THE PRESENCE OF METAPHYSICAL SYMBOLISM IN ARCHITECTURAL FORMATION OF THE EARLY AND MEDIEVAL SPIRITUAL SITES OF

Armen SHATVORYAN Affiliation National University of Architecture & Construction of Armenia (NUACA) E-mail [email protected] ORCID:

Abstract:

The article touches upon the topic of reflection of the metaphysical symbols and existence of such factors in the architecture through analysing relevant approaches in the design of spiritual sites, monasteries and churches of medieval Armenia. Through the analogy of the architectural environment with the special meaningful proportions, astronomical regularities, etc., the work emphasizes the importance of design approach in architecture where the metaphysical concepts and factors are reflected as signs of universal rules and creative solutions forming the space. In the work particular attention is paid to the one of the most famous and unique Armenian temple –Zvartnots, where the covered metaphysical meanings appear. Visual signs and ideas, carved in the stones of the facades of the churches and surfaces of the – the identifying cross stones of the Armenian culture were analyzed as well. Correspondingly the complex methodology of architectural design is discussed, when metaphysical components are taken into account in order to achieve a better environment, and which can be applied to all branches of Architecture from micro- to macro-level. In the summary, the “true” definition of Architecture is addressed as the one of highest expression of human creative activity.

Keywords: metaphysical symbolism, meaningful architecture, analogy.

1. Introduction to the Armenian of Armenian culture. creativity It is worth to note that since ancient times, during the Kingdom of Urartu, about 850

years B.C. when Rome was just rising, Armenia is a country of an ancient, Armenian architects had already built three- distinctive culture, with a pronounced story palaces and typical residential buildings history, full of trials and inexhaustible energy (see Fig. 1) (Hasratyan, 2010, p. 200). of creation, juxtaposed to destructive force Following the adoption of Christianity as the of numerous conquerors. The cities and state religion in 301, structures built anew on the destroyed and quickly found its niche in global architecture, looted territories are a proof of that thirst for with the churches and monasteries that have creation. Having carried through the survived to our years (Hastings, 2000). centuries the experience of creative work with space, the search for new forms and the Below, the creative approaches of dissemination of spiritual ideas - architecture architectural thought, on the example of has become an integral “representative” part religious buildings of early and medieval

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All these constructions are professionally linked to the immediate environment of their location, starting from selection of the location for construction and ending with the correlation with the surrounding nature, as if “growing out” of it. At the same time, the author’s mastery is manifested in the harmonious combination of solidity, aesthetics and proportionality with the most important filter of architecture – human being. There is also an incredible combination of continuity to the traditions of the past and the search for new compositional solutions. This is “tolerance” towards new forms and their harmonious interaction with well- established laws of creation. All this ultimately manifests itself in architecture as an ordered combination of the “old” and the Fig. 1 Typical residential houses (at the top), Multi- “new”. floor buildings in the Kingdom of Urartu, VIII century B.C. (at the bottom) However, besides what was mentioned above, another important factor, that is Armenia, in particular churches, monasteries present in the culture of the Armenian and khachkars, will be considered. people and is reflected in the architecture Using natural resources for construction such should be noted i.e the existence of the as varieties of basalt, tuff, etc., Armenian meaningful metaphysical concepts in the architects and stonecutters achieved high formation of the spiritual sites and objects of level of skilfulness in refining them and Armenian culture. achieving the constructive and artistic tasks set. Constructed from carefully processed natural stone, these structures, even with 2. Metaphysical symbolism their ruins, leave a very strong impression on people. The “astronomical, universal heritage” Moreover, they affect not by the grandeur of presence in the pre-Christian period should Egyptian temples, or the majesty of Roman also be attributed to the aforementioned aqueducts and amphitheatres, nor the pomp well-established laws of creation. With a of Muslim madrassas, or overwhelming scale close analytical look at the essence of forms of Gothic churches and the brightness of the and architectural solutions, the hidden, golden decoration of Orthodox churches. metaphysical ideas and laws are revealed to The architecture of Armenian churches and the observer. (Neapolitanskij, 2013) monasteries affects a person solely by Thus, it is interesting to analyse the shaping proportionality of forms, richness of and symbolism of the Armenian “khachkars” compositional, practical solutions and - architectural monuments and relics, which methods, constructive meaningfulness and represent a stone stele with a carved image logic, as well as moderateness in of a cross. decorations. (Azatyan, 1987)

