Shaverdian's life was divided between Georgia and Armenia. He was born in 1900 in the small picturesque Georgian town of Sighnaghi, in the family of agronomist. Soon after his father's death the family moved to Tiflis, closer to relatives, where Shaverdian and lived until 1941. The almost magical charm of this city is largely determined by the content and story circle is a significant part of the picturesque and ceramic works of the artist. For Shaverdian, as for many other Armenian artists who were born and started his career in this city, Tiflis became a separate theme of creativity and gives a special flavor and originality of his inimitable artistic handwriting. In his art manifested a deep understanding of national style, this art is hard to define element that cannot be reduced neither to the manner nor form.
Ruben Isaakovich Shaverdian received his artistic education at the school of painting and sculpture at the Tbilisi Academy of arts. His teachers were Yeghishe Tatevosyan, B. A. Fogel, and A. Salzman. In 1924 Shaverdian graduated and in 1926 became a permanent participant of art exhibitions. Shaverdian, as well as Giotto, have largely shaped the communication with the creative community of Armenian writers, poets, artists and composers Tbilisi, “Hayartun”.
Even the early work of the artist is different from a Mature artistic thinking. Unfortunately, we lack the ability to see in the original, since the painting of this period almost reached our days, selling mostly in the hands of random customers. One of these works - still life “Saxon porcelain”, was named among the best in the exhibition in Moscow in 1926. This painting, the artist said about his passion for the decorative side of art. It, by estimations of critics, already recognizable Shaverdian, which entered the history of Armenian art as the artist that created on the basis of a kind of tradition and not traditional style of painting and ceramics.
Shaverdian artistic temperament is manifested in many areas. In addition to talent for drawing, nature has given him another talent: music. Music took him as seriously as painting. He was brought up in a family where she was an integral part of everyday life. His father was a very musical man, and brother Alexander Isakovich - known pianist and musicologist. Passion for music was so serious that Shaverdian became a professional singer. The artist possessed a beautiful tenor voice and studied with local celebrity Italian Emilio vagi. From 1920 to 1928 Shaverdian played in the Tbilisi Opera theatre, performing the solo part, and even going to train in Italy. But soon he had to choose between music and painting. He made a choice in favor of art forms and colors. However, in his special and unique style forever intertwined music, painting and the plastic arts.
Nature gifts Shaverdian theatrical in nature, and a special mood that combines objects and figures in his compositions, dictated by purely musical rhythm. The artist was very fond of the theatre, and this love has not passed over the years. Special theatrical vision was reflected in the favorite plot basis Shaverdian, the whole forming a picturesque and ceramic series - tea parties, bazaars, fruit stalls... In these paintings and sculptural compositions played out like a series of scenes. His sculptures are not just types, they have a particular character and psychology, expressed through the plasticity of gestures and facial expressions, and a more appropriate definition of ”character”. All ceramic figurines lurks an element of theatre igrushechniy.
All his work evokes associations with the ancient theater, and each sculpture is art and has its own special dialogue with the audience. Each character seemed to be waiting for distinct replicas. The world of the artist is inhabited by beings with different characters and moods - funny, serious and Cutesy, sad and funny, bombastic and roguish, slow and expansive... It is not just groups of figures are actors, which the artist freely dispose of. For all its apparent static nature, being near each other, they are included in some action, “playing” chain of episodes and stories, creating a kind of ceramic “choreography”.
All artistic thinking Shaverdian deeply malleable. The artist is distinguished by a special love for dance motion, and he often pushes off from its figurative language. Shaverdian has created a large series of figures of musicians: girls with tambourines, shepherds with flute and Dudukalo, ashugs with Sazy, drummers. All of them are peculiar dance flexible plastic. Zublena artist the theme of dance and music accompanied him all his life. I would especially like to highlight the sculpture “Poet”, in which the author, through the static form was able to Express in a special plastic shapes a sense of poetic inspiration, which owns the poet, and the particular essence of artistic nature.
Shaverdian began systematically to engage in the ceramics in 1955. In the 1950-1960-ies there was a new attitude to nature decorative samitivej it shaped the nature of painting, sculpture, graphics. Spectacular theatrical nature Shaverdian ceramics, her sculptural pictorialism correspond manifested in these years, the trend to rethink the plastic of the ideal. Shaverdian was the first ceramist to approve in his work the principle of wnoutrefresh. He created dishes, vessels, vases, candlesticks not designed for practical needs. It is impossible to imagine that any decorative vessels could be used as a container for wine or water, as a flower vase — so strong their artistic imagery and self-worth! With Shaverdian began a whole new stage in the history of Armenian art of ceramics.
Now, looking at some of the sculptural work of the artist, it's hard to believe that they were created more than half a century ago, so strong in the spirit, was finally adopted in the Armenian ceramics much later. Shaverdian like no other, able to extract subtle color effects from a combination of clay, always subtly playing with the special property of the glaze to give a rough surface, the streaks and cracks of various shapes. In 1958 he became one of the organizers of the experimental ceramic Studio at the art Institute of the Academy of Sciences of the Armenian SSR. In 1960 it launched the industrial production of ceramic works Shaverdian.
