Throughout its many centuries of existence, the Armenian people has created numerous cultural values which have been widely recognized and appreciated throughout the civilized world. The architecture, miniature painting, and music of medieval Armenia have long since come out of Armenia’s cultural history to occupy a fitting place in the general history of art. Among the original forms of Armenian medieval national art are also the monuments known as khatchkars (cross stones) which are found throughout Armenia. Their art, based on ancient traditions, has passed through the furnaces of formation and development and has been expressed in the flourishing Middle – Ages in multifarious, rich forms. In Armenia we find menhirs belonging to the Primitive-Ages, which had religious connotations. Belonging to this class of monuments are also the massive structures known as "vishap" which can be found on the Geghama mountains and the slopes of the Aragatz. These already bear the traces of culture in the form of ideograms and engravings and resemble large fishes and are connected with the widespread worship amongst the Armenia forefathers of the water-goddess, Astghig Derketo. If there does not appear to be any direct relation between the above-mentioned and the khatchkars, then the Urartic obelisks (8-7^th centuries B.C.), which are composed of a perpendicular, quadrilateral stone column or pillar covered in cuneiform inscriptions, standing on a plinth, may be considered as the archetypes of khatchkars. In pre-Christian times, obelisks with other significance continue to be used. Historical sources mention the existence of obelisk-monuments situated in pagan Armenian cities and on the paths linking them. Some of these lasted till early Christian times (4-5^th centuries A.D.) and served as a base for these cross-bearing, quadrilateral, column-like obelisks which were found on the skirts of the Aragadz mountain, particularly in the regions of Talin and Artik, and which have become subjects of study. These monuments are also composed of two parts, a plinth and a perpendicular mass. The more perfected examples of early Christian obelisks are tripartite. A graduated base is added below the plinth (Avan, Ardvi, Dsegh, Odzoon, Brdadzor). In the early days of Christianity (4^th century) the Armenian church converted certain pagan sanctuaries to Christian use, some times erecting the symbol of the new religion – the Cross – and often building temples on the site of destroyed pagodas. Agatangeghos states that St.Gregory the Illuminator erected crosses at Vagharshabat at the site of the martyrdom of the Hripsimiants virgins and also on roads and in squares. According to tradition wooden crosses were erected in Armenia on the Sevan island, in Sanahin, and also in neighboring Georgia, close to Mdzkhet, on the Mdzir mountain where, in the 7^th century, the Tchvar (which in Georgian means cross) church was built. The earliest attempt to substitute the stone cross for the wooden cross belong to the 4-7^th centuries. These are represented by the "winged crosses", which were discovered during the excavation of Dvin. Deriving from the wooden crosses, the "winged crosses" served as a foundation for the formation of a new and original form of Armenian art.

    Beginning from the second half of the 9^th century, as a result of the weakening of the Arab Caliphate, political power was restored in Armenia and new kingdoms were formed: the Bagratuni in Ani, the Ardzrooni in Vaspurakan and those of Kars and Sunik. All this contributed greatly to the progress of national culture. From the 9-10^th centuries, the Armenian cities of Ani, Lori, Kars and Van began to flourish, monasteries and cloisters were founded (Tatev, Sevan, Gntevank, Sanahin, Haghpat, Horomos), which at the same time became important centres of spiritual culture. There was a renaissance in architecture, the painting of frescos and sculpture (Tatev, Akhtamar, Gntevank, etc.), which had not only catechismal but also secular significance. It is in this period khatchkars appear. The oldest khatchkars that we are aware of date from the 9-10^th centuries. Noteworthy is an obelisk, situated near Nerkin Talin, which is an enormous triangular boulder with a cross engraved on it. Below the cross is a rectangular hollow where, probably, relics were kept. The possibility is not excluded that the monument is of an earlier period than the 9^th century. Ashot Bagratuni’s wife, Queen Katranide, erected a khatchkar in 879 at Garni "in mediation" for her person, which is the earliest dated khatchkar we know. We come across a similar khatchkar dated 964, at Tekor. These are quadrilateral columns without a plinth, implanted firmly the ground and do not have the typical appearance of khatchkars. The khatchkars which form the basis for a new type of memorial-monument are of particular interest as objects of artistic value. The khatchkar (881) erected in memory of Grigor Amirnerseh, prince of the Sunik and Aghvan, which is in the cemetery of Medz Mazra village in the region of Vardenis, an undated one near Nerkin Talin, and those inside the St.Hripsime and St.Gayane memorial chapels, which are near the village of Martiros in Vayots valley, are amongst this group. Their generalized forms, the linkings of the few vignettes (bunches of grapes, palm leaves) having simplicity of form and uninhabited arrangement on the smooth stone surface and being carved with delicate sensitivity for harmonic symmetry, establish a new aspect to an imposing monument. There are also specimens engraved with