User:Yerevantsi/sandbox/Etchmiadzin


 * Etchmiadzin Cathedral
 * create Monastery (convent, cloister, complex) section


 * Ijman sexan
 * walls, when destroyed?
 * ongoing restoration
 * dome construction, exact date known?
 * add Greek reliefs single pic
 * add details on reliefs on bell tower, dome

ru:Эчмиадзинская битва (1804) ru:Ошаканская битва File:План боя при д. Ушаган и монастыре Эчмиадзин 17 августа 1827 года.jpg

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fr:Frédéric DuBois de Montperreux (1834), or 1831 ??? File:St. Echmiadzin. Patriarchal Cathedral and Monastery.jpg

fr:Frédéric DuBois de Montperreux visit in 1831. https://archive.org/details/Travel18331834Montpereux0102 https://archive.org/details/Travel18331834Montpereux0304/ https://archive.org/details/Travel18331834Montpereux0506

- 1959 excavations

James R. Russell, Armenian and Iranian Studies

Russell, Pahlavi fragment from Ejmiacin https://archive.org/details/armenianiranians00russ/page/149/mode/1up?view=theater&q=buddhist

Thierry 1989


Cathedral pages 51, 55, 62, 66, 308, 311, 314, 493, 516) a), 517, fig. 135. 156, 476;

https://archive.org/details/thierry-1989-armenian-art/page/36/mode/1up?view=theater At the end of the last century ... At the time, Armenian architecture was considered as a provincial extension of Byzantine architecture. New publications revealing researches which were more serious, more scientific, and richer in graphic documentation, were about to alter these not very flattering comments. In 1893 and 1898, H. Lynch undertook two journeys to Russian Armenia and Turkish Armenia (as they were then called). His publication, with its lively style, good documentation, abundant illustrations, enjoyed the considerable success it deserved.

https://archive.org/details/thierry-1989-armenian-art/page/352/mode/1up?view=theater Byzantine influence, which has been somewhat exaggerates by 19 century archeologists,

Patrick Donabédian https://archive.org/details/thierry-1989-armenian-art/page/516/mode/1up?view=theater

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https://archive.org/details/thierry-1989-armenian-art/page/322/mode/1up?view=theater THE CATHEDRAL AT EJMIACIN. General view from the southwest. Founded in the 4th century, restored in the 5th century and several times later, notably in the 17th and 18th centuries, only the modern restorations of this church are visible here. Left: the bell-tower (1653-1658). Right: the drum (1627) and two lantern-turrets ( 1689).

https://archive.org/details/thierry-1989-armenian-art/page/331/mode/1up?view=theater THE CATHEDRAL AT EJMIACIN. THE BELL TOWER. 1653-1658. Detail of sculptures realized by Xizan craftsmen: vine scrolls spreading out of vases, fretworks, arabesques, twisted fringes, star-shaped medallions, all illustrating the sculptors’ virtuosity and their somewhat baroque taste.

https://archive.org/details/thierry-1989-armenian-art/page/354/mode/1up?view=theater Geghard, Noah's Ark

https://archive.org/details/thierry-1989-armenian-art/page/314/mode/1up?view=theater Painting in Naxc'awan was not limited to murals, for easel painting originated in this area. Nalaš Yovnat'an (1661-1722), a painter and poet from Sorot' who was appreciated at the court of Tiflis, started this new development. He began the paintings of the cupola in the cathedral of Ejmiacin. His sons Yaru- t'iwn and Yakob were active in the mid-18th century (decor of the church at Abrakunis, Astapat and Aznaberd), but his grandson Yovnat'an Yovnat'ean realized the most important works: he completed the decor at Ejmiacin, and executed those of the churches at Norašen (1793), Jigrašen and Haranc'vank'.

Burials
File:Echmiadzin Cathedral.jpg
 * burials: catholicoi

File:Tombstone - Daniel I.JPG|Daniel I File:Katoxikos Nerses E grave 01.JPG|Nerses V File:Tombstone - John VIII.JPG|Hovhannes VII File:Tombstone - Makar I.JPG|Makar I File:Tombstone - Matthew II.JPG|Mathew II File:Tombstone - George IV.JPG|George IV File:Katoxikos Gevorg E grave.JPG|George V of Armenia File:Katolikos Gevorg Z 02.JPG|George VI of Armenia File:Katoxikos Vazgen A grave.JPG|Vazken I File:Katoxikos Garegin A grave.JPG|Karekin I

File:Tombstone Catholicos Khoren I.jpg|Khoren I, who was killed by the Soviets in 1938, was initially buried at Saint Gayane Church but was reburied at Etchmiadzin in 1996.

Formerly, the tomb of John Macdonald Kinneir, the British envoy to Persia, who died in 1830, was also there, before being moved to the cemetary of St. Gayane.

Near the principal entrance, and built into the wall, stands a stone monument to an English ambassador at the Persian Court, Mr. Macdonald, bearing an inscription in English, Greek, and Persian.

Outside of the main entrance are the alabaster tombs of the primates Alexander I. (1714), Alexander II. (1755), Daniel (1806), and Narses (1857), and in hospitable contiguity a white marble monument erected by the East Indies Company to mark the resting-place of Sir John Macdonald, who died at Tabriz in 1830, while on an embassy to the Persian court.

sorted
Եվ ապա, Մայր տաճարը` հիմնադրման օրից մինչև VII դ., նորոգվել է երկու անգամ: Առաջին նորոգումը ձեռնարկել է Վահան Մամիկոնյանը և իր օրոք հրդեհված ծածկը փոխարինել է նոր փայտակերտ ծածկով: Իսկ երկրորդ նորոգումը` կատարված աշխատանքների հստակ մատնանշմամբ, ձեռնարկել է Կոմիտաս կաթողիկոսը (615–628 թթ.). «վերացոյց և զփայտայարկս սրբոյ կաթուղիկէն. նորոգեաց և զխախուտ որմոյն, շինեաց զքարայարկսն»:

Տաճարը 360-ականներին ավերված լինելու, նորոգելու, իսկ 480-ականներին հիմնիվեր նոր տաճար կառուցելու ենթադրությունը, որն այսօր էլ, կամա թե ակամա, համառորեն ներկայացվում է իբրև փաստ, ընդամենը մատենագրական տեղեկությունների սխալ ըմբռնման և սխալ մեկնաբանության արդյունք է:

