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Armenien nebst antiquarischen und geologischen
Forschungen, Leipzig, 1843) and gained wide interest. His works include a particularly interesting description of Ani-- Account ofthe ruins ofthe city ofAni in Armenia, London 1839. At the Cathedral of Ani, it is the pointed arches and clustered capitals which most occupy Hamiiton. Of the famous church of the Apostles, on the northeast side of Ani, he writes "The arches which bore the roof were round, but at the middle were pointed arches and here and there one found various other decorations, that one would usually call Gothic."(p. 191) In the final and most intriguing sentence of the passage, he writes "I cannot pull away from the idea that one could follow the origin of the rich Gothic and Saracenic styles if one studied the capitals and the numerous angles or niches between the arches, in which one may find a systematic sequence of complete simplicity in the overladen intricacy." Thus, Hamilton seems to imagine a common origin for the Gothic and Saracenic styles. That Gothic architecture was brought from the east was a theory already born in the seventeenth century, with Christopher Wren, but it continued to enjoy a considerable following. Note also that rather than viewing Armenian architecture as a composite of Byzantine and Saracenic styles, he entertains the idea that in Armenian architecture could be found the origins for both. Hamilton's view of Armenian architecture looks forward to the beginnings of a long-standing comparison between Armenian and Gothic architecture in the early twentieth century. In particular, it anticipates the work of Baltrušaitis, who also sought a structural system common to both traditions.
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successfully, so the dome would be properly supported. He also proposed that the source for the
Romanesque and Gothic architecture of Western Europe came from Armenia. He based his conclusions on Armenian churches such as the Cathedral of Ani begun in 989, and more ancient Armenian churches such as the fifth century church of Tekor, the seventh century church of St. Hripsime, the cathedral of Ojun and others. However, Strzygowski did not have firm evidence to substantiate his hypothesis and overstated his case. But we still do not have the informa- tion we need to explain the resemblances between the Armenian churches which came first in time and the European churches which were built later. Although we have documentary evidence of the presence of Armenians in Western Europe during the Middle Ages who could have transmitted information to the West, more research must be done before any firm conclusions can be drawn.
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Syunik, took refuge in the mercy of God and by decree of my husband Kakig Shahan Shah, built this holy cathedral, which was founded by great Smpad, and we erected the house of God, a revived and living spiritual offspring, and a perpetual monument; and I embellished it with precious ornaments, gifts to Christ from me and my family, and sons Smpad, Abas and Ashot; you are commanded by me, Lord Sarkis servant of the church, after the death of this pious queen, to conduct at
Vartavar, Hisnak , forty-one unceasingly until the coming of Christ; if anybody takes that inscription as unreal, let him be condemned by Christ to six 1433 months with Adam, in the year 1012 of God taking human form ... when believing in Christ of the Armenians this colophon was written by my own hand.
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similar way. But this view is a bit misleading, as the architectonic detailing in
Caucasian buildings of this period is primarily decorative and not always coordinated with the structure. In its “structural rationalism” the cathedral may be unique to the region. While elegant and rational in the major spaces, it is somewhat less so in the side aisles, and the arcading of the exterior bears no relationship to the structural system. From a Western perspective, we expect structural rationalism, but the inconsistencies indicate that within the Caucasus, structure and decoration were usually separate concerns. As a mason who traveled, Trdat may have observed the structural clarity of surviving Roman (as opposed to Romanesque) monuments.
