Armenian architecture

The monastery of Geghard, 13th century

Armenian architecture comprises architectural works with an aesthetic or historical connection to the Armenian people. It is difficult to situate this architectural style within precise geographical or chronological limits,^[1] but many of its monuments were created in the regions of historical Armenia, the Armenian Highlands.^[2] The greatest achievement of Armenian architecture is generally agreed to be its medieval churches, though there are different opinion precisely in which respects.

Common characteristics of Armenian architecture

Saint Hripsime Church, 618, with later alterations, an important early church

Medieval Armenian architecture, and Armenian churches in particular, have several distinctive features, believed by some to be the first national style of church building^[3]

Common characteristics include:

• Pointed domes, reminiscent of the volcanic cone of Greater Ararat. The conical or semiconical radially segmented dome or cupola is mounted above vaulted ceilings on a cylindrical drum (usually polygonal on the outside, most often octagonal)^[4]
• The vertical emphasis of the whole structure, with the height often exceeding the length of a church^[4]
• Reinforcement of the verticality with tall, narrow windows^[4]
• Stone vaulted ceilings
• Composed almost entirely of stone, usually volcanic tuff or basalt.
• A composite roof composed of finely-cut tuff shingles
• Frescoes and carvings, if present, are usually ornate and include swirling intertwining grapevines and foliage.
• Heavy use of tall structural arches, both for supporting the cupola as part of the drum, the vaulted ceiling, and the vertical walls.
• Roofs intersecting to support the dome, both in basilicas and centrally-planned churches.
• Sculptural decoration of external walls, including figures.

Classification of Armenian churches

Within the bounds of the aforementioned common characteristics, individual churches display considerable variation which may reflect time, place, and the creativity of its designer. Toros Toramanian distinguished the following classical styles while studying these variations in the early 20th century:^[4]

Construction

The interior of the Armenian Cathedral in L'viv, which is largely the work of Jan Henryk De Rosen and Józef Mehoffer.

A vine-scroll motif on carvings from the 7th century cathedral of Zvartnots.

This photo of two people inside the ruins of the Cathedral of Ani serves to demonstrate the size of the building

Armenian architecture, as it originates in an earthquake-prone region, tends to be built with this hazard in mind. Armenian buildings tend to be rather low-slung and thick-walled in design. Armenia has abundant resources of stone, and relatively few forests, so stone was nearly always used throughout for large buildings. Small buildings and most residential buildings were normally constructed of lighter materials, and hardly any early examples survive, as at the abandoned medieval capital of Ani.

The stone used in buildings is typically quarried all at the same location, in order to give the structure a uniform color. In cases where different color stone are used, they are often intentionally contrasted in a striped or checkerboard pattern.^[3] Powder made out of ground stone of the same type was often applied along the joints of the tuff slabs to give buildings a seamless look.^[3] Unlike the Romans or Syrians who were building at the same time, Armenians never used wood or brick when building large structures.

Armenian architecture employs a form of concrete^[3] to produce sturdy buildings,. It is a mixture of lime mortar, broken tuff, and rocks around which forms a core against which thin slabs of tuff are arranged in brickwork fashion. As the wet mortar mixture dries it forms a strong concrete-like mass sealed together with the tuff around it and, due to tuff's properties, it becomes harder with time. Initially, almost no core was used in the construction of churches, stone blocks were simply sealed together, but as architects saw how those with mortar cores withstood tremors, the size of the core expanded. Frescos of marble or another stone were often affixed to the side of these buildings, usually at a later date.

History of Armenian architecture

The gradual development of Armenian architecture.

Pre-Christian Armenia

Surb Sarkis Church in Ashtarak.

During the third millennium B.C, prehistoric Armenian architecture was already distinctive. The most common feature of this form of architecture was its groundwork, which incorporated many geometrical shapes, ultimately forming a cell shape. An example of such architecture can be found in Nakichevan's Gyul-Tepe. These buildings were approximately 6–7 metres wide and 5 or so high.

Urban architectural traditions, and other forms of art in the years before Christ continued to develop and later were partily influenced by Greco-Roman art.^[5] Urartian architecture is known for its use of intricately cut rocks, used as foundations for mud brick buildings, usually constructed in a compact manner (such as in Erebuni).

