E Aivazian Arm. English Interviewed by Assadour Guzelian

Յարգելի բարեկամներ,

Կից ուղարկում եմ վերջերս անուանի նկարիչ Էդման Այվազեանի հետ ունեցած հարցազրոյցս, որը լոյս տեսաւ
Պէյրութի “Արարատ” օրաթերթի 12-13-14 Ապրիլ 2018 համարներում։

Ուղարկում եմ նաեւ անգլերէն տարբերակը։

Յարգանքներով՝
Ա. Կիւզելեան

Dear Friends,

I am forwarding attached the interview I recently had with Edman Aivazian, the famous Armenian painter.

The interview was published in  “ARARAD” daily, Beirut , on 12-13-14 April 2018.

I am sending also the English version.

Regards,

Assadour Guzelian

It is with regret that photographs accompanying this interview, do not open.

Interview with 

Edman Aivazian

the 

"Architect of Colours"

By

Assadour Guzelian

London, March 2018

Recently I had the pleasure to interview the very talented diaspora Armenian painter Edman Aivazian at his London studio. 

Many years of experience has taught me that it is much easier to interview a mediocre artist, than a talented one,  simply because the former will  try to impress you with his non-existent talent and the latter, invariably,  will consider the merits you attribute to him an exaggeration! 

"Humility and greatness are two inseparable friends". I do not know who  said this, but whoever it was, is absolutely right.

This is not an easy task when it concerns   a man of Edman Aivazian's calibre who possesses abundant talent and noble qualities, combined with charm and humour! 

When I first met Edik (as he is  known to his friends) more than forty years ago, he greatly impressed me with his simplicity, humility and humour. Later on when I came to know him better as a friend, I realised  I was dealing with a great human being and an equally   great artist. 

When one enters the studio of this 85 year old, (though young at heart) artist, 

one enters a world of enchanting colours, radiant scenes  full of sunshine, as well as the soft, melancholy of  autumn, various styles of drawings,  paintings depicting a wide range of subjects from women with vivid dresses to peasants toiling in the field. 

As a sensitive artist , Edman knows how to create mesmerising  paintings evoking the captivating palette of nature with his magical brush!

When one observes the portraits  created by Edman, one immediately senses that he has penetrated into the souls of his characters, felt their joy and their   sorrow.He produces pictures, not as a photographer, but as an artist,  who knows how to breath life into a canvas. 

Before I start my interview, I feel it is necessary to provide some biographical information, which is important firstly  to know Edman Aivazian better as an artist and secondly, to have a clearer picture of the people and events referred to in the  interview.

Starting from 1948, for more than 70 years,  Edman"s paintings  have been shown in many collective and individual exhibitions in Iran, Great Britain, USA, Armenia and elsewhere. 

At the age of 16 Edman participated in the International  Exhibition of Young Painters organised by UNESCO and was amongst the prize winners.  

In Teheran, between 1949-1957, Edman participated in various  exhibitions organised by Meshakuyt Miutyun (Cultural Union), the Soviet Cultural Centre, Garoun Club, Mehregan Club, Abiaz Palace and Teheran Biennial. Again in Teheran, he  gave three individual exhibitions  in 1952, 1955 and 2010.The first two were organised by the Iran-America Society and the last by the  famous "Art Centre" Gallery,  where besides his abstract works,  30 of his paintings depicting  Iranian  villages were also exhibited.

From 1984-2016 Edman gave individual exhibitions at the Gorky Gallery, New York; Gulbenkian Hall; London, Rochan Gallery; London, National State Gallery of Armenia; Yerevan, Niavaran Palace; Teheran and Ararat Union Hall;Teheran. 

His second individual exhibition in Armenia took place  at the National State Gallery of Armenia, Yerevan, in November 2015, which was  sponsored by the Cultural Centre of the Embassy of the Islamic Republic of Iran. Few months later, the same paintings were exhibited in Teheran  at the Niavaran Palace and Ararat Union Hall.

Since 1990, Aivazian has participated in a number of exhibitions outside Iran including  the Crimea, USA, Great Britain etc.

