Winter in Yerevan 1933

Martiros Sarian painted this winter scene in Yerevan with oil on canvas. Look at the bare trees. For centuries, the image of the barren tree has been a potent symbol. Often associated with death, the end of the life cycle, the image invites reflection on the transience of existence. We see its roots stretching back to ancient mythologies, where trees served as a bridge between the earthly and spiritual realms. In the epic of Gilgamesh, trees guard the passage to immortality; similarly, in Celtic lore, trees represent ancestors and act as gateways to other worlds. These early myths and pagan rituals cast trees as a vital nexus of life, death, and rebirth. This motif recurs throughout art history, taking root in works like Caspar David Friedrich’s ‘Abbey in the Oakwood’ and Edvard Munch's angst-ridden landscapes. Yet, consider how the stark branches in Sarian's painting, set against the backdrop of a winter landscape, evoke not despair, but perhaps a silent anticipation. Consider the profound emotional weight this symbol carries; how it speaks to the cyclical nature of time, subtly engaging us in a dialogue that transcends mere visual experience.