Video Close  
  Svenska
 
  Monuments
Church/Monastery :: Gandzasar  
 
Gandzasar Monastery

 
Information
 
The monastic complex of Gandzasar is situated on the heights above and to the south-west of the village of Vank in the Mardakert district of autonomous region of Karabakh.

The monastery lies in the western part of the Khatchen Valley, which it completely dominates. It can be seen from a great distance not only on account of its lofty position but also because of its colour (1, 2). The church is built in the local reddish tufa which with time has become brownish in tone, contrasting it with the dull green background of the mountain forest lying behind it.

The complex comprises the church, a gavit, living accommodation and service quarters and a two-storey school erected in the 19th century. In the centre of a walled quadrangular-shaped area, the most important buildings , the church and the gavit , stand free, while the others are positioned against the north and east walls (3, 4). The site is on a slight slope from north-west to south-east and, for this reason, the walls act as earthwork bastions.

The main building at Gandzasar, the church dedicated to St. Hovhannes Mkrtitch (St. John the Baptist) (1216-1238), has a rectangular exterior plan and is cruciform inside, with two-storey chambers in the four corners. Like many other Armenian buildings of the 10th-14th centuries (6, 7, 8), this church too has been wrongly defined as a domed cruciform church or domed-hall. This traditional type of Armenian monastic church was first built in the 10th century and flourished widely in the 13th.

In the latter century, apart from Gandzasar, there were a series of churches constructed with the same rectangular-cruciform ground plan and four corner chambers in the monasteries of Geghart, Amaghou Noravank, Hovhannavank, Saghmosavank, Haritchavank, Khorakert and many others. The main church of Dadivank, also in the great religious and cultural centre of the domain of Khatchen, was of the same type and from the same century.

The Gandzasar church is not very large: the exterior measures 11.8 by 17.4 metres. The ratio of 1:1.48 between width and length makes the building longer than similar 13th century churches. This is due to the shorter inner lengths of the north and south arms. The dome is exactly in the centre of the building, so the west arm is long and the chambers long and narrow. The chambers to the east are illuminated by the windows that open on the east facade. The entrance to the ground floor chambers is from the hall, while the entrance to those on the first floor is from the bema by means of a stairway with stone parapet. The rooms to the west get their light from windows opening on the north and south sides of the church; access to them is from the west arm and the first floor is reached by means of stairs with a stone parapet and stalactite decorations. The hall is illuminated by three large windows on the perimeter walls, north, south and east; the east window is cut into the semi-cylindrical surface of the apse, while the one on the west was closed when the gavit was built. In conjunction with the windows of the drum of the dome, they provide the church with sufficient light.

The Gandzasar church is richly decorated both inside and out (9-14). The slightly pointed arches that support the dome are decorated with a series of %ABteeth%BB (north and south) and a series of small semicircular arches (east and west). In the lower corners, there are decorations with geometrical motifs (circles, stars, squares); at the top, however, right below the dome, there are reliefs depicting a bull, ram and eagle typical of medieval Armenian art.
On the inside, the dome is cylindrical, articulated by eight pairs of half-columns connected by small arches (15, 16). The side of the bema facing the hall bears particularly rich and delicate decoration: it is edged all around by interweaving motifs and a fascia, the middle part of which is decorated with losanges and triangles. In turn, the losanges are embellished with ever different and complicated interweaving motifs. Similar decoration is also found on the 13th century bema in the main church at Haritchavank. The external shape of the Gandzasar church, the disposition of its masses and, especially, its decoration clearly show how intent the architect was on giving the building a majestic, monumental aspect in order to display the power of the principality of Khatchen and the position and authority of its lord, Hasan-Djalal, over all Armenia (17, 18, 19, 20).

