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David of Sassoun (statue)

David of Sassoun
Map
40°09′19″N 44°30′34″E / 40.155296°N 44.509418°E / 40.155296; 44.509418
LocationDavid of Sassoun Square,[a] Erebuni District, Yerevan, Armenia[2]
DesignerYervand Kochar
MaterialCopper (sculpture)
Basalt (base)
Heightsculpture: 6.5 m (21 ft)
base: 5 m (16 ft)
total: 11.5 m (38 ft)[1]
Weight3.5 tonnes (7,700 lb)[3]
Opening dateDecember 3, 1959[1]
Dedicated toDavid of Sassoun

David of Sassoun[b] (Armenian: «Սասունցի Դավիթ») is a copper equestrian statue portraying David of Sassoun (Sasuntsi Davit’) in Yerevan, Armenia. Erected by the sculptor and artist Yervand Kochar in 1959, it depicts the protagonist of the Armenian national epic Daredevils of Sassoun. It is placed on a basalt base shaped to resemble natural rock formations. The statue stands at the center of a round reflecting pool in a large square in front of Yerevan's central railway station.

The first variant of the statue was originally erected in 1939 for the thousandth anniversary of the epic, but two years later, the statue was destroyed and Kochar was arrested. Since its erection, the statue has been widely admired and has become a symbol of Yerevan. Following a decline in arrivals to the railway station, there have been frequent calls to relocate it to Yerevan's Republic Square.

History

Background and first statue

The David of Sassoun statue was first conceived prior to the 1000th-anniversary celebrations of the epic in Soviet Armenia in 1939. Yervand Kochar, who in 1936 became the most prominent artist to move to Soviet Armenia from abroad,[4] was commissioned to produce the sculpture. Kochar made it of gypsum and reportedly finished it in 18 days,[5] though other sources state he spent up to three months on the project.[6] In the same year, he created six illustrations for David Sasunskiy, the Russian-language academic publication of the epic.[7][8] Kochar's statue was unveiled in mid-September 1939 in the square in front of the Yerevan Railway Station. It was positioned there so as to greet city visitors, the majority of whom during this period arrived by train.[9] The 3 m-tall (9.8 ft) sculpture stood on a 7 m-tall (23 ft) rectangular pedestal.[6] It was the first equestrian monument erected in modern Armenia.[10]

The statue was destroyed days after Kochar was arrested on 23 June 1941[3] for "anti-Soviet agitation",[5] and only survives in photographs.[6] Kochar was released in August 1943 through the intervention of Anastas Mikoyan, a senior Soviet official and former classmate at the Nersisian Seminary.[4][3][11]

Current statue

In 1957, on the 40th anniversary of the October Revolution, the Communist authorities decided to restore the statue.[12] Kochar recreated it with significant changes from the initial version, which had included an old Arab man besides David. The current restored statue was inaugurated on December 3, 1959.[13][14] The opening ceremony attracted a large crowd despite the cold weather,[15][16] including many Armenians hailing from Sasun.[17] The opening ceremony was officiated by Yerevan Mayor Gurgen Pahlevanian;[1][15] no senior officials from the local Communist Party attended.[17][3][c] It featured several speakers, including the literary scholar and writer Gevorg Abov, the sculptor Grigor Aharonian, a factory lathe operator, and a ninth grade student.[1] The actor Zhan Eloyan recited an excerpt from the epic.[1][18] Yakov Khachikian, who witnessed its opening, said there was much enthusiasm and jubilation among the crowd.[16]

Historical context and influence

The statue was erected during a period of an Armenian nationalist resurgence amid the Khrushchev Thaw.[19] The anthropologist Adam T. Smith argued that David, along with the contemporary statue of Mesrop Mashtots (1962) in front of the Matenadaran, "commemorates the achievements of a specifically national hero—a hero of Armenia, not Soviet Armenia", while earlier statues in Yerevan commemorated Soviet and Bolshevik leaders.[20] Taline Ter Minassian suggested that it highlights the "exact limits of national expression in the post-Stalinist era."[21] The art critic Hrach Bayadyan noted that the statue, along with the genocide memorial erected in 1965–67, "played a principal role in the symbolic construction of Soviet (Eastern) Armenian identity, connoting the nation's tragedy and rebirth, as well as its longevity and struggle against foreign rule."[22]

