Kecharis Monastery
Kecharis is a remarkable 11-13-th century architectural ensemble of Armenia, located on the northwestern extremity of the Tsaghkadzor. Resort Tsaghkadzor lies in a picturesque valley on the eastern slope of mount Tsaghkunyatc at 1845 metres above sea level.
The monasterial complex is made up of four churches, an annexe, khachkars and two chapels. The monuments, built of finely polished basalt blocks, have been rather well preserved (with only the chapels destroyed) and the entire ensemble has survived to our day in its initial compositional beauty.
From left to right: Gavith (Annexe), St. Grigor Lusavorich and S.Kathoghike.
Church of St. Grigor Lusavorich (1003) was the first edifice in this ensemble and belongs to the Armenian type of cupola hall created in the early Middle Ages. It consists of a vast hall encircled by pylons and topped by a dome, and culminating in its eastern part in an altar apse bordered by two-storey vestries.
St. Grigor Lusavorich, internal view.
The exterior decor is sufficiently modest. Actually the only decorative elements on the facades are the portals over the entrances, the window casings and the three-arched archivolt crowning the pair of niches in the eastern facade. Dominating over the entire edifice is the great dome (diameter 10.4 m) which has always reigned supreme over the entire composition thereby turning the rectangular volume of the church into a kind of pedestal. This execution was fully in keeping with the major significance of this church in the entire architectural ensemble of this famous religious centre.
St. Grigor Lusavorich, Timpano on southern portal with inscription about church construction.
St. Grigor Lusavorich, Fresque on timpano over western portal.
Church of St. Nshan (Divine sign), 1051, to the south of St.Grigor church is a miniature dome construction (4.6x6.6 m) elegantly proportioned. The smallest of the entire group of the monastery's principal monuments, the Church of St. Nshan lends its elegance and decor to the reserved architectural image of Kecharis.
Church of St. Nshan, view from west.
The Gavith (Gavit, Annexe, 1196-1206) - adjoining the main church from the west was the next structure to go up in the monastery. Rectangular in its plane (14.85x16.5 m) it belongs to the most widespread type of annexes, its central part bordered by four columns, topped by an octaheadral dome with an 'yerdyk' (lantern window).
Gavith, interior.
Cross-stone at the top of yerdik.
Sundial on the southern wall of Gavith.
Kathoghike Church, built in 1214 by Prince Vasak Khakhbakyan, third church to go up in the group of the monastery's main monuments, is located in the south end of the ensemble next to the church of St. Nishan. Built on a rectangular plane (9.77x13.03 m) this dome-and-cross edifice with two-storey vestries in its four corners is known for its richest decor among Kecharis monuments.
The work of architect Vetsik who displayed high mastership not only in terms of its expressive exterior decor but showed a creative independence in building a church based on the traditional composition pattern.
Kathoghike church, view from south.
Coat of arms of Khaghbakyan's, Bas-relief on the wall from Kecharis, XIII c., currently stored at the History Museum of Armenia.
Church of St. Haruthyun (1220) is sited some 120 metres to the west of the main groups of monuments. The smallest in Kecharis, its proportions along with the western annexe are a mere 4.2x7.0 metres. Special interest attaches to the single-nave vaulted gavit abutting on the western fagade. Its general volume and details are a handsome addition to the composition of the church, both contributing to a single architectural organism. Special mention should be made of the entrance to the gavit: a double-arched opening, the arches divided by a round pillar, hewn of a monolith.
Church of St. Haruthyun.
Tomb to Architect Vetcik (Vetsik), 13th c., one of the minor but nonetheless interesting and significant structures of the Kecharis ensemble. It is made up of a two-stepped pedestal foundation supporting a stone crowned by a khachkar.
Tomb to Architect Vetsik.
The entire monument is akin to an architectural structure. The explanation lies in the work of its authors, architects themselves (Vetcik's brothers, the authors of the church in Nor-Varagavanq monastery). Vetcik is among the very few architects of medieval Armenia honoured with outstanding monuments in their memory, the more so on the territory of a monastery.
Kecharis, like other similar Armenian monasteries, is the site of numerous khachkars (mainly those dating to the 12th - 14th cc) which impart a picturesque style to the ensemble.
Khachkars are located chiefly in the eastern part of the complex. Predominant in their composition are rather delicate ornaments with complicated geometrical and floral motifs.
Three large and two small khachkars (10th-13th cc.) are sited between the chapels annexed to the Churches of St. Grigor and St. Nshan on a common pedestal. Their mounting on a single pedestal is the result of the development of this art, for the combination of khachkars pertaining to different styles and boasting different sizes lends them a new quality giving rise to a new type of khachkar art.
Group of khachkars.
Update: Below are some aerial photos of the monastery
General view from northeast.
