Kecharis Monastery

Kecharis (Armenian: Կեչառիս) is an 11-13th-century monastery, located 60 km from Yerevan, in the ski resort town of Tsakhkadzor in Armenia. Nestled in the Bambak mountains, Kecharis was founded by a Pahlavuni prince in the 11th century, and construction continued until the middle of the 13th century. In the 12th and 13th centuries, Kecharis was a major religious center of Armenia and a place of higher education. Today, the monastery has been fully restored and is clearly visible from the ski slopes.

Badly damaged in an earthquake of 1927, reconstruction was not begun by the Armenian SSR until the 1980s. A series of nationwide problems led to a halt in reconstruction for about a decade as the 1988 Armenian earthquake hit, the Soviet Union collapsed in 1991, the Nagorno-Karabakh War broke out, and Armenia was blockaded by its two Turkic neighbors. As Armenia recovered slowly from these catastrophes, the reconstruction of Kecharis finally resumed in 1998 and finished in 2000 thanks to a donation by an Armenian benefactor from Vienna named Vladimir Harutyunian, in memory of his parents Harutyun and Arsenik.

Complex

The main group of the complex consists of three churches, two chapels and a gavit, to the west of which, a few dozen meters away, there is another church with its own vestry at the side of a road leading to the forest. There still are many tombstones around these monuments.

Saint Grigor Church

Saint Grigor altar

The main temple, the church of Saint Grigor, is the monastery's first structure erected by Grigor Magistros Pahlavuni in 1003. Being of a domed hall type, it is one of the typical church structures of the period of developed feudalism in Armenia. The interior of the temple is divided into three spaces by two pairs of wall-attached abutments. The central (and largest) space of the church is crowned by a broad cupola resting on spherical pendentives. The cupola and pendentives were destroyed by an earthquake in 1927, and reconstructed in 2000.

The semicircular altar apse has two-storey vestries on either side. Three triangular niches behind the altar provide openings for light. The sole of the altar has carved geometrical ornament, alternating with rosettes in places.

Surp Nshan Church

S. Nshan Church

The church of Surp Nshan (Armenian: Սուրբ Նշան, "Holy Sign of Cross" in Armenian), situated south of the church of Grigor, is a small cross-winged domed structure built, judging by the type of the building and by architectural details, in the 11th century, probably soon after the church of S. Grigor.

Katoghike Church

Katoghike Church

The Katoghike (Cathedral) church stands south of S. Nshan, with a narrow passage dividing them. Judging by an inscription, it was built under Prince Vasak Khakhpakyan of the Proshyan clan (in the first quarter of the 13th century) by the architect Vetsik, in whose memory a khachkar, ornamented with highly artistic carving, was put up a little south of the church.

The Katoghike church belongs to the cross-winged domed type and has two-story annexes in all the four corners of the prayer hall. The entrances to the upper eastern annexes are from the side of the altar apse. Stone cantilever stairs lead to the western annexes of the first floor.

The character of Katoghike church's decoration is connected with the artistic traditions of the time when it was built. The round cupola drum was destroyed by earthquake in 1927 (also rebuilt in by 2000), and is decorated with a 12-arch arcature. The front wall of the altar has carved khachkar-type crosses, and there are rosettes on the walls and on the spherical pendentives of the cupola where they alternate with flat arch motives.

Gavit

Gavit

The gavit, built in the second half of the 12th century and attached to the western facade of S. Grigor church, is an early structure of this type. The rectangular hall is divided into nine sections by four heavy free-standing columns.

The eastern corners of the interior are taken up by small two-storey annexes which first appeared in this form in this gavit.

The architectural details of the building are rather modest. The small windows are topped by profiled edges above which there are, in the middle window of the southern facade, octafoil rosettes and sun dials, widespread in Armenia and, on the western facade, jugs. As distinct from the portals of the churches, the only western entrance is built as a rectangular opening with a niche framed with bunches of small columns and an arch. In the interior, the fine geometrical ornaments on the capitals of the columns and on the cornice of the tent base immediately catch the eye.

Chapels

The chapels situated between the churches of Grigor and Surp Nshan were small rectangular ones, with an altar apse and vaulted ceilings. The chapel adjacent to the church of Gregory served as the burial vault of Grigor Magistros Pahlavuni, which means that it was built in the early 11th century. The chapels were united by a small vaulted premise in which classes were probably conducted for the school's students.