The art historian Nona Stepanian argued that its small pedestal set a new trend in statues in Yerevan in which they no longer towered over people and streets with their formidable height.[23] It also inspired the creation of statues of other legendary or mythological figures, such as Hayk and Vahagn, by Karlen Nurijanyan.[24]

Restoration

After the collapse of the Soviet Union and the ensuing economic crisis, the statue deteriorated, and the sculpture reportedly began to sway in strong winds.[3][d] The "cup of patience" at the horse's feet was repeatedly stolen.[25] In 2011, the statue underwent extensive restoration, including the installation of nighttime lighting, funded by Ruben Vardanyan and others.[17][3] The pool surrounding the statue and its water supply were also restored.[26][3] However, several sculptors stated the following year that the statue required further restoration.[27]

Description and symbolism

A closeup view of David and his "fiery colt"
A closeup of David's face

The sculpture is made of wrought copper,[30][e] measures 6.5 m (21 ft) tall, 9.3 m (31 ft) long and 2.2 m (7 ft 3 in) wide,[28][6] and weighs 3.5 tonnes (7,700 lb).[3] David, with a heavily muscled physique,[33] is mounted on his legendary horse K’urkik Jalali ("fiery colt") and wields his t’ur ketsaki ("lightning sword").[34]

David's face was modelled after dancer Vanoush Khanamirian, who in the 1950s portrayed David in the ballet Khandut inspired by the epic.[39] David has a stern head posture with a menacing and calm face.[40] The literary scholar Hrachia Grigorian noted that "righteous indignation" and "anger, but not malice" are expressed in his face.[12] The art historian Ararat Aghasyan suggested that David's head resembles ancient gods and heroes and is "somewhat reminiscent" of Michelangelo's David.[41]

David's pants contain cowboy-style chaps, modeled after traditional men's wear from Sasun.[f][42][33] Kochar explained that the large size of the horse's tail, its lack of reins and bit, and its anthropomorphic and supernatural qualities were as narrated in the epic.[1]

Simyan argues that although David is depicted in a battle scene against Msra Melik’ ("King of Egypt"), the lack of an enemy in the sculpture leaves an uninitiated viewer open to choosing an enemy of the Armenian people. He argues that the sculpture thus functions on a timeless level.[43] Simyan suggests that Kochar's sculpture is independent of the epic.[44] Earl R. Anderson argued that the statue "symbolizes traditional Armenian resistance to world-kingship as evil."[45]

Base and pool

The statue stands on a 5 m (16 ft) tall base, bringing the total height to 11.5 m (38 ft).[1][g] It is supported by three points: the horse's two hind legs and the tail.[46][12][3] Kochar explained that the proportion was deliberately chosen as raising the base would have disrupted the ensemble of the monument and the railway station.[1] It is placed at the center of a round reflecting pool with a diameter of 25 m (82 ft).[14] The base, made of large blocks of rough grey basalt,[47] was designed by the architect Mikayel Mazmanian, although Kochar conceived the idea of a pedestal from natural rock.[40] It is meant to reflect the landscape of Armenia, especially the rugged terrain of the Sasun region.[40]

The water and the round shape of the pool from which David rises symbolize the idea of eternity.[48] At the horse's feet, Kochar placed a bowl (or cup), from which water constantly flows, reflecting the naturalness of the pedestal. A transitional element between the statue and the pedestal,[49] the bowl is also visualization of the Armenian expression "filling the bowl of patience"[h] and a free interpretation of the epic.[50][51][34] Kochar likened the pool to a "sea of tears" of the Armenian people.[1] Water, Kochar argued, is not a decorative element, but a necessary component to express the content of the epic.[1][i]

Reception

The statue with the train station
A night view

The statue, which earned Kochar a State Prize of the Armenian SSR in 1967,[52] is widely considered his best-known and most important work.[56] A local Communist Party magazine declared it Kochar's "great triumph", which once again came to prove the "invincible power of the great art of socialist realism."[12] Weeks after it was unveiled, the statue had "received widespread public acceptance" by locals and guests alike.[12] Taking photos with the statue has become a tradition for visitors.[57] Described as Armenia's "most famous contemporary monument",[58] it has acquired an iconic status[59][60] and has become a symbol of Yerevan.[63]

