From Zovuni to Hatis: The Journey of Jesus
In January 2022, prominent business tycoon Gagik Tsarukyan announced a tender for the construction of a statue of Jesus. The controversial initiative was widely criticized for its concept, necessity, implications, and environmental impact, as well as concerns about its proposed location. But this did not stop the competition from going through, despite the pending government approval at the time. Sculptor Armen Samvelyan’s design was selected as the winning entry.
The four main parts of what will be a 33-meter high statue of Jesus—the head, torso, lower body and feet can currently be seen at the enormous open air workshop of the “Kantak Trio” in the village of Zovuni in Armenia’s Kotayk region.
The sculptor, Armen Samvelyan, explains that once the pedestal is complete, the individual parts of the statue will be airlifted by helicopter to the top of Mount Hatis and assembled on-site. However, this process won’t be completed anytime soon—it will take at least another year.
Samvelyan is also known for creating the iconic “Ararat 73” statue of Armenian footballers commemorating their victory in the 1973 USSR football championship, also commissioned by Tsarukyan. Additionally, he sculpted the statues at Yerevan’s 2800th Anniversary Park, a gift from the Vardanyan brothers to the Armenian capital.
There Is Always Criticism
I don’t like attention or when my work gets media coverage, but I’m aware of the scrutiny and criticism that come with the Jesus statue.
You can’t always ignore criticism. It is what it is, you just need to concentrate on the work. Still, it affects your confidence and everything else. Even when you know there is always criticism, there are still instances when the critics are one too many.
Different people have different things to say but I can say for certain that out of the 200 entries, none could have delivered this quality and caliber within this timeframe.
Everyone Has Had an Input
The statue has to withstand wind and earthquakes. That responsibility lies with the constructor. I’m the sculptor, so that aspect is not in my purview, but we have collaborated with the constructor from the outset. It is not much different for constructing a high-rise; all the technological solutions must be considered. The construction specialist handles the calculations. It is like any other building project––when you are building a house, you need the architect, construction specialists, foremen, and builders. The same applies to a statue.
The statue is hollow and is currently supported by a temporary internal structure, which will eventually be replaced with a permanent framework to ensure sturdiness and structural integrity.
About 20 people are working on the project, each one has their input.
The statue is nearly complete, with some final adjustments needed for the torso and to extend the hair down towards it. Such refinements are typical in these projects, where various parts must be assembled and then readjusted for a perfect fit.
My Work Gives Me Gratification
This type of work demands meticulous planning and problem-solving. You need to design it to be lightweight yet durable, and carefully coordinate the workflow so that one process doesn’t hinder another. Times have changed, and integrating new innovations into the process is essential; relying solely on old techniques won’t cut it anymore. During the Soviet era, a sculpture like this would take a year or two to complete, starting with a plaster model before casting it in iron. The statue is made of aluminum and coated with a special paint. It weighs only 20 tons. While sculptures of this scale are typically crafted from bronze or aluminum, we opted for aluminum for its lightness.
When you begin sketching, you already have a mental image of the final piece. As work progresses, there’s a deep sense of gratification as the vision you imagined comes closer to reality. This isn’t something unattainable—after all, people were building pyramids long before this. There are far more complex works out there. For me, the process is a source of great pleasure.
Noah’s Ark, Lenin, and Aram Khachaturian
There are countless fascinating subjects to explore, and I have many projects in mind, like creating a sculpture of Noah’s Ark. Many sculptors, myself included, have their own ideas, and with the right funding, these ideas could become reality. Ultimately, time will be the judge––not us. We once had statues of Lenin that everyone admired, but when the time came, they were removed and discarded. Then there’s Khachaturian’s bust on the street named after him—I’m not a fan, but I don’t think it shouldn’t exist. Let it stand; let different works coexist. Some will endure, and others will not. Most of the time, these projects are commissioned, and you have to align with the client’s vision. It’s not always entirely up to the artist.
I was raised in a family deeply rooted in traditional Armenian values. My mother, Lusik Aguletsi, was a well-known painter and ethnographer, while my father, Yurik Samvelyan, was a sculptor. People often suggest that I should incorporate national elements into my work to mainstream them, making them more familiar to the public. I respond by saying that although I can do what I want for myself or my family, a commission comes with specific criteria that must be met. Of course, the person commissioning the work is familiar with my style and trusts me to deliver, but that doesn’t mean I can impose my personal taste on the project.
Time Will Tell
Statues have always been a part of history—Michelangelo became Michelangelo, and Rodin became Rodin, each in their own time. I’m not comparing myself to them, but simply acknowledging that the true relevance and value of any creation are revealed over time. Criticism is inevitable, but what matters is having the opportunity to create. Time will ultimately decide the rest.
