In
the khachkar composition the cross appears as its main component, and
the remaining elements assume ideological value through their position
and connection to the cross. From the early middle ages, the khachkar
composition acquired for the first time the cross with off-centered
arrangement (as opposed to chi-ro), filed with vegetative components
cross. In the 9-10th centuries the cross wings are capped
with double buttons, then receive a form of chamomile, rosette, lily or
palm decor. In the process of cross formation the twin buttons become
trebled. In the 11th century, together with the fact that the
composition and the cross becomes netted, the middle button of trilobed
ends of the cross stretches and acquires the form of flower bud or
symmetric decor - giving a blossoming, vegetative appearance to the
cross. This remains the main type of the central cross up to 18th
century. The crossing point is presented as a source of light and
becomes a point of emphasize by means of a gem. But the depiction of the
“illuminated cross” was “shadowed” by the presentation of the cross as a
tree of life, and only had the single expression emphasizing the
solar-illuminating advent of the cross and Christ. Khachkar compositions
also frequently appear with crosses placed on the cornice, in the
section of rosette, and the edges of the belt. The cross is one of the
more movable elements of the composition. One of the principal
differences of the khachkar composition from the early medieval cross
compositions is the fact that the khachkar encloses the cross into a
niche - visibly indicating its worshiped and holy status. The further
“altarization” of the cross in 11th century led to the
emergence of the walled khachkars, by which the niche received also an
architectural solution emphasizing, even more, the worshiping element.
Beginning in the 11th century, the cross and the niche are
mutually corresponding. As a result, in several khachkars of the 12-14th
centuries the niche through its contours tries to mirror the outline of
the cross, becoming like a container of the cross. Since the early
khachkars lacked cornices, the niche in these compositions not only
presented the ritualistic character of the cross to the believer (e.g.
worshiping), but also symbolized the terrestrial sphere, and the
abstract-universal measure of the cross. Later, with the increase of the
perception of the cross as a holy mediator, the cornice takes on the
connotation of the terrestrial sphere, and the niche, just like the
cross, becomes a sort of middle ring between the cornice and rosette
(between the top and bottom parts as a whole).
The illuminate symbols in the khachkar composition were placed at the
top of the niche or on the cornice, and referred to two main themes: the
crucifixion and Second Advent of the cross. The sun and the moon were
depicted, and sometimes even a star. The sun is depicted more decorated
than the moon or the star and sometimes the moon is portrayed in a form
of crescent. In the “All-savior” khachkars, the sun and the moon are
given a human form, and are depicted mounted on an eagle and bull
respectively.
In
the khachkar composition the cross appears as its main component, and
the remaining elements assume ideological value through their position
and connection to the cross. From the early middle ages, the khachkar
composition acquired for the first time the cross with off-centered
arrangement (as opposed to chi-ro), filed with vegetative components
cross. In the 9-10th centuries the cross wings are capped
with double buttons, then receive a form of chamomile, rosette, lily or
palm decor. In the process of cross formation the twin buttons become
trebled. In the 11th century, together with the fact that the
composition and the cross becomes netted, the middle button of trilobed
ends of the cross stretches and acquires the form of flower bud or
symmetric decor - giving a blossoming, vegetative appearance to the
cross. This remains the main type of the central cross up to 18th
century. The crossing point is presented as a source of light and
becomes a point of emphasize by means of a gem. But the depiction of the
“illuminated cross” was “shadowed” by the presentation of the cross as a
tree of life, and only had the single expression emphasizing the
solar-illuminating advent of the cross and Christ. Khachkar compositions
also frequently appear with crosses placed on the cornice, in the
section of rosette, and the edges of the belt. The cross is one of the
more movable elements of the composition. One of the principal
differences of the khachkar composition from the early medieval cross
compositions is the fact that the khachkar encloses the cross into a
niche - visibly indicating its worshiped and holy status. The further
“altarization” of the cross in 11th century led to the
emergence of the walled khachkars, by which the niche received also an
architectural solution emphasizing, even more, the worshiping element.
Beginning in the 11th century, the cross and the niche are
mutually corresponding. As a result, in several khachkars of the 12-14th
centuries the niche through its contours tries to mirror the outline of
the cross, becoming like a container of the cross. Since the early
khachkars lacked cornices, the niche in these compositions not only
presented the ritualistic character of the cross to the believer (e.g.
worshiping), but also symbolized the terrestrial sphere, and the
abstract-universal measure of the cross. Later, with the increase of the
perception of the cross as a holy mediator, the cornice takes on the
connotation of the terrestrial sphere, and the niche, just like the
cross, becomes a sort of middle ring between the cornice and rosette
(between the top and bottom parts as a whole).