The statue has also been widely admired by visitors and critics and has often been called a masterpiece.[j] Artists and scholars have broadly applauded its artistic merit.[k] The sculptor Lev Kerbel called the "majestic" statue a "significant achievement" of Soviet visual arts.[74] The writer and artist Leonid Volynsky described it as the "best equestrian statue erected in [the territory of the Soviet Union] in a century, and perhaps even more" and called it "full of expressiveness, of 'Michelangelesque' irregularities".[42] The painter Jean Carzou remarked that such a fine equestrian statue had not been created in Europe in 300 years.[75] The painter Lado Gudiashvili found it to be "the best work of contemporary sculpture".[67][l]

The architects Artsvin Grigoryan and Martin Tovmasyan suggested that the sculpture is "remarkable for its expressive dynamism and stylistic balance" and "aligns harmoniously in style and artistic interpretation with the station's calm and monumental architecture."[78] The novelist Vasily Grossman wrote that he was "struck by the power" of the "magnificent" statue, noting that it is "full of movement and strength."[32]

Rouben Paul Adalian noted that the "dynamic and forceful" statue is "such a compelling work of sculpture that the image became an emblematic portrait" of Soviet Armenia.[79] The scholar David Marshall Lang called it a "spirited masterpiece" and a "fitting symbol of Armenia's national renaissance, and her age long defiance of her foes."[64] An American scientific delegation found it "remarkably powerful".[80][m] The scholar James R. Russell suggested that it is "perhaps the most widely-recognized emblem of Armenia" along with Mount Ararat.[82][n]

The writers Georgi Kublitsky and Zori Balayan both noted that the statue powerfully reflects the "Armenian spirit".[51][73] The art critic Hernik Igityan argued that it is "not a monument to any individual or event, but to an entire nation" and "embodies the best qualities of the Armenian people."[83] Igityan wrote that it is dear to the heart of Armenians as the Renaissance statues of Verrocchio and Donatello are to Italy or Falconet's Bronze Horseman (1782) is to Russia.[83] The philosopher of art Yakov Khachikian called it an "unparalleled specimen" of Armenian sculpture, admired its richness in expression, dynamism, and power, and compared it favorably to the Bronze Horseman in Saint Petersburg.[16][o] The literary scholar Aleksandr Dymshits wrote that David, along with Kochar's another Yerevan statue, that of Vardan Mamikonian, is "epically grand and at the same time full of drama, movement, impulse, and passion."[65] The travel writer Nikolai Mikhailov admired how it captures impetuousness like nowhere else.[85]

Proposals to relocate

A side view

As early as 1998, Armen Shekoyan proposed moving the statue to Republic Square,[61] where the statue of Vladimir Lenin stood before it was taken down in 1991.[86][87] Shekoyan argued that it would fit well in Yerevan's central square and be more cost-effective than commissioning a new one. He emphasized that, unlike its current location, which had become an ordinary residential area due to the decline in train arrivals, the statue would become a focal point, visible to all visitors. He also claimed that Kochar had privately envisioned the statue in what was then Lenin Square.[61] Kochar’s son, Haykaz, reportedly said that placing the statue in Republic Square had been his father’s dream.[88] Supporters of the idea often argued that its current setting no longer fits its original and the statue no longer greets visitors.[88]

When the proposal was made at a 2006 competition, Mkrtich Minasyan, the head of Armenia's Union of Architects, called the proposal reasonable, but opined that statue's proportions are small for the square and warned that it may be damaged while moving.[89][90] One proponent, the architect Garri Rashidyan, wrote in his 2007 book that it may be the "best solution for replacing Lenin as the central and focal point of the most important square of our republic."[87] In 2013, Diana Ter-Ghazaryan noted that David of Sassoun would be a safe choice because of the epic hero's fundamentally apolitical nature and his statue at Yerevan's central square would be acceptable to most Armenians, but considered the relocation unlikely.[87]

Cultural depictions

The statue on a 1968 Soviet stamp
Stamps and currency
Film
Literature
  • In his 1983 essay collection entitled Nor Hayastan, nor Hayer (New Armenia, New Armenians), Antranig Dzarugian writes that Armenian national symbols became real, in concrete and bronze, in Lenin's Armenia, including the statue of David of Sassoun.[102]
  • It is mentioned in the poem "Statues of Haig" by Diana Der Hovanessian included in the collection The Circle Dancers (1996).[103]

