Bible (6)
Homiliarium (1)
Gospels (50)
Lectionary (4)
New Testament (1)
Psalms (1)
Other (2)
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/mtd-cil-115-m.jpg "These exquisitely decorated title-pages give an idea of the exceptional richness of decor typical of the manuscript as a whole.<br>The system of illumination of the title-pages and first pages of the Gospels was elaborated in the course of the development of Cilician art by several generations of miniaturists. It included as a rule three essential elements: the ornamental headpiece, the marginal running lengthwise from top to bottom, and the initial composed of ornamental motifs or of anthropomorphic and zoomorphic figures. The title-pages of the 1286 Lectionary are examples of this system at its best. Their decor, apart from elaborate ornamental patterns, contains human and animal figures which are treated as organic elements of the overall decorative scheme. Among the former, we most often find the Four Evangelists and the Old Testament prophets, as well as other characters whose appearance is justified by the contents of the corresponding chapters. As for the animal figures, many are utterly irrelevant to the subject-matter as such and are introduced merely for the sake of decora-tiveness, as monsters, dragons, monkeys, three-faced creatures and so on.<br>The richness of decoration displayed in the Lectionary was not only due to the artist's exuberant imagination, but also to his excellent knowledge of local and Byzantine models, natural in a Cilician artist, and above all to his familiarity with the art of China, Persia, Egypt and Western Europe. Furthermore, he must have been well acquainted with various artistic crafts, particularly with jewellery-making, judging from the peculiar relief technique of his ornamentation where certain details are brought out with the help of thick layers of special paste covered with paint or gold.<br>Every one of the title-pages displays a unique combination of ornamental motifs and colours, each time creating a new artistic image.�")
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Lectionary (MS979)��E. Korkhmazian, I. Drampian, G. Hakopian, "Armenian Manuscripts of the 13th and 14th centuries", Matenadaran Collection, Leningrad, 1984
Title-pages, historiated miniatures (8 full-page ones, 2 occupying a third and 3 a quarter of the page), marginals (about 400), initials�
Author: unknown��unknown�
Illuminator: N/A
Date: 1286�
Place: Cilicia : - : - :
Current Place: Matenadaran (Yerevan)�Matenadaran (Jerevan)
Material & Size: Parchment, 33.5 X 24.5 cm�
Pages: 479 ff.�f. 59
Source:
�
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/toros-ms206-04-m.jpg "�")
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The Bible (MS206)�Bibeln (MS206)�E. Korkhmazian, I. Drampian, G. Hakopian, "Armenian Manuscripts of the 13th and 14th centuries", Matenadaran Collection, Leningrad, 1984
Khorans, portraits of the Evangelists, title-pages, 27 full-page�Khorans, porträtt av evangelierna, huvudsidor, 27 helsidor
Author: Stepanos�Stepanos�Toros Taronatsi�Toros Taronatsi
Illuminator: N/A
Date: 1318�
Place: Eastern Armenia : Syounik : - : Gladzor monastery
Current Place: Matenadaran (Yerevan)�Matenadaran (Jerevan)
Material & Size: Parchment, 26 X 18 cm�Pergament, 26 x 18 cm
Pages: 588 ff.�f.460 v
Source:
�
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/mtd-cil-137-m.jpg "It is interesting to compare this miniature with The Raising of Lazarus by Toros Roslin in terms of the changes in the style of Cilician miniature which took place between 1260 and 1280. Roslin's interpretation included only a few essential figures, whereas the present version depicts numerous characters. G. Millet in his Recherches sur l'iconographie de Vevan-gile aux XIV, XV et XVI siecles d'apres les monuments de Mistra, de la Macedoine et du Mont-Athos (Paris, 1916), referring to the appearance (in some Italian and Armenian versions of this subject) of human figures behind the rock, characterized this icon-ographic type as evocative of Byzantine tradition. He explains the presence of these figures by the combination of the main motif with The Entry into Jerusalem. There is also a probability that the artist had in mind certain literary sources, depicting not a crowd of idle onlookers but a group of patriarchs and prophets hopefully watching the miracle from the \"kingdom of the dead\": according to some apocryphal sources and to the text of the Sharakan (an Armenian religious hymn), the raising of Lazarus gave them hope of salvation and deliverance from hell. The treatment of the figures shows the artist's concern for vivid and lifelike representation. Due to the subtle psychological nuances which he manages to convey, each of the characters bears a clear mark of individuality.