Դիտարկենք տաճարի այդ հատվածը: Եռաստիճան որմնախարիսխը և պատի ստորին երեք շարքերը` 3.62 մ բարձրությամբ, XVIII դարում երեսապատվել են: Դրանից վեր ընկած տասնմեկ շարքերը, բացառությամբ պատուհանի և դրանից աջ ընկած հատվածի, պահպանվել են Տրդատաշեն կառույցից: «Խաչապատկերը» պատի այդ հատվածի հետ միաձույլ է, այսինքն` գտնվում է իր սկզբնական տեղում: Պատի աջակողմյան հատվածը, որտեղ «Պողոս առաքյալ և սուրբ Թեկղի» քանդակն է, ակներևորեն նորոգված է:

Վերաշարը կատարվել է հիմնականում նույն քարերով, սակայն պատի հորիզոնական շարքերի կարանների անընդհատությունը չի պահպանվել, որի հետևանքով քանդակը «Խաչապատկերից» փոքր-ինչ վեր է տեղադրվել:

August von Haxthausen 1843 visit

...the celebrated cathedral. Portions of this structure have evidently been erected at very different periods, and there are contributions from various schools of architecture, Byzantine, Gothic, Moorish, and modern Italian; one part is of quite modern origin.

...the building, which is by no means of colossal dimensions: its length is about fifty yards, its breadth forty-eight, and its height thirty-five. The Byzantine style and its symbolic forms predominate in the interior, and inscriptions abound on all parts of the edifice.

the walls are painted in the variegated flower-style of the Persians, executed by an Armenian artist in 1736.

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https://humus.livejournal.com/6131061.html?view=comments 1898. Французский барон Жозеф де Бай путешествует по Кавказу и Закавказью https://pastvu.com/p/1346399
 * images

fr:Joseph de Baye https://archive.org/details/ausuddelachaine/mode/2up?view=theater https://www.rcin.org.pl/dlibra/publication/104155/edition/82322/content?ref=L3B1YmxpY2F0aW9uLzE3MDY0My9lZGl0aW9uLzEzODUwNA https://web.archive.org/web/20231215101545/https://www.rcin.org.pl/dlibra/publication/104155/edition/82322/content?ref=L3B1YmxpY2F0aW9uLzE3MDY0My9lZGl0aW9uLzEzODUwNA

Alishan: https://digitale-sammlungen.ulb.uni-bonn.de/content/pageview/250660 Tirayr, Garegin

belltower pic https://digitale-sammlungen.ulb.uni-bonn.de/content/pageview/250667

The windows are small, and the light is therefore dim. Behind the east end of the church is an annexe containing the treasury and reliquaries.

After this refreshment we passed through the mud walls to the inner courts, built largely in quite recent years of the black stone peculiar to this region. In the centre of the large quadrangle stands the Cathedral

Gregory's chapel is still there to-day. It has been preserved throughout the centuries, like the Portiuncula of St. Francis at Assisi, by the sheltering walls of the church. In the dim religious light, the great dome seems to brood over the hallowed stones of this little shrine.

His residence, the Vatican of the Armenian Church, is one of the picturesque old buildings in the courtyard directly facing the Cathedral. He received us with great courtesy in his private apartment.

Maranci



 * the Cathedral of Ejmiacin. The many rebuildings of this shrine make this structure extremely difficult to analyze.

as illustrated in John Chardin’s engraving of Ejmiacin, which includes an early view of the churches of Hrip‘sime and Gayane (fig. 1).

Frederic Dubois de M ontpereux (1798-1849), the French traveler and connoisseur of antiquities, visited the Caucasus in 1833-1834 One of his first stops was the town of Ejmiacin, the See of the Catholicos and the site at which the conversion of Armenia to Christianity is believed to have taken place. While disappointed at not finding an entire city of medieval ruins, the monastery, shown in one of the publication's lithographs (fig. 2), made a deep impression on Dubois and he inspected it in great detail.

Josef Strzygowski. Bagaran-Ejmiacin to Europe. The next form to be examined is the domed niched square with center supports, seen, for example, at Bagaran (Chap. 3, Part One, figs. 22, 23). As with the previous section, we shall present and review the steps in its westward migration from Armenia. Strzygowski begins his diffusion immediately with the westernmost example and works backwards. He begins, thus, with a French monument-- the oratory of Germigny- des-Prés near Orléans. Although it is the last step in the diffusion, it is, Strzygowski feels, "secure in its Persian-Armenian form".27 Despite its nineteenth-century restorations, the original structure of 806 is sufficiently discernible for Strzygowski to judge it a "repetition" (Wiederholung) of the Armenian church of Bagaran.28

Strzygowski thus traces an architectural migration of the domed square with center supports from Bagaran to Kutais, the churches of Mount Athos, the church of the Holy Apostles in Athens, S. Satiro, and the church of Germigny-des-Pres. As with the previous section, there are several problems raised by Strzygowski's diffusion, which we shall now review systematically. First, there is the problem of chronology. Strzygowski implies a diffusion from one monument to the next, yet the dates of the buildings do not support this thesis. Kutais dates from eleventh century, the churches of Mount Athos belong to the tenth to fourteenth century, the Holy Apostles is c.1000, S. Satiro is dated c. 900, and Germigny-des-Prés is the earliest of all, dated precisely to 806. As mentioned earlier, the indifference to chronology is a leitmotifof Strzygowski's work. In disregarding dates, Strzygowski makes very clear that his method rests on neither absolute nor relative chronology.

More troubling is the minute number of prototypes for this form in Armenia. Bagaran is one of two such tetraconchs with center supports.37 More common and characteristic to Armenia are tetraconchs in which the dome is supported directly by the perimeter walls. That two monuments could have generated such a vast diffusion cannot, at least by this writer, be easily accepted. [37 = Another monument of this type is the Cathedral of Ejmiacin, which is also a tetraconch with four central supports. Strzygowski does not include it however, because he believed, following T'oramanyan, that the building underwent substantial renovations from its original state. Recent inspections by Sahinyan and others have suggested that the present core of the building dates at least back to the sixth-seventh centuries, when it may have been converted from a basilica, but nothing conclusive has been determined. (See Thierry-Donabedian, Armenian Art, p. 516, for a summary and further references). For further discussion of this problematic building, see my examination of Armen Khatchatrian's theories in Chapter Five.]

