ARCHITECTURAL DEVELOPMENTS
BETWEEN THE XIITH AND XIVTH CENTURIES - PART I

NORAVANK MONASTERY. THE PYRAMIDAL STEP LATTER
FROM LEFT AND RIGHT PATH LEADING TO THE APEX

 S A C R E D       E N G I N E E R I N G

Written by Gevork Nazaryan
Some segments of The Architecture of Armenia from the Siuni Server.

In 1041 Ani was seized by the Byzantine Empire and 23 years later the invasion of the Seljuks brought a virtual end to building activities and cultural life of Armenia. At the end of the XIIth and the beginning of the XIIIth centuries, two Armenian commanders, Zakare and Ivane of the Zakarian nobles, led the Armeno-Georgian troops in liberation of Northern Armenia. Under the new situation the economy began to grow, which in its turn stimulated the construction of roads, bridges, caravan houses, hostelries, palaces and various other religious and secular buildings. Ani regained a portion of its lost prominence as an international trade center. In

IŠXAN CATHEDRAL. IXTH CENTURY.



CHARTRES CATHEDRAL IN FRANCE. XIITH CENTURY.
BASED ON ARMAN MASTER PATTERN.

THE ENIGMATIC LABYRINTH MAZE INSIDE THE CHARTRES CATHEDRAL

KHORAKERT PAIRS OF CROSSING ARCHES. 1257.

SIX CROSSING ARCHES OF KHORAKERT FORM
THE SYMBOL OF MACROCOSM [HEXAGRAM WITHIN A CIRCLE]
UPON THE INNER CROWN OF [WITHIN] THE CONIC DOME
[ARMAN SYMBOL OF THE  UNION OF THE CIRCLE/SPHERE AND TRIANGLE].

STATUE RELIEFS GRACING THE EXTERIOR AT CHARTRES

EŁVARD MAUSOLEUM.

EŁVARD MAUSOLEUM WITH THE BELL TOWER ON TOP.

PRIMORDIAL ANDROGYNOUS EA-[H]AYA [ENKI]
FIRE + WATER ON A GOTHIC CATHEDRAL.

MARMASHEN.

TAT‛EV MONASTERY IN THE BEAUTIFUL HIGHLANDS OF SIWNIK‛.

THE FREE STANDING COLUMN OBELISK [CAPPED BY A CROSS-STONE]
OF TAT‛EV FROM 895 THAT AMONG OTHER THINGS WAS A SEISMIC
SENSOR. TRUE TO ITS PURPOSE IT HAS WITHSTOOD THE
TEST OF TIME AND COUNTLESS MASSIVE EARTHQUAKES.
[TWO EX. OF ARCHES OF THE MONASTERY BELOW]

KECHARIS. XI-XIIITH CENTURIES.

addition to a multitude of secular structures, new churches were built such as those of Tigran [Tigranes] Honents (1215), Bakhtagek [end of XIIth century] and the Desert of Virgins [XIIIth century]. The construction of new monastic complexes were further expanded

GOSHAVANK‛ MONASTERY.

NORAVANK‛ MONASTERY IN THE VAYOC‛ DZOR PROVINCE.

THE BREATHTAKING XIVTH CENTURY NORAVANK‛
MONASTERY IN THE ARMENIAN HIGHLANDS.

NORAVANK‛ CHURCH-SEPULCHER. ENTRANCE TO THE SECOND CIRCLE
[UPPER FLOOR] IN THE WESTERN SIDE. ABOUNDING DETAILED RELIEF.

NORAVANK‛ CHURCH-SEPULCHER. ENTRANCE TO THE FIRST CIRCLE
[LOWER FLOOR] IN THE WESTERN SIDE. ABOUNDING DETAILED RELIEF.

during the XIIth to XIIIth centuries. The new monasteries included such fine examples like -- Tatev, Sanahin, Haghpat, Khetskonk, Kecharis, Geghard, Haghartsin, Goshavank, Noravank, Saghmosavank.

