Գյումրու Սբ Ամենափրկիչ եկեղեցու նկարազարդումների թեմատիկան և ոճը

<jats:p>The vigorous renaissance of ecclesiastical architecture within Armenia and the Diaspora, unfolding since the 1900s, has breathed new life into the development of contemporary iconography. This study illuminates the distinctive nuances of this movement through an exploration of the interior adornment of the Holy Saviour (Surb Amenaprkich) Church in Gyumri - a sanctuary once wounded by the Spitak earthquake, now meticulously restored and consecrated on December 7, 2024. For the first time, the church’s pictorial ensemble becomes the subject of focused scholarly inquiry. This artistic system embraces the majestic single-figure portrayals of Christ, the angelic hosts, and saints of the Universal and Armenian Churches, interwoven with traditional Dominical scenes and pivotal epochs from the history of the Armenian Church. The interior unfolds as a harmonious synthesis of monumental fresco, easel iconography, and the luminous art of stained glass, all strictly enriched by vibrant ornamental motifs that echo the legacy of Armenian miniatures. Through a comprehensive art-historical, iconographic, and comparative analysis, the thematic richness and stylistic character of the illustrations are revealed and honored. By drawing parallels with the decorative tapestries of other newly erected sanctuaries (such as St. Anna in Yerevan, St. Gregory of Narek in Vanadzor, St. John in Abovyan, and the Holy Transfiguration in Moscow), the study brings to light the challenges and resolutions inherent in executing a new program for the selection and placement of sacred images. Despite the artistic and stylistic distinctions in the hands of the two painters who executed the work, the church's interior is imbued with a profound spiritual and ideological resonance, reflecting the emerging and vibrant trends characteristic of modern religious painting.</jats:p>