí »Ï»Õ»óáõ ÙÃÝáÉáñïÁ: ÜϳñÇãÝ ÇÝùÝ ¿É Ëáëïáí³ÝáõÙ ¿, áñ Ûáõñ³ù³ÝãÛáõñ ëï»Õͳ·áñÍáõÃÛáõÝ Çñ Ù»ç ï»ë³Ý»ÉÇ ÏñáõÙ ¿ ³ÛÝ ïñ³Ù³¹ñáõÃÛáõÝÝ»ñÝ áõ Ùáï»óáõÙÝ»ñÁ, ³ÛÝ ³åñáõÙÝ»ñÇ »Ýó·Çï³Ïó³Ï³Ý ³½¹»óáõÃÛáõÝÝ»ñÝ ÇÝãáí áñ Ñ»ÕÇݳÏÝ ¿ Ùáï»ó»É ïíÛ³É ëï»Õͳ·áñÍáõÃÛ³ÝÁ ³ÛÝ ëï»ÕÍ»ÉÇë: - Úáõñ³ù³ÝãÛáõñ ·áñÍ ëÇñáõÙ ¿ ÝíÇñáõÙ, ³ÝÏ»ÕÍáõÃÛáõÝ ¨ ÇÙ³óáõÃÛáõÝ, ³ñí»ëïÇ ëï»Õͳ·áñÍáõÃÛáõÝÁ` ³é³í»É ¨ë©©©… îÇñ³ÙáñÁ Ýϳñ»ÉÇë »ë áõëáõÙݳëÇñ»É »Ù ѳٳñÛ³ û µáÉáñ ÙÇÝã ³ÛÅÙ »Õ³Í ѳÛïÝÇ ëï»Õͳ·áñÍáõÃÛáõÝÝ»ñ, ÙïáíÇ í»ñÁÝûñó»É §²ëïí³Í³ßáõÝãÁ¦ Éáõé, ÇÙ Ý»ñëáõÙ©©©…лßï ã¿ñ, å³ï³ë˳ݳïíáõÃÛáõÝë ß³ï ³í»ÉÇ µ³ñÓñ ¿ñ ÙÇ ³Ýï»ë³Ý»ÉÇ áõÅÇ ³éç¨, áñÁ åÇïÇ Ý»ñßÝã»ñ ÇÝÓ©©©…гí³ïáí »Ù Ýϳñ»É, »ñÏÛáõÕ³ÍáõÃÛ³Ùµ: Þá· ¿ñ ³ñí»ëï³ÝáóáõÙ, µ³Ûó ³ÛÝ ë»ÝÛ³ÏÁ ÙïÝ»ÉÇë, áõñ ¹»é»¨ë ³Ý³í³ñï Ïï³íÝ ¿ñ ÇÝÓ ëå³ëáõÙ` ³Ï³Ù³ÛÇó Ïá×ÏáõÙ ¿Ç ûÓÇùë©©©…ØÇ ûñ, ÇÝÓ µéÝ»óñ»óÇ ³ÛÝ µ³ÝÇ íñ³, áñ ³ÛÉ Ï»ñå »Ù Ùáï»ÝáõÙ ³Ûë ·áñÍÇÝ©©©…ä³ïϳé³ÝùÇ ã³÷Á, ÇÙ` Ù³ÑϳݳóáõÇë áõ Ýñ³` îÇñ³Ùáñ ÙÇç¨ ÁÝÏ³Í ë³ÑÙ³ÝÁ µ³í³Ï³ÝÇÝ Ù»Í ¿ñ ¨ ¹³ ÇÝÓ û·Ý»ó©©©…Üϳñ»ÉÇë ÙÇ ÙÇïù ϳñ ÙdzÛÝ. ÃáÕ íñÓÇÝë ëï»ÕÍÇ ³ÛÝ` ÇÝã ѳ×á ¿ ²ëïÍáõÝ©©©, - ³ëáõÙ ¿ ·»Õ³ÝϳñÇã Ðñ³ã гÛñ³å»ïÛ³ÝÁ, áõÙ §ºñÇï³ë³ñ¹ îÇñ³Ù³ÛñÁ¦ Çñ ·áõݳÛÇÝ ·³ÙÙ³ÛÇ Ñëï³ÏáõÃÛ³Ùµ, Çñ å³ñ½áõÃÛ³Ùµ áõ µ³ñáõÃÛáõÝ ×³é³·áÕ ÉáõÛëáí, ÏáÙåá½ÇóÇáÝ Ï»ñïí³óùáí ³ÛÝ »½³ÏÇ ëï»Õͳ·áñÍáõÃÛáõÝÝ»ñÇó ¿, áñáÝù ³Ûëûñ ³ÛÝù³Ý ³ÝÑñ³Å»ßï »Ý Ù»ñ ëñµ³í³Ûñ»ñáõÙ áõ »Ï»Õ»ó³Ï³Ý ϳéáõÛóÝ»ñáõÙ ³í»É³óáÕ ¨ ³ÝѳëϳݳÉÇ Ï»ñå³ñ³ÛÇÝ ÉáõÍáõÙÝ»ñÇ Ù»ç Ë××í³Í, ³ëïí³Í³ßÝãÛ³Ý Ã»Ù³Ý»ñáí ·»Õ³Ýϳñã³Ï³Ý ëï»Õͳ·áñÍáõÃÛáõÝÝ»ñÇ ÏáÕùÇÝ` Çñ Ý»ñϳÛáõÃÛ³µ ×ßÙ³ñÇï ³ñí»ëïÇ ûñÇÝ³Ï Í³é³Û»Éáí: سÝáõÏ ÐÇëáõëÇÝ ·ÇñÏÝ ³é³Í §ºñÇï³ë³ñ¹ îÇñ³Ù³ÛñÁ¦ ųٳݳϳÏÇó Ñ³Û ·»Õ³ÝϳñãáõÃÛ³Ý Ù»ç ëï»ÕÍíáÕ ³Ûë ß³ñùÇ ëï»Õͳ·áñÍáõÃÛáõÝÝ»ñÇ Ù»ç Çñ ï»ÕÝ ¿ ѳëï³ïáõÙ, û ǵñ¨ ³ëïí³Í³ßÝãÛ³Ý Ã»Ù³Ûáí ³ñí³Í Ýáñ³·áõÛÝ ëï»Õͳ·áñÍáõÃÛáõÝ, áõñ å³ïÏ»ñí³Í ¿ ųٳݳÏÝ»ñÇ Ù»ç ÙÇßï ³ñ¹Ç³Ï³Ý áõ ÙݳÛáõÝ Ø³¹áÝÝ³Ý ¨ û Ðñ³ã гÛñ³å»ïÛ³Ý / ê³ß / ·»Õ³ÝϳñãÇ íñÓÝÇÝ å³ïϳÝáÕ ÙÇ ÇÝùÝáõñáõÛÝ ·áñÍ: ²ñÙÇÝ» Ø»ÉÇù -Æëñ³Û»ÉÛ³Ý ³ñí»ëï³µ³Ý
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1.§ ÆÝùݳÝϳñ¦ ëïí³ñ³ÃáõÕÃ, ï»Ùå»ñ³, ïáõß, 15х20, 1980 Ã. 1.«Self-Portrait» cardboard, tempera, ink 15х20, 1980
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2.§ì³ÑÇÏÇ ¹ÇÙ³ÝϳñÁ¦ Ïï³í, ÛáõճݻñÏ, 60x85, 1982 Ã. 2.«Portrait of son Vahik» canvas, oil 60x85, 2002 3.§ îÕ³ë` ꨳÝÁ¦ , ÃáõÕÃ, çñ³Ý»ñÏ, 42х54,1993Ã. 3.«My son Sevan» paper, aquarelle 42х54,1993
§²ÝݳÛÇ ¹ÇٳݳϳñÁ¦ Ïï³í, ÛáõճݻñÏ,55x50, 2003 Ã. «Portrait of Anna» cvanvas, oil 55x50,2003
«Master’s Muse» paper, aquarelle 40х50,2006
«ì³ñå»ïÇ Ùáõë³Ý», ÃáõÕÃ, çñ³Ý»ñÏ,40х50, 2006 Ã.
«Girl with a mirror» paper, aquarelle 40х53, 2009
«²ÕçÇÏÁ ѳۻÉáõ Ñ»ï», ÃáõÕÃ, çñ³Ý»ñÏ, 40х53, 2010 Ã.