264:Կենտրոնական նավը զգալի լայնացնելու, իսկ կողմնայինների լայնությունը նվազեցնելու միջոցով, նա կարողացել է հասնել վաղ միջնադարյան գմբեթավոր դահլիճներին (Պտղնի, Արուճ, Դդմաշեն) հատուկ ներքին տարածության միասնական ընկալման: Ապա մի շարք համահնչյուն միջոցների (փնջավոր մույթեր, պաքաձև կամարներ, որմնակամարներ) օգնությամբ տաճարին հաղորդել է շեշտված վերասլացություն, դինամիկ լարվածություն: Եկեղեցու ներսի տարածության կազմակերպման այս նոր սկզբունքը, որի շնորհիվ ծածկն ասես ճախրում է աղոթասրահի վրա, ինչ- պես բազմիցս նշված է հետազոտողների (0. Շուազի, Հ. Ստրժիգովսկի, Կ. Հովհաննիսյան) 2 կողմից, որդեգրվում ու լայն կիրառություն է գտնում 12-14-րդ դարերում Արևմտյան Եվրոպայի մի շարք երկրներում տարածում ստացած գոթական ճարտարապետության մեջ:
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constructed of carefully carved facing of the distinctive reddish stone characteristic of Ani. As at Mren, there is no narthex. Elegant decorative arcading lines the exterior, the façades punctuated by V-shaped recesses, which correspond to the structural divisions of the interior. Windows are tall and thin, with sculpted frames. The compound piers and arches of the interior are similarly thin and elegant, articulated with multiple setbacks, the linearity of the supports emphasizing the attenuated height. The dome, 7.5 meters in diameter (or 10.4 meters to the midpoint of the piers), rose above pendentives; the central bay is proportionally larger and more prominent than its counterpart at Mren.
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Already, pointed arches and clustered piers, whose appearance together is considered one of the hallmarks of mature Gothic architecture, are found in this remote corner of the
Christian East. The rigorous simplicity of design, like a Mozart symphony, gives Ani Cathedral a stately and sublime quality. The rectangular, oblong outer walls are of delicate rose-pink stone. The external decoration is simple and harmonious. False arcades rise almost up to roof level, and embrace niches on three of the walls. Within the edifice, the lofty arches of the arcades curve gracefully to form a delicate horseshoe; the niches have vaulting shaped like Chinese silk fans or peacocks’ tails.
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whom are we to grant the origin? Strzygowski's answer is clever-- to both. Armenia and its
Northern European counterpart emerge from a common Northern root. This theory is further articulated in his essay on Gothic architecture. Here, no migration of forms needs to come from Armenia. Rather, the North of Europe enjoyed an indigenous artistic development. Armenia, as we have seen, offered a comparative branch of artistic development, but not a homeland, for Gothic forms.
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dates mentioned in its inscription (989 to 1001), Strzygowski proposes a series of questions in the event that the dates are correct.121 "Do we then permit the
Cathedral of Ani to demonstrate the occurrence of Gothic architectural features in the Early Christian churches of Armenia? Is not the Gothic system of niche buttressing also formed in Armenia domed buildings…? Do not pointed arches, … ribbed vaults and bundled piers occur here, as in Gothic buildings?»122
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As we have seen, migration is only part of
Strzygowski's thesis. In addressing the early medieval forms of Northern Europe, Strzygowski is confronted with an important question. Given the similarity between forms in Armenia and the North, as in the blind arcades of Gurk and the Cathedral of Ani, to
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Is
Strzygowski claiming Armenian origins for Gothic architecture? Strzygowski is far from clear, but a close look at the passage may suggest otherwise. Strzygowski does indeed call Ani "Gothic", as he also calls the Hagia Sophia (and, one will recall, the Sultan Han). But nowhere does he claim that
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3 A contemporary of Texier, W. J. Hamilton, also undertook an extensive voyage through Turkey in the late 1830's and early 40's and recorded it in his
Researches in Asia Minor, Pontus and Armenia, (London, 1842) a work which was subsequently translated into German (Reisen in Kleinasien, Pontus, und
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Texier made an equally important contribution to the interpretation of Armenian architecture-- he noted the resemblance between the building forms at the Cathedral of Ani (fig. 8) and Gothic churches of Western Europe. Texier also compared the arcaded facades of the Cathedral to Romanesque examples
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The structural clarity evident in the cathedral has long intrigued Western visitors: for example, the stepped profiles of the compound piers continue into the vaulting in a way that recalls the articulation of forms in European Romanesque architecture, seeming to clarify the structural system in a
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D. The Cathedral ofAni.. We make these objections, but Strzygowski might well agree with us. After all, he has not claimed an Armenian origin for Gothic architecture yet. Let us consider his discussion of the Cathedral of Ani. After chastising previous scholars120 who did not accept the foundation
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In the year 662 (1213) by the will of God I Dikran servant of Jesus Christ built with my lawful wealth these stairs of this glorious holy cathedral, which after many years were in ruins, and gave as presents to the holy cathedral from my treasury the store in Kagdnots two festivities and Saint
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In the year 450 of the Armenians , and 219 of the Romans , in the time of the honored by God spiritual lord Sarkis Catholicos of the Armenians and the glorious kingship of Kakig of the Armenians and Shahan Shah of the Georgians, I Kadratine queen of the Armenians, daughter of Vasak, king of
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In its design, the cathedral harks back to the plan and the proportions of the seventh-century domed basilica at Mren, which may have served as its model, while elaborated inside and out with architectonic detailing. The tall mass of the building rises above a stepped base, its walls and vaults
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With this experience behind him, it is not surprising that Trdat’s creation of the Cathedral at Ani turned out to be a masterpiece. Even without its dome, the cathedral amazes the onlooker. Technically, it is far ahead of the contemporary Anglo-Saxon and Norman architecture of western Europe.
