Kotavank

Name: Kotavank
Monument type: Church-Monastic Complex
Region: Gegharkunik Province
Periods: Medieval

Name: Kotavank

Other nomination: St. Astvatsatsin of Kot

Monument type: Church

Region: Gegharkunik

Community: Martuni

Residence: Nerkin Getashen

Location: Western part of the village, right side of the Argichi river, top of a rocky hill.

Preservation: Restored

Coordinates: 40°08’29.3″N 45°16’00.2″E

Elevation: 1940 m

Era and chronology: End of the IX century, High Middle Ages.

Kotavank: The Divine Haven of A Princely Village

As you stand before the timeless medieval marvel that is Kotavank, nestled in the princely village of Kot, it becomes clear that this is no ordinary church.

Regarded as a structural gem thanks to its magnificent cruciform composition, Kotavank also serves as a steadfast witness to the ever-changing tides of history. Its walls have borne witness to a series of tragic tumults and glorious victories throughout the centuries.

As you visit, this wonder won’t simply captivate your eyes; it will also nurture your soul with the captivating tales that echo through the stones, enveloping you in an aura of mysticism and divinity.

Amidst the rugged landscapes of Gegharkunik, Armenia, lies the magnificent Kotavank, also known as St. Astvatsatsin of Kot. This medieval masterpiece, a church perched atop a rocky hill in the western part of the village, stands as a testament to the enduring spirit of Armenian craftsmanship and devotion.

Kotavank’s origins trace back to the late 9th century, firmly placing it within the era of the High Middle Ages. Over the centuries, it has weathered the tides of time, witnessing the ebb and flow of history. Today, it stands proudly at an elevation of 1940 meters, casting its shadow over the surrounding landscape, and beckoning visitors to step into the past.

The church’s history is intertwined with the legacy of Grigor Supan II, a prince from the Haykazun branch of the Syunyats dynasty. He spared no expense in adorning the church with opulent decor and exempting its priests from royal taxes. His generosity and devotion culminated in a grand inauguration ceremony, drawing crowds from near and far.

Kotavank’s significance extends beyond its ecclesiastical role. Situated at the crossroads of medieval transit routes, the village of Kot was a bustling hub where travelers from different regions converged. Within the boundaries of historical Kot, the ruins of various structures, from residences to industrial facilities, can still be seen today. Records from the 19th century even mention the ruins of seven churches, underscoring the area’s historical importance.

Considered as an architectural gem, the church is a stunning example of a three-apsed cruciform composition within a rectangular perimeter. Its design, born from the ingenuity of its creators, showcases a harmonious fusion of artistry and faith. The structure’s uniqueness lies in its four corners, where deposits accentuate the building’s grandeur.

It is primarily constructed from roughly crafted and cracked basalt. However, its structural elements, such as the corners, domes, and trumpets, boast regular and relatively large stones.

Within these hallowed walls, legends have taken root. One such legend speaks of the Holy Icon of Kota, believed to have been created by Apostle Thaddeus himself. This revered relic found its sanctuary in Kotavank, where it remained until 1870, later making its way to the St. Astvatsatsin Church in Sevan.

Through the centuries, Kotavank experienced both prosperity and decline. By the 19th century, it had fallen into disrepair, reduced to a state of ruin. However, the 1980s marked the beginning of a renaissance. Restoration efforts were initiated but faced interruptions, only to be successfully completed in 2015. Today, Kotavank stands as a symbol of resilience, having weathered the storms of time and neglect.

FACTS

❈ Kotavank, or St. Astvatsatsin of Kot, in Gegharkunik, Armenia, is a medieval masterpiece perched on a rocky hill, showcasing Armenian craftsmanship and devotion.

❈ Dating back to the late 9th century, it stands at 1940 meters, enduring the test of time and history.

❈ Sponsored by Grigor Supan II, the church was adorned with opulent decor and hosted grand inauguration ceremonies, drawing crowds from afar.

