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53-595: In the pre-Soviet period, Moscow had three Armenian Apostolic churches—two of which, built in the 18th century, were demolished by the Soviet authorities by the 1930s. The sole church to survive was the small 19th century Holy Resurrection Church at the Moscow Armenian Cemetery (part of the larger Vagankovo Cemetery ). Holy Resurrection was returned to the Armenian Church in 1956 and served as

106-463: A "frame" at the original level around the edge of the relief, or place a head in a hemispherical recess in the block (see Roman example in gallery). Though essentially very similar to Egyptian sunk relief, but with a background space at the lower level around the figure, the term would not normally be used of such works. It is also used for carving letters (typically om mani padme hum ) in the mani stones of Tibetan Buddhism . Sunk relief technique

159-1289: A Grave [REDACTED] Retrieved from " https://en.wikipedia.org/w/index.php?title=Moscow_Armenian_Cemetery&oldid=1254871645 " Categories : Cemeteries in Moscow Christianity in Moscow Armenian diaspora in Russia Armenian cemeteries Armenian Apostolic cemeteries Armenian churches in Russia Churches in Moscow 1804 establishments in the Russian Empire Cultural heritage monuments of federal significance in Moscow Hidden categories: Pages using gadget WikiMiniAtlas Articles with short description Short description matches Wikidata Coordinates on Wikidata Articles containing Armenian-language text Articles containing Russian-language text Misplaced Pages articles needing clarification from September 2020 Commons category link

212-676: A drill rather than chisels , enabling and encouraging compositions extremely crowded with figures, like the Ludovisi Battle sarcophagus (250–260 CE). These are also seen in the enormous strips of reliefs that wound around Roman triumphal columns . The sarcophagi in particular exerted a huge influence on later Western sculpture. The European Middle Ages tended to use high relief for all purposes in stone, though like Ancient Roman sculpture , their reliefs were typically not as high as in Ancient Greece. Very high relief re-emerged in

265-647: A few larger caskets like the Casket with Scenes of Romances (Walters 71264) in Baltimore , Maryland , in the United States. Originally they were very often painted in bright colours. Reliefs can be impressed by stamps onto clay, or the clay pressed into a mould bearing the design, as was usual with the mass-produced terra sigillata of Ancient Roman pottery . Decorative reliefs in plaster or stucco may be much larger; this form of architectural decoration

318-547: A gem seal, perhaps as sculptors trained in the Greek tradition attempted to use traditional Egyptian conventions. Small-scale reliefs have been carved in various materials, notably ivory , wood, and wax. Reliefs are often found in decorative arts such as ceramics and metalwork ; these are less often described as "reliefs" than as "in relief". Small bronze reliefs are often in the form of "plaques" or plaquettes , which may be set in furniture or framed, or just kept as they are,

371-640: A large proportion of the survivals of portable secular art from Late Antiquity . In the Gothic period the carving of ivory reliefs became a considerable luxury industry in Paris and other centres. As well as small diptychs and triptychs with densely packed religious scenes, usually from the New Testament , secular objects, usually in a lower relief, were also produced. These were often round mirror-cases, combs, handles, and other small items, but included

424-492: A popular form for European collectors, especially in the Renaissance. Various modelling techniques are used, such repoussé ("pushed-back") in metalwork, where a thin metal plate is shaped from behind using various metal or wood punches, producing a relief image. Casting has also been widely used in bronze and other metals. Casting and repoussé are often used in concert in to speed up production and add greater detail to

477-527: A revival in the 20th century, being popular on buildings in Art Deco and related styles, which borrowed from the ancient low reliefs now available in museums. Some sculptors, including Eric Gill , have adopted the "squashed" depth of low relief in works that are actually free-standing. Mid-relief, "half-relief" or mezzo-rilievo is somewhat imprecisely defined, and the term is not often used in English,

530-413: A sculpture in the round, especially one of a standing figure where the ankles are a potential weak point, particularly in stone. In other materials such as metal, clay, plaster stucco , ceramics or papier-mâché the form can be simply added to or raised up from the background. Monumental bronze reliefs are made by casting . There are different degrees of relief depending on the degree of projection of

583-453: A single figure; accordingly some writers prefer to avoid all distinctions. The opposite of relief sculpture is counter-relief , intaglio , or cavo-rilievo , where the form is cut into the field or background rather than rising from it; this is very rare in monumental sculpture . Hyphens may or may not be used in all these terms, though they are rarely seen in "sunk relief" and are usual in " bas-relief " and "counter-relief". Works in

