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 THE KATCHKARS

ART, METAPHYSICS AND THE HEALING POWERS OF ARMENIAN RELIGIOUS ART: THE KATCHKARS

 By Maximillien de Lafayette

THE SACRED STONE CARVED CROSSES AND HOLY ETHNIC ART

The most recognizable Armenian art is the traditional stone carving. The carving of Khatchkars is an artistic Armenian tradition. An Armenian trademark and monopoly. Khatchkar, literally means "cross-stone"; khatch means cross  and “kar” means  stone.  It refers to an upright basalt stone resting on  a rectangular base with its back facing eastward. It is a slab of stone  incorporating various patterns of carved crosses with inscriptions and  different designs pertaining to various epochs. The front of the basalt stab is always hosting a large cross carved in the center and surrounded with elaborate designs and symmetrical designs that vary from one katchkar to another. Each single katchkar is unique in its design, carving style and geometrical form. There are thousands and thousands of them in all sizes, forms, shapes and heights, ranging from two feet to nine feet plus. The small size katchkars are usually found carved or placed into churches and cathedrals walls, incorporated into niches or placed at church doorways. The larger ones are found everywhere. Many of them were  used as gravestones, tomb steles  and  monuments to commemorate events, completion of churches, military victories, life passages, to immortalize important events and achievements,  commemorate the liberation of lands and territories which were captured and usurped by the enemies, the re-capture of a city lost to hostile conquering foreign power, completion of churches, etc.. Most commonly, Khatchkars were used as religious monuments to commemorate the dead. Traditionally the deceased was buried in the tomb with the head directed toward the east, in the direction of a Khatchkar which was placed at his/her feet. Almost all katchkars, small and large include the name of the artist who carved the stone, the date he completed the work, the occasion or reason for which the slab was erected, as well as the name of the person, persons or family who commissioned the carving work, similar to the tradition that accompanied the illuminated manuscripts paintings. Thousands of these stone slabs still exist today in  Armenia, Turkey, Asfahan and Jerusalem.

THE RELATION BETWEEN THE KATCHKARS AND EARLY VISHAPS STONES AND NEOLITHIC OBELISKS:  Katchkars are not the first carved stones in Armenia. In the pre-historic times of Armenia, sculptured stones existed in the form of a very large and free-standing stone monuments of various forms and designs, usually taking the shape of a fish. They were called: Vishaps,  and were referred to as the “dragon stones”. They were regularly found nearby creeks, lakes, rivers and fountains due to their religious and worshiping relationship with water. In fact, early Armenians worshiped Astghik, the goddess of water. Vishaps can still be found in Erevan, nearby Arayr, Mt. Aragats and  mountain Geghama.

 

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The Khachkars can be traced to Armenian prehistoric monuments, and more accurately to the 5^th millennium B.C. Their earliest roots may be traced to the  gigantic polished black Neolithic obelisks Menhirs which appeared as early as 4,000 B.C. around Mokhra Blur near the capital Yerevan and to the colossal stones monuments found at Karahundj  which were enigmatic and unique, for they contained perforated holes with telescopic measurements and scientific  characteristics. Many astronomers believe that those massive stones are  a structural part of one of the world’s oldest astronomical observatory as well as a temple. More intriguing and fascinating features of those obelisks were studied and carefully examined by researchers and scholars. For instance, on those massive obelisks, universal signs of  paramount religious and scientific values appeared thousands of years before any other great civilization came to existence and or ever heard of. To name a few: The sun was represented by a swirling disc or wheel, an ancient Armenian symbol which first appeared in the Paleolithic period of 20,000 to 12,000 B.C., (a pre-cursor to all the sun symbols in all forthcoming religions and cults). The sign of the zodiac which can be traced to the 3^rd millennium B.C., (a pre-cursor to the Babylonian and Mesopotamian astrological calendars), The sign of the cross (a pre-cursor to the Roman cross, Egyptian cross, Christian cross).  The swastika (a pre-cursor to the Buddhism Nihayana and Mahayana sects). All those enigmatic signs and symbols were first found on ancient Armenian stones, obelisks, Menhirs, Vishaps, thousands of years before they re-surfaced again on monuments, obelisks, carved columns,  temples entrances, tombs, terra-cotta tablets, parchments, scrolls, military equipment, tools, instruments, shields, armors and various other edifices and objects of the world’s most advanced and less privileged civilizations and cultures.

Photos: Ancient Armenian Obelisks.