�Det är intressant att jämföra denna miniatyren med Lazarus uppståndelse av Toros Roslin vad det gäller ändringar i stilen hos kilikiska miniatyren som skedde mellan 1260 och 1280. Roslins tolkning inkluderade endast ett fåtal nödvändiga figurer medan den nuvarande versionen avbildar flera personer. G. Millet, i sin Recherches sur l'iconographie de Vevan-gile aux XIV, XV et XVI siecles d'apres les monuments de Mistra, de la Macedoine et du Mont-Athos (Paris, 1916), skrev att framträdandet hos mänskliga figurer (i några italienska och armeniska versioner av detta ämne) bakom stenen påminnde om ikonografin hos bysantinska traditionen. Han förklarar närvaron av dessa figurer med kombinationen av huvudmotivet och Intåget in i Jerusalem. Det finns även en möjlighet om att konstnären hade i åtankarna vissa enskilda litterära källor, avbildande inte en grupp av passiva åskådare, utan en grupp av pratiarker och profeter hoppfullt tittande på miraklet från \"de dödas rike\": enligt några apokryfiska källor och texten i Sharakan (en armenisk religiös hymn), gav Lazarus uppståndelse dem hopp om frälsning och räddning från helvetet. Behandlingen av figurer visar att konstnärens intresse för vivida och verklighetstrogna representationer. På grund av den subtila psykologiska nyanser vilka han lyckas förmedla, bär var och en av karaktärerna ett tydligt tecken på individualitet.")
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The Gospels (MS9422)�Evangelierna (MS9422)�E. Korkhmazian, I. Drampian, G. Hakopian, "Armenian Manuscripts of the 13th and 14th centuries", Matenadaran Collection, Leningrad, 1984
Khorans, portraits of the Evangelists, first pages, 6 full-page historiated miniatures�Khoraner, porträtt av evangelierna, första sidor, 6 helsidor illustrerade miniatyrer
Author: Unknown�Okänd�Unknown�Okänd
Illuminator: N/A
Date: 1280�
Place: - : - : - :
Current Place: Matenadaran (Yerevan)�Matenadaran (Jerevan)
Material & Size: Parchment, 40.3 X 21 cm�Pergament, 40,3 x 21 cm
Pages: 312 ff.�f.16
Source:
The manuscript was rebound some time after it had been produced, and according to the tradition then current all the full-page miniatures were placed together to form a complete narrative cycle.�Manuskriptet bindes om efter att den hade skapats och enligt dåtida tradition placerades alla helsideminityrer för att skapa en komplett beskrivande cykel.
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/avag-ms212-06-m.jpg "�")
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The Gospels (MS212)�Evangelierna (MS212)�E. Korkhmazian, I. Drampian, G. Hakopian, "Armenian Manuscripts of the 13th and 14th centuries", Matenadaran Collection, Leningrad, 1984
Khorans, portraits of the Evangelists, first pages, 80 full-page�Khoraner, porträtt av evengelisterna, första sidorna, 80 helsidor
Author: Avag�Avag�illuminated and bound by Avag�Illustrerad och bunden av Avag
Illuminator: N/A
Date: 1337�
Place: Iran : - : Agarak :
Current Place: Matenadaran (Yerevan)�Matenadaran (Jerevan)
Material & Size: Parchment, 18.1 X 13 cm�Pergament, 18,1 x 13 cm
Pages: 315 ff.�f.68 v
Source:
�
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Lectionary (MS979)��E. Korkhmazian, I. Drampian, G. Hakopian, "Armenian Manuscripts of the 13th and 14th centuries", Matenadaran Collection, Leningrad, 1984
Title-pages, historiated miniatures (8 full-page ones, 2 occupying a third and 3 a quarter of the page), marginals (about 400), initials�
Author: unknown��unknown�
Illuminator: N/A
Date: 1286�
Place: Cilicia : - : - :
Current Place: Matenadaran (Yerevan)�Matenadaran (Jerevan)
Material & Size: Parchment, 33.5 X 24.5 cm�
Pages: 479 ff.�f. 59
Source:
�
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/mtd-gr-40-m.jpg "Ovsian was the only fourteenth-century Vaspurakan miniaturist to have been inspired by the motif of The Remorse of Judas. The treatment of the scene, however, is in tune with the master's usual grotesque and somewhat naive manner. The setting for the figures is provided by a framework of arch-shaped ornamental bands reminiscent of an architectural construction, which, together with the rhythmically balanced arrangement of the figures, imparts a theatrical touch to the scene.�Ovsian var den ende 1300-tals minityrmålaren i Vaspourakan som har inspirerats av motiv rörande Judas samvetskval. Återgivningen av scenen är dock i linje med mästarens vanliga groteska och någorlunda naiva sätt. Scenbilden för figurerna anskaffas av ett ramverk av bågformade utsmyckningar som påminner om en arkitektonisk konstruktion, vilken, tillsammans med det rytmisk balanserande arrangemanget of figurerna återger en teatrisk ton till scenen.")
