Raising of Lazarus

In Roslin's manuscripts three miniatures are known on the theme of the Raising of Lazarus(1) . The first miniature is in the Gospel of 1265(2). Here the master applied a laconic prototype, not much widespread, which is an innovation for the Armenian art. The iconography of this miniature has links with the Syrian, Byzantine works of the 10th-13th centuries as well as specimens of the Crusaders' painting.
Most of the canonical traits of this depiction first appear in the Byzantine works of the Comnene epoch. Along with this, the miniature does not repeat any of the known monuments; it stands out among hundreds of the like scenes, and some of its peculiarities make it unique.
The second miniature of Toros Roslin with the mentioned subject matter is in the Malatia Gospel of 1267-1268(3).This depiction deserves more attention in the sense of style. Simplicity, harmony and peculiar logic in colour, as if proceeding from the antique classical art, make the miniature one of the best. The third illustration of the Raising of Lazarus in the Vasak Gospel of Freer Gallery is characterized by iconographic, stylistic and other peculiarities(4) . Some of its peculiar features reveal links with the western culture.
Illustrations of the theme under discussion give an idea of Roslin's artistic orientations and interests of various years. The Cilician artist does not blindly follow the literary basis of the theme, but introduces his personal perception of the evangelical narrative interpreted during the centuries.