Urartian temples had massive stone walls at lower levels and a relatively small interior space, usually square, and rose high; they were generally placed at the highest point of a site. Higher levels were in mud brick, which has not survived, and it is not fully clear how appeared. The late Garni Temple of the 1st century AD, in a fully Hellenistic style, is the only pagan monument left in any sort of complete state in Armenia, as many others were destroyed or converted to Christian places of worship under Tiridates III of Armenia.^[6] Garni includes local elements of sacred numerology and geometry. The temple has a column to inter column ratio of 1/3 (1 is the primary number of the universe and 3 is the holiest of all numbers as it represents the Greco-Roman triad Jupiter, Juno and Minerva). Aside from being aesthetically beautiful, Garni's design can be seen as being a reaffirmation of the universal laws that governed man's destiny. The angles, number of columns, and dimensions were created with a careful eye; Armenian pagans wanted to appease the gods and protect humanity from their wrath. This sacred geometry is evident in the entire temple. To the people who created it, it was the perfect embodiment of their communion with the universe. Note that although sacred geometry was mostly used in religious buildings, secular buildings adopted some aspects of it.^[7]

Christian Armenia

Armenian gravestones. Lake Van.

Late-medieval Armenian Khachkars from Julfa, Azerbaijan. They were removed from the Julfa graveyard before its destruction and are now on display within the precincts of Etchmiadzin in Armenia.

Christianity's institution as Armenia's official religion in 301 allowed new developments in Armenian architecture, which nevertheless preserved older traditions.^[5] In fact it would be almost impossible to find any religion that rose completely on its own without borrowing some traditions from the past. Exploring Armenian churches is critical to our understanding of Medieval Armenia. Beyond that, the Armenian churches describe us the general landscape of the Christian East at a time when eyewitness accounts were exceedingly rare. In their messages of authenticity and legitimacy, the churches shaped and preserved public memory, negotiating among diverse linguistic, religious, political, and ethnic groups.^[8]

The first Armenian churches were built on the orders of St. Gregory the Illuminator, and were often built on top of pagan temples, and imitated some aspects of Armenian pre-Christian architecture.^[7]

Periods in Armenian architecture

Classical and Medieval Armenian Architecture is divided into four separate periods.^[3]

The formative period

The first Armenian churches were built between the 4th and 7th century, beginning when Armenia converted to Christianity, and ending with the Arab invasion of Armenia. The early churches were mostly simple basilicas, but some with side apses. By the 5th century the typical cupola cone in the center had become widely used. By the 7th century, centrally-planned churches had been built and a more complicated niched buttress and radiating Hrip'simé style had formed. By the time of the Arab invasion, most of what we now know as classical Armenian architecture had formed.

Bagratid revival

External reliefs of David and Goliath on the 10th century Cathedral at Akdamar

The cupola of the Cathedral of Etchmiadzin.

From the 9th to 11th century, Armenian architecture underwent a revival under the patronage of the Bagratid Dynasty with a great deal of building done in the area of Lake Van, this included both traditional styles and new innovations. Ornately carved Armenian Khachkars were developed during this time.^[9] Many new cities and churches were built during this time, including a new capital at Lake Van and a new Cathedral on Akdamar Island to match. The Cathedral of Ani was also completed during this dynasty. It was during this time that the first major monasteries, such as Haghpat and Haritchavank were built. This period was ended by the Seljuk invasion.

Monasteries flourish

From the 12th to 14th century under the Zakarid dynasty saw an explosion in the number of monasteries built, including Saghmosavank Monastery, the Akhtala monastery, Kaymaklı Monastery, Kecharis Monastery and Makaravank Monastery. Monasteries were institutes of learning, and much of medieval Armenian literature was written in this time period. The invasion of Timurlane and the destruction of Cilician Armenia ended architectural progression from another 250 years.

Seventeenth century

The last great period in classic Armenian construction was under the Iranian Safavid Shahs, under which a number of new churches were built, usually at existing holy sites such as Etchmiadzin as well as in diaspora communities like New Julfa.^[3]

Nineteenth century

Armenian architecture experienced a huge stage of development during the 19th century, when the Russians entered Eastern Armenia. A number of architectural masterpieces were build in Alexandropol and Erivan, as well in Kars, which is now a part of the Republic of Turkey.

The Armenian buildings of that time were mainly made of basalt, therefore those buildings were mainly of black color.