As a member of the Federation of British Artists; the Royal Society of Marine Artists; the Royal Institute of Oil Painters and the Wapping Group of Artists, he has participated in many exhibitions organised by the above societies and institutions in the UK. 

In 2001 an outstanding exhibition was organised at the British Library, London,  marking  the 1700th  anniversary of  Christianity becoming the  official religion of Armenia. As  Artistic Director of the exhibition,  Edman earned  admiration and  praise from critics and visitors alike for the meticulous way in which he performed this role.

In his capacity as a marine artist, Edman took part in more than 30 exhibitions organised by the Royal Society of Marine Artists. His  paintings were exhibited at the National Maritime Museum of Cornwall and found in private collections.

In 1985, he was commissioned by the Royal Saudi Family to paint  portraits  of 

Saudi kings and princes, including that of Prince Abdullah Bin Abdul Aziz Al Saud, as 

well as a series of paintings dedicated to "Life in Saudi Arabia in 1930s". 

Edman has won the following prizes:

= International Young Painters PRIZE, Organised by Unesco, Teheran (1948)

= Contemporary Iranian Painters FRIST PRIZE , Teheran (1956)

= Ministry of Culture completion for  representing Iran in Venice International Biennial Exhibition, FIRST PRIZE, Teheran (1958)

= Stanley Grimm Award of British Oil Painters Institute, UK (1998)

= Windsor and Newton”Award of the Royal Institute of Oil Painters, UK (2000)

= “The Worshipful Company of Shipwright’s  Award” of the Royal Society of Marine Artists, UK (2001)

= Arshil Gorky Medal of  Minister of Diaspora of the Republic of Armenia,  Yerevan (2015)

His paintings can be found in many galleries, museums, institutions and private collections world-wide, such as the Armenian Monastery of St Lazar, Venice; Aram Khachaturian Museum, Yerevan; St Sarkis and Narmak Armenian churches, Teheran;  National Iranian Oil Company, Teheran; Northrop Institute, USA; Artak Manukian Museum, Tehran; National Gallery of Armenia, Yerevan; Contemporary Art Museum of Armenia, Yerevan and Hovhannes Ayvazovsaky Museum, Crimea.

It is not my  intention to discuss in detail issues relating to Edman the painter,  but to talk to him about interesting events and memorable  people  in his life.

Let us therefore hand over the microphone  to him.

"I was born in Teheran. My father was a chauffeur and had his own car. Having a car in those years was a way of earning good money. Teheran then was small  and most  Armenians equally lived both in the north and the south of the city.

 There were a large number of refugees in Teheran in those years. They had come from Russia, Armenia and various countries of the Caucasus. Amongst them there

was a family, whose members included Michael, Gourgen and Alexy.They became our neighbours, living in a two bedroom apartment attached to our flat. Michael had studied painting in Leningrad. Their financial situation was  not  very good. In those years no one  gave work to an unknown painter. I remember, they  painted children's faces on silk cloths and women  made garments out of them. Michael was very humble and patient . Although I was only 5-6 years old , the positive impression Michael and his family made still have an effect on me even now. Michael somehow managed to take care of  his family’s finances  by doing  similar work.

Sadly  my father did not live long, I was 9 years old when he passed away. It was after my father's death  that I became interested in painting. At  school if  I did not like  pictures in my text books, I replaced them with my own.

It was during this period that with the help of Manouk Martin, I was sent to a boarding school in Esfahan. Manouk Martin was known in Iran as a friend of Armenia and Etchmiadzin . Many years later I came to know that he had even a mother of pearl throne made by Iranian craftsmen for His Holiness Vasken I, Catholicos of All Armenians and managed to send it secretly to Etchmiadzin!   

After graduating from the Esfahan school, I returned to Teheran. After  my father’s death, my mother struggled in taking care of the family. That is  why I  decided to earn some money by helping some  painters and designers who were involved in promotional work. They designed advertisements commissioned by commercial firms. What little I earned, I gave to which to my mother.  To take care of the family, my mother   sewed. Mine was not an easy life, but any work offered to me I did with pleasure, which is why I was never bored. Although I liked my friends and often  spent time them with them, I had other interests, other dreams and obligations, which motivated me to work and study.