Byzantine churches, Strzygowski's suggestion of an Armenian influence at Germigny- des-Prés remains an ongoing issue in the literature. Many scholars, such as Conant, have followed Strzygowski's lead and ascribed the building's character to Eastern origins.38 As yet, however, no conclusive ties have been established and the question remains open.

Jurgis Baltrušaitis (art historian) With little elaboration, for example, he states that the churches of San Satiro and Germigny des Prés were derived from the Armenian church of Bagaran, a hypothesis, it will be remembered, that was stated explicitly by Strzygowski in Die Ausbreitung.

Simultaneously, however, there occurred another development-- the emergence of the domed-centrally planned church in the sixth-seventh centuries. For Xalpaxc'yan, the churches of Hrip'sime, Ojun, and Mastara marked the formation of a "well-developed" national architecture, which would exert an influence on that of later periods. Where did these structures come from? According to Xalpaxc'yan, they find their ancestors in the popular domestic dwelling, or glxatun, found in Armenia (and much of the Caucasus, Near East, and Central Asia)160. Constructed of wood, these structures usually consist of a single, square chamber, topped with a very characteristic roof: a system of wooden frames continuously corbelled until only a small smoke-hole, or erdik, remains open at the top. Generally, the roof is supported by four piers (fig. 24). The perishable character of wood has meant that no pre- modern structures of this sort survive, however, the prevalence of the glxatun as a mode of habitation, particularly in rural areas, as well as other evidence, has suggested to many scholars its existence during the Middle Ages. For Xalpaxč'yan, proof of this hypothesis is found in the dome of Tekor. This structure, which Xalpaxč'yan considers among the oldest stone domes in Armenia, is sloped inwards on the sides, gradually narrowing to form a pyramidal, rather than cylindrical drum. Xalpaxčyan argues that this construction, which he refers to as corbelling, "is exactly the same as in the popular dwellings". Thus, he concludes, in Tekor we find a transitional monument, which signals the roots of the Armenian dome in the glxatun type. Xalpaxčyan finds further evidence in the cathedral of Ejmiacin. Agreeing with Alexander Sahinyan, he believes that the fifth-century phase of the cathedral differed little from its present state: a square chamber with axial apses divided by four central piers supporting a dome. Xalpaxc'yan considers the account of Sebeos, who tells us that the stone dome of the cathedral replaced the original wooden dome. The early occurrence of wooden dome, then, as well as the use of four supports, further allows Xalpaxcyan to liken this church type with the glxatun.

Varazdat Harutyunyan. The development of centrally-planned cross churches was also based on a single source (although not necessarily renovated). Although Harut'yunyan acknowledges the problematic chronology and building phases of the cathedral of Ejmiacin, he maintains that the present structure dates to the fifth century and thus was: "the first to introduce the cross-shaped type into Armenia",185 which was imitated later at Avan ( 591-602 ) and then at the church of Hrip'sime in 618. Construction of other churches followed and led further to Georgian examples, for which Harut'yunyan stresses their Armenian descent: "Centrally-planned, cruciform, domed church types were executed also in Georgia, as in the cases of the churches of Ateni and Djvari. The creator [of Ateni], was an Armenian architect by the name of Todosak. There is evidence also for his participation in the construction of the church of Djvari…»186

The emphasis on indigenous qualities of Armenian architecture, and the disregard for cross-cultural relations also reflects a pervasive nationalism common to the subjects of the former Soviet Union. This problem is highlighted when we consider the treatment of Armenian and Georgian architecture in the History ofWorld Architecture. While the Armenian section was written by Xalpaxč'yan, the section on Georgian architecture was written by a well-known Georgian scholar, Tschubinashvili. In reading both, one emerges with two different stories about the relations of Armenian and Georgian architecture. While Xalpaxčyan, in his conclusion, allows that the two traditions were similar because of "similar historical circumstances",196 he also points out that an Armenian architect worked on the church of Ateni, and thus stresses the Armenian character of early Georgian architecture. Tschubinashvili, on the other hand, hardly mentions Armenia in his eighty-page chapter, and instead emphasizes the self-containedness of Georgian architecture: "the development of Georgian architecture did not take place in isolation, some cultural influences were indeed present, but regardless of influence, Georgian architecture preserved it specificity".197 Thus, we are left with no way to examine the architecture of Armenia and Georgia as similar or even common phenomena.

Let us review Khatchatrian's building phases so far: in the fourth century (the original phase), the church consisted of a square building, with a small apse flanked by side annexes. In the interior were four freestanding piers supporting a dome (fig. 23). In the fifth century, the core was retained, but new piers, lateral apses, and a larger eastern apse were added. Khatchatrian's thesis is problematic for a number of reasons. First, there is the sheer volume of unconfirmable data: we do not know the date of the standing walls at Ejmiacin

What is the relation of this monument to Ejmiacin? Certainly it had a similar function: the basilica was situated adjacent to the hypogeum of Alc' which housed the bones of the Armenian Arsacid kings. It too, then, performed a commemorative or martyrial function. The tomb is dated through literary sources to the fourth century; the basilica was probably not constructed long after. Based on the date and function of the basilica, and its physical proximity to Ejmiacin (it is located only 45 kilometers away from the site) it is the best comparative monument in Armenia for assessing Ejmiacin's early building phases.

unsorted
Ejmiatsin. Later,between 610 and 620, the wood roof was replaced with a stone one, and the conical dome and its drum were subjected to further changes.

Ejmiatsin / the cathedral decorated with Iranian-inspired wall paintings, and the pious offerings proliferated. ... Altar of the Descent markingthe exact location of the descent of Jesus Christ.

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Early Medieval Architecture as Bearer of Meaning Any investigation of the form of the church at Germigny-des-Prés would lead to geographically very different regions: to the cruciform cupola-churches in the Middle Byzantine style of Etchmiadzin and Bagaran in Armenia and to Visigothic churches in Spain and Toledo (Aubert 1941:22; Hubert 1938:75). In ground plan and decorative forms, for example, Germigny-des-Prés is more closely related to the Sassanid fire-shrine of Djerre than to Aachen (Erdmann 1943:42).

Colin Thubron: Its cathedral was founded as long ago as 303 (for Armenia was the earliest Christian state in the world) but was restored many times during Turkish and Persian domination. No saints glowered from its walls. They were covered instead by a Koranic orchard of painted flowers and trees in tomato red, deep blues and gold. Marble divans circled the transepts, transforming them into the alcoves of Moorish palaces. Persian latticework screened the gallery, and the Patriarch's throne was inlaid with an Islamic iridescence of mother-of-pearl.