crosses which differ in from those mentioned above, such as the large, round flagstone which is situated in the Sandookhtvirgin chapel in the Talin region, on which a cross is engraved with equal arms. In this way, the earliest khatchkars, with their characteristics as yet incompletely formed, bear witness to the creative search concerning the composition of form. It the purpose of the engraving on the facades of the 4-7^th centuries obelisks and temples was to propagate and confirm the Christian religion, then the main purpose of the late 9^th century monuments was to secure the salvation of the soul. On the facades of the churches built for this purpose, the relief's of the benefactors (ktitors) are engraved holding the Maquet of the temple (Gagik Ardzrooni, at Akhtamar’s Holy Cross Church, Giorige and Smbat at Sanahin’s Holy Amenaprkich and Haghpat’s St.Nshan churches, Gagik Bagratuni at St.Gregory Church of Ani). Donations are given to monasteries, and shrines and khatchkars are erected for the salvation of the soul. With this same idea as a basis the khatchkars represents the symbolic image of the Crucifixion and the Redemption. The survival and national independence of the Armenian people have frequently been conditioned by the triumph of faith and the church. Being firmly bound to historical destiny of the people, the Armenian church in its struggle against conquerors from the very beginning brought a new understanding that played a leading role in bringing together the Armenian people and awakening their national consciousness in the struggle for independence. In Armenia, the struggle for liberation from Arab domination and reestablishment of national independence during the 8-9^th centuries, and partly at the beginning of the 10^th century, was closely linked to the idea of the crucifixion and the redemption of the Son of God, who was martyred for the salvation of mankind. However, khatchkars appear also with other significance's. They were being erected of different occasions to commemorate military victories, immortalize historically important events, and to commemorate the completion of churches, fountains, bridges and other constructions. For example, the Zakarian brothers, in the inscription on the khatchkar erected at Amberd (1202 A.D.) mention their victories against the Seljuk, and Vaneni builds the bridge of Sanahin and erects a khatchkars (probably after 1192 A.D.) to immortalize the memory of her prematurely dead husband, King Abas. Khatchkars were also erected on the occasions of restoration of churches and donations to monasteries. Also numerous are the khatchkars which are set into church walls and which, on the whole, have a donatory significance. But the khatchkars served also as grave stones, and numerous such specimens exit. Representing a component of the tombic structure, the khatchkars often complete their architectural form. Let us note, for example, the pair of khatchkars standing on the western façade of the two-story mausoleum-church of the Tsaghatskar monastery (1041 A.D.),and the three-altered tomb of the Ukani line of princes in the Haghpat monastery (1211-1220 A.D.) A perfect example of the harmony between khatchkars and architectural forms is the khatchkar which was prepared by Mkhitar Kasmogh for Tootevordi (1184), the prior of Sanahin monastery, or the solitary khatchkar erected by the master, Bedros (1175 A.D.) on the way to Gosh village in the Ashtarak region. Khatchkars finally achieved a unified form in the 13-14^th centuries (the group of khatchkars in the Saghmosavank cemetery, the khatchkar (1291 A.D.) in the Karmrashen village in the Vaik region, the khatchkar (1340 A.D.) in the Alaiaz village in the Yeghegnadzor region, etc.). The khatchkar (1273 A.D.) in the porch of the Haghpat monastery, the Dsegh (1281) khatchkars built by the master Vahram, and the one built in 1279 A.D. which was recently transported from the Ararat region to Etchmiadzin, belong to a separate group of the so-called "amenaprkich" khatchkars. These differ from the other khatchkars in that Crucifixion is engraved on their western facade. The people attributed healing powers to them and turned them into sanctuaries. Khatchkars were also endowed by the people with significance as nature’s elements, symbols of the power to restrain evils. The so-called "Tsasman" khatchkars were, for instance, to repress or moderate the drought, the hail, the earthquake, etc.. There also exist khatchkars connected with various traditions and folklore. Those are khatchkars erected in memory of sacrificed heroes, unfortunate lovers or on other occasions. Khatchkars are also valuable for their lithographs which frequently include important historical information, help to date the monument, reveal the names of the commissioner and the master stone-mason and the occasion for erecting the khatchkar. In this sense, khatchkars represent important documents of the history of the Armenian people. The uses of khatchkars were various and diverse. Khatchkars were constructed on regular flagstones and, in some cases, directly on rocks. Similar obelisks can be encountered inside churches and porches (Haghpat, Geghartavank, Hovhannavank) or butting into their walls, even placed on roofs, erected near entrances (Geghartavank, Haghardzin monastery, Goshavank), and situated in natural surroundings (monastic complexes, or in cemeteries). Similar khatchkars were erected on plinth, on the ground, or directly on boulders (Mastara, Geghartavank, Karaglookh), single or in groups (Arindj, Bdjni, Hovhannavank, Yeghvard).

