MARTIROS SARYAN, MINAS AVETISYAN: WINE FROM THE PERSPECTIVE OF PICTORIAL ART

Wine is one of the most mysterious drinks in the history of mankind, with numerous useful properties, mixed with dramas and wars, religion and politics. Why does this ordinary drink so popular since ancient times, and why that is it received attention not only privileged class, but also creative individuals – writers and painters. This many-sorted and  fragrant drink has a centuries-old history, which is not equipped with just dry dates, but also specific symbolism and pictorial canvases. Usually wine embraces the beautiful theme for philosophical reflection. From the one side, its usage could temporarily rid of earthborn concerns, give a bouquet of pleasant peace, but on the other hand, excessive drinking  caused for inadequate state, where reality is fusing with fantasy, which is called “drunkenness” in ordinary language. This drink, which was allowed to be used only by the nobility in those days, seemed to be a kind of “elaborate”, intangible test to test their sense of proportion. Another feature: excessive use seems to “untie the tongue”, which led the Greeks to a wise thought: “truth is in wine”. Where the human mind controls and resists the full expression of its thoughts in every possible way, there wine acts as a magical drink of truth, in the process of using which both slyness and hypocrisy and a tendency to lie disappear.

Wine and winemaking occupy a key place especially in Armenian culture. Wine is not just a drink for them as a way of feeling tranquility, but a sacred drink, which history goes back to the Christian tradition. As is known to all, the first grapevine was planted by Noah. The symbolic interpretation of this event meant a divine reward for patience and faith. In the biblical context, wine crystallizes the divine gift to humanity. Because Noah’s ark landed to Ararat, this event gives reason to assume that Armenia is the birthplace of wine, so this mountain is not only sacred in the Bible, but is also a symbol of Armenia. On this basis, the attitude of Armenians towards wine is quite respectful. It manifests itself in pictorial art by the form of various motifs and subjects. Especially the southern bright coloration contributes to the expressive conveying of the gifts of nature, especially grapes. Armenian masters, with their rich palette, feature the exciting process of grape harvesting, admiring its juiciness. For example, in the works of Martiros Saryan and Minas Avetisyan, whose canvases transfer the colorful expanses of Armenia, can be found still-lifes with grapes.

All of the still lifes of Martiros Saryan embody only the one simple idea – pulsating, immortal life. But unlike other still lifes, here the coloring is more laconic. However Saryan was succeed to show the ripeness of fruits in the frame of limited palette. The sunlight falls on them, intensifying the feeling of freshness and naturalness. About composition, black grapes occupy a central place, which color makes them more massive and ripe. And the rest of the attributes have only a service character, bringing into balance the composition – both in terms of color and composition. This still life is included in the middle period of the maestro’s oeuvre, when he had already become acquainted with Fauvism and that was the style in what he found a way to reproduce his southern temperament. These are strong contrasts, correctly chosen color ratio and light composition.

If in Saryan’s paintings everything is submitting to harmony and balance, then in Minas’ works everything is the opposite –that is expression, shining temperament dominates the line and composition. If Saryan’s still life is a transfer of calmness, peace, it is a hymn to life, then Minas’ work is the extent of intense thoughts and emotions. Unlike Saryan’s still lifes, Minas’ brush works briefly and expressively. On his canvas there is no place for Saryan’s calmness, here is only contrasts. Added to this is pastosity, which makes the painting truly pulsating, despite of the staticness of the figures. If in the case of Saryan, the still life emphasized generosity of the nature, Minas doesn’t put on task of this type. He is much more engaged with the juxtaposition of  bright red, navy blue and yellow-green. It’s a battle of inconsistent colours.Saryan’s still life is more static, calm, which corresponds to his life’s philosophy. What is about Mina’s still life, here both color and composition are subject to the dynamic.

The wonderful draftsman B. Kolozyan is also extremely attentive to nature and its gifts, like Saryan, but unlike him, his works literally abound in fruits, as if the canvas limits them, preventing them from conveying all the generosity and richness of nature. In his still life, the artist contrasts the black and blue colors of grapes with the whiteness of a sheet, creating the illusion of infinity and unlimited space. Here everything flows in all directions, and in a modest plate there is not even a hope that the grapes will fit.