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	A '''khachkar''' or '''khatchkar''' ({{lang-hy\|խաչքար}}, pronounced {{IPA-hy\|χɑtʃkɑɹ\|pron}}, meaning ''cross-stone'') is a cross-bearing carved memorial stele covered with rosettes and botanical motifs<ref>Thierry, cover sleeve.{{ref\|Thiery\|Thierry 1989}}</ref>, characteristic of ] and found in ],].<ref>Gough M. The Origins of Christian Art, London, 1973</ref>		A '''khachkar''' or '''khatchkar''' ({{lang-hy\|խաչքար}}, pronounced {{IPA-hy\|χɑtʃkɑɹ\|pron}}, meaning ''cross-stone'') is a cross-bearing carved memorial stele covered with rosettes and botanical motifs<ref>Thierry, cover sleeve.{{ref\|Thiery\|Thierry 1989}}</ref>, characteristic of ] and found in ].<ref>Gough M. The Origins of Christian Art, London, 1973</ref>

	==Definition and purpose==		==Definition and purpose==
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Revision as of 18:57, 24 August 2009

"Kachkar" redirects here. For the mountain range in Turkey, see Kaçkar Mountains.

Khachkar
Khachkar at Haghartsin Monastery, near Dilijan, Armenia.
Two Julfa-type khachkars from the 16th century, removed from the Julfa graveyard before its destruction by Azerbaijan
The famous khachkar at Goshavank, carved in 1291 by the artist Poghos.

A khachkar or khatchkar (Template:Lang-hy, pronounced Template:IPA-hy, meaning cross-stone) is a cross-bearing carved memorial stele covered with rosettes and botanical motifs, characteristic of Armenian art and found in Armenia.

Definition and purpose

The most common feature is a cross, rarely with a crucifix, with a rosette or sun disc below it. The remainder is usually filled with patterns of leaves, grapes or abstract knotwork patterns. Occasionally it is surmounted by a cornice with biblical or saints' characters.

The most common reason for erecting a khachkar was for votive reasons - for the salvation of the soul of either a living or a deceased person. They were also erected for other reasons, such as to commemorate a military victory, construction of a church, or as a form of protection from natural disasters.

The most common location for a khachkar is in a graveyard. However Armenian gravestones take many other forms, and only a minority are khatchkars.

History

The first true khachkars appeared in the 9th century, during the time of Armenian revival after liberation from Arab rule. The oldest khachkar with a known date was carved in 879 (though earlier, cruder, examples exist). Erected in Garni, it is dedicated to queen Katranide, the wife of king Ashot I Bagratuni. The peak of the khachkar carving art was between the 12th and the 14th centuries. The art declined during the Mongol invasion at the end of the 14th century. It revived in the 16th and 17th centuries, but the artistic heights of the 14th century were never achieved again. Today, the tradition still remains, and one can still see khachkar carvers in some parts of Yerevan.

About 40,000 khachkars survive today. Most of them are free standing, though those recording donations are usually built into monastery walls. The following three khachkars are believed to be the finest examples of the art form:

One in Geghard, carved in 1213, probably by Timot and Mkhitar
The Holy Redeemer khachkar in Haghpat, carved in 1273 by Vahram
A khachkar in Goshavank, carved in 1291 by Poghos

A number of good examples have been transferred to the Historical Museum in Yerevan and beside the cathedral in Echmiadzin. The location in Armenia with the largest surviving collection of khachkars is the field of khachkars at Noraduz cemetery, on the western shore of the Lake Sevan, where an old graveyard with around 900 khachkars from various periods and of various styles can be seen. The largest collection in the world was formerly located in Julfa in the Nakhichevan Autonomous Republic of Azerbaijan.

Endangered khachkars

A large portion of khachkars, which were created in historic Armenia and surrounding regions, in modern times have become the possession of Turkey, Azerbaijan, and partly Georgia and Iran. As a result of systematic eradication of khachkars in Turkey, today only a few examples survive. Unfortunately these few survivors are not cataloged and properly photographed. Thus, it is difficult to follow up with the current situation. One documented example is the Khachkar destruction in Nakhchivan.

One source says that khachkars are being damaged, neglected, or moved in Armenia. Reasons sited for moving these khachkars include; decoration, to create new holy places, or to make space for new burials.

Types

Amenaprkich

Amenaprkich (Template:Lang-hy, meaning Holy Saviour) is a term used to describe a particular type of khachkar, in which on the cross is a depiction of the crucified Christ. Only a few such designs are known, and most date from the late 13th century.

Gallery

The Holy Savior khachkar in Haghpat (1273)
An Amenaprkich khachkhar in Etchmiadzin
Amenaprkich khatchkar with two others at the Sourp Nshan Church in downtown Beirut, Lebanon (2001)
A khackhar at the Armenian Catholicossate of Cilicia in Antelias, Lebanon
A khachkar in Sanahin
A monumental medieval khatchkar at the Armenian monastery of Sanahin in 1902
A modern, Amenaprkich-type, khachkar in Novi Sad, Serbia
A large 13th century khachkar at Gandzasar Monastery in Artsakh
The famous double khachkars of the Memorial Bell-Tower of the Dadivank Monastery in Artsakh