    As original works of art, khatchkars have had their periods of gradual development and perfection. If the 4-7^th centuries represent the period of emergence of the concept of khatchkars, and the 9-11^th centuries the period of creation and formation, then the 12-13^th centuries are period of final improvement and perfection. The development and stylistic changes of khatchkars took place in step with medieval Armenian architecture. Being the original embodiment of the mentality in fine arts of that period, khatchkars synthesis within themselves all kinds of thematic and ideological problems in concrete forms of style and expression which are linked to the course of historical development, the typical fashion in fine arts of the period, the individuality of the creating master craftsman and other factors. Medieval Armenian architecture in the 10-11^th centuries begins to develop the rudiments of decoration which reaches its highest level of expression in the 13-14^th centuries. That same principle, as a component of Armenian art, also finds expression in the art of khatchkars of the same period. Khatchkars having the architecturally final form, independent of their positioning, are stone slabs sometimes reaching large dimensions, having twice their width in height, or more. Their western façade is completely engraved and the reverse side is smooth or covered with inscriptions. On the engraved face, the cross (on a graduated or "rosettelike" base) is found in the centre of the image. The remaining surfaces are completely covered with delicate, complex networks of botanical or geometrical decorative engravings. The flat section of the façade of the khatchkar is mostly bound with a border formed from differing (square, multiangular, starlike, etc.) and non-repeating rosettes, which assembles and makes the ensemble compact, underlining its stylistic unity. The khatchkar is usually crowned in the upper region with an original cornice under which, sometimes thematic portrait designs are set in a wide band (the Almighty on the throne, the Madonna, scenes from the Annunciation and the Baptism, angels, apostles and portraits of saints). Sometimes we come across also with the picture of the donator of the cross. This form enriched with new episodes of geometrical and botanical engravings, becomes a rule for all periods. In medieval Armenia the mastership of stone work is most richly expressed in the art of khatchkars. While maintaining the canonic structure, beginning from the 11^th century the complex, woven geometrical-linear and botanical decorations predominate in the embellishment of the khatchkars. In these, the intersected line, forming a real geometrical pattern, is not interrupted even when it ceases to be predominately perpendicular and becomes enclosed in another geometrical shape (circle, square). Their regular succession and enchantment, creating a definite rhythm, form an outline for the khatchkar. The linear network appears to be without end and, in the course of its movement , transmutes from one form to the other without defining the start or end. In this instance, the vignette, due to its uninterrupted weave, becomes the expression of the idea or infinity and eternity. The charm of the khatchkar lies in the harmony between decorative motives and homeomeria. In the course of time the network, becoming finer and more delicate, reaches such a stage that the decoration engraved on the stone, resembling in its elegance goldsmith’s art or needlework, does not give the impression of being overloaded. The delicate botanical weave, going deep into the stone mass in layered succession, does not spoil the whole grandiose appearance of the khatchkars. On the other hand, the decorative engravings, as if lightening the weight and dematerializing the stone, add to the expressiveness of the obelisk. Tootevordi’s khatchkar at Sanahin monastery (1184), "Siroon khatchkar" at Dsegh, the khatchkar built by the master Boghos at Goshavank (1291), and others, belong to this class of exceptionally valuable monuments. However, despite the improved and converted-to-rule forms, khatchkars, in the sense of type, style and art of execution, are various and diverse. This diversity is not connected to any specific period, but is a result of different conceptions and this permits to classify them according to definite artistic schools. It is vital to talk about the master-craftsmen, who created these superb and original monuments. Unfortunately few names have reached us. The study of lithographs revealed the names of many masters known as "stone-mason", "constructor", "designer", whose talent and skill have created some of the above mentioned khatchkars. In the inscription of the khatchkars we encounter the names of the masters beginning from the 12^th century. Mkhitar, who had constructed the Tootevordi khatchkar along with his pupil Avetis, had been the most famous expert of that period. Many of the masters who created the khatchkars, were well-known architects who constructed and decorated churches. It suffices to mention Momik, the famous scribe and painter, architect and sculptor. He worked in the years 1282-1321 A.D., in the Vayots valley of the Sunik region. The khatchkars that he created are to be found in Noravank (Amaghoo) of the Vayots valley. These khatchkars which have fine and perfect decorative designs, are considered to be among the best. The church of Areni and, probably, the church-mausoleum of Noravank are Momik’s creations. The masterpieces of the Armenian khatchkars are those of Goshavank, created by Boghos (1291 A.D.), and of Geghartavank, set in the porch by Timot and Mkhitar (1213 A.D.). We must also mention the name of Vahram, the author of the "Amenaprkich" khatchkars of Haghpat and Dsegh, who gave a new form and meaning to the decorative engraving of the khatchkars.

