In the art of the 20th century innovative directions became widespread everywhere. The realistic method of performance and portrait types of monuments ruled in Soviet Armenia, which aimed atperpetuating the cherished names for the Armenian people. Among those of special attention are the monuments to Alexander Tamanyan (Artashes Hovsespyan, 1974) and Martiros Saryan (Levon Tokmajyan, 1986).

In the post-soviet period, after a forced break conditioned by the war in Artsakh, beginning from the very first years of the second millennium art develops with strengthening expressions of real forms by leaving visible analogy of reality. Enough is to mention the bronze figure of Arno Babajanyan (David Bejanyan, 2003) and William Saroyan (Davit Yerevantsi, 2008).

In machine-tool sculpture we witness unexpected combinations of the alienism and reality, different interpretation of ideas. This approach is present in Sayat Nova’s bust (Toros Rastkelenyan, 2009) and the “Sounding statue” (Davit Minasyan, 2016).

The abovementioned sculptures of the soviet and post-soviet period are not silent stones but a whole world of characters, which has been revived by the troubled mind, and delicate heart of a sculptor.

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