Surp Harutyun

Surp Harutyun Church

The church of Surp Harutyun (Holy Resurrection), standing on a forest glade, away from the main group, was built by a son of Hasan in 1220. This is a small, outwardly rectangular. domed-hall church with a lofty cupola. The only entrance, with a small vestry in front of it, is from the west. As distinct from the ordinary vestries, it has a vaulted ceiling, and is narrower than the church. A distinctive feature of the structure is that it has, on its western facade, twin openings topped with arches which rest on the wall-attached and intermediate columns. This gives the structure the appearance of an open passage. There are many graves in the church which was probably a family burial vault.

Noravank monastery

Noravank (Armenian: Նորավանք, meaning "New Monastery" in Armenian) is a 13th-century Armenian monastery, located 122km from Yerevan in a narrow gorge made by the Amaghu river, near the city of Yeghegnadzor, Armenia. The gorge is known for its tall, sheer, brick-red cliffs, directly across from the monastery. The monastery is best known for its two-storey Surp Astvatsatsin (Holy Mother of God) church, which grants access to the second floor by way of a narrow stone-made staircase jutting out from the face of building. The monastery is sometimes called Noravank at Amaghu, with Amaghu being the name of a small and nowadays abandoned village above the canyon, in order to distinguish it from Bgheno-Noravank, near Goris. In the 13th–14th centuries the monastery became a residence of Syunik's bishops and, consequently. a major religious and, later, cultural center of Armenia closely connected with many of the local seats of learning, especially with Gladzor's famed university and library.

History

Noravank was founded in 1205 by Bishop Hovhannes, a former abbot of Vahanavank near the present-day city of Kapan in Syunik. The monastic complex includes the church of S. Karapet, S. Grigor chapel with a vaulted hall, and the church of S. Astvatsatsin (Holy Mother of God). Ruins of various civil buildings and khachkars are found both inside and outside of the compound walls. Noravank was the residence of the Orbelian princes. The architect Siranes and the miniature painter and sculptor Momik worked here in the latter part of the thirteenth and early fourteenth century.

Noravank Complex

The fortress walls surrounding the complex were built in the 17th–18th centuries.

Surb Astvatsatsin Church

Surb Astvatsatsin, the façade

The backside wall of the Astvatsatsin church

S. Astvatsatsin Church of Noravank

The grandest structure is Surb Astvatsatsin (Holy Mother of God), also called Burtelashen (Burtel's construction) in the honour of Prince Burtel Orbelian, its financier. It is situated to the south-east of the Surb Karapet church. Surb Astvatsatsin was completed in 1339, a masterpiece of the talented sculptor and miniaturist Momik, who designed it, and was also his last work. Near the church there is his tomb khachkar, small and modestly decorated, dated the same year. In recent times the fallen roof had been covered with a plain hipped roof. In 1997 the drum and its conical roof was rebuilt, with the form based on existing fragments. The ground floor contained elaborate tombs of Burtel and his family. Narrow steps projecting from the west façade lead to the entrance into the church/oratory. There is fine relief sculpture over the entrance, depicting Christ flanked by Peter and Paul.

Burtelashen is a highly artistic monument reminiscent of the tower-like burial structures of the first years of Christianity in Armenia. It is a memorial church. Its ground floor, rectangular in plan, was a family burial vault; the floor above, cross-shaped in plan, was a memorial temple crowned with a multi-columned rotunda.

Burtelashen is the dominant structure in Noravank. The original three-tier composition of the building is based on the increasing height of the tiers and the combination of the heavy bottom with the divided middle and the semi-open top. Accordingly, decoration is more modest at the bottom and richer at the top. Employed as decorative elements are columns, small arches, profiled braces forming crosses of various shapes, medallions, interlaced banding around windows and doors.

The western portal is decorated with special splendour. An important role in its decoration is played by the cantilevered stairs that lead to the upper level, with profiled butts to the steps. The doorways are framed with broad rectangular plaitbands, with ledges in the upper part, with columns, fillets and strips of various, mostly geometrical, fine and intricate patterns. Between the outer plathand and the arched framing of the openings there are representations of doves and sirens with women's crowned heads. Such reliefs were widely used in fourteenth-century Armenian art and in earlier times in architecture, miniatures and works of applied art, on various vessels and bowls. 

