Salpy, thanks for the comment! Yes, "Sayat Nova" is very "artsy," full of symbolism. Paradzhanov's previous big film, "Shadows of Our Forgotten Ancestors" (1964) (also known in the US as "Wild Horses of Fire") is somewhat less complicated, and it has a clear plot. In the "Requiem" that I mentioned, however, Paradzhanov says that in his mind, there was no fundamental difference between the two motion pictures, even though they were about two very different epochs and countries. In both, the main heroes are Life, Love, God, People (not in the sense "humans," but in the sense - particular nations with their very peculiar folklore, unique customs, ways of life, history, georgaphy, appearance, colors, beliefs, language), and Tragedy.
It's amazing to me how deep was Paradzhanov's Ukrainian patriotism. He was a 100% Armenian by nationality (real name Sarkis Parajanyan), but when he moved to Kyiv after his studies at the famous VGIK, he fell in deep lifelong love with Ukraine. One of the reasons - and maybe even the main reason - he fell into disgrace with the Soviet authorities was that he categorically refused to sign a document giving the green light to dubbing his "Shadows" into Russian. He said that if the film were dubbed, then the original Ukrainian version would be buried in archives and the Russian translation, which would just kill the soul of the motion picture, would be spread.
It's also amazing how God is present, constantly, in both films.