The church is tall and graceful in profile with its predominant and central dome. On each of three facades (east, north and south) there are a pair of triangular-section niches, essential architectural features of Armenian churches of this type. The value of the niches is both constructive and artistic: they embellish the shape of the building and reinforce the expressiveness of the facade while lightening the mass of the perimeter walls. The frontages of the church, which stand on a stepped base, are decorated with ornate arches resting on pairs of half-columns. The central arches, about double the width of the side ones, are taller and also incorporate windows. The facade is decorated with a series of blind arcades, a characteristic feature of medieval Armenian architecture, dating back to 7th century monuments. This artistic expedient was further developed in the 9th-11th centuries at Ani, capital of the Bagratouni kingdom, and continued to be used even later, in the 12th-14th centuries. The most important and meaningful architectural feature of the Gandzasar church is the dome , with its decoration, it occupies an exceptional position in the history of Armenian art. In its proportions too, with its polyhedral drum and umbrella roofing, it dominates the whole volume of the church. The drum has sixteen faces, each ending in a small tympanum and each heightened by groups of half-columns with bases and capitals. On the sides oriented in the cardinal directions, long, narrow windows open, while on the north-east, south-east and south-west faces, the windows are round and inscribed in a square frame with decorative reliefs. The other faces of the drum bear triangular niches with half-columns in the middle and different sculptured figures.

The reliefs on the dome of the Gandzasar church are not only original examples of decoration but are individually significant in their content. On the two western sides of the drum are two sculpted images depicting a pair of seated men of oriental style, holding models of two churches above their heads (26). One of the churches is Gandzasar, the other Vadzar. Nothing remains of this latter church except written testimony; the model, however, enables us to get an idea of what it was like: a circular disposition of masses, centrally planned, rather similar to the church of the Saviour at Ani. Stone models of churches are very widespread in medieval Armenian architecture. They may be divided into four groups according to their meaning and function: representations of donor-patrons, reliquaries, pediment decoration and, lastly, design prototypes (P. Cuneo). The models on the drum of the Gandzasar dome, with their donor-reliefs, belong to the first group; other examples may be found in a number of Armenian monasteries: Aghtamar, Haghpat, Sanahin, Haritchavank, Haghartzin, Dadivank. But the donation scenes and models at Gandzasar are absolutely original in style, and have no equal in medieval Armenian art.

The type of model used for pediment decoration is also to be found in this church. At the peak of each of the four facades of the building rise different models depicting small domes. This type too is widespread in monastic complexes (St. Grigor Bardzarakash, Haritchavank, Geghart, Amaghou Noravank).
On the face of the drum between the two reliefs are sculptured the figures of Christ and, below, Adam and Eve (19). They form a single scene, the centre being occupied by Christ. There is a similar group on the southern side of the dome. Here, again arranged in symmetrical mode, are the figures of kneeling, hafoed men (probably Apostles) turned towards the Virgin depicted in the tympanum on the central section of the drum. This subdivision of unitary structures, that is, where the figures are separated from one another by architectural elements, is a novelty in 12th-13th century Armenian art.
There is yet another interesting relief on the west facade of the church of great artistic value: a crucifixion, which after the construction of the gavit, is fully visible only from the gavit roof. At the sides of the broad cross, decorated with plaiting, are two kneeling men turning towards Christ, rather similar to the patron-builders on the dome (23, 25). The Gandzasar church has many other relief figures: the head of a bull and an eagle with outstretched wings on the dome; a bird in archaic style on the west wall; and a partridge on the south wall. As we have seen, the Gandzasar church, with its extremely rich decorations, an abundance of reliefs and its structural originality, holds a rather special place in 12th-13th centuries Armenian architecture. Builders of this period focused most of their attention on exterior architecture, thus, decoration becomes more important. The phenomenon had already started in the 10th-11th centuries (especially at Ani) but reached its culmination in the following two centuries, when the use of polychrome effects began marking a step forward in the new %ABpictorial%BB style of architecture. The style flourished not only in Transcaucasia but also in the Balkans, Eastern Europe and Central Asia. As can be seen, this phenomenon affected countries with different political-administrative structures and different religions. Some believe the phenomenon is related to the development of these countries and emerged from the secular culture of medieval cities (A. Jakobson). And since this style is somewhat intermediate in ecclesiastical architecture, it is within this very sphere that it flourished most. Churches in Armenian monastic complexes and secular buildings of the 13th century reveal richly decorated exteriors with ornate, figurative reliefs and the use of polychrome stone. In this ambit, apart from Gandzasar, one may mention the churches and gavit of Dadivank, Goshavank, Haritchavank, Geghart, Hovhannavank, MakaraVank and Amaghou Noravank, all of the 13th century.

