Garni Temple
Name: Garni Temple
Monument type: Temple
Region: Kotayk Province
Periods: Ancient – Classical
Name: Garni Temple
Other nomination: Pagan temple of Garni
Monument type: The temple is an immovable monument of Armenian history and culture.
Region: Kotayk
Community: Garni
Residence: Garni
Location: Village of Garni, Kotayk marz, right bank of Azat River.
Preservation: Reconstructed
Coordinates: 40°6′43″ N 44°43′44″ E
Altitude: 1400 m
Era and chronology: BC 1- AD 3rd
🔍 Research history
The research of the Garni temple was carried out by N. Buniatyan, B. Arakelyan, N. Tokarsky, A. Sahinyan, F. Ter-Martirosov and other authors. N. Buniatyan tried to restore the temple in the 1930s.
Due to the regularly conducted excavations under the leadership of N. Mar in 1909-1911 and B. Arakelyan since the 1950s, a number of monument remains were discovered and valuable archaeological materials were revealed.in the territory of the complex. The expedition of the Institute of Archeology and Ethnography undertook regular excavations of the monument in 1949 under the leadership of Arakelyan. Alexander Sahinyan also started the architectural study of the monument along with the expedition. In January 1969, the restoration works led by A. Sahinyan started. Based on the studies, a part of the monument remains of the complex (church, bathhouse, palace building, walls, etc.) were fixed, and the pagan temple was fully reconstructed in 1968-1975. The restoration was completed exactly 19 centuries after the construction of the temple and about three centuries after its destruction. Not far from the temple, against the background of a picturesque gorge, a spring-monument was built in 1978 in the memory of architect Al. Sahinyan, who rebuilt the temple.
🧱 Archaeological description
Location
The “Garni” historical and cultural reserve-museum is located 28 km east of the RA capital Yerevan, in the south-western part of the eponymous in the Kotayk region, at the southern foot of the Geghasar peak of the Geghama mountain range, on a triangular promontory surrounded by deep canyons. It occupies an area of 3.5 hectares (5.1 hectares together with the conservation zone) and includes a number of historical and cultural structures and cultural values: the Garni fortress (III-II centuries BC), the pagan temple (77 AD), the bathhouse with a mosaic floor (III century AD), palace buildings and related economic structures, the ruins of St. Sion Church (VII century) and the adjacent chapel, the stone monument called “dragon” with the Urartian cuneiform inscription, the stone with the Greek inscription, etc.
Stratigraphy
The site has been active since prehistoric times, especially with rich fossils of pottery and obsidian. The cuneiform inscription that belonged to King Argishti was found from the territory of the fortress, where the name of Garniani-Garni is mentioned: it proves that the Urartian region was inhabited as early as the VIII century BC. A large number of buildings were built in this area in the III century; among them the most memorable ones are the temple, the palace and the bathhouses. Even after the adoption of Christianity, the place was not abandoned. The ruins of the round temple St. Sion, built in the VII century, have been preserved since Christian times; it was destroyed by an earthquake. The castle was an important center during the Bagratunis and Zakaryans. Then it was abandoned during Mongol and Persian invasions, and was finally abandoned in 1679 after the earthquake with the epicenter in Garni. Garni Cathedral has undergone many changes over the centuries. Its architecture can be classified into five phases. The first phase dates back to the construction of the Ionian-style Roman temple dating back to 77 AD. The second phase corresponds to the period of Antonius. The inscription found inside the temple belongs to the third phase proving that the interior of the structure was turned into a baptistery during the Christian period. It is surprising that the ancient structure served as a place of consecration and baptism during the Christian period, which could be the reason for its preservation after the adoption of Christianity. The semicircular arch of the inner space, the niche in the floor of the cella, the water supply system and the Armenian inscription were added in the V century. The fourth phase is difficult to date, but a number of stylistic changes are present as a result of the re-tiling of the interior of cella and the renewal of the plaster of the baptistery. The fifth stage refers to the restoration works undertaken by A. Sahinyan in 1969: it lasted for six years and was completely renovated with antique stones. The pseudo-atyton of the cella depth and the roof arch are imaginary additions by A. Sahinyan, aimed to emphasize the ancient nature of the structure and to push out its use in the Christian period.