The squat silhouette of a miniature “Women of the city” (1965), created without any significant elements of relief decoration, has a characteristic of folk sculpture coarse naivete. Lines and shapes shoulders, arms calmly crossed on her stomach, barely appear on the General background of the whole volume of all figures that embody the national ideal of beauty, always associated with strength, stamina and ability to face the challenges of life. In this sculptural miniature, as indeed in many others, created by the wizard traced a conscious orientation Shaverdian on the traditions of folk art.Another example of this commitment is revealed in the sculpture “agaman” (salt shaker), a small vessel - of ambarchik for the storage of salt, the subject of everyday people's everyday life, which always shape the female figure. These products are now performed by the new masters, continue to remain an integral part of people's interior and interesting means of expression in contemporary folk decor. The contemplation of them gives rise to a number of associations, brings to mind the special features of Armenian women, those stubborn peasants that today, in spite of all the new life trends continue to hold sway in the old Armenian house, severely and jealously keeping its Patriarchal structure, to heat the tandoor, the oven pita bread, make butter... Everdene owns several sculptures of salt, which may be called a reference in a number of works of this type.
All kavardanova paintings and sculptural compositions, the flavor of antiquity. They in folklore the naive and people wise. Sometimes impossible to find the line where primitiveschema manner of execution is inferior to the techniques of a professional artist. These techniques in a manner Shaverdian merged. The artist talks just about simple, not sinking to the level of the primitive in the literal sense of the word.
Shaverdian possessed a wide erudition in matters of Eastern heritage and artistically comprehended in his work the experience of all the Eastern traditions. In the forms of his figures to discern echoes of Arab or Indian sculpture. Sometimes they seem taken from an old graphic subjects of the Iranian feudal culture. In the painting of porcelain and ceramic dishes are easy to recognize traits of Sasanian art.
In 1941, Ruben Isaakovich Shaverdian moved with his family to Yerevan. Since then the fate connected with Armenia. He began to comprehend it as completely new country rediscovering his homeland. In the works Shaverdian were Armenian motives. In all his paintings and sculptures of the Armenian period reflected a special hot flavor of the Armenian land, the warmth of the sun and soul of the Armenian. From 1941 onwards, he regularly participated in field expeditions Isoperating workshops. Contact with the nature of Armenia during trips, Shaverdian was doing numerous sketches and studies. In districts and villages, the artist was impressed by the local flavor of each area. Landscapes from the artist not so much: “Byurakan” (1973), “Israel” (1968), and a few others. They all feature bright, decorative expressiveness. The color of the sky or of the water becomes a piercing blue, the shadows are made brighter, more contrast than in reality. In his painting there is no halftone, each color is most sonorous. There is always a bright afternoon, with heavy rain, fog and wind. He often selects not the main color of the subject, and one that tells it a decorative flair. Is there, say, the earth is so yellow, so red? Such sharpness of observation can be found only in the figurative forms of primitive folk art and children's illustration. Details of the artist's paintings are always very aphoristically: two or three pointed triangle is a jagged mountain horizon; two or three panicles of stylized trees— the garden; the abundance of autumn Bazaar — a bunch of ripe fruit or a bunch of grapes.
Living in Yerevan, Ruben Isaakovich again and again back to memories of the city of his youth. Created Saverdera gallery Tiflis types of unique and unrepeatable: the shopkeepers, fishermen, musicians, urban rogues, drunken KINTO, an important elderly, white-faced beauties, touching love, wedding and family groups. Each of the members of the group portraits, built under the scheme of three ages, stood as if in front of the camera - quite in the style of old family photos - pictures “Family” 1975, “Family, Vaspurakan” 1971. The artist talks about the city and its people with a keen sense of humor and easy craftiness, always gracefully and with love. Special sharp and stylized character,subtle humor is different the figure of the KINTO, established in 1968.
Each canvas Shaverdian there are two levels - one domestic and the other is a level of artistic generalization symbol. There is a place in the world of the artist - worries and joy, weekdays and holidays. Miniature paintings Shaverdian develop in polyphonic and whole life Suite. Their heroes are ordinary village cares and works: women bake the lavash, go to the spring for water, spin, weave, relax, eat, rush to market with fowls and fruits, mincing behind them, loaded burros with bells on the neck... These chamber miniatures are distinguished not purely realistic credibility.
