User:Yerevantsi/sandbox/TorosRoslin

Toros Roslin

LAST, FIRST (2018). "CHAPTER". In Evans, Helen C. (ed.). Armenia: Art, Religion, and Trade in the Middle Ages. Metropolitan Museum of Art and Yale University Press. ISBN 9781588396600. OCLC 1028910888. T'oros Roslin, Armenia's most famous artist, was active in the I260s. / In the first of his seven signed works, the Zeyt‘un Gospel book, T‘oros Roslin, Armenia’s greatest artist,

http://hpj.asj-oa.am/5639/ Թորոս Ռոսլին. կյանքն ու արվեստը

https://www.researchgate.net/profile/Ali_Yamac/publication/293485730_Cave_Dwellings_of_Halfeti_-_Urfa_Turkey/links/56b8c57008ae60602d755200.pdf A painter, Toros Roslin of Hromgla had a distinguished rank among others (Der Nersessian, 1993; Stewart, 2006). With his 12 known books, he is acknowledged as the greatest painter of Middle Age Armenian religious books.

Toros Roslin, today acclaimed as the most gifted Armenian miniaturist https://jmw.ucpress.edu/content/ucpjmw/1/4/63.full.pdf

https://art.thewalters.org/detail/8115/toros-roslin-gospels-2/

https://art.thewalters.org/detail/8115

Leonid Volynsky, 1963

137

[in Matenadaran] Но если бы спросили, что более всего поразило меня там, я бы, по- жалуй, ответил - Торос Рослин. Этот художник-монах в 1285 году укра- сил рисованными заставками книгу «Чашоц», написанную царем Қили- кийской Армении Гетумом Вторым. Рискну сказать, что эти работы по жизненности, по воздушной тонкости письма значительно опережают ев- ропейское Возрождение. Я был поражен, обнаружив моделирование объема полутонами и рефлексы, утвердившиеся в искусстве Запада на- много позднее.
[in Matenadaran] However, if you were to ask what impressed me the most there, I would probably say - Toros Roslin. This monk-artist adorned the book "Чашоц" written by the King of Kilikian Armenia, Hetum II, with painted illuminations in the year 1285. I dare say that these works surpass European Renaissance significantly in vitality and the airy delicacy of the script. I was struck by the modeling of volume with halftones and reflections, which established themselves in Western art much later.

Basmadjian, Vartoug (1995). "Light in darkness: The spirit of Armenian nonconformist art". In Rosenfeld, Alla; Dodge, Norton T. (eds.). From Gulag to Glasnost: Nonconformist Art from the Soviet Union (PDF). New York: Thames & Hudson. pp. 214–250. OCLC 263631797.

p. 227

The art of medieval Armenia found particularly lively and beautiful expression in illuminated manuscripts (around thirty thousand of which have survived) and in the elaborately carved stone crosses, called khachkar, that punctuate the Armenian landscape.

natural hues. The artists who use this palette range from Postimpressionists, such as the late Martiros Sarian and his followers, including Minas Avetissian, to abstract painters such as Seyran Khatlamajian and Viguen Tade- vossian. While the use of color by these artists may vary slightly from one to another, each uses the bold reds and blues of traditional Armenian art. One finds these same hues in the medieval illuminated manuscripts of Toros Rosslin and Sarkis Bidzag.2 As Garig Basmadjian has noted:

p. 250

2. Toros Rosslin (active in the mid-thirteenth century) was probably the greatest medieval Armenian artist. He introduced scenes of everyday life into evangelic mini- atures. Sarkis Bidzag was active in the first half of the fourteenth century in Cilicia.p.

p. 156

By then the country's close contact with the Crusading states and the frequent marriages between the Franks and the Armenians caused artistic influences to flow in both directions. Among the most celebrated painters of Little Armenia was a certain T'oros Roslin, active during the third quarter of the thirteenth century at Hromkla, the seat of the katholikos. This prolific artist combined Byzantine and Western elements very skillfully, as in the Gospel Book, signed and dated 1262, now in the Walters Art Gallery, Baltimore (color plate 25).