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636-552: Is 58 metres (190 ft) tall, including the 7 metres (23 ft) cross. It is thus the tallest Armenian church of the diaspora. St. Gregory the Illuminator Cathedral in Yerevan is only slightly taller, at 60 metres (200 ft). The diameter of the dome is 21 metres (69 ft). The church has a capacity of between 1,000 to 1,200 people. While as many as 2,400 people can fit inside the complex. The exterior of

689-598: Is an Armenian historical cemetery in Moscow , Russia It is located in the Krasnaya Presnya (Красная Пресня) district, not far from Vagankovo Cemetery . The cemetery was established in 1804 by the initiative of Minas Lazarev, the leader of Moscow’s Armenian community, who also initiated the construction of the Surb Harutyun Armenian church (1808–1815). The Lazarev family crypt is located under

742-696: Is believed to have been spent on construction of the complex. The consecration ceremony took place on September 17, 2013 and was presided by Catholicos Garegin II. In attendance were Patriarch Kirill of Moscow , President of Armenia Serzh Sargsyan , President of the Nagorno-Karabakh Republic Bako Sahakyan , dozens of Armenian bishops from Armenia and the diaspora, representatives of Russia's Muslim, Buddhist and Jewish communities, and many others. The first Divine Liturgy took place on September 22, 2013. In January 2017 pieces from

795-525: Is found in many styles of interiors in the post-Renaissance West, and in Islamic architecture . Many modern and contemporary artists such as Paul Gauguin , Ernst Barlach , Ernst Ludwig Kirchner , Pablo Picasso , Eric Gill , Jacob Epstein , Henry Moore , Claudia Cobizev , up to Ewald Matare have created reliefs. In particular low reliefs were often used in the 20th century on the outsides of buildings, where they are relatively easy to incorporate into

848-475: Is not to be confused with "counter-relief" or intaglio as seen on engraved gem seals – where an image is fully modeled in a "negative" manner. The image goes into the surface, so that when impressed on wax it gives an impression in normal relief. However many engraved gems were carved in cameo or normal relief. A few very late Hellenistic monumental carvings in Egypt use full "negative" modelling as though on

901-487: Is often used for the background areas of compositions with the main elements in low-relief, but its use over a whole (usually rather small) piece was effectively invented and perfected by the Italian Renaissance sculptor Donatello . In later Western art, until a 20th-century revival, low relief was used mostly for smaller works or combined with higher relief to convey a sense of distance, or to give depth to

954-515: Is on Wikidata Pages using the Kartographer extension Bas-reliefs Relief is a sculptural method in which the sculpted pieces remain attached to a solid background of the same material. The term relief is from the Latin verb relevare , to raise (lit. to lift back). To create a sculpture in relief is to give the impression that the sculpted material has been raised above

1007-424: Is therefore cheaper to produce, as less of the background needs to be removed in a carving, or less modelling is required. In the art of Ancient Egypt , Assyrian palace reliefs , and other ancient Near Eastern and Asian cultures, a consistent very low relief was commonly used for the whole composition. These images would usually be painted after carving, which helped define the forms; today the paint has worn off in

1060-520: The Alhambra ), Rome, and Europe from at least the Renaissance, as well as probably elsewhere. However, it needs very good conditions to survive long in unmaintained buildings – Roman decorative plasterwork is mainly known from Pompeii and other sites buried by ash from Mount Vesuvius . Low relief was relatively rare in Western medieval art , but may be found, for example in wooden figures or scenes on

1113-480: The Khmer Empire . High relief (or altorilievo , from Italian ) is where in general more than half the mass of the sculpted figure projects from the background. Indeed, the most prominent elements of the composition, especially heads and limbs, are often completely undercut, detaching them from the field. The parts of the subject that are seen are normally depicted at their full depth, unlike low relief where

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1166-1044: The 1,460 panels of the 9th-century Borobudur temple in Central Java , Indonesia , narrating the Jataka tales or lives of the Buddha . Other examples are low reliefs narrating the Ramayana Hindu epic in Prambanan temple, also in Java, in Cambodia , the temples of Angkor , with scenes including the Samudra manthan or "Churning the Ocean of Milk" at the 12th-century Angkor Wat , and reliefs of apsaras . At Bayon temple in Angkor Thom there are scenes of daily life in

