At the end of the XIV and the beginning of the XV c., in the small town of Vostan in the province of Vaspurakan there lived and worked a well-known representative of Armenian miniature painting, the artist Tzerun. The following six manuscripts are known to have been copied and illustrated by him: No. 4938 (Grigor Narekatsi, Book of Lamentation, 1390), No. 8772 (The Four Gospels, 1391), No. 1874 (Grigor Narekatsi, Book of Lamentation, 1391), No. 4670 (Homilies, 1401), No. 4157 (The Four Gospels, 1412) of the Mashtots Matenadaran, and No. 10.10 (The Four Gospels, 1395) of the Hermitage (Leningrad). Tzerun's father was Stepanos, his mother was Elkhatun. His wife, Arghun, helped him to treat the paper. His son, Thuma, continued his father's work engaging in the art of scripture and miniature painting. Tzerun also mentioned his teacher "Gevork Vardapet who taught how to paint". The Gospels decorated by Tzerun are rich in paintings referring to the evangelical cycle. They obviously reflect the characteristic features of the iconography of Vaspurakan miniatures. The artist in particular adds such scenes to his paintings as the extension of the cycle of Christ's miracles, enriching the composition with a tint of genre and every-day life episodes from the Old Testament which convey special significance and value to these works. Of special interest are the stylistic features of Tzerun's miniature paintings. The equilateral structure of the compositions and the proportional, expedient arrangement of figures ("Iso-cephal") greatly favor the completion and beauty of the decorated surface of the page. Clear, supple drawing, the use of methods of linear rhythm, stylization and various delicate transitions together with accuracy of execution, diligence, frankness of treatment make Tzerun's figures "intimate", filling them with comprehensive and communicative warmth. One of the most attractive points in Tzerun's miniature is the use of colour. It greatly helps in expressing the thoughts and anxieties of the author. The sonorous colour-range (mainly red, blue, green and brown) covering the entire surfaces creates an emotional impression. This also is conditioned by the simple, clear apprehension of traditional colour, and the preservation of popular traditions in the art of painting. The simplified, graphic structure, uninterrupted-successive cycle of the scenes, uniform sketches and explanatory notes often accompanying them, together with decorative impressions testify that this art is closely connected with the notions of folklore. None of the XIV-XV c. miniaturists of Vaspurakan showed such an interest in the portrayal of historical persons and specific individuals as did Tzerun. Some of his manuscripts include his self-portraits or those of the donors. Among them the two portraits of the brilliant medieval poet Grigor Narekatsi, deserve special attention. These paintings give an impression of monumentalism. They are severe and wise, though in their spiritual nature they express a realistic mood as well, which is not alien to the ideal of the painter.