Notes

  1. ^ It was formerly known as Կայարանամերձ հրապարակ, Kayaranamerdz hraparak, literally meaning "Station Square".[1]
  2. ^ There is no universally accepted spelling of the place name. It has traditionally been spelled Sassoun in English, but other variants frequently appear, including Sasun, Sasoun, Sasoon, and Sassoon. His name is sometimes rendered as Davit, reflecting the Armenian form of the name.
  3. ^ The local Communist newspaper said "leading party and Soviet workers" attended it without providing names.[1]
  4. ^ A 2006 photo shows graffiti on the statue.
  5. ^ Some sources incorrectly say bronze.[31][32]
  6. ^ Kochar believed that natives of Sasun wore pants with fringes made from goat hair centuries ago and were later transported by Arab conquerors to North Africa, Spain, and then Latin America.[1]
  7. ^ Kochar said in a 1959 interview that the statue is 6.5 m tall and the base is 5 m tall, totaling 11.5 m,[1] but some sources indicate its total height as 12.5 m (41 ft).[18][6][14][3]
  8. ^ Armenian: համբերության բաժակը լցվել
  9. ^ Volynsky compared the splash of the stream flowing from the bowl sounds like the voice of a narrator.[42]
  10. ^ It has been called a masterpiece, among others, by David Marshall Lang,[64] Aleksandr Dymshits,[65] Murad Hasratyan,[66] Lado Gudiashvili,[67] Yakov Khachikian.[16]
  11. ^ Visitors and critics have described it as "beautiful",[68] "splendid",[60] "beautiful and spirited",[69] "splendid equestrian statue [...] will impress art lovers,"[70] "adorns the city",[71] "very fine equestrian statue",[34] "magnificent statue",[72] "brilliantly and ingeniously handled".[73]
  12. ^ Armen Shekoyan opined that it is one of the world's finest equestrian statues.[61] Literaturnaya Armenia, a magazine of the Writers Union of Armenia, wrote in 1977 that it is "considered by many to be the world's best equestrian sculpture of the past century."[76] Gavrill Petrosyan, a Soviet Armenian author, wrote in 1981 that "experts reckon that this is the best equestrian statue of the past 100 years."[77]
  13. ^ Chairman of the U.S. Atomic Energy Commission Glenn T. Seaborg, leader of the delegation, wrote that the statue is "remarkable because, despite its large weight, it is supported at only two points."[81] The statue is, however, supported at three, not two, points.[12][3]
  14. ^ Similarly, Vartoug Basmadjian wrote that the statue "became, after Mount Ararat, the most powerful and popular symbol of Armenia."[4]
  15. ^ Zharkovskaya and Tyukin listed David of Sassoun, along with the Bronze Horseman (1782) and the Vakhtang Gorgasali [ru] (1967) in Tbilisi, all equestrian statues, as having become symbols of their host cities.[84]