1219-602: The 16th century it was used for large figures (many also using high relief) at the Chateau of Fontainebleau , which were imitated more crudely elsewhere, for example in the Elizabethan Hardwick Hall . Shallow-relief, in Italian rilievo stiacciato or rilievo schicciato ("squashed relief"), is a very shallow relief, which merges into engraving in places, and can be hard to read in photographs. It

1272-525: The Renaissance, and was especially used in wall-mounted funerary art and later on Neoclassical pediments and public monuments. In the Buddhist and Hindu art of India and Southeast Asia, high relief can also be found, although it is not as common as low to mid-reliefs. Famous examples of Indian high reliefs can be found at the Khajuraho temples, with voluptuous, twisting figures that often illustrate

1325-405: The background plane . When a relief is carved into a flat surface of stone (relief sculpture) or wood ( relief carving ), the field is actually lowered, leaving the unsculpted areas seeming higher. The approach requires a lot of chiselling away of the background, which takes a long time. On the other hand, a relief saves forming the rear of a subject, and is less fragile and more securely fixed than

1378-579: The background. From the Parthenon Frieze onwards, many single figures in large monumental sculpture have heads in high relief, but their lower legs are in low relief. The slightly projecting figures created in this way work well in reliefs that are seen from below, and reflect that the heads of figures are usually of more interest to both artist and viewer than the legs or feet. As unfinished examples from various periods show, raised reliefs, whether high or low, were normally "blocked out" by marking

1431-464: The cathedral is richly decorated with extensive bas-reliefs of Armenian ( Mesrop Mashtots , Saint Sarkis , Gregory the Illuminator , Gregory of Narek , etc.) and non-Armenian ( Saint George , etc.) saints and crosses. Moscow Armenian Cemetery Coordinates : 55°45′59″N 37°33′13″E  /  55.76639°N 37.55361°E  / 55.76639; 37.55361 From Misplaced Pages,

1484-401: The church. The cemetery and the church are under state protection. Among the state-protected monuments are the obelisk on A.A. Loris-Melikov's tomb (1844), Ananov's tombs (constructed by medieval Armenian canons) , khachkar on D.S. Melik-Beglyarov's tomb (1913), and the modernist gravestone for Nikolai Tarasov sculpted by Nikolai Andreev . The Armenian Cemetery is also the resting place for

1537-588: The city's sole Armenian church for more than five decades. In post-Soviet period, the Armenian population of Moscow increased significantly, reaching as many as 500,000, while the 2010 Russian census recorded around 170,000 Armenians in the city of Moscow and Moscow Oblast . The church was conceived in 1996. Moscow authorities allotted land plot for the church complex in the same year. It was initially planned to complete construction by 2001. However, further controversy ensued in 2001 when Archbishop Tigran Kyureghian

1590-447: The composition, especially for scenes with many figures and a landscape or architectural background, in the same way that lighter colours are used for the same purpose in painting. Thus figures in the foreground are sculpted in high-relief, those in the background in low-relief. Low relief may use any medium or technique of sculpture, stone carving and metal casting being most common. Large architectural compositions all in low relief saw

1643-452: The diocese of Russia and Nor Nakhijevan, an underground museum and exhibition hall and several monuments, and a parking lot for 200-300 cars. The church complex and the cathedral were designed by Artak Ghulyan , who took over in 2004. The cathedral was built in traditional Armenian architecture and faced with tuff stone, brought from Anipemza , Armenia—near the medieval Armenian capital of Ani —with over 100 railroad cars . The cathedral

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1696-411: The elements seen are "squashed" flatter. High relief thus uses essentially the same style and techniques as free-standing sculpture, and in the case of a single figure gives largely the same view as a person standing directly in front of a free-standing statue would have. All cultures and periods in which large sculptures were created used this technique in monumental sculpture and architecture. Most of

1749-522: The erotic Kamasutra positions. In the 9th-century Prambanan temple, Central Java , high reliefs of Lokapala devatas , the guardians of deities of the directions, are found. The largest high relief sculpture in the world is the Stone Mountain Confederate Memorial in the U.S. state of Georgia , which was cut 42 feet deep into the mountain, and measures 90 feet in height, 190 feet in width, and lies 400 feet above

1802-524: The final relief. In stone, as well as engraved gems, larger hardstone carvings in semi-precious stones have been highly prestigious since ancient times in many Eurasian cultures. Reliefs in wax were produced at least from the Renaissance . Carved ivory reliefs have been used since ancient times, and because the material, though expensive, cannot usually be reused, they have a relatively high survival rate, and for example consular diptychs represent

