Etchmiadzin Cathedral, collection of the National Gallery of Armenia (1903) by Panos Terlemezian (1865-1941)Yerevan Biennial Art Foundation
Each culture is built on memories
Filtered and assembled into different narratives, they help create the history we know today and shape our identities.
Memories, though, can be erased or replaced. This happened numerous times throughout human history, eventually leading us to create systems that preserve and protect the memories we deem important.
Holy Etchmiadzin Cathedral , Armavir Province by Zaven SargsyanYerevan Biennial Art Foundation
Eventually those destructions lead us to create systems that preserve and protect the memories we deem important.
Mount Vayots sar, Vayots Dzor province, Armenia by Zaven SargsyanYerevan Biennial Art Foundation
The Concept of Heritage
Since the 18-19th century, the concept of nationalism has become more prevalent․ In this process, both the natural and man-made wonders of our environment transformed into “heritage”, a relatively new idea for humanity.
Khachkars of Noravank by Zaven SargsyanYerevan Biennial Art Foundation
Humanity started protecting it`s values
The impulse for this new concept arose in 1959, when the governments of modern Egypt, the United Arab Republic, and Sudan, appealed to UNESCO (United Nations Educational, Scientific and Cultural Organization).
Upper Egypt And Nubian Monuments And High Dam Story (1960) by James BurkeLIFE Photo Collection
All started in Egypt
This region along the Nile was home to some of the world’s earliest kingdoms. The sites in Egyptian Nubia were endangered by a great lake, which built up behind a new dam at Aswan, a city in Southern Egypt.
This launched the largest archaeological rescue operation in history at that time, resulting in a new direction in preserving human memory, the World Heritage List.
In 1972, UNESCO adopted a Convention on the Protection of the World Cultural and Natural Heritage. This document finally took effect in 1975.
Khor Virap monastery near the border with Turkey, Ararat province, Armenia by Zaven SargsyanYerevan Biennial Art Foundation
This list now includes 168 countries.
Armenia, a modern country with a deep-rooted ancient history and complex past, is one of them.
The Ruins of the Cathedral of Ani ,collection of the National Gallery of Armenia (1901) by Gevorg Bashinjaghian (1857-1925)Yerevan Biennial Art Foundation
Armenia joined UNESCO in 1992
Back then, the country was still at war with its neighbor, creating an urgency to take action and protect its cultural monuments.
To be included on the World Heritage List, sites must be of outstanding universal value and meet at least one out of ten selection criteria.
Detail from an unfinished khachkar relief by Zaven SargsyanYerevan Biennial Art Foundation
Keeping the record of our colelctive past
Being included in UNESCO often means a massive help in cultural preservation, a boost in tourism, and an opportunity to secure humanity from potential cultural amnesia.
Armenia’s origins go back to 1500-1200 BC
But its relatively modern history is marked by decades of colonization. This created a specific culture that absorbed other cultures around it and influenced them, while simultaneously keeping its core.
Relief sculpture atop ground floor entrance of Holy Mother of God Church at Noravank Monastery by Zaven SargsyanYerevan Biennial Art Foundation
New religion, New route
The adoption of Christianity sharply cut Armenia away from its layered past and colonization. The new religion turned its multilayered cultural identity into a more homogenized one with a clear set of cultural codes.
The first site listed in Armenia was the Haghpat Monastery in 1996.
Haghpat Monastery, Haghpat, Armenia by photo by Zaven SargsyanYerevan Biennial Art Foundation
Haghpat
Constructed between the 10th and 13th centuries, this monastery was intended to overlook the nearby river, Debed. Strategically built on the halfway point of a peak, it secured monastic seclusion to its inhabitants and granted protection from attacks.
Haghpat Monastery (study), collection of the National Gallery of Armenia (1926) by Yeghishe Tadevossian (1870-1936)Yerevan Biennial Art Foundation
Founded by Armenian Queen
This monastery was founded in 976 by Armenian Queen Khosrovanoush. It consists of one structure built in the 10th century and later added in the 13th century.
Just like many other sites, Haghpat was too an inspiration for many Armenian artists.
It has a scriptorium, a special room dedicated to writing, copying, and illuminating manuscripts, also a narthex, a separate area that divides the Western entrance from the porch, two corridor-sepulchers and a refectory (dining room in monasteries).
The monastery also has a Chapel dedicated to its abbot Hamazasp, a belfry, and several chapel tombs, all surrounded by a towered rampart.
Later in the 13th century, a Fortress Kayanberd was built nearby to observe the area.
The site is also full of cross-stones, called initially “khachkars” in Armenian. These khachkars are totem-like elongated stones with engravings of cross garnished with other ornaments, taken and adapted from much earlier stages of Armenian culture.