References

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  2. ^ "Davit of Sasun Square". yerevan.am. Yerevan Municipality. Archived from the original on 3 March 2023.
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  4. ^ a b c Basmadjian, Vartoug (1995). "Light in darkness: The spirit of Armenian nonconformist art". In Rosenfeld, Alla; Dodge, Norton T. (eds.). From Gulag to Glasnost: Nonconformist Art from the Soviet Union. New York: Thames & Hudson. p. 229. OCLC 263631797.
  5. ^ a b Simyan 2016, p. 85.
  6. ^ a b c d e Aghasyan 1999, pp. 75–76.
  7. ^ Kurghinyan, K. (1986). "Քոչար Երվանդ [Kochar Yervand]". Armenian Soviet Encyclopedia Vol. 12 (in Armenian). p. 475.
  8. ^ Давид Сасунский, Армянский народный эпос (David Sasuntskiy, Armenian Folk Epic) / Ред.՝ И. А. Орбели։ Изд. Академии наук СССР, Москва-Ленинград, 1939. pp. 378, 383
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  13. ^ Editorial (1959). "Սասունցի Դավթի արձանի բացումը [Opening of the Sasuntsi Davit Statue]". Etchmiadzin (in Armenian). 16 (12). Archived from the original on 2023-11-13.
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  21. ^ Ter Minassian, Taline [in French] (2007). Erevan: la construction d'une capitale à l'époque soviétique (in French). Presses universitaires de Rennes. p. 210. ISBN 9782753503694.
  22. ^ Bayadyan, Hrač' [in Armenian] (2012). Becoming Post-Soviet: = Postsowjetisch werden. Ostfildern: Hatje Cantz. p. 9. ISBN 9783775729086.
  23. ^ a b Stepanian, Nona [in Armenian] (1985). Очерк изобразительного искусства Армении [Survey of the Fine Arts of Armenia] (in Russian). Moscow: Sovetskiy khudozhnik. pp. 87–89. Archived from the original on 2023-11-27.
  24. ^ Eyramjyan, Gevorg (1980). "Երևանի մոնումենտալ դրվագված հուշարձանները [Monumental Sculpted Monuments of Yerevan]". Lraber Hasarakakan Gitutyunneri (in Armenian). 1 (1): 23–33.(PDF) "In recent years, partly due to the impression created by the image of "Sasuntsi Davit," interest in Armenian mythical heroes has grown significantly. In this regard, K. Nurijanyan’s monumental sculptures "Vahagn the Dragon Slayer" and "Hayk the Forefather" are particularly noteworthy."
  25. ^ Hakhverdyan, Nune (12 April 2009). "Սասունցի Դավթի արձանը զրկվել է հեղինակային կնիքից [The statue of David from Sassoon has been deprived of the author's seal]". 168.am (in Armenian). Archived from the original on 8 December 2023.
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  31. ^ Voronov, Nikita [in Russian] (1984). Советская монументальная скульптура, 1960-1980 [Soviet monumental sculpture, 1960-1980] (in Russian). Moscow: Iskusstvo. p. 217. Давиду Сасунскому. Бронза, камень. 1959. Ереван
  32. ^ a b Grossman, Vasily (2013). An Armenian Sketchbook. Translated by Robert Chandler and Elizabeth Chandler. New York: NYRB Classics. pp. 19–20. ISBN 9781590176184.
  33. ^ a b Petrosian, Irina; Underwood, David (2006). Armenian Food: Fact, Fiction & Folklore. Yerkir Publishing. p. 219. ISBN 978-1-4116-9865-9.
  34. ^ a b c Holding, Nicholas (2006). Armenia: With Nagorno Karabagh. Bradt Travel Guides. p. 101. ISBN 9781841621630.
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  36. ^ "Վանուշ Խանամիրյանի հուղարկավորությունը՝ Երևանի քաղաքային պանթեոնում [Vanush Khanamiryan's Funeral at Yerevan City Pantheon]" (in Armenian). Tert.am. 8 October 2011. Archived from the original on 11 December 2023.
  37. ^ "Khanamiryan Vanush". Armenian Soviet Encyclopedia Vol. 5 (in Armenian). Yerevan. 1979. p. 11.{{cite book}}: CS1 maint: location missing publisher (link)
  38. ^ "Արվեստակիրներ - Վանուշ Խանամիրյան [Artists – Vanush Khanamiryan]" (in Armenian). Armenian Public TV. 22 August 2013. Archived from the original on 17 December 2023. at 2:24 Khanamiryan states: «Այդ օրը, պրեմիերա օրը, գալիս է հանճարների հանճարը ինձ համար՝ Երվանդ Քոչարը, այդ հայտնի նկարիչը, այդ հայտնի քանդակագործը։ Պրեմիերայի ժամանակ նա ինձ տեսնում է Դավիթով և այդ ժամանակ արդեն մտքում կար, որ արձան անգամ սարքի Սասունցի Դավիթ։ Պատկերացնում եք՝ կանչեց, ինձ նստացրեց, մտա, ինքն էլ զարմացավ. «Դու ինչ Դավիթ։ Այ տղա բեմում ինչ էր հագել որ տենց հսկա էիր»։»
  39. ^ [35][36][37][38]