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Armenian root “Khach” - “cross”, and “kar” - “stone”, which represent numerous monuments of great spiritual value scattered throughout the Armenian highlands. The Armenian cross itself, also called blooming, is a kind of a cross, distinguished by sprouted branches (see Fig. 2) (Hakobyan, 2003) The blossoming endings symbolize the life giving power of the cross and its distinction from the cross as an instrument of punishment. (Architecture., 2012) Coming back to the khachkars, it should be noted that one of the significant difference from other similar stone monuments lies in the distinct, patterned symbol that is traditionally forming the Armenian cross and symbolizing the “world”. The symbol has a special name in : “vardak” - “rose”. The same name was given to the “lace patern” that was used in the pagan era, when women knitted a pattern for domestic needs, singing (programming) positive wishes to the close relatives. (see Fig. 3).

Fig. 3 The lace pattern “Vardak” on the Fig. 2 cemetery, 10th century, (at the top), Monastery , made by the Master Khachkar at Dadviank monastery (in the Poghos. 1291 middle), as well as Armenian “sprouted” cross (on the bottom left). Khachkar, 996, from the There is also another etymology of the word Cape of Noratus; is currently stored in "vardak", derived from the word "vardan" - Etchmiadzin Monastery (on the bottom) (from Proto-Armenian "rotating", "khalke"), The word khachkar is composed of the referring to another cosmogonic symbol -

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the swastika, widespread in pagan times, other Armenian creative traditions, was which found its reflection in the Christian transformed from a more dynamic and architectural heritage that reached also our “astronomical” image, into the mentioned days. (Avetisyan, 2017). above pattern - “vardak” - a symmetrical, The word “swastika” itself is a compound structured, static image and was incorporated into Christian architecture. word of two Sanskrit roots meaning “su” - सु, “good”, and “asti” - अिस्, “life, existence”, i.e “well-being”. When analysing the schematic essence of such symbols, it is possible to carry out an explicit visual identification of the image with the rotational motion of the galaxy. (see Fig. 4). Accordingly, such obvious similarities with cosmic elements indicate indirectly but firmly the astronomical knowledge coming from the pre-Christian period and metaphysical meanings, influencing on the formation of spiritual structures such as khachkars, churches and temples.

3. The development of the metaphysical symbols with their covered meanings

The development of the symbol of swastika evolved into another rather common image - Arevakhach “Arev” - “Sun”, and “Khach” - “Cross” (Sun Cross), also known as the Armenian Sign of Eternity - ancient Armenian symbol in the form of a circular, vortex, Fig. 4 Example of a spiral galaxy (to the left top), screw-like circle, similar to the sun. “Arevakhach”, Armenian sign of eternity at The main meaning of “arevakhach” is the , near Achajur (X century) (to the right top), as well as 5-arched eternity sign on divine light, and hence the sun, the flow of the Cathedral of the Holy Mother of God, life, well-being, glory, eternity and good luck. Harichavank Monastery, (XIII century) (in the (Armenian eternity sign, 2013). middle), and Aghout cemetery in Sisian “Arevakhach” in ancient Armenia was (below) applied to weapons, objects of everyday use, And here, it is interesting to draw the carpets, clothes, family flags and coats of analogy of the essence of the symbol with arms, as well as it was used in the design of other similar images such as “mandalas,” the tombs, churches, khachkars, and in schematic images of the universe, which is general in architecture of medieval Armenia. also amazing in its diversity, at the same time (See Fig. 4) having a common, clear, symmetrical- That symbols, one of the oldest in the structural concept. (see Fig. 5) Armenian culture, the pagan “Arevakhach”, came from pre-Christian time, like many