CROSS-STONE FROM TAT‛EV MONASTERY. NOTE THE CUBIC FLOWER OF LIFE
[ETERNAL FEMININE] OUT WHICH EMERGES THE COSMIC AXIS-TREE OF LIFE
 [KNOWLEDGE] SOLAR CROSS [ETERNAL MASCULINE]. TIPS OF THE CROSS
IN THE FORM OF FLEUR-DE-LYS. SINGULARITY SPLITS INTO DUALITY [NOTE
THE LOVE BIRDS TWO PARENTS] AND INTO FOUR FOLD DIVISION [CROSS] AND INTO
EIGHTH FOLD PATH AS ONE. TWO LEAVES/CONES [PRIMORDIAL CHALDEAN-
ARARATIAN SYMB. OF HIGH PRIESTS] ABOVE THE CROSS. AT THE HEART OF THE
CRUX DOT WITHIN THE CIRCLE [GALACTIC CENTER]. THE ARCHETYPAL U-ESQUE
HORNS [BRANCHES] AT THE BOTTOM. ALL WITHIN THE GOLDEN MEAN RECTANGLE.

A GEOMETRIC MATRIX OF EQUATIONS AND SOLUTIONS
 
PRECISE MATHEMATIC CALCULATIONS OF THE OCTAGRAMIC PATTERN
MADE BY THE ARMENIAN MASTER ARCHITECTS
 PREVALENT THROUGHOUT ARMENIAN ARCHITECTURE.

B A G A R A N -- LIT. ABODE OF GOD.
C H U R C H  O F  ST.  THEODORE.
THE HOLY COSMIC MOUNTAIN-HIERARCHY.
A P E X   POINTING TOWARDS HEAVEN

ARCHES OVER LUSAMUTS [LIT. ENTRY OF LIGHT] WINDOWS. XTH CENTURY TAT‛EV
MONASTERY IN ENCHANTING AND BEAUTIFUL SIWNIK‛ [SYUNIK] PROVINCE. HOME TO
THE PRIMORDIAL KARAHUNJ-STONEHENDGE [CARBON 14 DATED TO 5,500 BC]
ASTRONOMICAL OBSERVATORY AND...AND THE [STILL POST ERA VULGARI SURVIVING]
ARMENIAN GNOSTIC AREVORDIS -- SONS OF SUN --THAT WOULD SHAKE THE EAST
AND ENLIGHTEN THE WEST AS EDWARD GIBBON NOTED IN HIS MONUMENTAL
THE RISE AND DECLINE OF ROMAN EMPIRE MULTIVOLUME MAGNUM OPUS.

TWO [AND TWO] SNAKES PASSING THROUGH THE ARCHES [ABOVE THE SUNBURST]
GUARDING THE GODHEAD OF THE MOST HIGH [DIVINE COSMIC CONSCIOUSNESS].
UNFOLDED ROSETTE-FLOWER OF LIFE AS THE SUNFLOWER MANDALA ABOVE.

ARCHES IN THE FORM OF SCALES SIGN OF THE ZODIAC SYMB. OF BALANCE AND
HARMONY NOTE THE FEMALE + MALE '6' AND '9' SHAPES ON EACH OF THE
SERPENTS...FROM TAT'EV IN THE SAME SACRED PATTERN. TWO SNAKES GUARDING
 THE KING AS THE HEAD OF THE NATION. WEARING THE SOLAR CORONA [RAYS
 EMANATING FROM THE HALO]. TWIN 8+8 ROSETTES ABOVE. TREE OF LIFE REP.
WITH VEGETATIVE LEAVES. BELOW IN THE FORM OF DOTTED 'VULVAS'.
THE ARCH BELOW INCLUDES A MOTIF OF THE 'FLEUR DE LYS' AND THE
TRINUNE [THREE CIRCLES/RINGS] AS CAPUT MORTEM [ALCHEM. HEAD]
ALONG WITH VEG. BRANCHES SYMB. OF LIFE AND FERTILITY.

