WORLD 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 9th
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.