At that time, there was a famous Iranian painter in Teheran by the name of Soehli,  whose wife was Armenian. He had been a student of the very famous Iranian artist Kamal Al Moulk. Soehli was introduced to me by his  close friend, the  Armenian painter-poet Dev (Margar Gharabekian), who had also been a student of Kamal Al Moulk. Soehli used to give me some work from time to time . He used to receive orders from European painters to design postcards. Soehli often asked me to assist him, for which he paid me well. He also gave me  other works, with the result that when I came home in the evenings, I had a fair amount of money  in my pocket,  to provide for the family.

On one occasion Soehli asked me;

"There is work for you at the Palace, will you do it?

I thought Soehli's proposal could be a  good source of income.

"What is expected  of me? I asked him.

"You have to draw fine lines on the doors and paint flowers on the corners.

I agreed to do it, subject to submitting a sample and gaining the approval of the Palace, which I duly obtained.

During those years an experienced worker could earn 2 toumans a day. Soehli suggested that I demand  30 toumans.

I  asked him if he  expected to receive part of the money? to which he said no.

It was at this  time that I met the Shah under unusual circumstances. I was working and all of a sudden noticed someone  running towards me and shouting.

"Where is that 30 Touman per day master?"

On learning that  I was that master, he glanced  at me in amazement, shook his head and said, 

"I have no comment" and quickly went away!

 Working for three days, earning a considerable amount of money and achieving  good results, gave me great satisfaction.

A. G. How old were you at that time?

E. A. Fourteen and my height was nothing to write home about.

A. G. Even now your height is nothing to write home about! 

A. G. Did the  work you did for the palace  have other benefits?

E. A. All those who heard about it wanted to give me work

A. G. After Esfahan, where did you continue your studies?

E. A. I attended Tamadon Secondary School in Teheran, where there was no respect for “law and order”! All kind of people attended the school. We even had a taxi driver in our class ! Most of the students studied, worked and smoked as they did so!

Before the Islamic Revolution, after the King returned from his travels abroad, special arches were constructed in the streets to welcome him. On one occasion the contract for  building  the arches was given to a Belgian painter called Talberg. He  had come to our school to find a student who could  draw, and would be willing to work for precious little! Our principal, Mr Salek recommended me.

Besides  working on construction  of  the arches, I started to help the Belgian

in other projects as well. I needed additional work, as my two brothers and sister were  growing up  and the family required additional income.

I also started working at the Advertising Department of the newspapers where I earned good money.It was during this period that Soehli introduced me to Mr Thomas Thomassian, who was nicknamed Papik (grandfather) for his good deeds. Papik’s brother used to produce salt and required a promotional picture that would   illustrate the smooth flow of the salt from the salt-cellar. When Papik saw the promotional picture I had prepared, he promised to give me more work. On one occasion he introduced me to an Italian architect, by the name of Elmo Palace, who had just arrived in Teheran. He was a kind and gracious man and appreciated my style of drawing and painting. On one occasion Elmo told me;

“I know you wish to become an architect. I need you for my projects and if you continue to help me, I shall teach you the basics of architecture.

After working together for about three years, on his advice and recommendation, I went to Italy.

A. G. Before we  speak about your departure to Italy, I want you to tell me about the Cultural Union (Mshakuyt Miutyun), which, as you once told me played an important role in your life as a youth.

E. A. From an early age I have participated in the activities of the Cultural Union. The founders of the Union were Intellectuals and artists who were considered friends of Soviet Armenia. The Union had a choir, dance group and divisions for Art and  Literature.

Needless to say mine has not been a normal childhood. I did not have the luxury of playing like other children. From a very  young age, I was obliged to work, but did

so happily and with pleasure. 

As  I mentioned, the Union had a choir, which was conducted by Hovik Gasparian  and the dance group, by Avetis Janbazian, my childhood friend. It may surprise you to know that I was a member of the  dance group!

