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Domed Basilica
and Domed Single Nave Church (Floor
planes)
 The
Armenian fondness for vaulting and the dome soon resulted in the transformation
of both the single hall church and three-aisled basilica (a form considered
alien to Armenia) to a domed building in which the cupola served as the
focal point. By the late fifth or early sixth century the basilica
of Tekor was modified by the addition of a dome over the central bay of
the nave; in the first quarter of the next century the basilican cathedral
of Dvin was also changed in this manner. Coterminously, perhaps starting
as early as the fifth century at Zovuni, single aisle churches with a central
dome resting on massive piers jutting out from the north and south walls
were constructed (Ptghni, sixth century; Talish or Aruch', seventh century;
and after the ninth century, Marmashen, Amberd, 1026, St. Mariam at Bjni
and the church of Tigran Honents' at Ani. In the seventh century,
basilicas were built similar to Tekor with domes resting on four central,
free-standing pillars: Odzun, Bagavan, Mren, Gayané, Talin, and
the famous cathedral of Ani (989-1001). At this stage, however, the
term basilica no longer entirely fits the last group, for if we remove
the eastern end with apse and side chambers of the churches of Mren and
Gayané, we are left with a nearly square interior of nine bays,
the central one bearing the dome.
Central
Plan (Floor planes)
 Truly
centrally planned domed churches of varying models were built during the
sixth and seventh centuries and perhaps even as early as the late fifth
century during the reconstruction of Etchmiadzin itself. At Agarak there
is a tetraconch or quatrefoil church composed of four salient apses, joined
without intervening walls, supporting a dome. Another series of well-known
cruciform chapels and churches of small dimensions has an exterior plan
in the shape of a Greek cross with arms of equal length forming an outside
tetraconch (Mankanots', St. Sarkis at Bjni, and Tarkmanch'ats'), or with
the same exterior and only one apse at the east end (Karmravor and
Lmbatavank'), or with an extended western arm and three interior apses
forming a trefoil (St. Anania at Alaman and St. Mariam at Talin).
Niche-buttressed
Square (Floor planes)
Another variant of the quatrefoil,
what Josef Strzygowski called the niche-buttressed square, has four apses
protruding from the middle of each of the four walls of a square; the weight
of the centrally placed dome is absorbed by these four protruding niches
that buttress the walls. All such churches have a pair of chambers added
to the sanctuary; one type has a dome resting on four free-standing pillars
with pendentives (masonry corners in the shape of spherical triangles)
which form a circular base as a transitional element for a cylindrical
drum. The most famous examples are Etchmiadzin and Bagaran. Another
type features a dome that covers the entire interior and rests on an octagonal
base and drum formed by the walls and four corner squinches (arches): Mastara,
Artik, Voskepar, and the church of the Holy Apostles at Kars.
Hrip'simé
Type (Floor planes)
 The
most developed central plan and the one considered most uniquely Armenian
(or Caucasian, since early examples are also found in Georgia) is the radiating
or Hrip'simé type, which takes its name from the most famous example,
the church of St. Hrip'simé built in 618 at Etchmiadzin. The oldest
dated monument with this form, however, is the church at Avan (591-609)
near Erevan, though some Italian scholars suggest that the church at Soradir
east of Lake Van may be an even earlier sixth century prototype.
The basic plan of the Hrip'simé type is an interior tetraconch,
that is interior apses joined to form a four leaf clover shape. At the
intersection of these apses in each of the corners are deep circular niches
(three-quarter cylinders), which, with the four apses themselves, create
an octagonal base as a support for a high cylindrical drum. This in turn
is crowned by the usual dome. Leading off the corner niches are four chambers,
either circular in shape (Avan) or more usually square (Hrip'simé
and Sisian). This very symmetrical plan allows a proportionally large interior
space to be created, unhindered by columns or piers. Since, however, this
complex inner space is enclosed in massive stone walls, the exterior of
the building in Armenian architecture, often does not reflect the contour
of the interior. The high drum supporting the dome is pierced by windows
to admit light into the large central space; windows on other walls are
relatively small. Each of the façades of Hrip'simé and Sisian
are indented by pairs of deep triangular slits, which place in relief the
otherwise hidden inner tetraconch. Only the exterior of Soradir (and the
tenth century church of Aght'amar, which copies the Soradir plan minus
the corner chambers) to some degree has an exterior that reflects the interior
articulation.
Circular
Plan (Floor planes)
The ultimate design in the centralized
plan is of course the perfectly circular church. In the seventh century,
the aisled tetraconch of Zvart'nots' perfected the circular plan. The church
is really thirty-two sided. Its domed quatrefoil interior reached some
forty meters in height. The inner ground space, according to the most recent
reconstruction of S. Mnats'akanian, was surrounded by a single tiered ambulatory
with open passages leading into the center through an arcade formed of
six columns on each of the north, west and south lobes of the tetraconch.
This impressive building erected by Catholicos Nersés III between
641 and 653 had an overall diameter equal to its height. Other circular
churches of the seventh century include the octafoils of Zoravar and Irind.
The plan of Zvart'nots' itself was later imitated in both Georgia
and Armenia, the best known example being a near replica of it in the eleventh
century church Gagikashen at Ani, which like Zvart'nots' itself is
now destroyed. Among later circular plans is the church of St. Sargis at
Khtzkonk' and the hexafoils of the Shepherd's church and St. Gregory
Abughamrents' at Ani.
The Gavit'
or Jamatun (Floor planes)
 By
the mid-seventh century Armenian architecture developed most of its basic
forms. During the various architectural renaissances of the medieval period,
these forms were imitated and elaborated. One exception was the newly developed
narthex, called a gavit' or jamatun in Armenian. These special square halls
were usually attached to the western entrance of churches. They were very
popular in monastic complexes where they served as meeting rooms and vestibules.
The twelfth to the fourteenth centuries was a period of great expansion
of monasteries (in Armenian vank'), which in times of danger also housed
neighboring villagers. Pairs of large intersecting arches, held up by four
sturdy and squat columns, supported the roofs of jamatuns. Their intersection
in the upper region of the hall created an open lantern for light and air.
The walls were massive and contained few and small windows. Excellently
preserved examples are found at Haghbat, Sanahin, Geghart, Goshavank',
Magaravank' and Hovhannavank'.
Contemporary
Church Architecture (Floor planes)
Modern Armenian architecture, especially
in church design, is extremely dependent on the ancient tradition. Most
new buildings either consciously imitate the most famous monuments of the
fourth to the seventh centuries, substituting contemporary constructional
advances like reinforced and poured concrete for the traditional Armenian
methods, or they combine features -- either tectonic or decorative -- from
several old churches with results that are often a hybrid amalgam. Unfortunately,
despite the large number of Armenian architects in Armenia and the
diaspora and the many opportunities for new church design, innovation and
inspiration seem lacking. The willingness of Armenian architects and masons
of the past to constantly experiment with new forms has given way to conservative
contemporary church boards and architects who seem afraid to deviate from
the ancient and glorious tradition. |
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