    The normal course of development of Armenian khatchkars was interrupted as a result of the Seljuk and Mongol invasions. Despite these unfavorable circumstances, the link between several regions is quite distinct. It is also obvious that there has been an uninterrupted development in the art of Armenian khatchkars, together with the persistence and perfection specimens and perfection of the national character, the most striking specimens of which have been created in the 12-13^th centuries, and partly in the 14^th century. In the 16-17^th centuries, when Armenia was finally divided and shared between Turkey and Iran, there was some revival in the tradition of erecting khatchkars, although, from an artistic point of view, it never reached the standard of the Middle-Ages. There are numerous khatchkars relating to this period. These are mostly gravestones erected in cemeteries. This must be explained by the fact that having lost their political independence, the Armenian people going through a lean economic period, lacked the means to realize large constructive plans of any national significance and thus their efforts were limited to the creation of small architectural forms. For this reason, the decorative engravings and vignettes of the khatchkars of this period become simple, losing their previous delicate and complex forms and the various kinds of network. It is possible to meet khatchkars with similar characteristic in more or less all regions of Armenia, particularly in the cemeteries of Noradooz, Gavar (Nor Bayazet), Vardenis, Martuni and Hin Djugha. The number of khatchkars in the Noradooz and Djugha cemeteries reaches to several hundreds even a thousand. The khatchkars in the Noradooz cemetery explain the phases of development of khatchkars beginning from the 10^th up to the 17^th centuries. Their series is completed with the works of the famous master, Kiram Kazmogh, whose khatchkars, according to preserved inscriptions, embrace the years 1551-1610 A.D. We also find khatchkars built by him in the cemeteries of Martuni, Gavar, Ashtarak (1602), and other places. The khatchkars created by Kiram’s contemporaries, Arakel and Melikset, who worked together and created wonderful and similar khatchkars (Gavar cemetery), are not less skillfully engraved than Kiram’s works. Of these only one (constructed in 1577) bears the names of the mentioned masters. Despite the clarity of the image and the simplicity of weaves, the decoration of the khatchkars of this period becomes monotonous and schematic, imparting barrenness to the completed works. The khatchkars of the cemetery of Hin Djugha are samples of the final phase of development of the art of the khatchkars. The thousands of specimens created in the 16-18^th centuries in this cemetery, occupy a single place in the history of the art of Armenian khatchkars. Djugha was a populous, commercial centre even in the 16^th century. Being in commercial communication with the West and the East (particularly Persia), Djugha became the crossroad for Armenian and Eastern (late Iranian) cultures. The influence of Iranian art is clearly visible in the Djugha khatchkars. As a result of that influence, the art of decoration and also the volumetric bulk, form and creation of the khatchkars undergo changes. The khatchkar becomes a narrow, slender, massive pillar. The central cross is placed within the narrow altar ending with pointed vault, which is typical for Eastern architecture. The skill of execution and the delicacy of style, which are peculiar to many of the Djugha khatchkars, give them a peculiar charm. The historical course of this national and original Armenian culture comes to an end with these khatchkars of Djugha. The khatchkars are a part of the Armenian art of sculpture, they have a pure national character, expressing the Christian faith, the patriotism and high culture, as well as the aesthetic sense of the Armenian people. For these reasons they occupy a worthy place in the treasury of World Art.