Iconic Soviet Statues and Monuments in Armenia

When Armenia became part of the Soviet Union in 1920, the Soviet education system profoundly impacted the development of the arts in the country. The Soviet regime closely intertwined art and education, emphasizing the creation of works that reflected socialist ideals and the collective spirit. Beginning in 1921-22, the Leninist program of monumental propaganda was implemented in Soviet Armenia, marking the initial phase of Armenian Soviet sculpture. Sculpture as a professional art form flourished in Soviet Armenia, largely thanks to the pioneering efforts of Ara Sargsyan, Suren Stepanyan, Stepan Taryan, Aitsemnik Urartu, and Yervand Kochar, who later relocated to Armenia. These artists enriched Armenian sculpture with numerous monumental, mechanical, and decorative works, securing its place in Soviet multinational art. Prominent Armenian sculptors based in Moscow and Leningrad, such as Sergey Merkurov, Grigor Kepinov, Tigran Davtyan, and A. Stepanyan, also made significant contributions.

Many Armenian artists often took creative risks, producing works that reflected their national history—a bold move that could be perceived as nationalistic by the Kremlin. Despite this, the Soviet government heavily invested in arts education, establishing specialized schools and institutes that trained a new generation of Armenian artists, sculptors, and architects.

Yervand Kochar was a prominent sculptor and modern artist of the twentieth century, celebrated for his innovative contributions to art and his role as the founder of the Painting in Space movement.

The development of Armenian sculpture in the Soviet union is closely associated with prominent artists like Ara Sargsyan, Aitsemnik Urartu, Stepan Taryan, Sergey Merkurov, and Yervand Kochar, who returned to Armenia in 1936. Inspired by the revival of their young country, these artists aimed to capture the distinctive character and atmosphere of the new historical period in their work. Their commitment and creativity during the 1920s and 30s helped shape the key characteristics of national sculpture—simplicity, restraint, and meaningful forms. Their monumental works were installed in Yerevan and other Armenian cities, while their significant pieces are preserved and exhibited in galleries.

Armenian sculpture reached a new level of artistic expression in the post-war years, as artists began to celebrate new peacetime heroes. Leading figures, alongside a new generation of sculptors like Nikolay Nikoghosyan,  Ara Harutyunyan, Sargis Ayvazyan, Ghukas Chubaryan and Karlen Nurijanyan continued to create sculptures ranging from monumental works to fine plastic art. They crafted images of their contemporaries, national heroes, and notable figures using stone, wood, and bronze, contributing lasting pieces to Armenian sculptural heritage.

Ara Harutyunyan is another renowned sculptor of the 20th century, known for his impactful contributions to Armenian and Soviet art

In the 1960s and 70s, Armenian sculpture gained new dimensions as younger sculptors like Levon Tokmajyan, Serzh Mehrabyan, Yuri Minassian, Vladimir Antashyan, Artashes Hovsepyan, Benik Petrosyan and Ara Shiraz began working alongside established masters. This generation sought to reinterpret ancient traditions and develop diverse and bold plastic expressions, enriching Armenian sculpture with fresh artistic visions.

The legacy of Armenian sculpture continued to evolve through the works of talented sculptors of the 1980s and 1990s who introduced new concepts into the art form.

Mother Armenia in Yerevan

The current Mother Armenia statue replaced a monumental statue of Joseph Stalin, originally erected as a World War II victory memorial and considered a masterpiece by sculptor Sergey Merkurov. Following Stalin's death, his statue was secretly removed in 1962. In 1967, Ara Harutyunyan's Mother Armenia statue was installed, modeled after 17-year-old Zhenya Muradian. The statue stands 22 meters (72 ft) tall, with the entire monument reaching 51 meters (167 ft) atop its tuff stone pedestal. In 1970, the pedestal was converted into the Museum of Armenia in the Great Patriotic War 1941-1945, marking the 25th anniversary of the victory.

Mother Armenia in Gyumri

Unveiled on May 9, 1975, the Mother Armenia statue in Gyumri commemorates the 30th anniversary of the victory in the Great Patriotic War and honors the memory of Gyumri's wartime participants. Created by sculptor Ara Sargsyan and architect Rafael Yeghoyan, the monument stands as a harmonious blend of architecture and sculpture, consisting of a 21-meter-high pedestal and a 20-meter-high statue.

Mother Armenia in Ijevan

The "Mother Armenia" monument, located in Ijevan, Tavush region, Armenia, is a significant historical and cultural landmark created in 1971 by sculptor Serzh Mehrabyan.

A monument at the entrance of Martuni city, sculptor Rafael Ekmalyan, 1965

The Weaver's Statue, sculpted by Tereza Mirzoyan in 1964, is a notable monument in Gyumri, Armenia, capturing the spirit of the city’s weaving and textile traditions.

Tsovinar: The Iconic Soviet Monument of Hrazdan

This striking Soviet monument, officially named "Long Live the Blue and Clear Sky," stands on the shores of Aghbyurak Reservoir in Hrazdan city. When the reservoir level rises, the statue is partially submerged, creating a striking visual effect that further emphasizes its connection to the water and its mythological significance.

