Self-Portrait and Portrait in Armenian Medieval Miniature Painting

The relevance of interdisciplinary research on medieval cultural phenomena is due to their considerable influence on later societal development. Despite the considerable attention that Armenian medieval miniatures have already received from scholars in the field of art history and theology, this article represents a novel interdisciplinary contribution. The term artistic colophon is employed to denote images that also function as a colophons, i.e., serve as a note to portray the depicted person. This method, unlike a prayer text, combines the portrait and the text, thereby creating an illusion of the presence of the prayer book and reminding of the manuscript's creators. The purpose of this paper is to reveal the colophon significance of portraits of miniaturists, manuscript recipients (customers), and other individuals, which were widespread in Armenian medieval miniature painting. To achieve the goal the following tasks were set: 1) to systematize references to similar cases available to modern researchers; 2) to trace the features of the colophon presence of portraits; 3) to refine the existing typology by introducing new cases; 4) to propose a model of justification for the admissibility of the presence of portraits in Armenian medieval miniature painting that is relevant to medieval consciousness. The material of research were the manuscripts from the 12th to 17th centuries, copied across various Armenian monasteries and copying centres and currently stored in the Matenadaran (Mesrop Mashtots Institute of Ancient Manuscripts in Yerevan, hereinafter MM). Attention was focused on Armenian medieval miniatures, which include portraits, self-portraits, and accompanying commemorative inscriptions. The theoretical and methodological foundation of this study was formed by historical-genetic and hermeneutic approaches, as well as the descriptive method and comparative and narrative analysis of the selected works. As a result of the study, the colophon meaning of portraits in Armenian medieval miniatures was described in detail. In conclusion, portraits in Armenian medieval miniatures can be systematized according to placement (separate or integrated into the text) and subject matter (everyday scenes or Gospel scenes), with outer-margin placements next to chorans representing a distinct case. The arrangement, composition, and accompanying commemorative notes left by miniaturists allow these portraits and self-portraits to be considered artistic colophons. They include Christological miniatures, outer-margin portraits, self-portraits on separate pages following canonical evangelist styles, and portraits of manuscript commissioners often depicted as dedicatory miniatures. Inclusion of these portraits does not contradict the humility of medieval man, as they are addressed primarily to future readers and request prayers for the soul of the creator or depicted person rather than addressing God directly. This model highlights a little-studied aspect of medieval everyday culture and warrants further research using these and other materials.

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