Particularly close to Gandzasar in its exterior decoration is the main church at Haritchavank which is attributed to the same school of architecture. At Haritchavank too, there are reliefs of builders, the model of the church on the pediment and reliefs of birds, while the facades are richly decorated with plaiting. It has already been mentioned that this kind of decoration is closely linked with monuments in Ani. As for the abundance of the figurative reliefs at Gandzasar, one may recall that this aspect too originated in early medieval art; the church of the Holy Cross at Aghtamar (10th century) is, on account of the exceptional number of figurative reliefs there, the outstanding example of external sculptural relief. This decorational heritage, to one extent or another, is revealed in the main buildings of Armenian architectural complexes in the 12th-14th centuries, especially in the decorations at Gandzasar.

Let us also recall that in the nearby region of Siunik there is a monument, somewhat neglected in specialized literature, that is equally noteworthy for the abundance of its figurative reliefs: it is the church of Bgheno Noravank (11th century). The reliefs at Bgheno Noravank too %ABare greatly significant for a study of the history of Armenian art and, after Aghtamar, it is the only building with such a wealth of the plastic arts in Armenia%BB (S. Mnatsakanian). Thus, these three monuments , Aghtamar, Bgheno Noravank and Gandzasar , though perhaps exceptions, represent the most important and indelible stages in the development of Armenian art, being faithful to it and having roots deeply set in its centuries-old history.

The gavit in the Gandzasar monastery (1240-1266) is also outstanding among buildings of the same type on account of its architecture (34, 35). It consists of a quadrangular-plan hall, almost square (internal measurements are 11.85 by 13.45 metres), with a roof supported by two pairs of intersecting arches. This feature, typical of medieval Armenian art, was especially used in the architecture of 12th and 13th centuries gavits and zhamatouns. Examples of buildings using such crossed arches are the gavits of the church of Arak'elots (the Holy Apostles) at Ani (12th century), Horomayr, Haghpat, Khorakert, Deghdznut, Idjevan, the church of St. Sargis at Oushi, Arates and Nor VaragaVank, along with the refectories at Haghpat and Haghartzin (all 13th century). However, the Gandzasar gavit is rather special in the ground plan and disposition of structural masses. Added to the west of the main part, covered by cross arches, there is a complementary space separated from the central one by a pair of prismatic, monolithic columns with sixteen faces. The only other examples of this are to be found in the zhamatoun at Haghpat and the gavit at Mshkavank. At Haghpat, however, the shape is a little different: to the north and south, the main quadrangular space is completed by niche-like bays with vaulted roofing, whereas the central section of the roofing, defined by cross arches, is completed not with stalactites but, again, with a pair of intersecting arches. Very similar from this point of view is the gavit at Mshkavank which, it may be said, is a copy of it. This close resemblance between the Haghpat zhamatoun and the Mshkavank and Gandzasar gavits has led to suppositions that they are by the same architect (A. Jakobson). The decorated interior of the Gandzasar gavit is somewhat modest: the wall pillars and columns have simple bases and capitals (36-38), and the entrance portal to the church from the gavit is very simple (34, 35), while the decoration on the inside of the roofing is rather rich. The central section, as has been mentioned, bears a stalactite solution and ends with the classic opening (erdik) at its zenith (39-42); the west panels are decorated with reliefs, while the central panel, facing east, is decorated with a large cross. The exterior facades, built with blocks of dressed basalt, are also sober. The south panel is practically devoid of decoration and is enlivened only by the window openings; the smooth south facade has as its only decoration the modest portal and a simple window frame opening above it. Highly interesting are the greatly stylized panthers at the sides of the door. The most elaborate facade of the gavit is the west one, with its richly decorated portal. In actual fact, the entire facade acts as a background for the portal. At the sides of the door's quadrangular opening are bundles of half-columns with bases and capitals and a sharply profiled arch resting on them. In the tympanum, polychrome stone typical of Armenian art in this period is used: circles and semicircles in yellow stand out against the red background. A window is inserted above the portal and birds typical of medieval art are sculptured at the corners. The roofing of the gavit has four slopes and is covered in stone; in the middle, over the zenithal opening, stands the six-column lantern, a later addition of the restoration of 1907. The original bell-tower of the gavit must have been consonant with the dome of the church, both in form and wealth of decoration. This is shown by the fallen capital on the gavit roof, the style of which is similar to the capitals of the half-columns of the dome.
There, then, we have the church and the gavit of the Gandzasar monastery; two splendid monuments that well represent the canons of 13th century Armenian architecture.