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1.§²é³íáï¦, ³ñï³Ýϳñ Ðáíë»÷ öáõßÙ³ÝÇó, ÃáõÕÃ, çñ³Ý»ñÏ,40х53, 2004 Ã. 1.«Morning» (Ovsep Pushman, copy) paper, aquarelle 40х53, 2004 2.§ èáõµ»ÝëÁ ïÇÏÝáç Ñ»ï¦ , ³ñï³Ýϳñ, Ñ»ÕÇݳϳÛÇÝ ÇÝåñáíǽ, ÃáõÕÃ, çñ³Ý»ñÏ, 37x42, 2003 Ã. 2.«Rubens with his wife» (Copy, author improvisation) paper, aquarelle 37x42, 2003
3.§ì³ñ¹»ñÇ ë»ñ»Ý³¹Á¦, Ïï³í , ÛáõճݻñÏ, 50х602011 Ã. 3.«Rose Serenade» canvas, oil 50х60,2011
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1. §ºÏ³ï»ñÇݳÛÇ ¹ÇÙ³ÝϳñÁ¦ , ÃáõÕÃ, çñ³Ý»ñÏ, ·áõݳíáñ Ù³ïÇï,35х45, 2008 Ã. 1.«Portrait of Ekaterine» paper, aquarelle, pencil 35х45, 2008
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2. §¾ÙÇÉdzÛÇ ¹ÇÙ³ÝϳñÁ¦, ÃáõÕÃ, çñ³Ý»ñÏ, ·áõݳíáñ Ù³ïÇï, 43x51, 2008 à 2.«Portrait of Emilia» paper, aquarelle, pencil 43x51, 2008
3.§¹ñí³· γïdzÛÇ ¹ÇÙ³ÝϳñÇó¦, ÃáõÕÃ, çñ³Ý»ñÏ, ·áõݳíáñ Ù³ïÇï, 43х51, 2008 à 3.«Portrait of Kati» (Fragment) paper, aquarelle, pencil 43х51, 2008
§³ñí»ëï³µ³Ý ²ñÙÇÝ» Ø»ÉÇù-Æëñ³Û»ÉÛ³ÝÇ ¹ÇÙ³ÝϳñÁ¦ ÃáõÕÃ, Ù³ïÇï, 40х50, 2010 Ã. §Portrait of arts critic Armine Melik-Israelyan» paper, pencil 40х50, 2010
Mother of God … Not fading in times and a permanent character, which is depicted by the giants of Renaissance and resonant names of modern art… In the history of Armenian art the image of Mother of God or Our Lady is best represented in Hovnatanyan’s, Surenyanc’s and Khanjyan’s works, which are permanent values as among the Armenian art as well as among the works of spiritual genre. In the images created by these great painters Mother of God is represented as an Armenian, with her virtues of the value system approaching to the image of God Mother. As in the works of all famous authors, Mother of God bears nationality and national belonging which is natural and acceptable in the modern art where the classic rules of art yield and retreat gradually, making the fancy structure of the creating person dominant over the embodiment of his brush. The classic image of the Mother of God is out of standard approaches, creating in the freedom of fancy a new atmosphere surrounding the image, thanks to what the Mother of God is more earthly, and therefore is closer and more understandable The facilitation of the image brings also its opposite side where together with being one of us at the same time the image becomes more separate from mystery and sanctifying spiritual light. In the abstract art are more succeed the works on biblical themes, than in the realistic style works, which while not exceeding the enduring works of the past do not create also the expression of the modern idea, the shortage of which is conditioned by the absence of completeness of the painter’s inner understanding, image’s inner world and of the embodiment of external whole image, where the author gives better interpretation of the fairy image than re-depict the standard of perfection in the reality. Vintage can be considered any successful work on spiritual theme of the modern artist, this is witnessed by all icon canvas paintings which are placed almost in all acting churches of Armenia, the illustrations of the tabernacle, where in the completeness of the image there is shortage of the inner enthusiasm of the painter, image expression of the image perfection system, often also the wrong choice of atmosphere and color combination and in the consequence of the partial use of the accepted standards the seduction of making unsuccessful selection of famous works. Whereas in all times the image of Mother of God has not only expressed he appearance of one more genius painter of the given period, but also became the image of his times, the concentrated image of spiritual’s expression of the in the given century. Today really in the creative investment of the decades
