Indeed, during the Middle Ages, architecture was considered the highest and most noble professions and all other professions were regarded as its inferiors, so that painters and carpenters worked for the "master", in other words the master builder.
In researching architecture, which could be considered the most telling indicator of a nation's creating power and imagination, we can trace the timeline of Armenian civilisation, which at this point was reaching the peak of its glory.
The rulers of Bagratouni Armenia were tireless builders. They spent most of the public treasury budget and the revenue of the country in creating new buildings.
One of the most outstanding examples is the magnificent cathedral in the city of Ani, which was built between 989-1001, under the supervision of the famous architect Tiridat (who was later called to Constantinople to repair the cathedral of St Sophia). Even the churches of St Grigor (built around 1000) and St Apostle (end of the 10th century) and the monasteries of St Grigor and The Saviour (1035) are testaments to the flourishing architectural school in Armenia.
Besides the beautiful buildings in Ani, one should mention the church of Akhtamar (915-921), located on the island with the same name in Lake Van; it is reputed that the church of Jean Goujon in Paris is a copy of Akhtamar. Other impressive buildings include the church in Marmashen (998-1029), St Ohannes in Koskavank (1020-1040), St Grigor in Daratchitchag (1033), the Church of the Holy Apostle in Kars, the Cathedral in Argina, the Sion Church in Ateni and many others.
To this list we can add many more churches in Georgia which are remains from the 10th and the 11th centuries, built according to the style of the Armenian school of architecture.
According to Charles Diehl, the finesse which can be seen in religious and historical buildings in Armenia, is evidence of the development of Armenian architecture between the 9th and 12th centuries – both in its wealth of styles and forms, but also in the artistic and intricate work, engraved onto these buildings. The buildings from this period constitute a very special collection which is remarkable in various aspects. The artistic development during this period confirms the theory of Viollet le Due 134 who postulated a link between the art forms of the Middle Ages and the soul of the people among whom this art forms developed.
Strzygowski highlights on the original styles belonging to the Armenian creators. The drift of this style was the usage of cut stones, not only as a decorative coating or an exterior, but as a real chest. The cut stones which built the front exterior of the buildings were put on the first row. This collection built up the skeleton in which the mortar was poured in.
Wigram writes: "Ani shows that the Armenians were capable of developing and spreading their own original and peculiar form of architecture. Among their works we do not only see huge buildings, but what is interesting and original in the Armenian style of buildings from this period is the fact that they could build middle-sized buildings which arouse admiration in the viewer, and yet manipulate these middle-sized buildings in such a way as to make them appear as enormous and magnificent." 135
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