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| The Cross Stones |
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Etchmiadzin |
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A unique manifestation of Armenian medieval national art is comprised by the monuments called Khachkars or cross stones which were used widely in Armenia.
There are found in Armenia prehistoric menhirs or monoliths which had ceremonial significance in the pagan religion. The structures called "Dragon" are also monuments of this type; they are shaped like fish and are related to the worship of Astghik, goddess of water. The use of such monuments continued during the pre-Christian period; some survived to the early Christian period (4th to 5th centuries) and served as the models for rectangular, column-like monuments bearing the sign of the cross.
Following the conversion to Christianity, the wooden cross - symbol of the new faith - was erected in the various shrines of Armenia. The earliest attempts to replace the wooden cross with a stone cross date back to the period between the 4th and 7th centuries. These are represented by the "winged crosses" found during the excavation of Dvin; they served as basis for a unique Armenian art form - the cross stones.
Beginning in the 9th century, the cities of Armenia (Ani, Lori, Kars, Van) experienced a dynamic growth. New monasteries and convents were founded as well. It was during this period that the cross stones appeared. The oldest cross stones known to us are from the 9th to 10th centuries.
The cross stones were used for a variety of meanings and purposes. They were erected on different occasions: to mark military victories, to commemorate an event of historical significance, to dedicate the conclusion of the construction of churches, fountains, bridges, and other structures.
Cross stones were also erected on the occasion of renovating churches or making donations to monasteries. Cross stones were affixed to the walls of numerous churches.
Cross stones have served predominantly as gravestones. Cross stones erected for that purpose are numerous.
Forming a separate group are the so-called amenaprkich or all-savior cross stones, distinguished from others by a carving at the top of the crucifixion scene. The people have ascribed healing qualities to these and converted them to shrines.
Cross stones are also valuable for their inscriptions which often contain important historical information. Thus cross stones also constitute important documents in the history of the Armenian people.
In the cross stone inscriptions we begin encountering the names of the masters making them beginning with the 12th century. The most famous master of that period was Mkhitar who, with his apprentice Averts, carved the cross stone of Dudevordi. Many of the cross stone masters were also famous architects who built and decorated cathedrals. It is sufficient to mention here the name of the miniaturist, architect, and sculptor Momik who worked in the Vayots Dzor area of the Syunik region during 1282-1321. Cross stones carved by him can be found at Noravank (Amaghu), in Vayots Dzor.
The cross stones in Goshavank (1291), by master Poghos, as well as that in the yard of Geghardavank (1213), by masters Dimot and Mkhitar, are recognized as masterpieces. We should also mention the master stoneworker Vahram, creator of the cross stones of Haghbat and the Amenaprkich of Dsegh, who gave new form and content to the decoration of cross stones.
The natural process of the development of Armenian cross stone art was interrupted as a consequence of Seljuk and Mongol invasions.
During the 16th and 17th centuries, when Armenia was partitioned between Turkey and Iran for the last time, the practice of erecting cross stones experienced a certain vitality, although it did not attain the high artistic standards of the medieval period. Cross stones from this period are numerous.
Samples of the latest phase in the evolution of cross stone art are those in the graveyards of Old Julfa, Kamo, and Noraduz. The thousands of cross stones erected between the 16th and 18th centuries in the Old Julfa cemetery occupy a special place in the history of Armenian cross stone art because of the uniqueness of the collection.
Cross stones constitute an integral dimension of Armenian sculptural art; with their high artistic standards and strong national character, they are an expression of the Christian faith and high esthetic taste of the culture of the Armenian people and as such occupy a worthy position in the treasury of international art.
The cross stones placed at the Etchmiadzin monastery are unique samples collected from various regions of Armenia during the past 20 years.SOUREN SAGHOUMIAN
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