in the churches of Armenia with lamp light it can be searched for a succeed image of Mother of God… And the time doesn’t wait - it puts demands and records the created ones, points out the missed and lost… The painter Hrach Hayrapetyan’s “Young Mother of God” is a unique work, one of those unique icons which in its completeness bears clarity close and nigh to substance of Mother of God, maternity complete substance, and the spirit presence of virtues characteristic to the woman chosen by God. Hayrapetyan’s Mother of God is young enough - the painter seems to paint a young woman living in virgin experiences and mothered with the power of saint spirit, whose external features make the audience participants to sanctimonious emotional experience. Here the painter subconsciously stayed own to the Biblical reality, though Mary Mother of God / the Blessed Virgin Mary/, according to AD has born Christ in young age being only 15 years old… In Hayrapetyan’s painted work it is embodied an image, full of virtue, nobleness and tenderness, which, together with its youth, also is wise… Created by the painter image is both real and at the same time has a fine line between secular and spiritual, thanks to what the Mother of God is gifted with the inner brightness, which gives special energy, which first goes to the spiritual world of the church where the icon stays - enriching with its centripetal gravitational field the atmosphere of the church. The painter himself confesses that his each work visually bears those attitudes and approaches, those emotional subconscious effects, which stayed in the basis of the author’s attitude towards the work while he was creating it. - Each work needs dedication, sincerity and knowledge, especially – the piece of art… While painting Mother of God I studied almost all the famous paintings existing up today, mentally reread the Bible, “steel, inside me”… It was not easy the responsibility was much higher before an invisible force which would inspire me… I painted with faith, with fear. It was hot in the workshop, but when I was to enter the room where still the unfinished work was waiting for me I involuntarily buttoned the collar… Once I caught myself thinking that I approach to this work differently… The amount of reverence, the border between me - a mortal, and her – the Mother of God, was great, and it helped me… While painting I had one idea only – let my paintbrush create whatever is appropriate and pleasing to God… And it turned out what it turned out, - says the painter Hrach Hayrepaetyan, whose “Young Mother of God” with its colour gamma clearance, its simplicity and kindness radiating light, composition structure is one of those works, which now-days are so necessary in our sanctuaries and ecclesiastical structures for painting works on Bible theme, complicated in unintelligible figural solutions, and also for exemplifying the true art. The “Young Mother of God” healed Baby Jesus, among the works created in these series in modern Armenian painting art approves its basic place both as a newest work made on Bible theme, where is painted Madonna - always modern and permanent in times, and as a self-dealing work belonging to painter Hrach Hayrapetyan’s /Sash/ brush.
Armine Melik-Israyelyan art critic
²ñÙÇÝ» Ø»ÉÇù- Æëñ³Û»ÉÛ³Ý /ܳѳå»ïÛ³Ý / Éñ³·ñáÕ, ³ñí»ëï³µ³Ý ²ñí»ëïÇÝ áõ Ùß³ÏáõÛÃÇÝ ÝíÇñí³Í µ³½Ù³ÃÇí Ñá¹í³ÍÝ»ñÇ, ÙÇ ß³ñù ·ñù»ñÇ Ñ»ÕÇݳÏ, áõÙ Ý߳ݳϳÉÇ ·áñÍ»ñÇó ¿ ³ß˳ñѳÑéã³Ï »ñ·ãáõÑÇ ¶áѳñ ¶³ëå³ñÛ³ÝÇÝ ÝíÇñí³Í §ºñµ ³ß˳ñÑÝ ¿ ͳ÷³Ñ³ñáõÙ¦ Ï»Ýë³·ñ³Ï³Ý ٻݳ·ñáõÃÛáõÝÁ: ¶»Õ³ÝϳñÇã Ðñ³ã гÛñ³å»ïÛ³ÝÇÝ ÝíÇñí³Í §¸ÇÉÇç³ÝÛ³Ý ·áõÛÝ»ñ¦ å³ïÏ»ñ³·ÇñùÁ µ³½Ù³Å³Ýñ ëï»Õͳ·áñÍáÕ Ñ»ÕÇݳÏÇ Ï³½Ù³Í 2 -ñ¹ ϳï³Éá·Ý ¿: 2009Ã-Çó ÐÐ ÜϳñÇãÝ»ñÇ ÙÇáõÃÛ³Ý ³Ý¹³Ù ¿:
Armine Melik-Israyelyan / Nahapetyan/ journalist, art critic She is the author of manyarticles, several books, dedicated to art and culture. One of her significant works is “When the world applauses” biographical monograph, dedicated to famous singer Gohar Gasparyan. “Dilijan colors” picture-book, dedicated to painter Hrach Hayrapetyan, is the 2-nd catalog, composed by the author, who creates in various genres. 2009 member of RA Painters’ Union