Khachkars from Haghpat Monastery by Zaven SargsyanYerevan Biennial Art Foundation
Intangible Cultural Heritage
Khachkars have been inscribed in the UNESCO List of Intangible Cultural Heritage for their symbolism and craftsmanship since 2010.
Haghpat holds a scarce type of khachkars called “Amenaprkich” (Holy Saviour). It is one of few rare examples, depicting the Crucified Jesus. Only a couple of such designs survived, all dating back to the 13th century.
A typical example of tenth-century Armenian architecture, this church has retained its original character and preserved its priceless frescoes.
The largest church of the Haghpat complex, the Cathedral of Sourb Nshan, was fully completed in 991. Commissioned by the Queen, this cathedral was created for the longevity and prosperity of her sons, Smbat and Gourgen. According to that time’s standard ethics, donors’ images were placed in the domed hall. Images of Prince Smbat and Gourgen were sculpted on the eastern wall, holding a small model of the church they commissioned.
Copy of a 13th century Armenian Fresco from Haghpat Monastery, collection of the National Gallery of Armenia by Copyist: Natalia Tolmachevskaya (1889-1973)Yerevan Biennial Art Foundation
Donor Portraits, "ex voto"
In the Middle Ages and Renaissance, donor portraits were surprisingly common in religious art. So-called votive portraits (term derived from Latin, “ex voto,” meaning” in pursuance of a vow.”) memorialized donors, their lineage, and requested prayers for their souls.
Though the donor figures were often shown on a far smaller scale in the Middle Ages than the sacred figures, this unwritten rule did not apply to holy places.
This monastic complex also held the largest medieval Armenian library in existence and was known for its school.
Sanahin Monastery, Lori Province of Armenia by Zaven SargsyanYerevan Biennial Art Foundation
Sanahin
In 2000, the Sanahin Monastery was also included in the World Heritage Sites of UNESCO list.
Situated on a mountain slope covered with forest, this monastery was established in 966 and served as an administrative center and family mausoleum for members of the medieval Armenian royal dynasties from the 11th to 19th centuries.
A view from Sanahin, collection of the National Gallery of Armenia (1926) by Yeghishe Tadevossian (1870-1936)Yerevan Biennial Art Foundation
Rising to it`s height
From 12th to 13th century it was a renowned school of illuminators and calligraphers, an essential hub for studying religion, philosophy, and science. A university in Sanahin was in operation during the 10th and 11th centuries and had a famously known library attached to it.
The oldest structure of Sanahin is the church of the Holy Mother of God, an exceptional example of Medieval architecture. On its North Eastern corner is the scriptorium, built by Queen Hranoush in 1063. Next to it lays a church of St Gregory, built in the 10th century. Each narthex of this monastery is designed differently from others.
The Sanahin monastery complex includes the Holy Mother of God churches, All Savior church and the chapel of St Grigor, a narthex, a fore-church and scriptorium, a belfry, and an academy.
Sanahin belfry door, collection of the National Gallery of Armenia (1901) by Arshak Fetvadjian (1863-1947)Yerevan Biennial Art Foundation
The belfry is one of the oldest in Armenia, built between AD 1211 and 1235.
The All Saviour Church was built between AD 957 and 966 under the patronage of Queen Khosrovanush. It is approached through a narthex with a cross-in-square plan and a roof supported by four columns.
This is the earliest known example of this type of planning. All were built in AD 1181. The church's exterior has votive portraits on its Eastern walls depicting King Gourgen Kyurikian and King Smbat Bagratouni holding a miniature model of it.
Sanahin Bridge, landscape, collection of the National Gallery of Armenia (1899) by Harutyun Shamshinian (1856-1914)Yerevan Biennial Art Foundation
Sanahin's bridge, built in the 12th century, is one of the best and most important examples of medieval Armenian engineering.
Sanahin was built to be in tune with its surrounding nature and thus has an irregular asymmetry.
Khachkars of Sanahin Monastery, Lori Province of Armenia by Zaven SargsyanYerevan Biennial Art Foundation
Best samples of medieval sculpture
More than 50 khachkars (cross-stones) are preserved in Sanahin, considered among the best examples of medieval Armenian sculpture.
click to read "From Cultural Memory to History", Part II
Created in collaboration with Yerevan Biennial Arts Foundation, Zaven Sargsyan family archives and the National Gallery of Armenia.
Content creators, editors and reviewers: Anastasiia Lebedenko (Ukraine), Anush Mirzoyan (Armenia), Diana Ghazaryan (Hungary), Sona Hovhannisyan (Armenia), Yeva Kurghinyan (Armenia)
Virtual exhibition was assembled and outlined by Ella Kanegarian Berberian (Armenia)
Photographs and Artworks used from: Z. Sargsyan family archives, and the collection of the National Gallery of Armenia.
For the production and execution of this exhibition YBAF would like to thank Mrs. Lucy Kinosian for her support.