Hrant Qalantaryan
Engraver
Echmiadzin, Armenia
Tracing a needle through time
- Hrant’s distinctive works are the result of carving on dry ceramics with a needle
- He personally designed and crafted his needle for precision engraving
- His pieces feature religious art and draw inspiration from medieval works
Hrant Qalantaryan began his creative path as a woodworker, before discovering his distinctive voice as a fine engraver of dry ceramics. While finding himself lacking in the right tools, he experimented with the use of needles and found a new path for his art. Hrant’s education at the Mkhitaryan Monastery in Armenia laid the foundation for his artistic vision. In 2012, he continued his studies at the Mkhitaryan Monastery in Venice, where he immersed himself in rare manuscripts, theology and philosophy. Since 2015, Hrant has dedicated himself to ceramics, drawing inspiration from the geometry of Armenian khachkars or cross stones, along with Renaissance art and the delicate details of Cilician miniatures. The micro-sculptures of Eduard Ter-Ghazaryan, one of his greatest influences, have also shaped his precise and miniature approach. “The process is meditative for me, bringing a calm and steady rhythm to my heartbeat,” he says.
Discover his work
INTERVIEW
I began my artistic journey in 2015 by working with wood and studying the intricate metal engravings of Eduard Ter-Ghazaryan. While trying to understand his micro-sculptural technique, I realised that I did not have the specialised tools I needed for metal engraving. I decided to try engraving on dry ceramics with a needle. That spontaneous idea eventually became my own distinctive technique.
I chose the most demanding path of engraving on dry ceramics rather than etching or stamping on raw clay. On raw clay, marks can be adjusted or corrected, but on a dry surface every incision is permanent and requires precise, almost jewel-like control. There is no opportunity to undo a mistake, and this irreversible process is what makes the technique so rare.
Ceramics have existed for more than 5,000 years, and I see my work as part of that enduring lineage. I am drawn to the idea of creating something lasting, something that can survive beyond circumstances and remain untouched by passing influences.
My favourite moment is witnessing the transformation from the first sketch to the finished piece months later. But truthfully, I love the entire process. For me, engraving on ceramics is a quiet act of concentration and peace, almost like prayer, where creation itself becomes the highest value.