Three, the number of the Trinity, is the number of octaves encoded in pi.  The law of octaves operates throughout the entire Universe. For example, the atomic scale of matter described by the periodic table of elements in chemistry conforms to this law precisely. Based on the atomic weight of a given substance, the table begins at its apex with hydrogen, the lightest of all elements, which has just one electron tracing a specific orbit, or period, around the nucleus. The heavier the element, the more electrons it hosts, and the more periods are needed to accommodate them. The table culminates with substances like curium, one of the densest of radioactive elements. The curium atom consists of ninety-six electrons, which between them trace a total of seven periods around the nucleus precisely the number of periods, or intervals,

between the fundamental notes of the major musical scale. The eighth, transcendental note of this atomic scale is the whole phenomenon, all atoms combined. All this, therefore, is crystallized music [frozen in time and space...], composed by manifested nature from units and sub-units of the constant number eight and its natural multiple, the square of the constant, sixty four.
THE CROSS-STONE [1220] ABOVE THE MAUSOLEUM [SEE BELOW] OF UK‛AN PRINCES
 IN THE HAŁPAT MONASTERY COMPLEX.

This same Universal Harmony is also reflected in the ever present number Seven [remember the Seventh sacred Essential letter of the Armenian Alphabet] of course, which again, as we see from the periodic table, is prevalent throughout the whole of nature. This is simply because it, too, is an expression of the law of octaves, which describes eight fundamental notes, but with seven intervals between.

F E W      I M P O R T A N T      E X A M P L E S

T  E  L  L  U  R  I  C     W  A  V  E  S     O  F     B  A  G  A  R  A  N

BAGARAN LIT. ABODE OF GOD -- HOLY GROUND
SPECIFICALLY CHOSEN FOR THE TELLURIC CURRENT
CHURCH OF ST. THEODORE HARMONIOUS [8]
SYNTHESIS OF PERFECT  SQUARES
WITHIN √2

SANAHIN MONASTERY SIDEVIEW. X-XIIITH CENTURY.

ANALYSIS OF THE BLUEPRINT KEY [COSMIC AXIS] BASED ON
THE BUILDING PRINCIPLES ALIGNED WITH EARTH'S GEOMAGNETIC GRIDS.

SANAHIN MONASTERY. X-XIIITH CENTURIES.

ARCHITECTURAL COMPLEX OF NOR-GETIK [GOSHAVANK‛]
ERECTED BETWEEN THE XIITH-XIIITH CENTURY.
NEAR THE VILLAGE OF GOSH, DILIJAN.
FOUNDED BY NON OTHER THAN MKHITAR GOSH --
THE GREAT PRINCE AND GIFTED AUTHOR OF NUMEROUS
ENCHANTING FABLES AND ALLEGORICAL PARABLES.

SAGHMOSAVANK‛ MONASTERY UPON THE HIGH CLIFFS OF THE BEAUTIFUL VISTA.

ENTRY TO THE EERIE MAUSOLEUM OF PROSHIAN NOBILITY
INSIDE THE CARVED CAVE OF THE GEŁARD MONASTERY

THE CLIFF ADJOINING THE CAVE-CARVED GEŁARD MONASTERY COVERED WITH
KHACHKAR-CROSS STONES THAT ARE CHISELED RIGHT INTO THE HIGH CLIFF
AS WELL AS FREESTANDING KHACHKARS PLACED INTO CAVE NICHES.
THE STAIRWAY PASSAGE LEADS TO THE SMALL CAVE OF HERMIT MONKS.
WHO USED IT FOR PRAYER AND SOLITARY MEDITATION. THE WHOLE MONASTERY
IS IMBUED WITH DEEP SACREDNESS AND IS A SANCTIFIED HOLY GROUND.