As I mentioned,  there were a great number of Armenian refugee artists living in Teheran in those years, the majority of whom  were considered friends of the Soviet Union and Soviet Armenia. They also participated in the activities of the Union. 

I remember when we used to hear the words “ Yerevann eh Khosum” (Yerevan is speaking) on radio, we  used to get goose-bumps!

We did not have a radio, nor did we have electricity! My friends who had radios, would  tell me about the programmes they had heard, but this did not satisfy me. At that time a type  of radio was imported from Russia, which worked by the  heat of an oil lamp. I was not in a position to purchase it, as it was very expensive. The only option I had was  to construct my own radio. In the South of Teheran there were quarries and lead mines, where one could find a type of stone called galain, which possessed  all the properties for constructing a radio. I managed to find it and succeeded in making my own radio and every morning listened to the sweet words of radio Yerevan saying,

“Yerevann eh khosum”.

Those who did not approve of the activities of the Cultural Union, belonged to a sports club called  Ararat Union, which was very active in its own field. One could say, the intellectuals and artists gathered around the Cultural Union, and the so called  “men of muscle” were members of the Ararat Union! 

A. G. Is it true that, on behalf of the Cultural Union and the Iranian Youth Committee  for Peace you attended the International Peace Festival held in Romania and on that occasion also visited the USSR?

E. A. In 1953, with a delegation of 50 people we participated in the Festival. This was attended by many internationally renowned personalities, amongst them Picasso,  who addressed the Festival. There were 5 Armenians in the Iranian delegation.

A. G. It is not a secret that during the 1950s Iran had adopted a very anti-soviet 

policy. Did participating in the festival create any problems for you?

E. A. Bearing this in mind, the soviets suggested we remain in Moscow. They promised to create all the facilities for our  eduction and work, but we opted 

to return to our families. We took the boat from Baku and then went to Pahlavi (now Enzaily). On arrival we were arrested and taken to Tehran prison. It became clear that the Iranian authorities had placed certain informants within our midst. Based on their report some were  freed and others remained in prison. I was set free.  

A. G. When did you go to Italy?

E. A. I went in 1964 and after receiving my diploma from the Academy of Fine Arts in Rome, returned to Iran in1966.

A. G. And who was paying for your studies?

E. A. As I told you, most of the money I earned was given to my mother, who put  part of it aside for my university education, which financed my education in Italy and UK. 

A. G. Were you  married then?

E.  A. Yes.

A. G. I know for a fact that all  painters , including you are “hunters of beauty”! 

How and when did you managed to “hunt” your friend for  life, beautiful Thelma?

E. A. Your observation about painters is true! As far as Thelma is concerned , I met her through the female members of our dance group at the Cultural Union.  We got married in 1962, were blessed with two sons in 1963 and 1968 .

A. G.  Is talent enough to become a successful painter?

E. A. Talent is a precondition to becoming  a successful painter, but mastering to draw is of the essence. Coupled with talent the artist must  develop his 

craft in order to give full expression to his  talent. 

A. G. Has your art been subject to change during the years?

E. A. As in the case of others, my art has also undergone change. I am no longer  that young artist who was satisfied with reproducing nature photographically. As all artists, the painter also matures, his paintings  become  clear and transparent and he develops his own individual style during the course of time. Personal, social, political and economic conditions, as well as other factors, such as new directions  and styles of arts leave their influence on the artist. For example the contemporary artists were greatly influenced by the great  Russian avant-guard painters.  

A. G. Did the Iranian Government encourage arts during those years?

E. A.  The government was not interested in arts. In Teheran there was the Committee  for Friendship and Cultural Relations with Foreign Countries, AOKS, which had a small room, where one could find periodicals containing information  

on cultural events, particularly artists and painters, such as Ilya Rapin (1844-1930), Vasily Surikov (1848-1916),  Vassily Kandinsky (1866-1944) and others. Kandinsky particularly had his own views about painting, which he defined beautifully. I feel my approach to art has many similarities with his.