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When Josef Strzygowski's landmark book on medieval Armenian architecture and the West was published in 1918,10 Ani's medieval churches attracted the attention of European scholars. Strzygowski proposed that it was the Armenians who first discovered how to build a stone church with a stone dome
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218 The main glory of the city of Ani is the cathedral, the dome of which has long since fallen in. This is the work of the illustrious Armenian architect Trdat, and was commissioned by King Smbat II shortly before his death in 989. The erection of this masterpiece of world architecture
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In Origin, Strzygowski further considers the shared features of Gothic and Armenian architecture, and concludes that "the impression is thus conveyed that the development in both countries was only rendered possible by the promptings which both received from the Northern spirit."123
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Gothic architecture is Armenian. What then, according to Strzygowski, was the contribution of Armenian architecture? From the above examples, we may conclude that its value lay in its similarities to the Gothic style, similarities generated by a common Northern force.
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In Ani, once the capital of Armenia, is a church which forms a curious link between Byzantine and Armenian, but rather allies itself to the former: while the cathedral in the same place, also a connecting link, claims greater affinity with the latter.
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I now come to the cathedral of Ani. This, it will be seen, is Byzantine in its general arrangement; but it carries the niche, on three sides, to great perfection. The synthronus is curious; while the mouldings of the whole church are very elaborate.
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To describe Strzygowski's theories as "oriental", and to state that he believed Armenia to be the source for western medieval architecture, generalizes to the point of untruth.1 As this section will show, Strzygowski's thesis was not monolithic
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It is understood from this inscription that a wealthy believer named Dikran, seeing in 1213 that the cathedral needed renovations, had repairs done and had this inscription written in order for his memory to be blessed by future generations.
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At Ani, the Cathedral's chief aesthetic merit is, again, the "extreme simplicity of the design".45 Lynch thus praises not the decoration or the proto-Gothic features of the Cathedral, but rather its use of simple, sparingly decorated forms.
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Strzygowski begins with the pointed arch. While scholars had long derived this feature from the East, none of them, Strzygowski tells us, knew that this feature appears throughout Armenia, as at the Cathedral of Ani (fig. 30).102
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The Cathedral of Ani, dedicated in 1001, was the work of the renowned architect Trdat, ... The cathedral was begun by Smbat II in 989 and completed by Queen Katramide, wife of Gagik Bagratuni.
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1 Պատմիչների տեղեկություններն ու շինարարական արձանագրության բովանդակությունը տարբեր կերպ են մեկնաբանվում առանձին հետազոտողների կողմից: Հիմք է ընդունված Ասողիկի տեղեկությունը․․․
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of the chief altar, and I placed the yoke on the attendants to celebrate mass in my name every year until the coming of Christ.
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Eastern Medieval Architecture: The Building Traditions of Byzantium and Neighboring Lands Get access Arrow
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Ousterhout, Robert G. (2019). "Development of Regional Styles III: The Caucasus: Armenia and Georgia".
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An old measure of weight. Also means chalice in Classical Armenian.
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Ani: World Architectural Heritage of a Medieval Armenian Capital
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