❈ Kotavank played a pivotal role at the crossroads of medieval transit routes, and the village of Kot was once a bustling hub, evidenced by the ruins of various
structures in the area.

❈ The church’s unique architectural design, constructed primarily from basalt, features a three-apsed cruciform composition within a rectangular perimeter, and
it is known for housing the Holy Icon of Kota. After periods of decline, restoration efforts in the 1980s culminated in the successful completion of its revival in 2015.

Research history

The first descriptions of the monument were made in the XIX-XX centuries by topographers (H. Shahkhatunyants, S. Jalalyants, M. Smbatyants, G. Alishan). In the middle of the XX century, the architecture and lithographs were accordingly studied by S. Mnatsakanyan and S. Barkhudaryan.

Archaeological description

Location
Kotavank is located on the western side of the historical princely village of Kot, on the top of a triangular hill secured ravines from the west and north. The medieval and modern cemetery stretches over the large area around the monument.

Stratigraphy

The princely village of Kot was one of the stops on the Dvin-Partav medieval transit road, where the northern route coming along the western bank of Sevan and the Vayots Dzor route stretching along the Arpa River intersected. There were many ruins of residential, industrial, civil buildings, medieval cemeteries in the territory of historical Kot. XIX century topographers also mention the ruins of seven churches.

According to the extensive construction protocol, that has not been preserved but was once copied by the XIII century historian Stepanos Orbelyan, St. Astvatsatsin Church was built by prince Grigor Supan II from the Syunyats dynasty Haykazun branch in the territory already enclosed by his ancestors. He decorates the church with expensive dishes, appoints priests exempting them from royal taxes, makes many donations and celebrates the inauguration ceremony with a large crowd.

According to the lithographs on the church walls, and cross-stones and tombstones scattered around, Kotavank functioned until the XVIII century. The XIX century topographers described it as destroyed. The church restoration works were initiated in the 1980s, which were stopped in 1990 and completed in 2015.

Architecture
The only standing structure of Kotavank is St. Astvatsatsin church with a cross central dome structure: its three apses are semi-circular and the western one is rectangular. It has two-story warehouses in four corners, the upper floors of which were shelters. It has two entrances from the west and south. The entrances to the depositories on the eastern side were opened in the northern and southern cross wings, and the western one was opened in the western cross wing. Instead of the south-eastern depository entrance door lintel, a IX century cross-stone attributed to Vardan Mamikonyan was installed.

It is mainly built of roughly crafted and cracked basalt, and the structural parts – the corners of the walls, the domes, the trumpets – with regular and relatively large stones. The eastern facade formed by a pair of triangular niches stands out among the restrained external decoration.

Significance

St. Astvatsatsin Church of Kotavank is a typical example of a three-apsed cruciform composition in a rectangular perimeter created due to the deposits in the four corners.

📜 Traditional legends

The Holy Icon of Kota made by Apostle Thaddeus according to the legend, was kept in Kotavank; it was in Sevan St. Astvatsatsin Church until 1870.

Sources

Literature

Stepanos Orbelyan 1986, History of Syunik (translated by A. Abrahamyan), Yerevan, Soviet writer, 615 pages.
Alishan Gh. 1893, Sisakan, Topography of the Syuneats world, Venice St. Lazarus, 563 pages.
Barkhudaryan S. 1973, Diva of Armenian Lithography, 4, Gegharkunik. Kamo, Martuni and Vardenis regions, Yerevan, Academy of sciences of SSR ed.,
526 pages.
Mnatsakanyan S. 1960, Syunik School of Armenian Architecture, Yerevan, USSR State Publishing House, 267 pages.
Y. Shahkhatunians ep. 2014, Signature of the Katoghike Church of Etchmiadzin and five provinces of Ararat, Etchmiadzin, “Mother See of Holy Etchmiadzin”,
560 pages.

List of monuments

Gegharkunik 5.66/7