Gallery of Armenian Architecture of 19th century

Modern times

One of the most prolific architects of Armenian architectural monuments in the 20th century was Baghdasar Arzoumanian. Based in Yerevan, Armenia, he was the author of an immense number of civil and church buildings along with other designs. The legendary architects of 20th century were Alexander Tamanyan, Rafael Israyelyan, G. Kochar, E. Tigranyan, S. Safaryan, etc. Today the masters of Armenian architecture are S.Gurzadyan, S. Kalashyan, L. Khristaforyan, R. Asratyan etc.

Devastation of Armenian architecture

The Vanatoon monastic residence in Etchmiadzin by Baghdasar Arzoumanian.

As a result of Anti-Armenianism, relics of Armenia's past such as churches, cemeteries and khachkars in neighboring countries have been subject to devastation. In certain cases such as in Turkey or Azerbaijan, this had been as a result of national campaigns to eradicate traces of the Armenian people to thwart any potential claims by the Armenian state.

The largest collection in the world was formerly to be found at the ruins of Old Jugha in Nakhichevan (today's Azerbaijan). Reports (see RFE/RL) and photographs from observers in Iranian territory emerged at the end of 2005 showing Azeri soldiers making deliberate attempts to destroy the gravestones. More recent photographs have revealed that the entire graveyard has been obliterated and a military training ground has been constructed on the site.^[10]

Armenian architecture in the diaspora

The tumultuous past of Armenia over the last millennium has resulted in the formation of an extensive Armenian Diaspora in various corners of the globe. Armenian communities seeking to keep the traditions of their homeland, influenced the architectural vernacular of Armenian Quarters in cities such as Zamość and L'viv. This influence is most evident in the sacred architecture of churches built by the Armenian community, where designs based on historic landmarks such as the cathedrals of Ani, Zvartnots and Etchmiadzin have been used as inspirational templates to construct these structures in their new surroundings. This tradition still continues into the present day as Armenian immigration has shifted away from the traditional areas of outmigration in Europe and the Middle East into the Americas and Australia.

Khachkars have also become additional signifiers of Armenian identity and have been erected in recent year in cities such as Wrocław, Kraków, Elbląg in Poland, Novi Sad in Serbia, Beirut in Lebanon as well as in Dearborn, Michigan. Many of these were also built as memorials by these local communities as memorials commemorating the Armenian Genocide.

Gallery

20th century secular buildings in Armenia

See also

• Armenian church architecture
• Armenian art
• Armenian Khachkars
• Research on Armenian Architecture

References

• History of Armenian Architecture:Volume 1

Bibliography

• Armen, Garbis (1992), An Architecture of Survival, ISBN 0-9695988-0-7 

External links

• Armenian Historical Monuments presented by the Research on Armenian Architecture organization
• Arts of Armenia:Architecture, a chapter in a book by Dickran Kouymjian of Cal State University, Fresno
• Index of Armenian Art: Armenian Architecture, a listing and details of Armenian architecture grouped by classification
• Pictorial Gallery of Armenian Architecture
• Armenian Architecture Collection of the Rensselaer Digital Collections, part of Rensselaer Polytechnic Institute (includes monasteries in Western Armenia)
• Armenian Architecture in Turkey and the City of Ani
• Armenian Architectures and Its Protection in Turkey