Arthur Upham Pope A Survey of Persian Art from Prehistoric Times to the ... - Page 201 Abbas Daneshvari, ‎Arthur Upham Pope · 2005 ... Echmiadzin, although in elevation , with a tall drum , it clearly dominates the composition.54 More typical of later Byzantine plans is the church of St. Gaiane at Echmiadzin ( 630 ) ( Fig . 15 ) which has an enlarged central bay and

David Grimm (architect) Grimm, David Ivan (1864). Monuments d'architecture en Géorgie et en Arménie. St. Petersbourg: A. Beggrow (Digitized by Google Books) File:Grimm. 1864. 'Monuments d'architecture en Géorgie et en Arménie' 48.jpg

Estimating the Structural Characteristics of Historic Armenian Church Buildings and Examining Their Strengthening Applications https://link.springer.com/chapter/10.1007/978-3-031-39450-8_6

Encyclopedia of World Art - Volume 3 - Page 103 Bernard S. Myers · 1959. ... Byzantine effect ; the horse- shoe arches of the arcade and of the three apses were probably motivated by the Visigothic tastes of the builder. The closest parallels to Germigny - des - Prés are in Armenia : the Cathedral of Echmiadzin

The cathedral is featured in the video game Age of Empires II: Definitive Edition In October 2023 a new civilization, the Armenians, was added to the video game, which featured Etchmiadzin Cathedral. https://www.ageofempires.com/news/pre-order-aoe-ii-de-the-mountain-royals/ https://web.archive.org/web/20231023042204/https://www.ageofempires.com/news/pre-order-aoe-ii-de-the-mountain-royals/ https://www.ageofempires.com/wp-content/uploads/2023/10/armenians_screenshot_1-1813x1020.png https://web.archive.org/web/20231016171210/https://www.ageofempires.com/wp-content/uploads/2023/10/armenians_screenshot_1-1813x1020.png

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https://cah.fresnostate.edu/armenianstudies/resources/architecture/etchmiadzin.html

MEDIEVAL ARCHITECTURE by László Daragó  archived

ru:Ошаканская битва

Chardin
...the cathedral, which has been accurately described by Chardin."

File:06 Chardin Ecs-miazin nommée communément les trois eglises.jpg
 * Jean Chardin
 * Chardin images

https://shs.hal.science/halshs-01924112/document Jean-Baptiste Tavernier, 1679, Les six voyages: "Les trois églises"

Jean Chardin, 1711, Voyage: "Ecs Miazin nommé communément les trois églises", "Ecs Miazin nommé communément les trois églises",vol. 1, pl. 9, face p. 154

File:06 Chardin Ecs-miazin nommée communément les trois eglises.jpg

https://repository.library.brown.edu/studio/item/bdr:216531/ https://archive.ph/DgYNT

https://books.google.am/books?id=ISAHkjs_a2gC&pg=RA4-PA6&dq=Ecs-miazin page, volume of Ejmiatsin engraving

fr:Michel-François Demasso https://collections.mfa.org/objects/348778 The Three Churches at Ecs-Miazin about 1685 Etching and engraving Illustration from Jean-Baptiste Chardin (Sir John Chardin), "Journal du Voyage du Chevalier Chardin en Perse, et aux Indes Orientales" (Lyons, 1687), vol. 2 [first edition 1685]

cathedral, form first edition https://archive.org/details/bub_gb_Es22dewTvRUC/page/n352/mode/1up?view=theater

Argavand tower pic https://archive.org/details/bub_gb_Es22dewTvRUC/page/n346/mode/1up?view=theater

full volumes, 1st ed. https://catalog.hathitrust.org/Record/005220994

https://en.wikisource.org/wiki/1911_Encyclop%C3%A6dia_Britannica/Chardin,_Sir_John The best complete reprint is by Langlès (Paris, 1811). Sir John Chardin’s narrative has received the highest praise

1811: https://archive.org/details/voyagesducheval04lenogoog/page/10/mode/thumb?view=theater

Armenian


http://serials.flib.sci.am/openreader/Hay%20joxovrdi%20patmutyun_%20h.2/book/index.html#page/640/mode/2up ստեղծված լինելով հեթանոսական (թերևս ուրարտական) ժամանակաշրջանի սրբավայրի տեղում

Սահինյան, Էջմիածնի Մայր տաճարի ճարտարապետական կերպարը https://arar.sci.am/dlibra/publication/263673/edition/241490/content

ՈՒՐԱՐՏԱԿԱՆ ԿՈԹՈՂ, Մ. թ. ա. VIII-VII դարեր, Պեղվել է Էջմիածնի Մայր տաճարի ավագ սեղանի վերակառուցման ժամանակ

132-133, 145, 378, 420

Armenian journals
Sahinian: Վերջերս էջմիածնում, գիտական մեծ արժեք ներկայացնող ճարտարապետական մի շարք նյութերի հետ մեկտեղ, հայտնաբերվեցին նախաքրիստոնեական շրջանի կառուցվածքների մի քանի ուշագրավ բեկորներ:

Մայր տաճարի սկզբնական կառուցվածքի (4-րդ դար) հիմքերի մոտ բացվեց որձաքարե մի խոշոր որմնաքար՝ մետաղական կապերի հետքերով, որը հիշեցնում է Գառնիի ամրոցի անտիկ շրջանի պարսպապատերի որմնաքարերը, իսկ Հռիփսիմեի տաճարի գմբեթակիր որմսամույթերի տակ՝ տուֆակերտ ինչ-որ շենքի քիվի քանդակազարդ երեք բեկոր, որոնց մշակումը հար և նման է նույն ամրոցի հեթանոսական տաճարի մանրամասների մշակումներին: Այդ բեկորների չափերից և նրանց զարդաքանդակման ոճից դժվար չէ կռահել, որ նրանք պատկանել են բավական հարուստ մշակում ունեցող ճարտարապետական մի խոշոր կառույցի: Արդ, հետաքրքրական է, ինչ բնույթի կառուցվածք է եղել այն:

Հայաստանի նախաքրիստոնեական շրջանի ճարտարապետությունը դեռևս քիչ է ուսումնասիրված: Սակայն այդ շրջանի բազմաթիվ քաղաքների, ամրոցների, քաղաքացիական ու պաշտամունքային կառուցվածքների մասին եղած մատենագրական վկայությունները և հատկապես մի քանի քաղաքների, ամրոցների ու առանձին հուշարձանների մնացորդները (Արմավիր, Երվանդաշատ, Վաղարշապատ, Գառնի և այլն), ինչպես և քրիստոնեական վաղ շրջանի առավել հանգուցային կառուցվածքների ճարտարապետական վերլուծությունը անվերապահորեն հաստատում են քրիստոնեական կրոնի ընդունման նախօրեին Հայաստանում զարգացման բարձր աստիճանի վրա գտնված ճարտարապետական-կառուցողական արվեստի առկայությունը: Բավականին ընդարձակ է եղել հեթանոսական պաշտամունքի կառուցվածքները ցանցը: Մատենագրական վկայություններից հետևում է, որ նրանց զգալի մասը, պետք է, որ ժամանսկին ունեցած իրենց հռչակին համապատասխան, լինեին նաև ճարտարապետակս ն նշանակալից ստեղծագործություններ:

Նախաքրիստոնեական Վաղարշապատը, լինելով երկրի աթոռանիստ քաղաքներից մեկը, անշուշտ ունեցել է հեթանոսական պաշտամունքի ոչ մեկ կառուզվածք: Բուն Վաղարշապատում հիշատակվում է Արտեմիդեի (իմա՝ Անահիտի) պաշտամունքի կառուցվածքի գոյությունը. Վաղարշապատի և Արտաշատի միջև գտնվող Երազամոյն ավանում՝ Տիրի պաշտամունքին նվիրված տաճարը: Ինչպես ցույց տվեցին վերջին տարիների պեղումները, էջմիածնի Մայր տաճարը բարձրացվել է դեռևս ուրարտական ժամանակաշրջանից գոյություն ունեցող սրբավայրում: Հավանաբար, հեթանոսական պաշտամունքի մի ուխտատեղի էլ եղել է Հռիփսիմեի տաճարի կառուցման վայրում: Չէ՝ որ քրիստո- նեական կրոնի ընդունման հենց սկզբին Էջմիածնի Մայր տաճարի կառուցման ժամանակաշրջանում կառուցվեց նաև Հռիփսիմե կույսի վկայարանը, որի տեղում 618-ին բարձրացավ այժմյան տաճարը: Միանգամայն հնարավոր է, որ քրիստոնեական պաշտամունքի անդրանիկ մյուս կառուցվածքների նման, այստեղ նույնպես նոր պաշտամունքին նվիրված կառուցվածքը բարձրացված լիներ հեթանոսական սրբավայրում, իսկ երբ կառուցվում էր Հռիփսիմեի տաճարը, իբրև հեթանոսական կրոնի նկատմամբ քրիստոնեության տարած հաղթանակի հավերժացում, նոր տաճարի կոմպուզիցիոն գլխավոր առանցքը կազմող գմբեթի մույթերի հիմքերում զետեղած լինեին վկայարանի շինության մեջ դեռևս պահպանված հին պաշտամունքի կառուցվածքի առավել աչքի ընկնող մասի՝ քիվի բեկորները:

Հոիփսիմեի տաճարի հիմքերում Գառնիի հեթանոսական տաճարի մանրամասների մշակման բնույթի բեկորների բացահայտումը հաստատում է տվյալ վայրերում հեթանոսական տաճարների գոյության մասին մատենագրական վկայությունների իսկությունը, աներկբայորեն ապացուցում հայկական հելլենիստական մշակույթի օջախի գոյությունը նաև պատմական Վա- ղարշապատում:

Նոր նյութեր Էջմիածնի վանքի և Վաղարշապատի հատակագծի վերաբերյալ https://web.archive.org/web/20231213120901/https://arar.sci.am/dlibra/publication/263580/edition/241405/content

Եկեղեցիք Վաղարշապատ քաղաքի https://web.archive.org/web/20231213120952/https://arar.sci.am/dlibra/publication/80909/edition/73147/content

էջմիածնի վանքի հողատիրությունը https://web.archive.org/web/20231213121126/https://arar.sci.am/dlibra/publication/272028/edition/249324/content

Lynch


https://archive.org/details/armeniatravelsst01lync/page/262/mode/1up?view=theater

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The first of these edifices stands in the centre of the great quadrangle of the cloister, and, as we have seen, is believed to have been originally raised by St. Gregory the Illuminator, to whom the Armenians attribute their conversion to Christianity.


 * The spot where the Saviour alighted and struck the broad earth with the mallet is situated about the middle of the building ; and in the old days was indicated by a slab of hewn stone, 3 feet square and 5 feet in thickness.' This stone was said to have been substituted for the original marble slab which was reputed to have been due to St. Gregory himself and to have been carried off by Shah Abbas.2 In the first quarter of the eighteenth century, during the *pontificate of Astvatsadur, an elaborate altar was placed upon this hallowed site, and still stands there beneath the dome. It is surmounted by a canopy supported by four pillars of Tabriz marble, and is well seen in my illustration of the interior (Fig. 55). It appears to have replaced one of simpler design erected by the Katholikos Eleazar.

The portal on the left of the picture is a work of the seventeenth century; it was commenced by the Katholikos Philip and completed by his successor Jacob in 1658. It is probably due to the mania for portals prevalent in Armenia at that period and not to a feature of the earlier plan. Just east of and adjoining the balcony of this structure is seen a window with a richly carved column in the centre, surmounted by a cross and supporting two ornamental arches. This window and the upper portion of the building to which it belongs are in subservience to the

1 Chardin (ed. Langlès, Paris, 1811, 8vo, vol, ii. p. 175). See also Tavernier (book i. ch. iii.). The Jesuit missionaries, however, later on in the seventeenth century, speak of a structure resembling a mausoleum and having four stone columns and an altar in the centre. There can be little doubt that this is an allusion to the erection of Eleazar.

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portal, with which they are in architectural harmony, and which they link with the main edifice. The lower part, including the frieze or quasi- classical moulding, which runs right round the church, is in a different style and of a different form of masonry, being indeed an integral member of the body of the church. You have only to remove the window and pointed roof, build up the wall above the cornice and cover it with a flat roof, and you obtain precisely the same projection which the picture shows on the south side and which is necessitated by the south apse.

We have now obtained the figure of a body with four projecting members, each of which represents an apse. The roof would appear to have been always built at a very low angle ; it is, as usual, of stone.