GENERAL PLAN OF THE ARCHITECTURAL ENSEMBLE OF GEŁARD [AYRIVANK‛].
THE ARMENIAN MASTER BUILDERS BROUGHT TO LIFE THE HOLY TEMPLE
BY CARVING IT OUT THE AMAZING MARVEL RIGHT OUT OF MASSIVE CLIFF.

HAŁARTSIN MONASTERY IN NORTHERN ARMENIA. XII-XIIITH CENTURIES.

In these monasteries, the cultural and educational institutions of the period were centered. The schools and universities of medieval Armenia were functioning in Tatev, Sanahin and Gladzor. The problems of site selection, whether for one or for a cluster of buildings, and the functional and aesthetic integration of the buildings with their natural surroundings were solved with great mastery. Whether

MŠAKAVANK‛ SANCTUM IN KOŁB. XII-XIIITH CENTURIES.

PROFOUND SYMBOLISM PLACED BY THE ARMENIAN MASTER BUILDERS UPON
THE OF MŠAKAVANK‛ MONASTERY. THE ARMENIAN CROSS [CRUX AXIS]
ON TOP OF THE ANCIENT ARMENIAN SYMBOL FOR HEAVEN/MACROCOSM [VERTICALLY
CENTER POLE CAPPED BY A RING/CIRCLE...THE REVERSE WITH
THE POLE IS ON TOP OF THE CIRCLE REPRESENT MICROCOSM
DIVINE RAY ENTERING MAN]...CIRCLE THAT CONTAINS ANOTHER
CIRCLE WITHIN THAT CONTAINS FIVE UPWARD POINTING PENTAGRAMS
THE UNITE FORM A PENTAGON THAT IN THE CENTER/HEART CONTAINS ANOTHER
PENTAGRAM POINTING DOWNWARD [SPIRIT ENTERING MAN...DIRECTLY POINTING
TOWARDS THE VERTICAL POLE...GOING THROUGH THE MIDDLE OF THE CIRCLE
AND UNITING WITH THE CROSS IN THE FORM OF UPWARD POINTING ARROW]
THE CROSS IS SPLIT [AS WERE MANY ARMENIAN CROSSES]...TIPS OF THE
CROSS ON TOP AND RIGHT AND LEFT WINGS ARE DECORATED WITH THE
'FLEUR-DE-LIS' WHICH IS THE FLAME [ARNANDAM [MASC.] + ARGAND [FEM.]
VULVA + PHALLUS...LINGAM + YONI ETC. UNION]
TIPPED BY TWO CIRCLES [TIPS ARE ALSO ADORNED WITH ONE OR
MORE OFTEN TRI CIRCLES/DOTS [TRIUNE...DAWN/SUNRISE...HIGH NOON/MIDDAY...
DUSK/SUNSET]...NOTE THE HORNED BULL HEAD STANDING FOR CELESTIAL TAURUS...
THE CHURCH OF THE SHAPE OVERALL IS PENTAGONAL [FIVE SIDED] AND THE
UPWARD POINTING CROWN IS IN THE FORM OF A DELTA WHICH CONTAINS
THE SUBLIME CRUX AXIS THAT EMANATES FROM THE ARCH OF THE LUSAMUT
[ENTRY POINT OF LIGHT]

COSMIC SYMBOLS OF THE MACROCOSM AND THE MICROCOSM...
[HEXAGRAM AND PENTAGRAM] WITHIN CONVERGING-DIVERGING --
TOP-BOTTOM TRIANGULAR WAVES ON  THE ALTAR OF MŠAKAVANK‛
MONASTERY...COLUMNED ARCH WITHIN Π.

MARKINGS OF THE ARMENIAN MASTER
BUILDERS FROM BAŁANIS.

CLOSE UP SECTION OF THE BEAUTIFUL SACRED RELIEFS GRACING
THE GEŁARD ENTRY ARCH GATE.