Architecture
The temple is a peripter-type structure typical of Hellenistic period architecture, but built in Roman style (peripter is a prayer hall surrounded by columns on four sides, resting on twenty-four pillars in a six-by-eight arrangement from the front). It stands on a high plinth, with a nine-step stone staircase in front of its main entrance. The triangular facade (the northern one) is bordered by a rich combination of dentils and vegetal and geometric sculptures. The pitched roof is covered with basalt tiles, joined with rivets. According to the lithographic, bibliographic and archaeological materials, the temple was found out to be built by King Tiridates I in the 11th year of his reign, i.e. in 77 AD. With its style and plan it is comparable to the temples built by Vespasian in the Rome Capitoline and Trajan in Pergamon.
The majority of specialists consider the temple as a “Roman”, “Greco-Roman” monument or connect its architecture with Hellenistic general art, almost always emphasizing (to a greater or lesser extent) the features of the type manifested in the architectural-constructive art of the monument. Some authors view the monument as an Armenian-Hellenistic structure, while on the contrary, others consider it completely “accidental”, a “foreign body” on the Armenian soil. Speaking about the Armenian culture, particularly architecture, Mar does not consider them foreign, but notes that they have always been their “independent flag bearers”. He saw two directions in the Armenian architecture: the first was local, the second was formed under the influence of Greco-Roman architecture. Mar notes that our nation has appropriated the influences from other nations imprinting its own national stamp on it. Alexander Sahinyan was of the opinion that the Garni Temple is a unique synthesis of Greco-Roman, general Hellenistic and existing architectural-constructive art, that it is a monument of Armenian-Hellenistic culture.
Much attention was paid to the decoration of the temple. The art of sculpture is based on the principle of using diverse motifs in a unified composition – diversity in unity. The decorative sculptures of the other parts and details of the temple, such as the caissons, the architraves, the soffits, and the ceiling slabs of the colonnades, do not replicate each other. Even the sculptures of lion heads and bunches of grapes carved on separate stones of the main cornice have different treatments. N. Tokarski praises the structure’s fine quartz carving and carving techniques, which, according to him, could rather be achieved by local craftsmen than the Romans working with malleable marble. But at the same time, he notes that the pagan temple of Garni is the best example of how local masters skillfully combined individual features and lines of Roman architecture into the Hellenistic foundation. The 24 columns, being compared to the 24 hours of the day, and the orthostates near the temple steps with local-oriental carvings of Atlanteans are unique to the structure. According to Felix Ter-Martirosov and H. Hakobyan, they are the constant companions of Mihr-Mithra, the Sun-god, Kautes (Dawn) and Kautopad (Sunset): one of them distinctly looks to the East, the other to the West. According to scholars, the marble statue of Mihr-Mithra sacrificing a bull, was inside the cella of the temple: this was an accepted tradition in Mithraeum. As a result of the temple research in recent years, a broken part of the bas-relief with a marble head of a bull was found in the Garni valley confirming the researchers’ opinion.
🌍 Significance
Built with Greco-Roman architecture and Hellenistic influence, the temple has no similar example in the entire Caucasus and is the only restored temple in our region. The Garni fortress was the mainstay of the defense system of the north-eastern reaches of the Ararat valley. In the ancient period, a powerful fortification structure, impregnable to time, was created on the continuation of the natural impassable rock forming the triangular peak of the cape. The triangular territory of the castle is surrounded by rocks up to 300 m high from the south, south-west, and partly from the east. It is surrounded from the north, north-west and east by a wall created by a sequence of 14 towers with the entire perimeter of (including the towers) 314.28 m. Alexander Sahinyan considered the pre-Christian temple of Garni as “a perfect work of architectural art”, Toros Toramanian as “the queen of Armenian fine art”, and Hakob Manandyan noted that “the Armenian people should preserve this glorious remnant of the great Armenian past with the greatest care”.
📜 Traditional legends
The khachkar (cross-stone) found by Martiros Saryan from the Garni village cemetery shed new light on the mystery of the monument construction and dating. According to the Greek inscription preserved on the khachkar, the temple was built by King Tiridates I in the 11th year of his reign, that is, in 77 AD. There are many legends related to the adoption of Christianity in Armenia, because it was the only standing pagan temple in Armenia. According to historians, Gregory the Illuminator destroyed all the Zoroastrian pagan temples except for Garni: according to a legend, King Tiridates III was baptized here; according to another one, here was the country house and residence of the king’s beloved sister, Khosrovadukht, who convinced Tiridates to accept Christianity. According to Felix Ter-Martirosov, the king’s sister, Princess Khosrovadukht, was buried in the Garni area.
