| Mkrtich Mazmanian | |
| Birth Date: | 27 July 1944 |
| Birth Place: | Gyumri, Armenia |
| Nationality: | Armenian |
| Known For: | sculpture |
Mkrtich Mazmanian (Armenian: Մկրտիչ Մկրտչի Մազմանյան; born July 27, 1944, in Gyumri) is a well known Armenian figurative sculptor based in Armenia Yerevan at moment.
www.mazmanian.am
My journey began on July 27, 1944, in the serene village of Haykavan, nestled within the Shirak region of Armenia. It was amidst the rustic charm of village life that my early years unfolded, and it was here that my love affair with art was kindled.
In 1956, I embarked on my formal artistic education at the Merkurov Art School in Leninakan (now Gyumri) under the guidance of esteemed mentors Hakob Ananikyan and Serzh Mirzoyan. This institution, steeped in classical painting traditions, instilled in me the foundational principles of drawing and cultivated my burgeoning artistic sensibilities.
Venturing further into the realm of sculpture, I enrolled in the sculpture department of the Panos Terlemezyan Art College in 1959. Here, under the mentorship of the revered Arto Tchakmaktchian, I honed my aesthetic taste and embarked on a journey of artistic exploration. It was during my time at this institution that the seeds of individuality were sown, and my creative voice began to take shape while I graduated with the highest achievements.
In 1965, I continued my artistic odyssey at the Estonian Academy of Arts in Tallinn, Estonia, where I pursued sculpture under the guidance of professors Olef Mueny and Auguste Womm. It was here that I embraced the freedom of artistic expression and delved into the realm of abstract forms. After graduating with top honors in 1971, my diploma project, titled "No to Massacre" or "Buchenwald," was a testament to my commitment to artistic innovation.
During my time in Tallinn, I explored artistic expression in completely unrestrained forms. Concurrently, I pursued my passion for singing and was honored to join the opera theater as a soloist. It was through my singing that I crossed paths with Nona Manoyan at the Yerevan Conservatory—a cherished figure in my life, renowned for her soprano voice and insightful critique. Her influence has been invaluable in keeping my artistic sensitivity alive and guiding my creative journey.
Tallinn provided a fertile ground for my artistic endeavors, and I experienced an intense period of creativity during my stay. Engaged in sculpting, I felt a profound sense of purpose, infusing each creation with distinct value and individuality. My artistic journey in Tallinn was punctuated by numerous exhibitions, both collective and solo, where I had the opportunity to showcase my evolving artistic vision to a diverse audience.
Upon my return to Yerevan in 1979, I was warmly welcomed by friends, family, and art enthusiasts alike. This marked the beginning of a prolific period in my career, during which I received numerous prestigious state commissions for my work: side walls of Zvartnots Airport and the interior design of Leninakan Airport, as well as the creation of the monumental Adam and Eve composition for the Youth Palace. Additionally, I undertook various projects to erect monuments across the city and in the Pantheon.In Yerevan, I embraced the freedom to explore diverse materials, forms, and concepts, resulting in original and innovative interpretations of my art. During this time, I had the privilege of engaging with renowned figures such as Artur Tarkhanyan, Spartak Khachikyan, Sashur Kalashyan, Davit Khanjian, Avet Terteryan, Arto Chakmakchian, Ashot Hovhannisyan, and Sos Sargsyan, exchanging ideas and collaborating on artistic endeavors.
In 1992, I received an invitation to Lebanon, where I taught at the Toros Rosli Art Academy. During my time there, I had the privilege of mentoring exceptional students who have since become renowned artists, including Raffi Yedalyan, Charles Khoury, Vardan Aror, Kardem, and others.
My experience in Beirut was unforgettable. The city welcomed me warmly, and I had the opportunity to contribute to its post-war cultural landscape by introducing various sculptural and artistic works. I created numerous monuments and busts, forging strong relationships with prominent figures in Lebanese culture and beyond, such as Movses Hergelyan, Ghassan Tueni, Stavro Jabra, Rudy Rahme, Batrak Sfeir, Rafic Hariri, Saab Salam, Kamil Chamoun, Riad Charara, Remon Eddé, Cardinal Aghajanyan, Paul Hergelyan and many more.
During my time in Beirut, I had the honor of constructing monuments dedicated to presidents, priests, intellectuals, and politicians, which are now displayed throughout Lebanon. Additionally, I held several individual exhibitions, including one at the Sursock Museum and others at galleries across the city.
In 2020, I returned to Yerevan, bringing my artistic journey full circle. While my awards may be few, each holds profound significance, a testament to a lifetime dedicated to the pursuit of artistic excellence.
Among my notable achievements are the State Prize of the Republic of Armenia for my sculptural works at Zvartnots Airport, the BIAF International Award in Lebanon, and the prestigious Grand Prix at the New York International Exhibition. These accolades serve as milestones in my artistic journey, reaffirming my commitment to the craft and inspiring future generations of artists.
To aspire to "win" in the realm of art is a misconception. When you conceive a masterpiece, it becomes a singular expression, inherently unique and inherently remarkable. Sculpture, in its essence, is a marvel, a medium through which one lives and creates.
In the realm of art, dictums of "should" hold little weight. Art is an ever-evolving journey, a continuous exploration without bounds. Critics may attempt to delineate art into epochs and movements, yet art itself transcends such constraints.
Sculpture, in its essence, eschews ostentation and theatrics. It favors introspection and authenticity, embracing simplicity over grandiosity. Its essence lies in its ability to endure, to stand as a testament to originality and virtuosity, and to encapsulate the delicate balance of idea and expression.
Art, unlike mortal beings, does not succumb to the ravages of time. It may age, but its essence remains eternal. In my reverence for art, I draw inspiration from the ancient civilizations of Mesopotamia and Egypt, as well as the timeless masterpieces of Greek and Renaissance art.
Among the luminaries who have shaped my artistic sensibilities, I count Phidias, Michelangelo, Rodin, and Giacometti. Their genius, akin to that of the great composer Bach, serves as a guiding light, illuminating the path of artistic expression with unparalleled brilliance.
"For me, the woman or the mother does everything,” he says. “They are more productive than men. If the woman disappears from the world there won’t be any progress".
"I prefer monumental sculptures. I like to have a balance between monumental sculptures and architecture ... In education you study the history of art from the Greeks, the Egyptians, and you always dream of doing big sculpture like the pharaohs, the pyramids – anything related to buildings and architecture".