Paruyr Sevak’s figure as a symbol of the Armenian intellectual – perpetually engaged in the quest for truth–has been repeatedly reflected in the works of Sargis Muradyan (1927–2007), People’s Artist of the Republic of Armenia. An examination of the series of portraits that Muradyan dedicated to Sevak over the years, along with the thematic compositions and frescoes, reveals their artistic role and significance within the broader development of Armenian national fine arts in the 1960s and 80s. During that period, a novel vision, characterized by psychological depth and a symbolic, multilayered nature, was being formed, according to which Sevak’s portraits were consistent with contemporary artists’ interpretations of the intellectual’s figure. We’ve drawn parallels among the portraits by Hovhannes Zardaryan, Eduard Isabekyan, Ara Bekaryan, which – similar to Muradyan’s work - reflect inner tension, spiritual quest, and national consciousness.

KeywordsSargis Muradyan Paruyr Sevak Armenian fine arts portrait fresco drawing sketch

Mural painting is one of the most significant forms of monumental art, characterized by its organic and conceptual relationship with the architectural environment and its capacity to shape the artistic integrity of space. Executed through techniques such as fresco, tempera, glue-based paint, encaustic painting, and oil, mural painting is inherently intended for long-term existence and functions as a bearer of historical and cultural memory. The origins of this art form date back to prehistoric rock paintings and later developed extensively within ancient Near Eastern and Greco-Roman civilizations, where it acquired religious, ideological, and symbolic meanings. This article is devoted to the study of murals created in public spaces by Hovhannes Minassian. Although the majority of these works have not survived over time, they occupy an important place in the history of Armenian monumental painting, reflecting the artistic thinking and spatial-decorative explorations of the 1960s. The research is based on preserved photographs, archival materials, and contemporary testimonies, aiming to reconstruct the artistic and historical-cultural significance of the lost murals. This approach makes it possible to reassess Minassian’s contribution and to emphasize the crucial role of monumental art created in public environments in shaping the cultural life of the period.

KeywordsHovhannes Minassian mural painting fresco fine arts monumentalism heritage painting