This apse had a lesser projection than its fellows from the wall of the church, owing to the incidence of the two indispensable side chapels, which were small and merely entailed a slight advance of the rectangular walls. Over each apse it has been customary to have a belfry; when the portal was added this feature of the apse on the west was transferred to that structure. The open cupolas with belfries which are at present seen over the three apses were built in the year 1682 by the Katholikos Eleazar.


 * The central dome, which is supported on piers in the interior, consists of a polygonal drum with a window in each face surmounted by a conical roof. A false arcade with slender columns and pointed arches enriches, together with a carved cornice, the simplicity of the design. This dome is believed to date from the seventh century, and to be the work which the Katholikos Komitas (617-625) erected in place of an earlier structure in wood. If this be the case we have an example of this form of dome in Armenia a hundred years before the time when it is supposed by Fergusson to have been developed.1 [1 History of Architecture, book i. ch. iv. Neo-Byzantine style. His remarks have reference to the shape of the dome and not to the pointed arches of the false arcade, which perhaps argue a much later date.]

It is a pity that some vandal has daubed it over with plaster and paint, which invests it with a grotesque appearance. Above each window is a medallion containing the head of a saint, and I saw traces of spiral carving on the columns. An almost flat-roofed building with this dome in the centre, with four projecting apses, one at each point of the compass and each surmounted by a little belfry such would appear to have been the original exterior of the edifice which we see at the present day.

An ingenious traveller, whose judgment was influenced by the cornice of the building, and perhaps too by certain stone slabs with Greek inscriptions which are inserted in the walls, has conjectured that this exterior, with the exception of the dome and belfries, dates at least in part from

264 the reign of King Tiridates (end of the third and commencement of the fourth century).1 He has gone so far as to present us with an illustration, showing what he conceives to have been the original form.2 We know from Moses of Khorene that this monarch erected at Garni in the district of Erivan a building of surpassing beauty to his sister Khosrovidukht ; and it is almost certain that the remains of a purely classical building which have been seen by modern travellers upon that site belong to this monument or to one of the same period.3

The presumption of Dubois is therefore justified that a building of the reign of Tiridates would be likely to display classical features and ornaments. But his conjecture as regards this particular church must at present be considered to belong to the realm of hypothesis. The presence of the slabs with the Greek inscriptions would prove nothing; they may have been taken from an earlier building, or they may quite well be later in date than the invention and use of the Armenian alphabet in the fifth century. Dubois indeed is inclined to ascribe them to a period earlier than the conversion of Tiridates, and to see in them memorials of a Christianity practised in Armenia prior to the preaching of St. Gregory. This conjecture, which is adopted with complacency by Ritter, is probably quite baseless. The inscriptions have quite recently been subjected to the critical scrutiny of a scholar in Byzantine lore. I may refer my reader to his work. They are incised upon two slabs inserted in the wall, rather high up and a little east of the northern apse. The slabs are close together. I was unable to decipher the writing with the aid of my glasses, as the stone has been much worn. The slab with the figures of Paulos and Thekla is attributed by this scholar to the fifth or the sixth century, and its com- panion to about the same date. His opinion is based upon internal evidence.

It would take too long to pursue a study relying on this kind of testimony into the approximate date of the cathedral. It must suffice to have placed my reader in possession of the leading facts. As regards the evidence of literature as to restorations and additions it is summarised in the accompanying note.5 If the essential features of the present building

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be due to the restoration of Vahan Mamikonean (A.d. 483), it will be a work anterior to Justinian. At that time the Armenian architect would not have enjoyed the advantage of studying the designs of the several churches which, according to Procopius, that emperor erected in Western Armenia.1 It would appear preferable to ascribe these features to the restoration under Komitas (618), if we were obliged to choose between the two. But this and kindred questions respecting the origin of the church and monastery are wrapped in obscurity. At what date did Edgmiatsin become the residence of the katholikos? This cardinal question still remains without a certain answer. We know that he transferred his seat from Vagharshapat to Dvin in the year 452, and that he did not return until 1441. We also know that the seventh century was a period of building activity; after Komitas we have the Katholikos Nerses III. ( 640-661 ), surnamed the builder, who erected a magnificent church in close vicinity to the churches of Edgmiatsin and buried the relics of St. Gregory beneath its four colossal pillars.2


 * There is no reason to doubt that the four Byzantine capitals....

In 1442 the Katholikos Kirakos undertook the necessary repairs (Thomas Metsobatzi). We now leap to the reign of Shah Abbas of Persia, who, as is well known, transported a whole colony of Armenians from the valley of the Araxes to the outskirts of his capital, Ispahan. In 1614 this monarch carried off a number of the venerated stones of the church to New Julfa to form the nucleus of a new Edgmiatsin (Arakel of Tauris, ch. xxiv.). The famous monastery fell into woeful neglect. The Katholikos Moses (1629-33) restored it, but added no new feature. His successor Philip renewed the roof (inscriptions, records, etc.). I think I have mentioned subsequent additions. The steps which run round the church were added or extensively restored by the Katholikos Lukas (in 1784). But they have been modified by Makar I. Repairs are ascribed to the pontiffs Astvatsadur, Simeon and Ephraim, the last of whom repaired in 1816 the damages which the Persians had done to the roof by placing a battery upon it.

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The entrance from the portal to the church is through a rather low doorway, conducting you into the apse-formed projection on the west. The stone panels about and above this doorway are richly carved and show traces of gilding. In the south wall of the building you are shown an old door, long walled up, which is supposed to date from a hoar antiquity and is called the door of Tiridates.

Before the portal are several tombstones, commemorating deceased pontiffs, and among them that of the enlightened Nerses V. One in marble is raised over the remains of Sir John Macdonald, British envoy to the court of Persia.

The bald inscription contrasts with the eloquence of the situation under the shadow of this St. Peter's of distant Armenia and among the graves of the highest dignitaries of her national church.3

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Passing now to the interior (Fig. 55 and plan), it is the form which is impressive-the quadruple apse with a canopy altar in each of these recesses, except that on the west. In the centre, beneath the dome, stands the altar which I have already described ; there are therefore four altars in this church. In front of the apse on the east rises the parapet of the daïs, as usual; but the higher level of the floor in those on the north and south is approached by steps which extend from wall to wall. The lateral chapels on the east, which are so constant a feature in Armenian churches, are scarcely noticeable in this building, being, I think, incorporated in the additions which were made by George IV. at the back of the church. The space on the floor of the edifice is railed off in two places from north to south. There is of course no pulpit, and there are no pews. The light falls from twelve little windows in the spacious dome upon a scene which is rendered dim by the darkness of the mural paintings, and which serves to enhance the flashing ornaments on the central altar. I am told that there are in all no less than thirty-five windows ; but they are small and insignificant. Their distribution is not subordinate to any plan. The paintings on the walls are of no merit ; they represent Biblical subjects, and while some are in fresco, others are on canvas applied to the stone.