  40. ^ a b c Simyan 2016, p. 87.
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    • Literaturnaya Armenia, 1970, issues 9-10, page 99. "Трудно не согласиться с Леонидом Волынским, который пишет: «...это лучшая конная статуя, поставленная у нас (имеется в виду вся территория Советского Союза, Г. И.) за столетие, а может быть, и больше.».
  43. ^ Simyan 2016, pp. 84–85.
  44. ^ Simyan 2016, p. 86.
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  46. ^ Aghasyan 1999, p. 82.
  47. ^ Aghasyan 1999, pp. 81–82.
  48. ^ Simyan 2016, p. 88.
  49. ^ a b Aghasyan 1999, pp. 82–83.
  50. ^ Simyan 2016, pp. 87–88.
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  63. ^ [61][23][62][49]
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  68. ^ Narovchatov, Sergey (1972). Атлантида рядом с тобой: Критика, полемика, размышления [Atlantis Next to You: Criticism, Debate, Reflections] (in Russian). Sovremennik. p. 81. И прекрасный памятник Давиду Сасунскому в Ереване...
  69. ^ Suniti Kumar Chatterji, Journal of the Asiatic Society, 1961, p. 215; also printed in Chatterji, Select Writings, Volume 1, 1978, p. 112
  70. ^ Mirzaian, Aramais (1966). Armenians in Australia and New Zealand. Sydney: Armenian Church, Australia. p. 237. Here the visitors will see the splendid equestrian statue of David of Sassoon, the hero of the national Armenian epic. This is one of the many monuments of Yerevan which will impress art lovers.
  71. ^ Mikoyan, Nami [in Russian] (2003). Своими глазами [With Your Own Eyes] (in Russian). Moscow: Vagrius. p. 82. ISBN 5-98262-002-5. Конный памятник Давиду Сасунскому, заказанный тогда Ерванду Кочару, украшает город до сих пор.
  72. ^ Avetisyan, Kamsar [in Armenian] (1979). "Երևանի ընդհանուր նկարագիրը [Երևանի ընդհանուր նկարագիրը]". Հայրենագիտական էտյուդներ [Ethnographic Sketches] (in Armenian). Sovetakan grogh. p. 81. ...հոյակապ արձանը...
  73. ^ a b Balayan, Zori (1988). Дорога [The Road] (in Russian). Moscow: Sovetsky Pisatel. p. 148.
  74. ^ quoted in Armenian in Sargsian, M. S. (1967). "Հուշարձանային քանդակագործությունը Սովետական Հայաստանում [Memorial Sculptures in Soviet Armenia]". Patma-Banasirakan Handes (in Armenian). 2–3: 95–108. (archived)
  75. ^ according to Albert Sokhikyan, quoted in "Մաէստրո Քոչարը: հուշերի անդրադարձում [Maesto Kochar: In Reflection of Memories" (compiled by Anatoli Hovhannisyan and Lala Martirosyan-Kochar (2016, Yerevan: Antares), ISBN 978-9939-51-999-9. See post by Ervand Kochar Museum.
  76. ^ "His statue of David of Sasun, a hero of Armenian epic tales, adorns the capital of Armenia and is considered by many to be the world's best equestrian sculpture of the past century."; reproduced in English in Sputnik: Digest, 1977, p. 56; in German in Sputnik, August 1977, "Mein Land, Armenien", pp. 56-62
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  80. ^ Lewin, Joseph, ed. (1972). "May the Atom ... " A Report of the U.S. Atomic Energy Commission Delegation to the U.S.S.R., August, 1971. U.S. Atomic Energy Commission. p. 103. (archived)
  81. ^ Journal of Glenn T. Seaborg: May 1, 1971-November 6, 1971, (Volume 25), Lawrence Berkeley National Laboratory, 1989, p. 661 "The Monument of David of Sassoun is remarkable because, despite its large weight, it is supported at only two points."
  82. ^ Sital, Karapet (2000). The Heroes of Kasht (Kašti Kʿaǰer). Translated by James R. Russell. Caravan Books. p. 34. ISBN 978-0882060996.
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  93. ^ Central Philatelic Agency (CPA) catalogue number 3672 and CPA 6178.
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  100. ^ "Մեկ կադրում. Յուրի Վարդանյանի ու Սասունցի Դավթի «հանդիպումը» ["In one frame: The 'meeting' of Yuri Vardanyan and Sasuntsi Davit"]". mediamax.am (in Armenian). February 24, 2017. Archived from the original on 9 January 2025.
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  103. ^ Der Hovanessian, Diana (1996). The Circle Dancers. Riverdale-on-Hudson, New York: Sheep Meadow Press. pp. 93-94. ISBN 9781878818553.

Bibliography

Quelle: https://en.wikipedia.org/wiki/Sasuntsi_Davit_(statue)