THE TREE OF LIFE WITH PROFOUND COSMIC SYMBOLISM
ON THE ARCHWAY ENTRY DOOR OF GEŁARD. INTERTWINED PAIRS
OF POMEGRANATES, GRAPES AND FIVE-POINT [ON + ONE STEM]
GRAPE LEAVES...NOTE THE A SHAPE BRANCH STEM INTERLACED WITH A V
SHAPED VULVA STEMS...FOUR SECTIONS OF THE COSMIC TREE
DIVIDE INTO TWO 11 [5 + 6] + 11 [5 + 6] SECTIONS...COSMIC GATEWAY...
THE CENTRAL SPINE OF THE TREE IS INTERWOVEN...CAPPED BY
A STYLIZED SYMBOL OF INFINITI [TWO SPIRALS SPINNING RIGHT AND
LEFT ON THE TWO INNER [LONGER...]SHAFTS...[SEE IMMEDIATELY BELOW
THE HARMONIOUS/GOLDEN MEAN PI GATE]

ONE OF THE INTRICATELY CARVED [SOUTHERN] DOORWAYS OF GEŁARD [AYRIVANK]
MONASTERY WITH TERRESTRIAL + CELESTIAL SYMBOLISM. HEAVEN + EARTH
TRIANGLE/RHOMBI, OCTAGONAL MATRIX, HYDROGEN HEXAGONAL ASTERISK...
WITHIN Π ARCHWAY SUPPORTED BY TWIN PILLARS...CROWNED WITH
THE POMEGRANATE + GRAPES TREE OF LIFE THAT HAS ON TOP THE
TWO BIRDS FACING EACH [PRIMORDIAL COUPLE OF CREATION].

MONUMENT OF A GUARDIAN LEOPARD ON ONE OF THE SERPENTINE ALPINE ROADS
LEADING TO THE CAVE MONASTERY OF GEŁARD [HOLY LANCE].

the monuments [as was often the case] were located in the open plain or on the hillside of a mountain, in the forest or atop of a rocky cliff. Their grand and noble design completed their natural backdrop and appeared to be part of the natural environment. In the monastic complexes, the principal structure was the church (domed enclosure) which stood out by its sheer size and dominated its

surroundings. Attached to the western side of the church were the porch and various other adjoining buildings whose arrangement was usually dictated by local custom. The buildings included the refectory, library, belfry, cloisters, auxiliary units and memorials. The

PŁNDZAHANK‛ MONASTERY. X-XIIITH CENTURY.

PAIRS OF CROSSING ARCHES IN HAGHPAT FOYER.

HAGHPAT MONASTERY ROOFSCAPE.


RELIEF OF THE PATRON PRINCES ON THE EASTERN FAÇADE OF THE CHURCH OF
THE HOLY CROSS OF THE HAŁPAT MONASTERY COMPLEX. THE BENEFACTORS
 ARE SYMBOLICALLY HOLDING/ SUPPORTING THE CHURCH [MODEL].

SOLAR GATE. WESTERN ENTRANCE TO THE MAIN GAVIT‛ OF HAŁPAT MONASTERY.
SEPULCHER OF UK‛AN PRINCES IN THE HAŁPAT MONASTERY COMPLEX.
THE MAUSOLEUM IS COVERED WITH SACRED ARMIN SYMBOLS.

entire complex was enclosed by a rampart and was as impregnable as a fortress. Church porches are a structural element characteristic to traditional Armenian architecture, beginning from the Xth century and onwards. Their significance is partly religious and partly secular.

3-DIMENSIONAL SKETCH OF
THE HAGHPAT MONASTERY

RUINS OF HOVHANNAVANK MONASTERY.

The porches are related in concert as well as in style to Armenian domestic dwellings, but in actuality they are monumental masonry structures. Foremost examples are Horomos, Geghard, Haghpat, Makaravank, Saghmosavank, Arades, etc.

UNIVERSAL LAW OF THREES

MANIFESTATION OF THE TRIFORCE IN THE
TRADITIONAL ARMENIAN ARCHITECTURE