I would like to quote a few of his generalisations, which also illustrate my views;

1. Colour is a means of exerting direct influence on the soul.

2. The artist must train not only his eye but also his soul.

3. There is no must in art because art is free.

I would like to take this opportunity to express my gratitude to all  those immigrant artists, who assisted me in developing my art and helped me to follow the correct path. Up to now I remember one of  the most important pieces of  advice; 

“ If you want to become a successful painter, you must first learn how to draw." 

Since then  I have always carried  with me paper and pencil, which helped greatly in developing my painting skills over the years.

A. G. I can bear witness to that. I remember n January 1977, when you were doing the preparatory work on Aram Khachaturian’s painting in London, you  drew the Maestro with a black pencil from different corners of the concert hall during rehearsals with the London Symphony Orchestra. There is a story I wrote about that painting, which will appeare at the end of the interview. 

A. G. Did the Cultural Union organise any individual exhibition for you?

E. A. No. The first time I took part  in an exhibition organised by the Union was in 1949. The organisers were the Iranian Armenian poet-painter Dev, painters Abraham Gurgenian and Misha Shahbazian. The exhibition went down very well and many  cultural associations and clubs in Teheran organised such events.  Even Soehli used to partake in them.

A. G. Now I wish to take you for a moment to a far-away place,  Crimea, where, as you know the great Armenian marine painter Hovhannes Ayvazovsaky was born. 

Vanik Santrian in his book entitled “Shining pictures on the Shores of the Danube (“Arkaytsogh Patkerner Danubi Apin”), has a chapter called “ Edman Aivazian; from Namakert to Crimea”. Here he writes  about the events relating to the 150th Anniversary of Ayvazovsaky and mentions that you also took part  in the celebrations. Who  invited you to the Crimea?

E. A. The Committee for Cultural Relations with Armenians Abroad had invited a number of Armenian painters from the diaspora, amongst them Khachatur Pilikian and myself from Great Britain. Since you mentioned the name of Vanik Santrian, I would like to say a few words about  my dear old friend who passed away in Yerevan last March, after a long illness. Vanik Santrian was loved and  respected by everyone. He was kind, friendly, a person with self-respect and great integrity.

Armenpress news-agency has referred to him as “a painter, writer, journalist, the longest serving correspondent of the Armenian News Agency Armenpress”. He was given the title of “Honorary Journalist of the Republic of Armenia” and was the author of 36 books. May he rest in pace.

A. G. Who else had come to the Crimea?

E.A.There were many painters from Armenia under the leadership of Edward Isabekian. Armenian painters had also come from the USA, Canada, France, Greece, Iran and other countries.The artists from Armenia were staying in a separate hotel, but we took part in all the events together. 

A. G. In his book Vanik Santrian writes the following about meeting you in the Crimea;

“I met the painter last year in the Crimea over the course of a few days, but , I have many warm and heart-felt memories of that time and the utmost admiration for him as an artist and human being. He had come to the Crimea with Richard Jeranian 

(France), Petros Aslanian (Greece) and Harutyun Minassian (Iran) to participate at the symposium dedicated to Ayvazovsaky. Also present were many Armenian and non-Armenian artists from Yerevan and various cities of the Soviet Union.  They had assembled to work in Yalta for a month to create a foundation for a museum dedicated to Ayvazovsaky".

Santrian continues;

“Edman Aivazian, not a tall man,  always had a smile and was very attentive to his friends. In no time he became everyone’s friend and was loved by all. He was very  respectful and attentive  towards his teacher, Harutyun Minassian, with whom he shared a room at the hotel in Yalta. For many yeas the two have breathed the same air and shared food. You should have seen the way he stood in front of each and every exhibit at the  Ayvazovsaky Museum! An Armenian would stand like that before a Cross-stone and church alter and listen to the sacred music of Komitas and Yekmalian! 

Before leaving the Crimea, Aivazian said; 

“It is pity that I can't  come to Yerevan. Let things settle down a bit and I shall come there, paint Armenia and include those pictures in an exhibition in Yerevan. I loved our Armenian painters, Jeranian, Petros, Ashot Melkonian, Stepan Andranikian. Led by Harutyun and Isabekian, we worked together like members of the same  family.”