📚 Sources
Literature
- Khatchadourian L. 2008, «Making Nations from the Ground up: Traditions of Classical Archaeology in the South Caucasus»։ American Journal of Archaeology 112 (2), 247–278։
- Strzygowski J. 1918, Die Baukunst der Armenier und Europa [The Architecture of the Armenians and of Europe, Band 1, Wien, Kunstverlag Anton Schroll & Co., 404-407.
- Arakelyan B. 1957, Garni, II (Results of the work of the Garni archaeological expedition of 1951-1955 (ancient period), Yerevan, Publishing house of the Academy of Sciences Armenian SSR, (No. 7 of the series “Archaeological excavations in Armenia”), 93-96.
- Arakelyan B. 1951, Garni, Yerevan, publishing house of the Academy of Sciences Armenian SSR, 91p.
- Tokarsky N., 1961, Armenian architecture of the 4th-14th centuries, Yerevan, Armgosizdat, 387p.
- Trever K., 1953, Essays on the history of the culture of ancient Armenia, Moscow, Publishing House of the Academy of Sciences SSR, 397p.
- Alishan Gh. 1890, Armenian visit to Ayrarat natural world. Venice, St. Lazarus Island, page 367.
- Batikyan H. 1965, “The Greek Autograph of Garni and Moveses Khorenatsi”, PBUH N3, pp. 229-234.
- Buniatyan N. 1933, Pagan temple in Garni Castle next to Tiridates Palace, Yerevan, Hrat. Melkonian fund, 122 pages.
- Tananyan G. 2014, “The historical and cultural monument of Garni (on the occasion of the 40th anniversary of the restoration of the temple)”, PBU, N2, pp. 25-45.
- Toramanian T. 2013, Materials of the history of Armenian architecture (collection of works), Yerevan, YSU ed., 864 pages.
- Khorenatsi Movses, History of Armenia, Yerevan, Armenia, 1997, p. 188.
- Manandyan H. 1946, The Garnu Greek Inscription and the Construction Time of the Garni Pagan Temple, Yerevan, YSU Pub., 104-135.
- Mar N. 1989, Armenian culture, Yerevan, Armenia ed., 16-21:
- Mnatsakanyan S. 1985, Issues of Armenian Architecture in the Works of Nikoghayos Mar, Yerevan, Historical Journal, pages 30.
- Sahinyan A. 1979, “The Construction Time of the Ancient Temple of Garni”, PBU N3, pp. 165–181.
- Sahinyan A. 1979, “The Symmetrical System of the Ancient Temple of Garni”, Journal of Social Sciences N12, pp. 76–92.
- Sahinyan A. 1979, “Restoration of the Ancient Temple of Garni”, Journal of Social Sciences, N10, pp. 59-74.
- Sargisyan H. 1982, “Engineering Issues in the Restoration of the Garni Pagan Temple”, Journal of Social Sciences, N12, pp. 70-76.
- Plavius Hovsepos, Cassius Dion 1976, Ancient Greek Sources, Yerevan, p. 203.
List of monuments
Kotayk 6.21.4
Garni Temple: A Timeless Marvel of Heritage and Culture
As you stand before the Garni Temple, you cannot help but be captivated by the influences that have shaped this remarkable architectural structure. Its timeless allure echoes through the ages, and its mystique is woven into every stone and sculpted detail.
This temple, a testament to the enduring spirit of time, seems to whisper tales of ancient Armenia and its rich cultural heritage. In its form and structure, you’ll find a unique fusion of influences, a harmonious blend of Hellenistic and Greco-Roman architecture that stands as a true masterpiece of Armenian art and history.
Standing sentinel on the right bank of the Azat River, in the village of Garni, Armenia, the Garni Temple, also known as the Pagan Temple of Garni, is a timeless masterpiece that transcends centuries and embraces a rich history. This immovable monument of Armenian culture, located in the Kotayk region, has witnessed a tapestry of events and stands as a testament to Greco-Roman architecture and Hellenistic influence.
