| by Levon Chookaszian |
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ManuscriptsManuscripts, illuminated by Toros Roslin and his colleagues, excluding the illustration of the Mashtots (Ritual) of 1266, were copied in the scriptorium at Hromkla. Of these codices, the Zeytun Gospel of 1256and the Malatia Gospel (1267-1268) are preserved in Yerevan (M. Mashtots Matenadaran, MS 10450, 10675). Four manuscripts, having preserved the great artist's name, are in Jerusalem. The case in point is the three Gospels of 1260, 1262, 1265 and the Ritual of 1266 copied in Sis. These codices are in the collection of the Armenian Patriarchate in Jerusalem (manuscripts 256, 2660, 1956, 2027). The Gospels of 1256, 1260,1262, 1267-1268 were ordered to Roslin by catholicos Costandin I of Bardzerberd. Priest Toros, the Catholicos's nephew commissioned the Sebastia Gospel of 1262 (Baltimore, Walters Gallery, W. 539), Keran, the daughter of prince Costandin of Lambron - the Gospel of 1265 and Archbishop Vardan of Nesepnay - the Mashtots of 1266. Toros Roslin copied the Gospels of 1256 1260 and 1267-1268, also the Sebastia Gospel of 1262. The scribe of the Gospel of 1265 is unknown; however, it is not excluded that it was Roslin himself. The artist was an excellent scribe with a minute handwriting.The extant manuscripts, signed by Toros Roslin are decorated with numerous miniatures. About 100 miniatures adorn the Sebastia Gospel of 1262, which is a rare phenomenon in the book painting of medieval Armenia. The researchers managed to reveal a number of other manuscripts illustrated by the remarkable master. Three manuscripts with either partly or wholly lost colophons have been preserved. The first of these manuscripts is a Gospel from the Matenadaran (MS 8321). Canon-tables, three title pages, marginal ornaments, initials, also the portrait of prince Levon ,are preserved in it. This codex was likewise commissioned by catholicos Costandin I. The manuscript has not preserved its date, and the researchers date it from the beginning of the fifties of the 13th century. The Gospel copied in 1266 on the order of king Hetum I (Matenadaran, MS 5458) is likewise attributed to Roslin. It has preserved 38 parchment folios, hacked up during the third campaign of Tamerlane, and separate initials and marginal decorations glued into another manuscript. Only two illustrations have remained undamaged. The third manuscript, attributed to Roslin's workshop, is the Gospel without a date, commissioned by prince Vasak, brother of king Hetum I. The volume, now in Freer Gallery of Art in Washington (Freer Gallery MS 32.18) has preserved about 119 miniatures of diverse sizes and may be considered the most richly decorated manuscript, illustrated by Roslin and his colleagues. All manuscripts signed by Roslin or attributed to him contain about 400 miniatures. In our opinion, some single leaves and newly discovered illustrated fragments of the manuscripts are connected with the artistic milieu of Roslin. The first of these revealed illustrated folios was glued to one of the initial pages of the above mentioned Gospel of 1295 (Matenadaran MS 6290), created in Drazark. Toros the Philosopher and Hohan are the scribes of the manuscript. The examination of the glued illustrated folio shows that it has no relation to the whole decor of the manuscript. The theme of the miniature "The Sign of the Son of Man Appearing in Heaven" (Matthew, 24 : 30) is well known in the Armenian book painting of the 10th-13th centuries, especially for the illustration of two codices by Roslin (1). O. Kurz and S. Der Nersessian studied the second folio-fragment in their works. The folio comprises a part of a collection that is preserved in the Fitzwilliam museum, in Cambridge, England (McClean, No. 201)(2) . Here, portrait of Luke is given in an unusual iconography, as the image of Theophilus is included in the composition. The study of the miniature shows that images of Luke and Theophilus are works of two different artists. A comparison of artistic peculiarities of the newly discovered miniatures and illustrations of Roslin manuscripts allows ascertaining that both fragments, without any doubt, came out of Roslin's workshop and were apparently created under his guidance. To understand the process of evolution of iconographic themes and decorative traditions in Roslin's creative activity, it is important to trace the development of illustrative cycles, also individual peculiarities in the decor of title pages and canon tables in Roslin miniatures. For a comprehensive study of Roslin's creative activity of special importance are cycles of miniatures, created on one and the same biblical themes. Definite themes that had inspired the artist in various years of his life are observed in Roslin's heritage.
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