1855-756: The 💕 Cemetery in Moscow Moscow Armenian Cemetery Армянское Ваганьковское кладбище Մոսկվայի Հայկական Գերեզմանատուն [REDACTED] [REDACTED] Details Established 1805 Location Moscow Country Russia Coordinates 55°45′59″N 37°33′13″E  /  55.76639°N 37.55361°E  / 55.76639; 37.55361 Size 17 hectares (42 acres) No. of graves 10,000 + The Armenian Cemetery of Moscow ( Armenian : Մոսկվայի Հայկական Գերեզմանատուն , Russian : Армя́нское Вага́ньковское кла́дбище , Armyanskoe Vagan'kovskoe kladbishche )

1908-539: The front the small variations in depth register as a three-dimensional image. Other versions distort depth much less. The term comes from the Italian basso rilievo via the French bas-relief ( French pronunciation: [baʁəljɛf] ), both meaning "low relief". The former is now a very old-fashioned term in English, and the latter term is becoming so. Low relief is a technique which requires less work, and

1961-538: The great majority of surviving examples, but minute, invisible remains of paint can usually be discovered through chemical means. The Ishtar Gate of Babylon , now in Berlin, has low reliefs of large animals formed from moulded bricks, glazed in colour. Plaster, which made the technique far easier, was widely used in Egypt and the Near East from antiquity into Islamic times (latterly for architectural decoration, as at

2014-467: The ground. Sunk or sunken relief is largely restricted to the art of Ancient Egypt where it is very common, becoming after the Amarna period of Ahkenaten the dominant type used, as opposed to low relief. It had been used earlier, but mainly for large reliefs on external walls, and for hieroglyphs and cartouches . The image is made by cutting the relief sculpture itself into a flat surface to enhance

2067-472: The impression of three-dimensionality. In a simpler form, the images are usually mostly linear in nature, like hieroglyphs, but in most cases the figure itself is in low relief, but set within a sunken area shaped round the image, so that the relief never rises beyond the original flat surface. In some cases the figures and other elements are in a very low relief that does not rise to the original surface, but others are modeled more fully, with some areas rising to

2120-605: The insides of the folding wings of multi-panel altarpieces . The revival of low relief, which was seen as a classical style, begins early in the Renaissance; the Tempio Malatestiano in Rimini , a pioneering classicist building, designed by Leon Battista Alberti around 1450, uses low reliefs by Agostino di Duccio inside and on the external walls. Since the Renaissance plaster has been very widely used for indoor ornamental work such as cornices and ceilings, but in

2173-881: The many grand figure reliefs in Ancient Greek sculpture used a very "high" version of high relief, with elements often fully free of the background, and parts of figures crossing over each other to indicate depth. The metopes of the Parthenon have largely lost their fully rounded elements, except for heads, showing the advantages of relief in terms of durability. High relief has remained the dominant form for reliefs with figures in Western sculpture, also being common in Indian temple sculpture. Smaller Greek sculptures such as private tombs, and smaller decorative areas such as friezes on large buildings, more often used low relief. Hellenistic and Roman sarcophagus reliefs were cut with

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2226-559: The open air (if inside caves, whether natural or human-made, they are more likely to be called "rock-cut"). This type is found in many cultures, in particular those of the Ancient Near East and Buddhist countries. A stele is a single standing stone; many of these carry reliefs. The distinction between high and low relief is somewhat subjective, and the two are very often combined in a single work. In particular, most later "high reliefs" contain sections in low relief, usually in

2279-453: The original surface. This method minimizes the work removing the background, while allowing normal relief modelling. The technique is most successful with strong sunlight to emphasise the outlines and forms by shadow, as no attempt was made to soften the edge of the sunk area, leaving a face at a right-angle to the surface all around it. Some reliefs, especially funerary monuments with heads or busts from ancient Rome and later Western art, leave

2332-428: The outline of the figure and reducing the background areas to the new background level, work no doubt performed by apprentices (see gallery). A low relief is a projecting image with a shallow overall depth, for example used on coins, on which all images are in low relief. In the lowest reliefs the relative depth of the elements shown is completely distorted, and if seen from the side the image makes no sense, but from

2385-463: The plane is only very slightly lower than the sculpted elements. There is also sunk relief , which was mainly restricted to Ancient Egypt ( see below ). However, the distinction between high relief and low relief is the clearest and most important, and these two are generally the only terms used to discuss most work. The definition of these terms is somewhat variable, and many works combine areas in more than one of them, rarely sliding between them in

