religionГосударство, религия, церковь в России и за рубежомState, Religion and Church in Russia and Worldwide2073-72032073-7211РАНХиГС10.22394/2073-7203-2024-42-2-144-162religion-9Research ArticleVARIAVARIA«Зурхане» и «Ашура» в искусстве Саргиса Закаряна“Zurkhaneh” and “Ashura” in the art of Sargis ZakarianТаджарянИ.TajarianY.

Ивет Н. Таджарян - старший научный сотрудник, Заведующая Музеем «Матенадаран»; доцент

Ереван

Yvette N. Tajarian - Senior Researcher, Department of Oriental Studies, Matenadaran, Research Institute of Ancient Manuscript, Head of Matenadaran Museum, Associate Professor

Yerevan

yvettetaj@yahoo.comЕреванский государственный университетАрменияYerevan State UniversityArmenia202423122024422144162Copyright © Таджарян И., 20242024Таджарян И.Tajarian Y.This work is licensed under a Creative Commons Attribution 4.0 License.https://religion.ranepa.ru/jour/article/view/9

В статье анализируется ряд аспектов изображения феномена религии в полотнах Саргиса Закаряна (Васпур). Он один из представителей современного иранского искусства. Закарян родился и вырос в Иране, и поэтому на него большое влияние оказал образ жизни иранцев, ислам, связь религии и быта, что отразилось в его работах. Закарян — армянин-христианин, который серьезно интересовался исламом и точно выделял те явления, которые отличаются от армянских традиционных, национальных и религиозных образов, особенно те, которые касались способов художественного выражения, свойственным мусульманам-шиитам. Творчество Закаряна того периода глубоко не изучено. Не все произведения автора дошли до нас сегодня, но, к счастью, нам удалось найти некоторые из них.

The article analyzes aspects of the representation of religion in the paintings of Sargis Zakarian ( Vaspur), a representative of modern Iranian art. Born and raised in Iran, Zakarian was significantly influenced by Iranian culture, Islam, and the interconnection between religion and daily life, which is reflected in his works. As an Armenian Christian with a profound interest in Islam, he accurately identified phenomena distinct from traditional Armenian national and religious imagery, especially those related to the artistic expressions characteristic of Shia Muslims. Zakarian’s work from that period has not been extensively studied. Although not all of his works have survived, fortunately, some have been preserved and discovered.

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The authors declare that there are no conflicts of interest present.