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The ceremony of consecration of the colossal temple was attended by the Byzantine emperor Constans II, who wished to build a similar temple in Constantinople. In the X century, the temple collapsed during an earthquake due to the weakness of the nodes of supports of the second tier. The ruins of Zvartnots were discovered by excavations in 1901-1907 by the architect Fig. 5 Lace pattern of khachkar, beginning of the XIII century, Artsakh (on the left), and example of a mandala (on the right) The essence of this image is nothing but a visual schematic symbol of the universe, as it is reflects the rules and cyclic regularities in the world. Analogically it is coinciding with our "earth" as it also a "universe - world" on which the cross - a symbol of the Christian faith, stands and grows. As a conclusion, again it is necessary to underline the reflection of the metaphysical symbols, came from pre-Christian time, and finds their reflection in post pagan periods, accordingly influencing the culture and creative processes.

4. Meaningful architecture

Further, the pearl of the medieval temple architecture is presented - the temple of Fig. 6 Ruins of (at the top), and “Zvartnots”, (640-650 A.D.) - the “Temple of the Toros Toromanyan’s visual reconstruction the guarding angels” from the Armenian (at the bottom) word “zvartun” – awaken angel. Toros Toramanyan. (Mnatsakanyan, 1971) The construction of the temple, majestic in (see Fig.6) those days, began in 640 and lasted for a If we analyse the overall architectural and period of twenty years in approximate. The planning composition from the point of view initiator of this large-scale construction was of medieval "metaphysical geometry", it is the Catholicos Nerses III the Restorer. interesting to note that the “cosmogonic” (Marutyan, 1963) spiral, which is differently reflected in many This unique structure was designed to ways in wide range of architectural eclipse all the existing ones back then, with monuments and objects, here as well could its scale, magnificence, and most be fitted into the square on the plan of the importantly, its compositional approach and temple. architectural appearance.

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Starting from the eastern wall, which also symbolically coincides with the idea of “I am the Light”, this square surrounds all four corners of the square described around the circumference in a form of a spiral, it also surrounds all the four columns, eventually ending in the centre of the temple where the "heaven and earth" are connected. (Danelyan, 2012) The four columns, in their turn, symbolize the four gospels on which the Christian faith itself is based. (see Fig. 7) The choice of the circumferential outline of the temple plan is unique. From the point of view of architectural creative thought, using the circle as a plan at the times when central-domed temples and dome basilicas were the most common forms, was considered to be a risky step, given the conservatism and traditionalism of Armenian architecture. (see Fig. 8)

Fig. 8 Types of Armenian churches (IV-VII centuries) 1 Single-nave basilica, 2-3 three- nave basilicas, 4 dome basilica, 5 church in the Fig. 7 The symbol of “Spiral”, laid over the general shape of a domed hall, 6 central domed plan, (at the top); in the capitals of the inner temples, 7 cross domed temple, 8 centric columns, with the sign of the Catholicos temple Nerses III, (in the middle), (the photo of the author); as well as on the reconstruction facade of Zvartnots Cathedral, after Toromanian (at the bottom) 6

And yet, it is precisely visible here: the phenomenon of the creative architectural inclination of Armenian architects and the stonecutters along with strict adherence to forms and laws - not to forget about the development, by putting into practice risky and bold ideas. Analytically comparing the rectangular contours widely known at that time with the circumferential plan form, one can trace the idea of "spreading" the ideas of Christianity, tracing the dynamic essence in visual comparison with the static, rectangular plans of the "establishment" in other churches and temples. Another analytical moment of the space- planning solution of the temple consists in its visual appearance. When considering the reconstruction of the facade, it is possible to superimpose the same spiral already in the vertical direction, continuing the idea of "spreading", both on the plan and in the general-volume appearance of the structure. (see Fig. 9) This is also possible to affirm judging by the comparison of the roof slop at the top level of temple. Usually the roof slopes of the Armenian churches are with higher angle, in the contrast of the Zvartnots’ roof lower angle. Having a circle as the "starting" point for Fig. 9 The spiral laid over on the plan of the “spreading the idea”, the whole essence of temple, centrifugally "spreading" the idea of the semantic composition comes in as one Christianity, and the Fractal geometry of the natural ensemble of architectural solutions. formation of the temple plan Here it is worthwhile to stop the attention noting that the basic idea of building any on the architectural and creative factors that temple or church was “the earthly formed this space. In the past, the spiritual manifestation of a high, hidden spiritual buildings of Armenia were built primarily on meaning”, for the temple is a spatial the basis of the main idea. In the middle manifestation of the divine idea of harmony Ages, one main idea prevailed in Armenia - in our visual-material world. dissemination of the laws of the Christian religion, in particular of the Armenian Apostolic Church. (see Fig. 9) 5. Discussion That was of a particular importance as a In conclusion, it should be emphasized that general concept of national identification for the essence of architecture, its authenticity, Armenia which was under the rule of the as well as the usefulness of its role in human Christian but still Orthodox Byzantium at that life only seems understandable. If we draw time. As for the architecture, it is worth an analogy with other life phenomena, then