This Soviet-era monument on the shores of Aghbyurak Reservoir in Hrazdan city carries the full official name "Long Live the Blue and Clear Sky." Dedicated to the 40th anniversary of victory in the Great Patriotic War (1941-1945), it stands as a powerful reminder of the Armenian nation's active participation. Sculpted in 1985 by the artist Khachatur Hakobyan (1951-2015), the monument is also referred to as "Parvana" in certain documents. However, it is more widely known by its unofficial name, "Tsovinar."

"Strip of Eternity," sculpted by David Bejanyan in 1979, is a prominent monument located along the Yerevan-Sevan Highway.

The monument in Gyumri titled "Научно-техническому прогрессу широкий размах" (translated as "A Broad Sweep to Scientific and Technical Progress") is a tribute to the spirit of innovation and technological advancement.

Hayk Nahapet statue by Karlen Nurijanyan, 1970

The statue of Tork Angegh

The statue of Tork Angegh, created in 1982 by sculptor Karlen Nurijanyan, is located in Yerevan, Armenia. Tork Angegh is a deity of strength, courage in Armenian mythology. Known for his immense strength and power, Tork Angegh is considered one of the great-grandsons of Hayk Nahapet, the legendary patriarch of the Armenian nation.

"King Trdat Defeats the Bull," created in 1977 by sculptor Karlen Nurijanyan, is a cast copper monument located in the Saralanj district of Abovyan city.

The iconic "Chayka" at the entrance to Yerevan

This monument at the entrance to Yerevan from the Abovyan side was designed by Van Khachatur in 1960 and is commonly known by its Russian name, “Чайка (Chayka),” meaning “Seagull.” Uniquely, the monument displays the word Чайка (Chayka) written in Armenian script (Չայկա), rather than the Armenian equivalent “Ճայ.” Initially, the design faced criticism, with some doubting its structural integrity and predicting it would collapse. However, the monument's ingenious engineering—a narrow, elongated form on one side balanced by a thicker, shorter section on the other—provides perfect stability. More than six decades later, it stands as a testament to innovative design and enduring craftsmanship.

"Rebirth" memorial complex, 1980 at the entrance of Charentsavan city, architect Henrik Arakelyan, sculptor: Khachik Miridjanyan

The statue of Stepan Shahumyan, located in the center of Stepanavan city in Lori Marz, was installed in 1982. Created by sculptor Ara Harutyunyan, this monument is an important cultural and historical landmark. It is listed among the immovable monuments of history and culture in Stepanavan, commemorating the significant contributions of Shahumyan to Armenian history.

This World War II monument was erected in 1973 through donations from the workers of the Kirovakan (now Vandzor) chemical factory. Architects: Rafik Boshyan, Boris Kocharyan, and Ashot Kanayan. Sculptors: Zhirayr Ketikyan, Ara Sargsyan, Mehrab Mirzakhanyan (Master Mehrab)

The Statue of Mesrop Mashtots and Koryun by Ghukas Chubaryan, 1962

This statue, created by sculptor Ghukas Chubaryan in 1962, depicts Mesrop Mashtots, the creator of the Armenian alphabet, with Armenian letters positioned behind his right hand. Kneeling beside Mashtots' left leg is his devoted student, Koryun. To the left of the Armenian letters, on the wall, is the first sentence written in the Armenian script: "Ճանաչել զիմաստութիւն եւ զխրատ իմանալ զբանս հանճարոյ". On the right side of Koryun, an eagle holding a sword and shield is depicted, symbolizing strength and protection. The ceremonial unveiling of the monument took place on May 26, 1962, in honor of the 1600th anniversary of Mashtots' birth, celebrating his monumental contribution to Armenian culture and language.

Lenin in Armenia

During Soviet times, statues of Lenin were ubiquitous across Armenia, but things changed rapidly after the collapse of the Soviet Union. While many of these statues have been removed or relocated, only a few remain in their original locations. Here is one of them.

A monument in Gagarin village dedicated to Yuri Gagarin and his historic first spaceflight

Arshaluys Statue

The Arshaluys statue, located along the Yerevan-Sevan highway and created by renowned sculptor Ara Harutyunyan, is one of the most iconic Soviet-era monuments. The statue gained international recognition when famed photographer Norman Parkinson captured a striking image of model Jerry Hall posing on it, which was featured in Vogue magazine. This photograph was later republished in color in the Sunday Times Magazine in 1982, further cementing the statue's cultural significance.

King of the Forest Statue in Dilijan

In 1966, while staying at Aghasi Khanjyan’s summer house in Dilijan, sculptor Ara Sargsyan was inspired by a giant tree. This led to the creation of his 1968 statue "King of the Forest," a reimagined version of his earlier work, "Goatman." The statue now stands near Khanjyan’s former residence, embodying the spirit of the forest.