Painting of Saint Sargis displayed at the National Gallery of Armenia

From February 11-16, 2025, in celebration of the Feast of Saint Sargis, the National Gallery of Armenia showcased a painting of Saint Sargis by an unknown Armenian artist from the 19th century. The painting depicts one of the most beloved saints of the Armenian Church, Saint Sargis the General (285-337 A.D.), and his son Martiros who, along with 14 soldiers, were martyred for their Christian faith. Saint Mesrop Mashtots transported Saint Sargis’ relics to Armenia, burying them in the village of Karbi, where a church was built in his honor. The painting was brought to the National Gallery in Yerevan from Karmravor Church in the Ashtarak province of Armenia. Father Shahe Hayrapetyan, head priest of the Saint Sargis Cathedral in the Araratian Pontifical Diocese, told the Weekly that the prototype of this painting can also be seen at Saint James Cathedral in Jerusalem’s Armenian Quarter. “The painting is late medieval iconography and has always hung in Karmravor Church in Ashtarak, where murals of Saint Sargis are also painted on the walls. The image of Saint Sargis has accompanied us for centuries, cherished by many young people, especially for blessing newlyweds. It is mentioned in our legends, in which the swift Saint Sargis brings couples together despite parental taboos or social differences, distributing the love that he has received from God abundantly,” Father Hayrapetyan said. For years, the painting has been studied by Knarik Avetisyan, an art scholar and associate professor at the National Gallery of Armenia. “Since the fifth and sixth centuries, images of soldier saints began to emerge in medieval art. One of these soldiers is the beloved and revered Saint Sargis. There are episodes in his biography that are only found in Armenian sources, such as the iconography of his martyred son Martiros. These early iconographic traditions were preserved throughout Armenian medieval art and miniature paintings, such as those in the Cathedral of Ani, and in depictions of Saint Sargis and Saint George,” Avetisyan said. Unfortunately, the painting has been damaged by wax burn marks but was restored at the National Gallery. Some details can be gleaned from its three-line inscription in white letters. One part is burnt, but the legible section reads: “In memory of the image of Vardazari’s son Stepan, who… at the door of the Savior’s Holy Church.” The painting’s creation year is preserved in Armenian script as 1821, indicating that this is a 19th-century Armenian icon. To capture the swift motion of Saint Sargis on his white horse, the artist portrayed him in a military outfit with a helmet and a lance. The edges of his red cloak are shown flying in the air, further enhancing the sense of movement. His son Martiros is also depicted on the horse, in keeping with the historical fact that Martiros was the first to be martyred, refusing to accept King Shapur’s decree to worship fire. In other cultures and iconography, Saint Sargis is often depicted striking a dragon beneath his horse’s hooves, symbolizing evil. However, in this painting, there is no evil creature—the emphasis is on martyrdom, according to Avetisyan. She praised the lush, green meadow, with brown-edged mountains in the distance, giving the impression of a yellow-orange sunset and a naturalistic atmosphere. “The artist has endowed Saint Sargis and his son Martiros with distinct national features, making them appear as father and son with similar facial features, similar to how the Christ Child resembles the Virgin Mary. This was a significant innovation in Armenian iconography, as the unknown artist has given a fresh, contemporary interpretation of Saint Sargis’ image while respecting the basic structure,” Avetisyan said. She described the painting as “a beautiful piece, 69 cm in height and 51 cm in width. Despite its small size, it is a very colorful and wonderful painting.” “In medieval art, whether Armenian, Byzantine or Russian, the identities of most artists remain unknown. Iconographers in this period followed the principle of humility, believing that the artist’s work was an act of divine grace. Since the 17th century, there have been Armenian icons, such as ‘Saint Gregory illuminates King Trdat,’ whose author is also unknown, and it is through the study of the inscription and stylistic analysis that we can determine the period of the work,” Avetisyan continued. On February 15, the Armenian Apostolic Church commemorated Saint Sargis, the patron saint of youth. Since 2007, the Feast of Saint Sargis has been celebrated as Youth Blessing Day, featuring a divine liturgy at churches named after him, followed by a special blessing ceremony for the youth. Saint Sargis is considered the swift intercessor for young people, and according to tradition, they turn to him to carry their prayers to God.

Painting of Saint Sargis displayed at the National Gallery of Armenia

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Anzhela Sedrakyan

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Anzhela Sedrakyan

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