 * They must have been added at a comparatively recent date ; for we are expressly told by Chardin that in his time the interior was quite bare. The dome has been pleasantly decorated in the Persian style with coloured arabesques.


 * The measurements of the interior, which I took myself, give an extreme length of 108 feet 4 inches, and an extreme breadth of just over 98 feet. Each apse has a depth of about 15 feet 3 inches a dimension which I have included in my totals.2

In the south apse stands the chest containing the vessel with the holy oil, and beside it a little lamp which flickers night and day. The recess of its opposite counterpart is adorned with mural paintings representing eight full-length portraits of the pillars of the Armenian Church. They are identified as St. Gregory, with his sons Aristakes and Verthanes, and his grandson Grigor ; as Yusik, Nerses the First, Sahak and Mesrop. The ceremony of ordination of bishops takes place in this northern apse. A cistern has been sunk below the floor in front of the recess to serve in time of siege. Two thrones are conspicuous in the body of the church, both of which may be discerned in my illustration. The

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first, which adjoins the central altar, is inscribed with the name of Petros Katholikos (Peter II. 1748) and is said to have been a present from the Pope.1 The second, situated further east, is that which was occupied by the Katholikos during the service which I attended. It is the gift of Armenians during the pontificate of Astvatsatur (1715-25).

The treasury and room of relics contain many interesting objects. To these chambers is allotted the building on the east of the church. Both are entered from the interior and through doors in the east wall, that on the north of the apse communicating with the treasury, and that on the south with the apartment containing the relics. Among the treasures are several objects which deserve the attention of the student of art, examples of mediæval Armenian craft being, I imagine, none too frequent. I observed a crystal cross, said to belong to the Bagratid period, and some other crosses reputed to have come from Ani. A gold crown, inlaid with jewels, is ascribed to King Tiridates, and, whatever its origin, is a very in- teresting object. The same may be said of a silver saucer with repousse figures dating from the pontificate of Nerses IV. (1166-73). There are a quantity of jewelled mitres and em- broidered stoles and ornaments for the church. There are seals of the pontiffs and coins of the Rupenian (Cilician) dynasty. Some store is set upon a head of Dionysus which is believed to be of Egyptian origin. The monastery has become possessed of a most curious object in the shape of a huge caldron, standing on three legs, and having as handles four tigers in the act of climbing. It was found not many years ago in a cloister near Tiflis ; buried within it was a bell. An inscription

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round the rim gives the date of the Armenian era 781 or a.d. 1331. In the chamber of relics are preserved a fine collection of episcopal staves surmounted by a cross above a knot of hissing serpents' heads (Fig. 56, Nos. 1 and 2). Many are of exquisite workmanship.


 * The principal relics are the hand and arm of St. Gregory, preserved in a silver gilt case; the head of the holy spear, reputed to possess the power of staying epidemics ;1 a fragment of the Ark, to which is attached a jewelled cross; the head and arm of St. Thaddeus, the apostle; the hand and arm of St. Jacob of Nisibis ; a panel carved with a crucified Christ, said to be the work of St. John the Apostle and to have been procured by A shot Patricius; finally a box containing relics of St. Hripsime.

Setting
Convent plan Alishan https://digitale-sammlungen.ulb.uni-bonn.de/content/pageview/250649 monastery plan https://digitale-sammlungen.ulb.uni-bonn.de/content/pageview/250665 walls photo https://archive.org/details/travelpoliticsin00noel/page/n116/mode/1up?view=theater
 * images, plans

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Eli Smith and H. G. O. Dwight: "Within, is a city in miniature." Bryce wrote that "one has almost a little town" within the walls, which measure a mile in circuit.

The monastery comprises a pretty extensive complex of buildings.

Its [The monastery] architectural character has been considerably impaired by additions and alterations in the modern Russian style.

this monastery [...] is the capital of the Armenian world. the great monastery of Etchmiadzin... the Rome of the Armenian Church

and flanked by towers, which, as well as the walls, are built of brick, excepting the base, and furnished with loopholes, giving to the whole structure the appearance of a large quadrangular fortress.

was formerly regarded as a strongly fortified place.

the celebrated monastery of Etchmiadzin. It is a vast quadrangular enclosure containing many buildings, of which the most important form an inner rectangle surrounding the great court. In the middle of this stands the cathedral of St. Gregory the Illuminator.

The buildings surrounding it [the great court] are of stone or plaster, two stories high, and of very simple architecture. The greater part of them are occupied by the cells of the monks, each monk having a set of two or three small rooms with his own private stairway into the court, not at all unlike an Oxford college.

On the western side of the quadrangle is the residence of the primate, on the south the refectory, built by the Catholics Abraham (1730- 1735), on the east the lodgings for the monks, and on the north the cells.

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Imagine the Old Court of Trinity College at Cambridge without the gateway, the hall and chapel, and with a church of some size placed in the centre where the fountain stands. All four sides of the figure are defined by low buildings, resembling the dwellings which constitute two sides of the Cambridge court. I had always understood that our quadrangle at Trinity was the largest in the world ; although I believe some American university was building one a few inches bigger not so very long ago.

But the great court of Edgmiatsin perhaps already makes the record ; it has a length, from west to east, of 349 feet 6 inches, and a breadth of 335 feet 2 inches. These measurements I took myself, much to the astonishment of the crowd which assembled ; they were at a loss to find a theory which might explain so strange an act. The length will be very much increased in a short while, when the condemned east side has disappeared. A fine row of stone buildings is in course of erection, which will enlarge that dimension by many yards. Our cousins across the Atlantic must bestir themselves.