A. G. Let us now bid farewell to the Crimea  and go to Namakert, an insignificant small Armenian village in the Peria province of Iran. This is the village and its inhabitants which were immortalised through your magical brush many years ago. 

  

Here is how Santrian depicts Namakert and its inhabitants in his  book;

“Namakert, a village in the Peria district of  Isfahan Provence, founded a few centuries ago by Armenians forcefully brought here from Armenia. They have kept their cows and sheep, cultivated the land,  remained unchanged, remained Armenian with their own habits and traditions, simple and noble, generation after generation! Edman’s paintings depict the mud-houses of the village leaning on each other, the crooked, muddy streets, the farmer singing “horovel”, a woman bringing water from the fountain, the grandmother hugging her grandchild, the young bride with her two children and men engaged in discussions standing outside the door, neglected compounds and wedding procession, the village cart and women spinning wool”!

A. G. What made you go and paint a village and its inhabitants situated in a neglected corner of  the Peria province? 

E.A.The story of Namakert is a long one, but I shall try to give the gist of it. As I mentioned, I was hardly 9 years old, when with the help of Manouk Martin, 

I began studying at a boarding school in Isfahan. It was during that period that often I used to see in the market place a group of peasants, who came to Isfahan to sell their oil and cheese, do their shopping and return home. They spoke their own Armenian dialect, had an unusual manner and way of dressing. The women wore colourful clothes I have seen nowhere else. These were inhabitants of Namakert, who left upon me from a very young age an unforgettable impression.

Years later, when I was already a known artist, I decided  with a friend  to go to Namakert and paint the village and its inhabitants. The road up to Isfahan was difficult, but bearable. From Isfahan to Namakert, it was torture! And for the last few miles we were obliged  to go on foot.

A. G. Your paintings of Namakert are admired equally by lovers of art and  even the most stringent critics. I have in my possession an album dedicated to your paintings of Namakert, published in 1984, entitled "Paintings and Drawings of AN ARMENIAN VILLAGE”. The preface was written by a well-known London art critic, George Sorley Whittet, who  was the editor of "The Studio" and ”Studio International” magazines and authored hundreds of articles published in art magazines all over the world. He is also the author of  books entitled “London:Art Centre of the World and “Lovers in Art”.

Below is an excerpt taken from George Sorley Whittet's account:  

“ In this book by his evocative artistic skills and a sympathetic family feeling, Edman Aivazian has created a nostalgic picture gallery of a community of transported Armenians whose dissidents for more than three hundred years carried on their traditional way of life independent of their native  neighbours and time’s changing habits the greater world beyond the village wall. He paints a richness in dress, in folk customs and in human relationships that many modern townships can be seen sadly to lack.”

A. G. Who sponsored your first individual exhibition in Armenia in 1987?

E. A. My first exhibition, which took place at the “Painters House” in Yerevan,  was organised by the Committee for Cultural Relations with Armenians Abroad.  My paintings representing various periods were exhibited. The exhibition was well received by painters in Armenia, as well as critics.

A. G. I have a copy of the programme of the exhibition, where there is an article about you and  Iranian Armenian  painters, written by the well-known art critic Vahan Harutyunian. 

According to Harutyunyan, Aivazian is the first Iranian Armenian to have an individual exhibition in Armenia. 

“The national traditions are kept relatively better [in Iran] than in other Armenian cultural centres in the diaspora. Edman Aivazian is one of  the talented artists, who  has contributed  to that mission. His talent has manifested itself early, matured quickly, and when he was only  twenty five years old, he had already won prizes at International exhibitions in Teheran and Venice”.

In his article Harutyunian rates very highly Aivazian’s “series of paintings dedicated to Namakert village for their rich content, which brings credit to the author”. 

Referring to Edman’s graphical  art, Harutyunian states;

“In this series, besides the pencil drawings naturally done and enchanting in their sincerity, are also illustrations of literary works, such as Toumanian’s “The conquest  of Demkaberd” poem and the “Parvana” legend, which were very well received  in Iran, as well as Armenia”.