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sooner or later we face a situation when Bibliographical References what once was obvious and “fully” studied, turns out to be still carrying hidden potential. Architecture., T. G. (2012). [Armen.:'cross-stone'] Typical This is most clearly manifested in the analysis Armenian stone monument, comprising an upright of the influence of architecture on human slab (h. c. 1—3 m) carved with a cross design, life, as well as the comparison of different usually set on a plinth or rectangular base". Oxford University Press. approaches in the creative process itself. Armenian eternity sign. (2013, December 3). Retrieved Thus, the design of architectural structures in from Wikipeida: different periods of past centuries is https://en.wikipedia.org/wiki/Armenian_eternity_ strikingly different from architectural design sign today, although the essence and purpose of Avetisyan, V. (2017, May 24). Арев хач — Патеразмахач — Кер хач — Армянская свастика. Retrieved from architecture remains unchanged - to provide Вне Строк: https://vstrokax.net/istoriya/arev- for the human needs in terms of the space hach-paterazmahach-ker-hach-armyanskaya- (shelter from external natural influences, svastik/ housing, creating a comfortable working Azatyan, S. (1987). “Portals in monumental architecture space, leisure facilities, and etc.). And it is of Armenia IX-XIV centiries” . , Armenia, : published by “Sovetakan Grogh” (Soviet writer) p. not so much about the difference in the use 248. of creative tools, from lines and drawing Danelyan, M. (2012). The temple of Zvartnots and the boards to virtual design and using all kinds of moovement to the eternity. Ejmiatsin, 108-114. software and BIM (Building Integrated Hakobyan, J. (2003). "Life in the Monuments of Death: A Models) technologies, but rather about the visit to the cemetery village, Noraduz". Armenia approaches to the architecture itself, to its Now. particular creative process to achieve the Hasratyan, M. (2010). “Histoire de l’architecture Arménienne” des origines à nos jours. Lyon, “expected” result. France. Located in Caucasus, Armenia has more than Hastings, A. (2000). A World History of Christianity. Wm. 4,500 monasteries and churches. The B. Eerdmans Publishing. p. 289. evolution of their architectural design from Marutyan, T. (1963). Zvartnots and Zvartnots-type temples (Zvartnots ev zvartnocatip tacharner). ancient times until now follows certain Yerevan: Haypethrat. unique rules and regularities. Mnatsakanyan, S. (1971). Zvartnots, The monuments of The architects of the past viewed Armenian Architecture VII century (Zvartnots, architecture as a creative, methodical Pamyatnik Armyanskogo zodchestva). Yerevan: Iskusstvo. process through which it was possible to Neapolitanskij, S. M. (2013). “The world sacred achieve the most harmonious organization of architecture. Creative principles of the world space as a whole, regardless of the purpose harmony”. Moscow, Russia: Amrita-Rus. and functional orientation of the structures. It is interesting to note the general trend in architecture of the past historical periods in different cultures. It is quite often based on an analogy of the macro and microcosm, and the aspiration to organize space in accordance with the laws of the universe. Today it’s difficult to define the complete sense of the architecture, and the whole impact of that kind of human creative activity. Numerous architectural monuments scattered throughout the country witness the strength of the people’s spirit and contain rich research material.

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