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The Gospels (MS4818)�Evangelierna (MS4818)�E. Korkhmazian, I. Drampian, G. Hakopian, "Armenian Manuscripts of the 13th and 14th centuries", Matenadaran Collection, Leningrad, 1984
Khorans, portrait of an Evangelist, first pages, 25 full-page�Khoraner, porträtt av evangelisterna, första sidorna, 25 helsidor
Author: Ovsian�Ovsian�Ovsian�Ovsian
Illuminator: N/A
Date: 1316�
Place: Western Armenia : Vaspourakan : - : Village of Azarakan
Current Place: Matenadaran (Yerevan)�Matenadaran (Jerevan)
Material & Size: Vellum, 33X25 cm�Vellum, 33 x 25 cm
Pages: 285 ff.�f.6v
Source:
�
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/grigor-ms2743-12-m.jpg "�")
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The Gospels (MS2743)�Evangelierna (MS2743)�E. Korkhmazian, I. Drampian, G. Hakopian, "Armenian Manuscripts of the 13th and 14th centuries", Matenadaran Collection, Leningrad, 1984
Khorans, portraits of the Evangelists, first pages, 7 full-page historiated miniatures, marginals, initials�Khoraner, porträtt av evangelisterna, första sidorna, 7 helsidor illustrerade miniatyrer, marginaler, initialer
Author: Tiranu�Tiranu�Grigor�Grigor
Illuminator: N/A
Date: 1232�
Place: - : - : - :
Current Place: Matenadaran (Yerevan)�Matenadaran (Jerevan)
Material & Size: Parchment, 30 X 26cm�Pergament, 30 x 26 cm
Pages: 374 ff.�f.114 r
Source:
Known as the Targmantchants Gospels, after the monastery where it was kept for a considerable period of time.�Känt som Targmantchats Evengeliet, efter klostret där det bevarades för en längre period.
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/mtd-cil-95-m.jpg "Although the motif of The Last Judgement occurred frequently in early Armenian frescoes, it did not appear in illuminated manuscripts until the thirteenth century when it was taken up by Cilician book illustrators, Toros Roslin among them. In the Malatian Gospels we find a concise version of the scene treated in a grand and solemn manner, which is manifest in the strict symmetry of the composition. The three principal figures are supported by the subsidiary groups creating a rhythmical pattern. The dramatic element is enhanced by the colouring based on dense saturated tones.�Även om motivet för Yttersta domen förekom ofta i tidiga armeniska freskomåleri dök det inte upp i illustrerade manuskript förrän 1200-talet när det upptogs av kilikiska båkmålare, bl.a. Toros Roslin. I de malatianska evangelierna hittar vi en kortfattad version av scenen, behandlad i en storartad och högtidlig manér, vilket framgår i den strikta symmetrin hos kompositionen. De tre huvudfigurerna stöds av de andra grupperna som skapar ett rytmiskt mönster. Det dramatiska elementet förstärks av färgsättningen baserad på de tätta mättade tonerna.")
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The Gospels (MS10675)�Evangelierna (MS10675)�E. Korkhmazian, I. Drampian, G. Hakopian, "Armenian Manuscripts of the 13th and 14th centuries", Matenadaran Collection, Leningrad, 1984
Khorans, portraits of the Evangelists, first pages, 13 full-page historiated miniatures, marginals�Khoraner, porträtt av evangelisterna, första sidorna, 13 helsidor illustrerade miniatyrer, marginaler, initialer
Author: Toros Roslin�Toros Roslin�Toros Roslin�Toros Roslin
Illuminator: N/A
Date: 1268�
Place: - : - : - : Hromkla monastery
Current Place: Matenadaran (Yerevan)�Matenadaran (Jerevan)
Material & Size: Parchment, 22 X 17cm�Pergament, 22 x 17 cm
Pages: 332 ff.�f. 85v
Source:
Known as the Malatian Gospels, after the town of Malatia where it was kept for some time.�Känt som malatiska evengeliet, efter staden Malatia där det bevarades under en tid.