The entrance tympanums are decorated with bas-reliefs showing, on the lower tympanium, the Holy Virgin with the Child and Archangels Gabriel and Michael at her sides, and, on the upper tympanium, a half-length representation of Christ and figures of the Apostles Peter and Paul. As distinct from the reliefs of Noravank's vestry, these ones are carved on a plain surface, which gives them greater independence. The figures are distinguished by their plasticity of form, softness of modeling, and accentuation of certain details of clothing.

A group of the founders of Burtelashen is depicted on three columns of the western part of its rotunda. The picture consisted of relief figures of the Holy Virgin with the Child, sitting on a throne, and two standing men in rich attire, one of them holding a model of the temple.

Surb Karapet Church

Surb Karapet (St. John the Baptist) Church

The façade of Surb Karapet Church with a striking depiction of God the Father (upper relief)

The second church is the Surb Karapet, a cross within square design with restored drum and dome built in 1216–1227, just North of the ruins of the original Surb Karapet, destroyed in an earthquake. The church was built by the decree of Prince Liparit Orbelian.

In 1340 an earthquake destroyed the dome of the church which in 1361 was reconstructed by the architect Siranes. In 1931 the dome was damaged during another earthquake. In 1949, the roof and the walls of the church were repaired and finally completely renovated in 1998 with the aid of an Armenian-Canadian family.

Forming the western antechamber is an impressive gavit of 1261, decorated with splendid khachkars and with a series of inscribed gravestones in the floor. Note the famous carvings over the outside lintel. The church houses Prince Smbat Orbelian's mausoleum. The gavit was probably a four-pillar one. In 1321 the building, probably destroyed by an earthquake, was covered with a new roof in the shape of an enormous stone tent with horizontal divisions, imitating the wooden roof of the hazarashen—type peasant home. This made the structure quite different from other Armenian monuments of the same kind. The ceiling has four rows of brackets forming stalactite vaulting with a square lighting aperture at the top. A broad protruding girth over the half-columns, the deep niches with khachkars and the low tent-like ceiling almost devoid of decoration give the dimly lit interior a gloomy look.

The exterior decoration focus' mainly on the western facade where the entrance to the building is. Framed in two rows of trefoils and an inscription, the semi-circular tympanum of the door is filled with an ornament and with a representation of the Holy Virgin seated on a rug with the Child and flanked by two saints. The ornament also has large letters interlaced by shoots with leaves and flowers. The Holy Virgin is sitting in the Oriental way with Child. The pattern of the rug is visible with drooping tassels. In Syunik temples of the thirteenth-fourteenth centuries the cult of the Holy Virgin was widely spread. She was depicted in relief, and many churches were dedicated to her.

The pointed tympanum of the twin window over the door is decorated with a unique relief representation of the large-headed and bearded God the Father with large almond shaped eyes blessing the Crucifix with his right hand and holding in his left hand the head of Adam, with a dove — the Holy Spirit — above it. In the right corner of the tympanum there is a seraph dove; the space between it and the figure of the Father is filled with an inscription.

Surb Grigor Chapel

Grave of Elikum III Orbelian, son of Prince Tarsaich Orbelian

The side chapel of Surb (Saint) Grigor was added by the architect Siranes to the northern wall of Surb Karapet church in 1275. The chapel contains more Orbelian family tombs, including a splendid carved lion/human tombstone dated 1300, covering the grave of Elikum son of Prince Tarsayich Orbelian. The modest structure has a rectangular plan, with a semi-circular altar and a vaulted ceiling on a wall arch. The entrance with an arched tympanum is decorated with columns, and the altar apse is flanked with khachkars and representations of doves in relief.

Khachkars

The complex has several surviving khachkars. The most intricate of them all is a 1308 khachkar by Momik. Standing out against the carved background are a large cross over a shield-shaped rosette and salient eight-pointed stars vertically arranged on its sides. The top of the khachkar shows a Deesis scene framed in cinquefoil arches symbolizing a pergola as suggested by the background ornament of flowers, fruit and vine leaves.