The western side of the court on the south of the covered way is devoted to the residence of the Katholikos, while the block on thenorth of the same passage is occupied by the bishops. There is no style or pomp about the pontifical dwelling; and it would bear the same relation to the Master's Lodge at Trinity as a four-roomed cottage to a mansion. At the back is a little garden. The north side consists of the rooms inhabited by the monks, and a terrace, raised on pointed arches, extends from end to end. The building on the east is in process of demolition, and, like its fellows on the two sides which have already been described, is composed of comparatively fragile material. I was given to understand that it had once housed the seminary and printing press ; a little bakery still occupies the junction with the buildings on the south. These are constructed of stone, and, although very plain, lend an air of solidity to the entire quadrangle. Beginning on the west of this block we have first a long refectory on the ground floor. Its dimensions are a length of 155 feet, and a breadth of 16 feet 6 inches. But it is a very

humble place when compared to the magnificent dining halls at Cambridge, and it is not more than 14 feet in height. The ceiling is vaulted, and like the walls is whitewashed over; the apartment is well lit and is cool in summer. Two rows of narrow tables extend down it, and on the west side is the throne and the canopy of the Katholikos, both in carved wood. Should he join the monks at dinner, his table is spread beneath the canopy. Parallel with this refectory and facing the outhouses on the south is placed a similar chamber for the servants, a part of the space upon the east being occupied by the kitchen. The storey above the refectories is tenanted by the library, while the eastern portion of the buildings is taken up by granaries and store rooms both on the ground and upper floors.

Except for the pilgrims' court, with adjacent structures, and the garden of the Katholikos — the one on the southern, the other on the south-western side — the space between the outer wall and the great court is for the most part vacant ground. What edifices there have been raised within it are of an unsubstantial character, and may have been allowed to fall into ruin. The fine sites which are thus forthcoming are being rapidly utilised, and I have already referred to the row of buildings which will extend the great court upon the east and which at the time of our visit were approaching completion. In a line with this new block, in which red and grey stones diversify the masonry, is situated further south the house which lodges the printing press, a solid stone structure. The transformation of Edgmiatsin from a residence of ignorant monks into a seat of education, the home of cultured men, is proceeding year by year ; and it is even possible that the bricks and mortar, or, to speak more correctly, the excellent masonry is in advance of the needs which it is intended to supply. Wealthy Armenians are fond of endowing the famous cloister, for which' they do not need the incitement of meetings at some Devonshire House. But the form of gift dearest to them is the erection of a building, which stands there so that all may see. This preference for the concrete and visible is deeply ingrained in them, and they are able to gratify it owing to the great skill of the Armenian masons. Plans were shown me which provided a palace for the Katholikos and the rebuilding of the north side of the quadrangle. These, I believe, have already been decided upon, one of our party at the private table of the Katholikos having provided the greater part of the

funds. I was also invited to look at some very elaborate drawings for the enlargement and adornment of the church. No sooner had they been handed round than one of the guests of His Holiness expressed his readiness to defray the cost. Speaking as one who came fresh to Edgmiatsin, I did my best to dissuade the acceptance of this last project. To enlarge the church would be to dwarf the fine proportions of the court ; indeed the contrary course would be well-advised. One would not very much regret the abolition of the portal, while the excrescence on the east, containing the treasury and room of relics, should certainly be pulled down. His Holiness favoured the idea of erecting a new church outside the walls, to supplement the space available in the present building.

Each day as we mounted our staircase, which exactly recalled its sad Cambridge counterparts, I was struck by the resemblance of my new surroundings to those among which I had grown up in the Old Court of Trinity, with the sky and the fountain and the adjacent cloister, where the glory of the foliage and lawn and river is spread in mystery beyond the trellis screens.

Extremely pleasant is the stroll round this spacious basin, which is due to the refinement of Nerses V. (1761-1 857). It is situated just outside and south of the cloister ; and while from one side the view discloses the dome and a cupola of the cathedral (Fig. 50)

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https://archive.org/details/armeniatravelsst01lync/page/247/mode/1up?view=theater on Khrimian: I do not remember having ever seen a more handsome and engaging face ; and I experienced a thrill of pleasure at the mere fact of sitting beside him and seeing the smile, which was evidently habitual to those features, play around the limpid brown eyes. The voice too is one of great sweetness, and the manner a quiet dignity with strength behind. The footmen and the dais and the antechamber were soon forgotten in this presence — forms necessary to little men and perhaps useful to their superiors, though they are always kicking them off when they are not stumbling among their folds. Happily the temperament....

Renovation
https://www.aravot.am/2024/05/24/1421548/; https://www.youtube.com/watch?v=i49ZUZDUCyg; https://archive.ph/Kpl7v; https://web.archive.org/web/20240524164635/https://www.aravot.am/2024/05/24/1421548/

«Տաճարի վերաբացման, վերաօծման և Մյուռոնօրհնության արարողությունները նախատեսված են սեպտեմբերի 30-ից հոկտեմբերի 3-ը ընկած ժամանակահատվածում, իսկ մնացյալ կազմակերպչական հարցերը՝ հյուրի, արարողությունների, միջոցառումների մասով դեռ քննարկման փուլում են: Հիմա հստակ ոչինչ ասել չենք կարող»,-ասաց Մայր Աթոռի Տեղեկատվական համակարգի տնօրենը։

2022 / «Մայր տաճարը հիմնովին վերանորոգման է ենթարկվել՝ հիմքերից մինչեւ գմբեթի խաչը». Մուշեղ սրբազան https://www.aravot.am/2022/09/06/1289346/ https://web.archive.org/web/20230103190034/https://www.aravot.am/2022/09/06/1289346/

Նորացվող Մայր Տաճարը, ինֆորմատիվ հաղորդում https://www.youtube.com/watch?v=vGteFlhYvwc

Նորոգվում են Ս. Էջմիածնի մայր տաճարի հյուսիսային և հարավային խորանները https://www.shoghakat.am/am/telecasts/25600

https://www.shoghakat.am/am/telecasts/25657 Ս․ Էջմիածնի Մայր Տաճարի նորոգումը https://www.facebook.com/watch/?v=638646287550515

https://www.youtube.com/watch?v=mBLtSC6eaH0&ab_channel=MotherSeeofHolyEtchmiadzin Մայր Տաճարի վերաօծման եւ Մյուռոնօրհնության արարողությունները տեղի կունենան սեպտեմբերի 28-ին և 29-ին

https://hy.armradio.am/archives/554269 Մայր Տաճարի վերաօծման եւ Մյուռոնօրհնության արարողությունները տեղի կունենան սեպտեմբերի 28-ին և 29-ին