THE PRESENCE OF METAPHYSICAL SYMBOLISM IN ARCHITECTURAL FORMATION OF THE EARLY AND MEDIEVAL SPIRITUAL SITES OF ARMENIA 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 khachkars – 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, Armenian architecture 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 1 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) 2 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 Armenian language: “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 Goshavank Fig. 2 Noratus cemetery, 10th century, (at the top), Monastery khachkar, 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 - 3 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 Makaravank, 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