The Forging of Armenian Art in the Czech Republic

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F00216208%3A11210%2F23%3A10486525" target="_blank" >RIV/00216208:11210/23:10486525 - isvavai.cz</a>

Výsledek na webu

<a href="https://www.academia.edu/114394654/Series_Byzantina_vol_XXI_2023_Contents_and_Introduction" target="_blank" >https://www.academia.edu/114394654/Series_Byzantina_vol_XXI_2023_Contents_and_Introduction</a>

DOI - Digital Object Identifier

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Jazyk výsledku

angličtina

Název v původním jazyce

The Forging of Armenian Art in the Czech Republic

Popis výsledku v původním jazyce

Throughout their ancient history spanning thousands of years, Armenians have many times been forced to leave their homeland and settle in neighbouring or distant lands. In every country they have found themselves in, Armenians have created their own little motherland within the new homeland, shaping conditions that would cater to their specific traditions, lifestyles and cultures. Thus, the host state has not only become a shelter and a new home, but also a new centre of Armenian culture. These Armenian communities have preserved and developed their culture, its distinct character, various forms, outlines and iterations, adding flavours and contours that are specific to the host country or are inspired by the host country. Many unique and significant Armenian cultural centres were established this way across Europe: after the collapse of the Armenian capital of Ani around 700 years ago (mainly in Poland, the Balkans, Galicia, Crimea), after the exile of Armenian Mekhitarist Catholics about 300 years ago (first in Venice, then in Vienna), after the Armenian genocide of 1915-1923 in the Ottoman Empire (throughout the world)... Nevertheless, the Czech lands were never a place of habitation by Armenians and the Czech Republic, until recently, was never a destination for Armenian immigrants. Even 5-6 dozen Armenian students, who were invited to Prague to study at Charles University at the expenses of the newly independent Czechoslovak government during 1920s, did not stay in the country. Some prominent Czechs were actively interested in the Armenian language and culture, a couple of them even learned Armenian at the Mekhitarist Congregation in Vienna as well as organized cultural and scientific expeditions to Armenia. However, the Armenian art presence was limited to the boundaries of the collections at the Náprstek Museum of Asian, African and Native American Art. Only after the collapse of the Soviet Union did skilled Armenian builders and craftsmen specialising in reconstruction works emerge in Prague. Year-on-year Czechia became home to Armenians, mostly economic migrants, who predominantly faced hardships due to changes in lifestyle and the demands of official documentation for settling in. Nonetheless, the radiantly beautiful Czech Republic soon became a point of migration for Armenian academic painters, and just like Jiří Nosek had painted Armenia and Mt. Ararat in his day, today the Czech lands serve as an inspiration to some 30 Armenian painters, who are actively involved in the events and developments of the field. Gradually, the Armenian cultural presence has become visible on the streets as there are already two khachkars (cross-stones) in the Czech Republic, the first one having been installed in Jihlava and the second in the centre of Prague. Even the statue of St.Grigor Narekatsi erected last year in the Vatican was sculpted in Czechia. As co-founder of Orer Armenian European Magazine and being one of two regular recorders and commentators of Armenian life in the country, I can state now that we are all witnesses of the forging and development of the Armenian cultural presence in the Czech Republic, where the Armenian silhouette in painting, music, dance as well as the sculpting and photography arts, and even literature is increasingly apparent.

Název v anglickém jazyce

The Forging of Armenian Art in the Czech Republic

Popis výsledku anglicky

Throughout their ancient history spanning thousands of years, Armenians have many times been forced to leave their homeland and settle in neighbouring or distant lands. In every country they have found themselves in, Armenians have created their own little motherland within the new homeland, shaping conditions that would cater to their specific traditions, lifestyles and cultures. Thus, the host state has not only become a shelter and a new home, but also a new centre of Armenian culture. These Armenian communities have preserved and developed their culture, its distinct character, various forms, outlines and iterations, adding flavours and contours that are specific to the host country or are inspired by the host country. Many unique and significant Armenian cultural centres were established this way across Europe: after the collapse of the Armenian capital of Ani around 700 years ago (mainly in Poland, the Balkans, Galicia, Crimea), after the exile of Armenian Mekhitarist Catholics about 300 years ago (first in Venice, then in Vienna), after the Armenian genocide of 1915-1923 in the Ottoman Empire (throughout the world)... Nevertheless, the Czech lands were never a place of habitation by Armenians and the Czech Republic, until recently, was never a destination for Armenian immigrants. Even 5-6 dozen Armenian students, who were invited to Prague to study at Charles University at the expenses of the newly independent Czechoslovak government during 1920s, did not stay in the country. Some prominent Czechs were actively interested in the Armenian language and culture, a couple of them even learned Armenian at the Mekhitarist Congregation in Vienna as well as organized cultural and scientific expeditions to Armenia. However, the Armenian art presence was limited to the boundaries of the collections at the Náprstek Museum of Asian, African and Native American Art. Only after the collapse of the Soviet Union did skilled Armenian builders and craftsmen specialising in reconstruction works emerge in Prague. Year-on-year Czechia became home to Armenians, mostly economic migrants, who predominantly faced hardships due to changes in lifestyle and the demands of official documentation for settling in. Nonetheless, the radiantly beautiful Czech Republic soon became a point of migration for Armenian academic painters, and just like Jiří Nosek had painted Armenia and Mt. Ararat in his day, today the Czech lands serve as an inspiration to some 30 Armenian painters, who are actively involved in the events and developments of the field. Gradually, the Armenian cultural presence has become visible on the streets as there are already two khachkars (cross-stones) in the Czech Republic, the first one having been installed in Jihlava and the second in the centre of Prague. Even the statue of St.Grigor Narekatsi erected last year in the Vatican was sculpted in Czechia. As co-founder of Orer Armenian European Magazine and being one of two regular recorders and commentators of Armenian life in the country, I can state now that we are all witnesses of the forging and development of the Armenian cultural presence in the Czech Republic, where the Armenian silhouette in painting, music, dance as well as the sculpting and photography arts, and even literature is increasingly apparent.

Druh

D - Stať ve sborníku

CEP obor

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OECD FORD obor

60101 - History (history of science and technology to be 6.3, history of specific sciences to be under the respective headings)

Projekt

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Návaznosti

I - Institucionalni podpora na dlouhodoby koncepcni rozvoj vyzkumne organizace

Rok uplatnění

2023

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název statě ve sborníku

Series Byzantina

ISBN

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ISSN

1733-5787

e-ISSN

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Počet stran výsledku

8

Strana od-do

167-174

Název nakladatele

Polish Institute of World Art Studies, Cardinal Stefan Wyszynski University, University of Ostrava

Místo vydání

Warsaw

Místo konání akce

Ostrava

Datum konání akce

15. 6. 2022

Typ akce podle státní příslušnosti

WRD - Celosvětová akce

Kód UT WoS článku

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