In the Gandzasar complex, the buildings for living accommodation (17th century) are built against the north bastion. This is an excellent location, because the windows face south, towards the courtyard. There are eight cells, seven of them identical, while one at the west end is slightly different from the others. The cells are not large (interior measurements are 2.9 by 2.5 metres), made to house a single person. They are barrel-vaulted and constructed by joining blocks of rough-hewn, dressed basalt. The door and two windows of each cell open on the side facing the courtyard; one of the windows is near the door and the other, smaller one, which was also used for ventilation, is higher up, immediately below the vault. In all cells in Armenian monasteries, there is the hearth (bukhari) and niches in the walls (patrhan) to be used as storage-spaces.

Buildings for living accommodation in late-medieval Armenian monasteries are basically of two types. The most common is the type with pairs of rooms around an ordinary vaulted corridor. Examples are to be found at Tat'ev, GndeVank, Geghart, Havuts tar, Aghdjots Vank, Khor Virap and Amaras, in Artsakh. They are rather large and are intended for more than one occupant. The Gandzasar cells belong to the other type: small, for one person only, and each with its own entrance. The best example of this type is the Great Hermitage of Tat'ev (Metz Anapat), one of the most significant medieval architectural complexes in the region of Siunik.

Near the Gandzasar cells, towards the east, is the monastery refectory (1689). It has a structure typical of 17th and 18th centuries buildings of the same type: a long, vaulted construction with a hearth and the pantry nearby. Similar refectories are at the Tat'ev monastery, the Great Hermitage of Tat'ev, GndeVank, Khor Virap and so on. Its prototype is to be found in 12th-13th centuries Armenian architecture: long, vaulted buildings with bearing arches at Kobayr, Kirants Vank and Tegheniats Vank. But these are free-standing units, while the 17th and 18th centuries refectories form part of a complex of buildings and cannot be distinguished either by shape or size. The interior of the Gandzasar refectory is divided into internal bays. The half-columns do not reach the floor but stop some fifty centimetres above it. This was made necessary because of the need to place seats along the longitudinal wall. The seats must have been of wood since nothing remains of them. The decoration of the facade of the refectory facing the courtyard is quite sober: the portal has cylindrical half-columns, and figures of birds are sculptured on the sides of the service-room window.

The two-storey, vaulted building in the north-east corner of the Gandzasar complex was the bishop's residence. It is built in rough-hewn blocks of basalt and there is access from both the courtyard and the outside. The two-storey building used as a school (1898) had, towards the east, a wooden roof (now destroyed) and, on its west side, a wooden balcony facing the Khatchen valley.
The enclosure walls are in stone but, unlike many other Armenian monastery walls, they have no towers. There are three entrances to the complex: from the east, the west and the south. The latter was the most important, built in dressed stone and vaulted. About ten metres south-east of the porch is the square-planned, 18th century building that was the pilgrims' hospice.

South of the complex is the old cemetery where the most important religious and lay personalities of the region of Khatchen and, in the late Middle Ages, the famous melik', were buried. The secular buildings in the Gandzasar complex can not be compared in terms either of quality or architectural value with the two most important ones, the church and the gavit, which display all the creative discoveries and heritage Armenian art had accumulated over the centuries. We agree with A. Jacobson who said that Gandzasar is the %ABencyclopaedia of 13th century Armenian architecture%BB.

The Architecture of the Gandzasar Monastic Complex by Murad Hasratian

Ads