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/mtd-gr-59-m.jpg "The miniature is placed below the rather modestly decorated Canon tables occupying the top of the page. Kneeling before the Virgin and the Infant Christ are the donors who commissioned the work. The dark and saturated colours of the miniatures are enlivened by the bright red hues of the Virgin's robe and cloak. The dress and facial types of the donors are of considerable interest with regard to ethnography and history of costume.�Miniatyren placeras under den något blygsamt dekorerade kanoniska texterna som fyller ut sidan huvud. På sina knän framför JUngfrun och Jesubarnet finns donatorer som avlönade verket. De mörka och mättade färgerna hos miniatyrerna livas upp med de ljusröda nyanserna hos Jungfruns skrud och kappa. Kläderna och ansiktsuttrycken hos donatorerna är av ytterst intresse med avseende på etnografin och historien hos kläderna.")
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The Bible (MS346)�Bibeln (MS346)�E. Korkhmazian, I. Drampian, G. Hakopian, "Armenian Manuscripts of the 13th and 14th centuries", Matenadaran Collection, Leningrad, 1984
Title-pages, 3 full-page historiated miniatures, portrait of the donor, self-portrait of the illuminator, marginals, initials�Huvudsidor, 3 helsidor illustrerade miniatyrer, porträtt av donatorn, självporträtt av illustratören, marginaler, initialer
Author: Petros, Hovhannes and Melchized�Petros, Hovhannes och Melchized�Hovhannes Khizanetsi�Hovhannes Khizanetsi
Illuminator: N/A
Date: 1390�1400
Place: Western Armenia : Vaspourakan : Khizan :
Current Place: Matenadaran (Yerevan)�Matenadaran (Jerevan)
Material & Size: Vellum, 28 X 18.5cm�Vellum, 28 X 18.5cm
Pages: 560 ff.�f. 441v
Source:
�
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/mtd-gr-24-m.jpg "The miniature displays the monumental quality typical of many scenes in the manuscript (cf. The Annunciation, PL 25). The large-scale figure of the seated Virgin tends to fill the entire page. The deep, dark colours of her robes make a striking contrast with the pale pink tone of the background, so that the latter acquires a light airiness, in spite of the intricate ornamentation patterns.<br>This type of representation - a full-face frontal view of the Virgin and Child - was frequent in early Christian art and can be found in many Armenian wall reliefs of the fourth to seventh centuries.�Miniatyren visar den monumentala kavaliteten som är typisk för många scener i manuskriptet (jmfr. Bebådelsen s. 25). Den stora figuren av den sittande Jungfrun tenderar att fylla hela sidan. De djupa mörka färgerna hos hennes skrud skapar en slående kontrast mot den bleka rosa ronen i bakgrunden, så att den senare får en lätt tunnhet, trots de invecklade utsmyckningsmönstren. Denna typ av representation - en helansiktes frpntvy av Jungfrun och barnet - var vanligt förekommande i många armeniska väggreliefer under 300- till 600-talen.")
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The Gospels (MS7482)�Evangelierna (MS7482)�E. Korkhmazian, I. Drampian, G. Hakopian, "Armenian Manuscripts of the 13th and 14th centuries", Matenadaran Collection, Leningrad, 1984
Khorans, portraits of the Evangelists, first pages, 5 full-page historiated miniatures, marginals, initials�Khoraner, porträtt av evangelisterna, första sidorna, 5 helsidor illustrerade miniatyrer, marginaler, initialer
Author: Hovhannes�Hovhannes�Grigor Tatevatsi (at the monastery of Tatev)�Grigor Tatevatsi (vid klostret Tatev)
Illuminator: N/A
Date: 1297�
Place: - : - : - : Village of Eligis
Current Place: Matenadaran (Yerevan)�Matenadaran (Jerevan)
Material & Size: Vellum, 32 X 23.5cm�Vellum, 32 X 23.5cm
Pages: 254 ff.�f. 250v
Source:
�
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