The paper explores the principles of visualizing the enemy image in the epic artefacts of Armenian and Russian cultures, focusing on whether this image is marked or unmarked. The authors analyze sculptures and paintings, demonstrating that in urban space, the enemy is often represented as a “zero sign” (R. Jakobson) that is visually absent but present in the viewer's mind. On the contrary, the enemy is more often depicted in paintings and illustrations, especially when it is shown as an animal or when the work follows a specific literary plot. Using the examples of the Armenian epic “Daredevils of Sassoun” and the Russian epic “Bylinas”, the article shows how political and cultural contexts influence the representation of the enemy. Special attention is paid to the work of Yervand Kochar, whose sculpture “Daredevils of Sassoun” is a masterpiece. Similar trends can be traced in Russian culture, in the works of artists such as Victor Vasnetsov and Mikhail Vrubel, where the epic hero is often depicted without a prominent opponent, emphasizing his timeless strength and versatility. The study highlights that the lack of enemy visualization may be due to a desire to avoid xenophobic interpretations while preserving identity and cultural memory. The article contributes to understanding the semiotics of epic images and their role in forming cultural identity.