Their art space is not equivalent to the space of the household. It is static, calm and two-dimensional, as Shaverdian almost does not emit the volume of the depicted things. But the artist achieves another: he gives his songs the power of generalization. Juicy zerowaste market scenes, feasts of some tattered, it would seem that the image it retrieves a special local flavor. Each story situation in his miniatures are based on reality. The artist sees the world tactile, textured. This textural richness and accuracy of the image combined with the simplicity of misleading thumbnails Shaverdian special charm. As he relaxed sit people at a table, how different draws tribe of four-legged breadwinners workaholic - donkeys. Here they are rushing to the market with a heavy load, but most other donkeys, well-dressed, with elegant long necks. They are created in the tradition of folk toys, with their simple-minded animal grotesque. Shaverdian likes to focus on one motive, to move from painting to ceramics individual pieces or entire ensembles. It seems that the characters are pictorial compositions, separated from the canvas, continue to exist in ceramics, changing its plastic nature. Such, for example, slim figures from the sculptural group “Girl of Ararat valley” (1967), similar to stretching up the trunks of trees.
One of the favorite motifs of the artist - mother surrounded by children. Shaverdian greatly expands female figure at the bottom, so of the countless folds of her skirt suddenly looked out kids, or extends hands to fit a couple of kids. Through this intentional playfully grotesque reception of the artist conveys the dignified posture of the mother of the family, its economic solidity and the love of offspring. The same idea is dictated by a candlestick in the form of a woman created by analogy with the ancient pagan ritual vessels. Around the main shaft of the candlestick has seven small figures in two rows, merged into a single circle dance, is the emblem of family or clan, “the Family. Candlestick”. The image of Armenian women is one of my favorite images Shaverdian, often held him both in painting and in ceramics. Not to say that this motif is original and new , but the master managed to give it a fresh sound. In the elongated, curved forms and shapes it has retained the harmony which is typical for classical prototypes of figures from paintings antique bowls or miniatures of the Armenian medieval manuscripts. Sometimes in his images flashed similarity with ancient portraits of the hovnatanyan. Look big-eyed Armenian girls with his paintings artless ingenuous. Their faces retain the expression of the mask, because the facial expressions are slightly exaggerated. All of these images, for all their pronounced lyricism, characteristic of light, barely visible and unobtrusive as expressed by the artist comic, slightly be felt in the ceremonious gestures, and how they stare with their unblinking eyes.
The skill of the artist and sculptor was appreciated: in 1965 he was awarded the title of honored artist of the Armenian SSR. And 2 years later, in 1967, he was awarded the title
People's artist of Armenian SSR.
In the works of Ruben Shaverdian often images of children and women with birds. Curls framing the face, sometimes turn into pigeons. They fly up on his shoulders, touching the heavy hair, sit on the palm of your hand... This kind of figurative symbolism inherent in folk art, and an image of a bird is linked to the ancient beliefs coming from the pagan past. Birds were revered as bringing happiness, their cult was connected with sun worship, fertility, with the idea of the immortality of the soul. Shaverdian turned to these images of oral folklore as Kera Toros and Nazar the Brave. He has closed the world of folklore with the world of folklore fine. In a series of such papers there is a sculpture ”Kera Toros”, was inspired by the eponymous character of the epic “David of Sasun”. In a static sculptural figure groups, concentration and the resilience of this immortal representative of the famous family.
Leading for creativity motives Shaverdian endured and numerous decorative dishes“Meal”,1969., and cover
and walls of lacquered decorative boxes. Transferring to a porcelain surface separate stories or fragments of a child with a donkey, dancer, musician, horseman, family, Shaverdian enter them into a circle plate, in a special way with the figure. The round shape of plates serves him as a frame in which the art space works should fit most organic way.
In 1958 the artist seriously and permanently carried away technique
artistic paints. Lacquer miniature attracted his attention by its brightness, bright light and subtlety of color pattern. In this area
decorative art Shaverdian has demonstrated the ability to find a harmonious balance of ornament and the story, to choose interesting colours.
Shaverdian artistic talent was truly multidimensional. He was engaged in creation of sketches for carpets, and painted porcelain, and industrial graphics, and even a massive field of artistic production, as the design of labels for wines and brandies.
The author's ideal of the artist has not changed for many years, that did not prevent him to respond to the changes that have occurred in the decorative-applied art and painting.
In the picturesque still lifes created in the last years of his life, the old theme of the artist acquire a new very modern sound. These are the “still life with kamancha” (1973) and “still life with ceramics” (1972). In the rhythm of the contours, cutting each other in the distribution of all the color energy feels clear constructive. However, in these paintings remains a craving for intense decoration, which is the hallmark of style Shaverdian.
She felt in the character collating disparate crew forms (“still life with kamancha”), and sprawled silhouettes of ceramic objects, in their rough sculpting (“still life with pottery”).
For over fifty years the name of Ruben Isaakovich Shaverdian was associated with the development of Armenian art. He was one of the first to realize the rich possibilities of decorative art as an independent form of artistic creativity. All works Shaverdian features the uniqueness and originality of manners. Such a language cannot be designed. Just need to think and feel the way they thought and felt the wizard. This energetic man had many creative ideas and plans, he tried himself in many guises and until the last day preserved his courage and hard work. He was tireless, and remained true to himself and his artistic passions for the entire life. Shaverdian have caught not so much the flavor of a bygone era, as its a viable “balance”, mixed to today's existence. That is why his art is so vital.