2438-461: The relics of Gregory the Illuminator , Armenia's patron saint, were presented to the church by Artur Janibekyan, Armenia-born TV producer and manager of Russia's most popular TV channels. The cathedral is a part of a larger complex that covers an area of 2.5 hectares (6.2 acres). Besides the cathedral, it includes the chapel of the Holy Cross (Surb Khach), an Armenian school, the headquarters of

2491-1880: The remains of people who were not of Armenian descent. Burials at Armenian Cemetery of Moscow [ edit ] [REDACTED] Tigran Petrosian's Grave [REDACTED] Andrei Platonov's grave at Armenian Cemetery Sergey Aslamazian (1897–1978), cellist, composer Hamo Beknazarian (1891–1965), film director Mikhail Chailakhyan (1901–1991), botanist Zara Dolukhanova (1918–2007), opera singer Alexey Dushkin (1904–1977), architect Ivan Lazarev (1820–1879), lieutenant general Pavel Lisitsian (1911–2004), opera singer Koryun Nahapetyan (1926–1999), painter-nonconformist and public activist Stepanos Nazarian (1812–1879), publisher, historian of literature and orientalist Kerope Patkanov (1833–1889), orientalist, researcher, professor Tigran Petrosian (1929–1984), World Chess Champion from 1963 to 1969 Andrei Platonov (1899–1951), Russian writer Leonid Ramzin (1887–1948), Russian thermal engineer Nadezhda Rumyantseva (1930–2008), theatrical and cinema actress Marietta Shaginyan (1888–1982), Russian writer Smbat Shahaziz (1840–1908), Armenian poet, educator, writer Mikael Tariverdiev (1931–1996), composer Boris Tchaikovsky (1925–1996), composer Books [ edit ] (in Russian) Памятники архитектуры Москвы. Окрестности старой Москвы (северо-западная и северная часть территории). М., "Искусство XXI век", 2004, ISBN   5-98051-011-7 , с. 71 External links [ edit ] [REDACTED] Wikimedia Commons has media related to Armenian Cemetery (Moscow) . Armenian cemetery official website Search ancestors: Armenian cemetery in Moscow Moscow Armenian Cemetery at Find

2544-417: The round". Most ancient architectural reliefs were originally painted, which helped to define forms in low relief. The subject of reliefs is for convenient reference assumed in this article to be usually figures, but sculpture in relief often depicts decorative geometrical or foliage patterns, as in the arabesques of Islamic art , and may be of any subject. Rock reliefs are those carved into solid rock in

2597-451: The sculpted form from the field, for which the Italian and French terms are still sometimes used in English. The full range includes high relief (Italian alto-rilievo , French haut-relief ), where more than 50% of the depth is shown and there may be undercut areas, mid-relief (Italian mezzo-rilievo ), low relief (Italian basso-rilievo , French: bas-relief ), and shallow-relief (Italian rilievo schiacciato ), where

2650-463: The technique are described as "in relief", and, especially in monumental sculpture , the work itself is "a relief". Reliefs are common throughout the world on the walls of buildings and a variety of smaller settings, and a sequence of several panels or sections of relief may represent an extended narrative. Relief is more suitable for depicting complicated subjects with many figures and very active poses, such as battles, than free-standing "sculpture in

2703-725: The works usually being described as low relief instead. The typical traditional definition is that only up to half of the subject projects, and no elements are undercut or fully disengaged from the background field. The depth of the elements shown is normally somewhat distorted. Mid-relief is probably the most common type of relief found in the Hindu and Buddhist art of India and Southeast Asia . The low to mid-reliefs of 2nd-century BCE to 6th-century CE Ajanta Caves and 5th- to 10th-century Ellora Caves in India are rock reliefs. Most of these reliefs are used to narrate sacred scriptures, such as

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2756-422: Was accused of embezzling $ 3 million and was replaced by Catholicos Garegin II with the latter's brother— Yezras Nersisian . Subsequently, the new bishop began to raise funds for its construction. In October 2004 Catholicos Garegin II and Patriarch Alexy II of Moscow ceremonially set the cornerstone of the church complex. The construction of the church itself began in 2006 and lasted seven years. The construction

2809-418: Was extended due to various reasons. Various individuals contributed to the construction, including wealthy Russian-Armenian businessmen such as Samvel Karapetyan and Ruben Vardanyan . Yezras Nersisian, primate of Russia, stated that an unknown amount of money was spent on the construction of the church because many individuals provided not money, but construction material. However, an estimated $ 30–35 million

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