Ancient Armenian stones had already all the symbols and signs that one day… thousand years later will be used by empires, kingdoms, mighty nations, religions, men of art, science and wisdom as their own symbol and seal of accomplishments, advanced knowledge and supreme authority. Ancient Armenian pre-historic and pre-medieval stones depicted and created the first and the majority of signs and symbols of the world’s religions, mightiest empires, fields of science, arts and discoveries and  invincible kingdoms to be born. Ancient Armenians created and cemented the world’s first universal language and images of knowledge, science and arts through signs, symbols and graphic representations of the known and “what is to be discovered.” Ancient Armenian obelisks served other purposes and needs as well. For instance, they were used as the world’s first frontiers  stones by ancient civilizations including the Babylonians, Hittites and Mesopotamians to mark the frontiers of their territories. Nemruth, king of Babylonia used the ancient Armenian obelisks as boundary stones to mark the lands and territories of his kingdom.

KATCHKARS AND THE TREE OF LIFE

During  the Urarturian period,  the obelisks  were built from stone columns covered in cuneiform and incorporated a universal Khachkar symbol: The tree of life, which was represented by the Urarturians in a double set of eight branches crowned by three additional smaller branches at the top of the formation. Urarturians had another name for this symbol, frequently referred to as “THE TREE OF WISDOM” or “THE TREE OF KNOWLEDGE”.  Several of their inscriptions depicted a monarch or a God standing by the tree and reaching out for the branches. His attempt to reach the branches means his attempt to reach immortality or eternal life though wisdom and knowledge. The tree of life is mentioned in the Genesis in the Bible, but its use in ancient Armenian iconography can be traced back to the Metsamorian era (5,000 B.C.). This symbol was widely used as symbol of fecundity, abundance, eternity and resurrection  in the Middle and Near East countries and tribes. In Urartu, the tree of life as  a concept and a symbol of eternity, a the  immortality of the body and the soul was already de facto a common philosophico-religious belief and way ahead of all similar or identical beliefs to appear in the years to come in Eastern empires and kingdoms.

 

P. 108. History of the Civilization and Arts of Armenia from the Bronze Age to Present. By Maximillien de Lafayette. The Globe Weekly NewsWORLD OF ART

Photos: Vishapakar, "Dragon Stone," ca. 1200 B.C., found on Mt. Gegham, Sardarapat Museum.

THE GOLDEN ERA OF THE KATCHKARS KATCHKARS                                                      

  The dawn of the 9^th century commenced the golden era of the Katchkars. Armenian cities such as Lori, Kars, Ani and Van witnessed art revival, economic growth and prosperity in many endeavors and fields under the Bagratuni dynasty. It is precisely at that time in history that Katchkars became extremely popular and began to expand all over Armenia and cement a national-religious symbol in the heart and soul of Christian Armenians. Originally, they  came to life in Dvin, the ancient capital of Armenia and were called the “Winged Crosses”. They were made out of two media, wood and stone. The wooden ones were deteriorated by the elements of nature. Fortunately, a considerable number of stone carved Katchkars in the thousands survived. In addition to their decorative appeal and ornamental value, Katchkars offered multiple use spectrum for all occasions including but not limited to religious, secular and military events as well. They were in demand by all the sectors of the Armenian life. In addition to their original religious and theistic symbols and use, Katchkars gained ground in the fields of “commemoration.” Grand events, military conquests and victories, birth, marriage and death of a dignitary, a general, a monarch, laying the foundation of a church, a cathedral, building a fortress and any other event of importance were commemorated and recorded with Katchkars. Another effective and practical use of the Katchkars was the historical chronicle of events. In this context, they served individuals, families and the nation as a source of information, recording tool and archives of important events for generations to come. Katchkars contained all sorts of information and news about contemporary issues, occasions, events, accomplishments, military campaigns, families conditions and related and unrelated occasions surrounding the carving work. And, because Katchkars included names of those who commissioned the work as well as those artists and artisans who carved the stones, name of illustrious artists and stone carvers like Avetis, Dimit and Momik became household names and familiar to us.