The Garni Temple is the sole restored temple in the region and represents a harmonious blend of Armenian heritage with classical architectural elements. With its captivating Greco-Roman architecture and Hellenistic influence, it is unlike any other structure in the Caucasus, making it a truly unique treasure in Armenia’s historical tapestry.
The temple is not only an architectural marvel but also played a pivotal role in safeguarding the north-eastern boundaries of the Ararat valley. It was a formidable fortress that defied the ravages of time. The triangular territory of the Garni castle is a remarkable testament to ancient engineering, nestled amid cliffs that reach up to 300 meters in height from the south, southwest, and partly from the east. The northern, northwestern, and eastern sides are fortified by a wall adorned with 14 towers, forming an entire perimeter of 314.28 meters. This historical stronghold earned praise from prominent scholars, with Alexander Sahinyan lauding it as a “perfect work of architectural art,” Toros Toramanian hailing it as the “queen of Armenian fine art,” and Hakob Manandyan emphasizing the importance of preserving this relic of Armenia’s glorious past.
The Garni Temple’s roots run deep into history, with evidence of inhabitation as early as the VIII century BC. The site has yielded a treasure trove of archaeological finds, particularly pottery and obsidian fossils. The cuneiform inscription attributed to King Argishti and bearing the name Garniani-Garni attests to the temple’s ancient origins. This area saw significant construction activity in the III century, with notable structures such as the temple, the palace, and bathhouses. Even the advent of Christianity did not lead to its abandonment. The ruins of St. Sion Church, which dates to the VII century, are a testament to its enduring significance.
Over the centuries, the Garni Temple underwent several phases of transformation. The original temple, built in 77 AD during the reign of King Tiridates I, exhibits elements of Roman style with a Hellenistic influence. However, its usage evolved, with the interior transitioning into a baptistery during the Christian period. The V century saw the addition of a semicircular arch, a niche in the floor, a water supply system, and an Armenian inscription. Several phases of renovation have left their mark on this architectural gem, including a comprehensive restoration in the 20th century under the guidance of Alexander Sahinyan.
This pagan temple’s architecture stands as a testament to the cultural fusion that defined ancient Armenia. While it bears Greco-Roman architectural features, it also represents an Armenian-Hellenistic synthesis. The ornate sculptures adorning the temple exhibit a diversity of motifs, reflecting a harmonious amalgamation of architectural influences. The temple’s architectural richness is also a nod to Armenia’s unique contribution to the Greco-Roman tradition.
This majestic monument’s meticulous decoration showcases an array of sculptures, including intricate caissons, architraves, soffits, and ceiling slabs with captivating designs. Lion heads and grape clusters, carved on separate stones of the main cornice, bear unique stylistic variations. An ancient marble statue of Mihr-Mithra, representing the Sun-god, emphasizes the temple’s role in the Mithraic tradition. This well-preserved example of sculpture demonstrates a deep connection between the Garni Temple and ancient religious practices.
Garni is associated with many legends related to the adoption of Christianity in Armenia. Historians suggest that Gregory the Illuminator, the patron saint of Armenia, destroyed all Zoroastrian temples, but spared Garni. Some legends attribute the conversion of King Tiridates III, who was baptized here, to Garni’s enduring presence. Another narrative links Princess Khosrovadukht, the king’s beloved sister, to Garni’s significance and its role in promoting Christianity.
FACTS
❈ The Garni Temple, located in Garni, Armenia, is a timeless masterpiece of Greco-Roman architecture and Hellenistic influence.
❈ It stands as a unique treasure in Armenia’s historical tapestry, harmoniously blending Armenian heritage with classical elements.
❈ The temple also served as a formidable fortress protecting the Ararat valley’s northeastern boundaries, earning praise from prominent scholars.
❈ Its history dates back to the 8th century BC and features archaeological treasures and cuneiform inscriptions.
❈ The temple underwent several transformations over the centuries, transitioning from a pagan temple to a baptistery during
the Christian period.
❈ Its intricate sculptures and decoration reflect a fusion of architectural influences and the temple’s role in ancient religious
practices.
❈ Garni has legends associated with the adoption of Christianity in Armenia, including its connection to King Tiridates III’s conversion.
❈ This remarkable monument stands as a testament to Armenia’s unique contribution to the Greco-Roman tradition.
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