Meghri Pomegranates 1982

Editor: This is "Meghri Pomegranates," an oil painting from 1982 by Mariam Aslamazian. The painting feels really vibrant and abundant. The colors are so rich. How do you interpret this work? Curator: For me, this still life moves beyond a simple arrangement of fruit. Consider Aslamazian's identity as an Armenian woman working in the Soviet Union. Fruit, especially pomegranates, carries significant cultural weight in Armenia. It is a symbol of fertility, abundance, and national identity. Does this knowledge shift your perception of the painting? Editor: Definitely! I was just thinking about the colors, but now I see how it could be a really potent symbol, especially in that context. Curator: Exactly. The rich colors and abundant display then read as a powerful assertion of Armenian culture, resisting homogenization within the Soviet system. Do you notice any stylistic choices that might support this reading? Editor: I see the hints of Post-Impressionism, with the slightly flattened perspective. Does that connect to the cultural context? Curator: Yes, I believe so! This flattening could be seen as a deliberate choice to foreground the symbolic weight of the objects themselves. It brings them closer, demanding our attention, insisting on their cultural importance against a backdrop that often ignored or suppressed regional identities. It is also an homage to Cezanne. Editor: That’s a perspective I hadn’t considered at all. It makes the painting feel much more complex and meaningful. Curator: Absolutely. By examining art through this lens, we begin to see artworks as active participants in the construction and negotiation of cultural identity. Editor: Thank you. This approach helps me look at art in a more socio-political manner. Curator: My pleasure. Keep questioning, keep connecting, and art history will come alive.