Source of the text: Hasratyan M. M. (1990) Tsaghkadzor, Publisher: Vneshtorgizdat.
The monasterial complex is made up of four churches, an annexe, khachkars and two chapels. The monuments, built of finely polished basalt blocks, have been rather well preserved (with only the chapels destroyed) and the entire ensemble has survived to our day in its initial compositional beauty.
From left to right: Gavith (Annexe), St. Grigor Lusavorich and S.Kathoghike.
Church of St. Grigor Lusavorich (1003) was the first edifice in this ensemble and belongs to the Armenian type of cupola hall created in the early Middle Ages. It consists of a vast hall encircled by pylons and topped by a dome, and culminating in its eastern part in an altar apse bordered by two-storey vestries.
St. Grigor Lusavorich, internal view.
The exterior decor is sufficiently modest. Actually the only decorative elements on the facades are the portals over the entrances, the window casings and the three-arched archivolt crowning the pair of niches in the eastern facade. Dominating over the entire edifice is the great dome (diameter 10.4 m) which has always reigned supreme over the entire composition thereby turning the rectangular volume of the church into a kind of pedestal. This execution was fully in keeping with the major significance of this church in the entire architectural ensemble of this famous religious centre.
St. Grigor Lusavorich, Timpano on southern portal with inscription about church construction.
St. Grigor Lusavorich, Fresque on timpano over western portal.
Church of St. Nshan (Divine sign), 1051, to the south of St.Grigor church is a miniature dome construction (4.6x6.6 m) elegantly proportioned. The smallest of the entire group of the monastery's principal monuments, the Church of St. Nshan lends its elegance and decor to the reserved architectural image of Kecharis.
Church of St. Nshan, view from west.
The Gavith (Gavit, Annexe, 1196-1206) - adjoining the main church from the west was the next structure to go up in the monastery. Rectangular in its plane (14.85x16.5 m) it belongs to the most widespread type of annexes, its central part bordered by four columns, topped by an octaheadral dome with an 'yerdyk' (lantern window).
Gavith, interior.
Cross-stone at the top of yerdik.
Sundial on the southern wall of Gavith.
Kathoghike Church, built in 1214 by Prince Vasak Khakhbakyan, third church to go up in the group of the monastery's main monuments, is located in the south end of the ensemble next to the church of St. Nishan. Built on a rectangular plane (9.77x13.03 m) this dome-and-cross edifice with two-storey vestries in its four corners is known for its richest decor among Kecharis monuments.
The work of architect Vetsik who displayed high mastership not only in terms of its expressive exterior decor but showed a creative independence in building a church based on the traditional composition pattern.
Kathoghike church, view from south.
Coat of arms of Khaghbakyan's, Bas-relief on the wall from Kecharis, XIII c., currently stored at the History Museum of Armenia.
Church of St. Haruthyun (1220) is sited some 120 metres to the west of the main groups of monuments. The smallest in Kecharis, its proportions along with the western annexe are a mere 4.2x7.0 metres. Special interest attaches to the single-nave vaulted gavit abutting on the western fagade. Its general volume and details are a handsome addition to the composition of the church, both contributing to a single architectural organism. Special mention should be made of the entrance to the gavit: a double-arched opening, the arches divided by a round pillar, hewn of a monolith.
Church of St. Haruthyun.
Tomb to Architect Vetcik (Vetsik), 13th c., one of the minor but nonetheless interesting and significant structures of the Kecharis ensemble. It is made up of a two-stepped pedestal foundation supporting a stone crowned by a khachkar.
Tomb to Architect Vetsik.
The entire monument is akin to an architectural structure. The explanation lies in the work of its authors, architects themselves (Vetcik's brothers, the authors of the church in Nor-Varagavanq monastery). Vetcik is among the very few architects of medieval Armenia honoured with outstanding monuments in their memory, the more so on the territory of a monastery.
Kecharis, like other similar Armenian monasteries, is the site of numerous khachkars (mainly those dating to the 12th - 14th cc) which impart a picturesque style to the ensemble.
Khachkars are located chiefly in the eastern part of the complex. Predominant in their composition are rather delicate ornaments with complicated geometrical and floral motifs.
Three large and two small khachkars (10th-13th cc.) are sited between the chapels annexed to the Churches of St. Grigor and St. Nshan on a common pedestal. Their mounting on a single pedestal is the result of the development of this art, for the combination of khachkars pertaining to different styles and boasting different sizes lends them a new quality giving rise to a new type of khachkar art.
Group of khachkars.
Update: Below are some aerial photos of the monastery
General view from northeast.
Source of the text: Hasratyan M. M. (1990) Tsaghkadzor, Publisher: Vneshtorgizdat.