Historical Armenian monasteries and churches Armenia Aghjots Vank Akhtala Arakelots of Kirants Areni Artavazik Aruchavank Arshakid Mausoleum Bgheno-Noravank Byurakan Ddmashen Dvin Etchmiadzin Garnahovit Gayane Geghard Gharghavank Gladzor Gndevank Goshavank Haghartsin Haghpat Harichavank Havuts Tar Hayravank Hnevank Horomayri Hovhannavank Hripsime Jukhtak Vank Karbi Karmravor Kasagh Katoghike Katoghike Tsiranavor of Avan Kecharis Khor Virap Kirants Kobayr Kotavank Kristapori Vank Lmbatavank Makaravank Makenyats Vank Makravank Marmashen Mashtots Hayrapet Mastara Matosavank Neghutsi Vank Nor Varagavank Noratus Noravank Odzun Oshakan Pemzashen Ptghavank Saghmosavank Saint Paul and Peter Saint Gevork of Mughni Samsoni Sanahin Sevanavank Shoghakat Spitakavor of Ashtarak Spitakavor of Vayots Dzor Surp Astvatsatsin of Vagharshapat Surp Hakob of Kanaker Surp Mariane of Ashtarak Surp Sarkis of Ashtarak Talin Tanahat Targmanchats Vank Tatev Tatevi Anapat Tegher Tsakhats Kar Tsiranavor of Ashtarak Tsovinar Ushi Vahanavank Vahramashen Vanevan Vorotnavank Voskepar Voskevaz Yeghipatrush Yeghvard Yererouk Zoravor Zvartnots Nagorno-Karabakh Amaras Dadivank Gandzasar Gtichavank Katarovank Tsitsernavank Yeghishe Arakyal Yerits Mankants Azerbaijan Saint Sarkis Monastery of Gag Targmanchats List of Armenian churches in Azerbaijan Cyprus Surp Magar Monastery Georgia Arants Vank Betlehemi Chugureti Ejmiatsnetsots Surp Gevork S. Grigor Lusavorich Jigrasheni Avetyats Kamoyants Karapet Karapi Karmir Avetaran Khojivank Krtsanits Tsiranavor (Geghardavank) Mughni Norashen Surp Nshan Saint Sarkis Surp Stepanos Zrkinyants Iran Saint Stepanos Monastery Saint Thaddeus Monastery Surp Asdvadsadsin Church of Darashamb Surp Asdvadsadsin Church of Tabriz Chapel of Chupan Saint Gevorg Church of Haftvan Chapel of Dzordzor Surp Asdvadzadzin Surp Amenaprkich Vank Surp Bethlehem Church Surp Asdvadsadsin of New Julfa Surp Gevorg Church of New Julfa Jerusalem and Holy Land Cathedral of St. James St. Toros Church Chapel of Saint Helena Saint Nicholas Monastery Turkey Aghtamar Ani Cathedral Arakelots Monastery Arapgir Cathedral Arter Banak Church of the Redeemer Holy Mother of God Cathedral Horomos Karmravank Kars Cathedral Khtzkonk Ktuts Lim Monastery of the All-Saviour (Trebizond) Mren Diyarbakir Soradir Narekavank Saint Bartholomew Monastery Surb Nshan Monastery Saint George of Samatya, Istanbul Saint Hakob of Akori Monastery Surb Karapet Monastery Surp Gevork of Goms Surp Marineh Church, Mush Tekor Basilica Varagavank Varzahan Monastery Yerazgavors Ukraine Cathedral of the Assumption of the Blessed Virgin Mary Surp Khach Monastery Armenia Portal

Contemporary Armenian churches and seminaries Armenia Gevorkian Theological Seminary Vaskenian Theological Academy Yerevan Holy Trinity Saint Gregory the Illuminator Cathedral Saint John the Baptist Saint Sarkis (Kentron) Saint Sarkis (Nor Nork) Saint Anna Church Gyumri Holy Mother of God Church of the Holy Saviour Vagharshapat Church of the Holy Archangels Oshakan Saint Mesrop Mashtots Cathedral Abovyan Saint John the Baptist Church Nagorno Karabakh Ghazanchetsots Cathedral Kanach Zham Georgia Tbilisi Church of the Holy Seal Church of the Red Gospel Ejmiatsin Holy Mother of God (Bethlehem) Saint George Saint Gevorg of Mughni Saint Karapet Saint Stephanos Chugureti St. Astvatsatsin Lebanon Armenian Catholicosate of Cilicia Armenian Catholic Patriarchate Syria Church of the Holy Mother of God Cathedral of the Forty Martyrs of Sebastia St. Hagop Church St. Gregory the Illuminator Church Holy Trinity Church Holy Cross Church Armenian Genocide Memorial Church (Der Zor) Azerbaijan Saint Elishe Saint Gregory of Baku Iran Saint Sargis United States Church of Our Savior, Worcester Holy Trinity Church, Fresno St. Stephen's Armenian Apostolic Church St. Vartan Cathedral Saint Sarkis of Dearborn Other countries Austria Mekhitarist Monastery of Vienna India Armenian Church, Chennai Armenian Church of the Holy Nazareth Italy Mekhitarist Monastery of Venice (San Lazzaro) Santa Croce degli Armeni Ukraine Cathedral of the Assumption of the Blessed Virgin Mary Singapore Saint Gregory Armenia Portal