"The House of Spirit" is a remarkable collection featuring some of the rarest ancient icons, relics, illuminated manuscripts, and carefully curated contemporary paintings. This collection serves as a conceptual bridge, connecting the worlds of post-Byzantine and Medieval art to the realm of Fine art in the 21st century.

At the heart of The House of Spirit lies a treasure trove of exquisite and precious artefacts, carefully brought together over years of masterful selection. These remarkable objects represent the pinnacle of artistic achievement in their respective genres.

The profound concept of The House of Spirit transcends the boundaries of specific religious traditions. It serves as an expansive platform for exploring the realm of spirit and faith, inviting people to reflect on their beliefs and their place in the universe, enhancing a sense of unity and shared understanding among diverse individuals.

The intentional juxtapositions in The House of Spirit exhibition spark an array of historical involves and cultural studies. Each artefact becomes a catalyst for dialogue, encouraging creative discussions and fostering moments of deep introspection.

The Orthodox icon is a prime example of Christian religious painting in medieval Eastern Europe, which reached its heyday in the 14th and 15th centuries, featuring distinguished masters such as Andrey Rublev, Feofan the Greek, and Dionysius. This art form exists on the chronological borderline of Byzantine history, effectively combining the highest standards of Byzantine art with a distinct national specificity. It formulates a lofty ideal that encapsulates the spiritual experience of the classical Orthodox Middle Ages.

With the expansion of Christianity, the icon has become a widely recognized and revered object found in various corners of the world.

The subjects and iconography depicted in these icons convey stories that are shared among different confessions, thereby serving as a bridge in cultural and historical conversations.

Armenian illuminated manuscripts are some of the most lavishly decorated codices of the Christian churches from the Middle East. They constitute an incredibly significant cultural heritage and showcase the vitality and creativity of a culture that interacted with the Latin West, Byzantium, and the Iranian world. This cultural exchange allowed them to draw inspiration from classical antiquity and ultimately produce their own magnificent treasures.

The Gospels hold a paramount position among these manuscripts, primarily due to the Armenian community's profound reverence for the sacred texts. They are esteemed in a manner similar to how Greek and Russian Christians hold holy icons in high regard. Armenian rulers often carried these texts into battle, and individual copies of the Gospels were assigned sacred names, believed to possess miraculous powers. For the Armenians, a manuscript book carries far more significance than being a mere tool of transmission. It holds a dual value in Armenian eyes: it preserves and disseminates the texts it contains, but it also possesses intrinsic value as a manuscript book—an object that has become a symbol of their culture and identity.

The technique known as champlevé was perfected in the French city of Limoges. It was first recorded in the 13th century BC in Cyprus, and later spread through ancient Greece into Europe, where it was extensively used by the Celts in Gaul and Britain. From the 6th century onwards, Byzantine jewelers perfected the cloisonné enamelling technique, which involved dropping colored glass into shapes created by soldered strips of gold. This skill was carried by the Ostrogoths into Italy and by Visigoths to the Iberian Peninsula.

During the first half of the 12th century, three distinct centers emerged in Northern Europe: the Meuse Valley, Cologne, and Limoges. These centers elevated the art of enamelling to new heights. For Western Christendom, enamelling techniques not only offered vibrantly colored splendor for the many liturgical objects found in churches and treasuries, but the process itself was seen as symbolic of the transformation of Christian souls through purgatorial fire.

Under the patronage of local abbeys, craftsmen around Limoges began perfecting the champlevé technique of enamelling during the first half of the 12th century. By 1170, Limoges enamels had gained widespread acclaim throughout Europe. Workshops sprang up around a large abbey located on the pilgrims' trail to Santiago de Compostela in Spain. Limoges enamels were often used to decorate reliquaries, as saintly relics were highly popular during that time. In 1215, Pope Innocent III decreed that every church in Europe must own at least one Limoges enamel.

The power of visual mediation lies in its ability to represent space, embody ideas, and navigate the realm between figuration and abstraction. It evokes emotions and establishes a profound connection with the viewer. This essence is central to the artistic work of Evgeny Chubarov.

Evgeny Chubarov (1934–2012), an artist of Armenian origin, drew deep inspiration from the history of Medieval relics such as Christian Icons and Armenian Manuscripts, which always surrounded him in his studio. Rooted in the rich ongoing dialogue between the East and West, his abstract works fuse the aesthetics of ancient calligraphy and Byzantine art with contemporary painting.