A. G. Who  sponsored the programme of introducing Armenian literature to Iranian readers in Iran?

E. A. Papik Thomassian and his two brothers had established “The Thomassian Foundation”. One of the aims of the Foundation was to have the works of famous Armenian writers translated into Persian. The  above-mentioned works, illustrated by me, were sponsored by them”

A. G. Speaking of your decorative art, Harutyunian emphasises that 

“decorative art is not alien  to Aivazian’s art, particularly when it is applied to   architectural work.” 

A. G. Do you have any comments?

E. A. I am sure Harutyunian had in mind the series of drawings and calligraphy I did  for architectural projects in Saudi Arabia and Oman.  

A. G. Did the architectural projects influence your painting in any way?

E. A. For me Architecture was an obligatory work, born out of necessity. When designing an architectural project, I only considered the clients wishes with very few exceptions. By the way my architectural projects were on a small scale, such as school, house, hospital, villa etc. As an architect, I  learned a lot from Papik Thomassian. A well respected architect himself and graduate of  Sorbonne University, he first entrusted me with the design of his house and then that of  the Thomas Thomassian School. As a rule he did not interfere in my designs and work, except when he could foresee political and religious risks related to my proposed plan. Let me give you an example; the Thomassian School was intended for both sexes. Papik suggested  I design the plan in such a way, that if it became necessary  boys and girls could study in separate buildings! After all, Iran was a Muslim country and there could come a time when religious extremists might be in charge  and forbid mixed education.  

It is relevant to mention that the only time  I took artistic liberty was when it concerned projects I designed for Papik.

A. G. Where in Teheran was the Thomassian School  built and why?

E. A. Papik was a very wise and far-sighted man. When immigration to Armenia from Iran was interrupted, those Armenians who had sold their homes to come to Teheran, suddenly found themselves homeless and jobless. The aim of the Thomassian school was to give free education to the children of these people, as well as those of other poor Armenian families. The majority of peasants who had come to Teheran for the purpose of immigrating to Armenia, lived in the one area of the city. Hence why Papik built his school in that section of Teheran. Following construction of the school , a church was also built. Encouraged by these two institutions other Armenians also settled in the area, subsequently factories and warehouse were constructed, thus providing  the population with jobs.

A. G. Have you undertaken any work for the government of Iran?

E. A. The only architectural project I have done for the State has been designing 

the new section of the ski complex. The person responsible for the project was Felix Aghayan, who was then the President of the Iranian Ski Federation.He was a close friend of Papik. Felix was the son of Dr Alexander Aghayan, who represented the Armenian community in the Iranian Parliament. Felix was also a member of  Parliament and the Senate.

A. G. Have you done any architectural work for the Palace?

E.A.The only task I have undertaken for the Palace was the one I did “as a 30 toumans per day master”!

A. G. In what other countries have you done architectural work?

E. A. In a number of Arab countries, such as In Mecca where I have designed  a mosque.

A. G. How did they allow you, an Armenian Christian to draw up the plan of a mosque in a country like Saudi Arabia?

E. A. I was only  permitted  to draw the plan of the mosque. They did not allow me to go to Mecca and supervise its construction. When I once  asked the mayor to permit me to see the mosque, he refused. One day I asked my driver to show me the mosque and assured him that no one else would know about it. He turned to me and said, 

“I would know!” 

I have also worked on the Grand Mosque at  Ryad Airport. I did the entire internal  design, including the windows, carpets, even the calligraphy.

A. G. What projects have you completed in Oman?

E. A. I did most of the mosaics of the Grand Mosque of Oman. I also did the internal design and decorations for the Sultan’s Palace and his pleasure yacht. I also painted the portrait of the Sultan.  

A. G. What kind of paintings were shown at your second individual exhibition

in Armenia entitled “The Colours of the Fatherland”?

E. A. My second individual exhibition opened in Armenia on 20th November 2015 at the National Gallery. A selection of different styles of paintings from the  last  15 years were exhibited.