THE DESTRUCTION OF THE KATCHKARS BY THE PERSIANS AND THE SELJUKS

Those were the traditional “Cross Stones”. Another type of Khachkars was the Amenaprkich or the “Healing Crossed Stones”, frequently referred to as “The All Savior Crossed Stones”.  Style-wise, they were different from the traditional crossed stones because of  added carving motifs to the top of the crucifixion scene, instead of a regular bare cross carving of earlier Katchkars styles. The most elegant and impressive Katchkars were made around 1273 and are currently preserved at Haghpat monastery.  Because of the popular belief in their healing powers, Armenians converted them into shrines and symbol of “Divine Protection” against all evils and mishaps. They represented the Armenian religious fervor and deep rooted faith in Jesus Christ and the Resurrection. They have become the national symbol of patriotism and Christianity in the heart, the soul and the mind of Armenians wherever they are!! More than once, Katchkars  were destroyed by invading powers. Unfortunately, the healing and divine powers vested in those carved stones did not protect them from the barbarism, destruction and atrocity of the Seljuk Turks who decimated the country and ravaged the lands. In 1,604, Persian Shah Abbas destroyed 95% of  Armenia’s Katchkars and the ferocious Azeni was responsible for the total destruction of the Katchkars in Jugha city located in Nakhichevan, for he ordered his troops to smash all the Katchkars and dump them in Arax river.

 

 

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THE RELIGIOUS MEANING OF THE KATCHKARS AND RELATED HEALING POWERS

Khatchkars represent the eternal life through the Resurrection of Jesus Christ. The carved roses surrounding the cross mounted in the center of the slab symbolize the everlasting life. Thus, the Katchkars become a reminder of the eternal life after death through the unification with the savior Jesus Christ. Khatchkars symbolize a religious fervor and a great faith in Jesus Christ. As such, they became a protection instrument against evil and bad spirits and consequently gained in the mind of the population a supra-natural and divine healing power. It is well-known that, deeply religious Armenians, strongly  believe in the divine power of the Katchkars, and in the protection they provide against catastrophes, illness, bad luck, droughts and earthquakes. Armenians are very religious. For centuries, they were the defenders of Christianity. Thanks to the Armenians, Georgians and Greeks, Christianity survived in Anatolia, Asia Minor and the Middle East. Armenia is the first CHRISTIAN EMPIRE.

THE BLESSED IRON CHANDELIER UNDER THE DOME OF GUYANEH CHURCH.   The Famous Chandelier of Guyaneh Church.

MYTH, FICTION OR REALITY? YOU FIGURE IT OUT! Just under the dome of Guyaneh church, there is an iron chandelier (designed as a ring of doves) that occupies an honorable place in the history of Armenian religious folklore and traditions of Christian Armenia. Legend has it that the center point directly located below the dome of the church that coincides with the center of the iron chandelier is the location where a stream of bright light taking the shape of a cross appeared to Grigor in his visions. The light emanating from that center revealed to Grigor the exact  location of Guyaneh's relics. The legend ads the apparition of another bright white light which emerged from the location where Hripsimeh was buried situated directly below  the center of the dome. That center point is believed by church workers and artisans to possess healing powers capable of curing diseases and illnesses. They ascertained that many terminally ill patients and church’s visitors who had seizures and incurable diseases were cured instantly upon passing under the chandelier. Others who are less than believers claimed that indeed, they did feel  a sort of energy beams slightly touching their bodies upon standing for a few seconds directly under the chandelier. Believe it or not! The same thing goes for the Katchkars. The older Armenian generation firmly believes that those carved stones possess an enormous healing power granted by God himself.

 

 

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SYMBOLISM IN THE PATTERNS AND  DESIGNS

The earliest examples from the ninth, tenth and eleventh centuries are usually sober and rigid in their design, yet often elegant in execution. The cross is always framed by an elaborate  and sophisticated carving band and sometimes surmounted by an arch, typically Armenian. This very arch architectural design will one day influence the European architecture of cathedrals, basilicas, churches, palaces and courts. The carved stones were characterized by small carved circles which were placed at the corners of the concave ends of each of the four arms of the cross in a very symbolic composition. Those circles represented the directions and zone of the wind and forces of the earth. Later in time, alchemists will interpret this architectural composition as and esoteric enlightenment map or gateway.Leaves sprout upwards from each side of the base of the cross of a khachkar represent life and the energy of the universe through faith in the Savior. The cross of the Crucifixion was thought to be made from the Tree of Life. Later in history, the Cathares and the Templars will add more esoteric and metaphysical interpretation to its divine power. The Crusaders adopted a varied form of the Armenian Cross and placed it on their shields, armors and robes. They strongly believed that the carved Cross had supra powers.

 

 

 

 

 

 

 

 

 

Photos from L to R: #1: Guyaneh Katchkar. #2.  15^th century-16^th century Katchkars at Julfa Cemetery, Nakhichevan in Azerbaijan. Photo Credits: Center for Study and Documentation of Armenian Civilization, Milan

 

Photos from L to R: #1. Khatchkar carved by Pavghos, Gochavank, 1291. #2. Khatchkar, Echmiadzin Cathedral, 11^th century.  #3. “All-Savior" Khatchkar, Urtz, 1279.