A. Given your natural modesty, I myself will provide the reader with some information pertaining to your exhibition.

According to the media, the opening of the exhibition was attended by the Minister of the Diaspora of the Republic of Armenia, Hranush Hakopian: the Deputy Minister of Culture, Arthur Poghossian: the Director of the National Gallery, Arman Tsaturian: the Director of the Cultural Centre of the Embassy of Islamic Republic of Iran, Majid Meshki. 

In her speech Hranush Hakopian said;

“Edman Aivazian is one of the outstanding painters of the Armenian diaspora. He was born in Iran, where he took his initial steps as a painter and then moved to the United Kingdom, where he enhanced  his knowledge, developed his talent and also introduced to his artistic creations traditions from European and Eastern arts. I would like to express my gratitude to the Cultural Centre of the Embassy of the Islamic Republic of Iran and National State Gallery of Armenia for organising this marvellous exhibition and inviting the renowned master on this happy occasion to Armenia.

The Minister also spoke with great admiration of the artist’s paintings,  saying  they would always have their special  place of honour at the treasure house of Armenian art. Following her speech, H. Hakopian decorated Edman Aivazian with the Ministry of the Diaspora’s “ARSHI GORKY” medal for his contribution to the development of  Armenian art.

A. G. Before ending this interview I have a last  question. 

 I am sure you have had the opportunity to meet many famous Armenians.  Who has impressed you the most?

E. A. It is true, I have met many famous Armenians all over the world, but I will never forget the impression William Saroyan made on me.

Before talking about my meeting with William Saroyan, I first want to tell you about the design and construction of the Thomassian School, which is relevant.

When I started preparing the plan for the school, I designed the facade of the building in such a way that one would see row of crosses under each window,  unique to the  Armenian church. My intention was to engrave these crosses in such a manner that it would be impossible to deface them. My second intention was to demonstrate that this school was built by Armenians for Armenians!

When visiting Teheran, Saroyan expressed a wish to see the Thomas Thomassian School. I had the pleasure of showing it to him.

After the tour of the building, when Saroyan looked at the facade, he  noticed  the crosses, carefully examined them, looked at me  and said;

“Shall I tell you something? I do not know if this is a place for learning or worship? Both the Armenian school and the church are present here together, as one unit!"

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As promised, here is the story of "Aram Khachaturian" painting.

"Those years, Edman Aivazian, a talented Iranian Armenian painter from Teheran, had settled in London. Aivazian wanted to paint Aram Khachaturian.

"I require only one hour, Maestro, he told Khachaturian, but was refused.

When I tried to change his mind impressing upon him that Aivazian was a very talented artist, Khachaturian refused me as well.

Edik and I solved the problem as follows;

At Khachaturian's request, I had agreed to attend Maestro's rehearsals and on occasions act as his interpreter. I therefore decided to take Edik with me as my assistant!

Sitting in a corner, Edik drew sketches of the Maestro with a pencil, when he was conducting the London Symphony Orchestra at the rehearsals. From those sketches 

he eventually created a wonderful work of art, portrait of Aram Khachaturian.

When we showed the painting to Khachaturian, the Maestro could not hide his joy and admiration. He demanded that the painting be given to him.

Aivazian refused.

"Maestro, he said, all I wanted was one hour of your time, but you refused me. I am also now refusing to give my painting to you. It was your right to refuse me. As an artist I too have my rights and principles. Therefore I refuse to give you my painting.

"But the subject of the painting is me, the picture belongs to me, said Khachaturian angrily.

At the end of a long argument involving all three of us, Edik proposed the following solution. He undertook to make two smaller paintings from the original, one for Khachaturian and one for me.

"Maestro, said Edik, I will present the original to His Holiness Vasken I, Catholicos of All Armenians and if His Holiness decides to give it to you, that is his prerogative.

The painting Edik made for me is hanging in our flat in London. I know for a fact that His Holiness donated the original painting to Aram Khachaturian House-Museum in Yerevan, after the death of the Maestro in 1978".

Assadour Guzelian