Makaravank Monastery Complex

Name: Makaravank monastery complex
Monument type: Church-Monastic Complex
Region: Tavush Province
Periods: Medieval

Name: Makaravank Monastery Complex

Other nomination: Makaravank

Monument type: Church-Monastery Complex

Region: Tavush

Community: Ijevan

Residence: Achajur village

Location: 3 km south-west of Achajur village, the plateau of Paytapat mountain, the center of the forested mountain range spread between two valleys.

Preservation: The main structures of the monastery complex have been almost completely preserved. Cleaning and repair works were carried out in the Soviet (1940-50s, 1970s) and post-Soviet period.

Coordinates: 40o58’27.54” N 45o’07.40” E

Altitude: 1156 m

Era and chronology: The monastery complex dates back to the High Middle Ages, X-XIII centuries.

Makaravank: A Testament to the Artistry of Armenian Craftsmanship

You can sense the mysterious aura of Makaravank enveloping your senses as you gaze upon the marvelous structure of this monastic complex. Indeed, it is impossible not to be enchanted by the enigmatic allure of this High Middle Ages monastery, proudly standing at the heart of a forested mountainous range in the Tavush region.

And if you pay close attention to its ancient stones, they may share with you the devastating folkloric legend of Makar, who lent his name to the site, and his son. It is a mystical tale of a father who, along with his son, constructed this edifice, only to take his own life by jumping off the dome after the latter vanished. Legend has it that Master Makar is buried under the monastery wall.

Perched 3 kilometers southwest of Tavush’s Achajur village, on the Paytapat mountain plateau, Makaravank offers a serene setting in a forested mountain range between valleys.

Dating back to the High Middle Ages, specifically the X-XIII centuries, Makaravank stands as a testament to the enduring legacy of Armenian craftsmanship. Its historical significance is unparalleled, often compared to iconic Armenian landmarks such as Aghtamar, Bgheno Noravan, and Gandzasar.

The primary group of monuments at Makaravank comprises the following structures: an old church, the main church, a vestibule, St. Astvatsatsin Church, residential and auxiliary buildings, a chapel, gate walls, an “alms house,” a spring, and a cemetery.

The Main Church: A Testament to Time

At the heart of Makaravank, the Main Church stands as a testament to devotion and artistic prowess. Built in 1205 with the patronage of Vardan, Prince Bazaz’s son, it features a stately rectangular exterior but a captivating cross-shaped interior with domed structures on either side of the altar, crafted from pink andesite hewn stones.

The western facade boasts a richly ornamented porch with a chessboard-like arrangement of multicolored stones. The northern porch mirrors this design. A striking eagle clutching a calf sculpture graces the southern wall.

Inside, the altar captivates with 13 concave niches, arched pillars, and unique front stage sculptures, including stars and octagonal polygons. The sculptor’s self-portrait is embedded in the central decoration. Makaravank’s sculptures also depict souvenirs, fishes, and birds, adorned with intricate floral and geometric motifs.

The Enigmatic Gavit: A Northern Marvel

Adjacent to the Main Church, the Gavit (vestibule) stands as a testament to unknown builders in history. Records indicate that it may have been constructed around 1224, as suggested by a donation inscription by priest Sargis.

The Gavit features a nearly square plan, with four columns at its center, all constructed using pink andesite hewn stones. The western facade is adorned with a porch boasting a finely carved sculptural frame, crowned with a masonry khachkar and sculptures of a lion, bull, and centaur.

The Oldest Church: A Window to Centuries Past

For a glimpse into antiquity, visit the Old Church, which dates back to the 10th and 11th centuries. Rectangular on the outside and cross-shaped within, this venerable structure is primarily constructed from large semi-finished reddish tuff stones. Its roof and dome, rebuilt in the 13th century, feature the same tuff hewn stones. The delicate floral and geometric ornaments on the front stage are the primary adornments of this historical marvel.

St. Astvatatsin Church: A Jewel of the 12th Century

Built in 1198 by Makaravank leader Hovhannes I, the St. Astvatatsin Church is a multifaceted monument. Adorned with bas-reliefs of birds, lions, roses, eagles, and dragons, this architectural treasure boasts a circular earthen rampart. A half-destroyed vaulted chapel stands nearby, adding to the charm of this sacred site.

Nshkharatnun: The Alms House

In the northeast corner of the complex lies the Nshkharatnun, a white stone structure dating back to the 13th century. While only a portion of the wall and an arched gate remain, it stands as a testament to the monastery’s historical significance.

Springs of Life: Ancient Water Sources

A spring, located just outside the monastery walls to the northeast, has quenched the thirst of visitors for centuries. Water was once transported through clay pipes from a spring on the western hillside, a testament to the ingenious engineering of the era.

Ancient Cemeteries: A Silent Legacy

Two cemeteries surround the Makaravank Monastery, offering a poignant connection to the past. The first, located west of the monastery gate on a wooded hill, bears witness to history dating back to the 12th and 13th centuries. The second cemetery, on the southwestern hillside, further enriches the tapestry of Makaravank’s history.

In the course of archaeological research, Makaravank has yielded numerous treasures, including lithographs, fragments of decorated khachkars, and sculptures. These findings offer glimpses into the artistic heritage and spiritual life of a bygone era, reinforcing the enduring allure of Makaravank as a living testament to Armenia’s cultural legacy.

FACTS

❈ Makaravank, nestled in Tavush’s Achajur village, dating back to the X-XIII centuries, is a testament to Armenian craftsmanship and cultural heritage.

❈ Comprising various structures, including the Main Church, Gavit, Old Church, St. Astvatatsin Church, an alms house, springs, and cemeteries, it rivals iconic Armenian landmarks like Aghtamar, Bgheno Noravan, and Gandzasar.

❈ The Main Church, constructed in 1205, is an architectural marvel with unique interior features, intricate sculptural
ornamentation, and the sculptor’s self-portrait.

❈ The enigmatic Gavit, constructed around 1224, showcases fine craftsmanship, with sculptural frames, khachkars, and symbolic
sculptures.

❈ The Old Church, dating back to the 10th and 11th centuries, offers a glimpse into antiquity with its distinctive architectural
features and adornments.

❈ St. Astvatatsin Church, built in 1198, features bas-reliefs of various creatures and a circular earthen rampart.

❈ The Nshkharatnun alms house, ancient water sources, and cemeteries enrich the historical significance of Makaravank.

❈ Archaeological findings at Makaravank include lithographs, fragments of decorated khachkars, and sculptures, providing insights into Armenia’s cultural heritage.

🔍 Research history

Cleaning works of the monastery were carried out in the 1950s, as well as in the following years, area improvement inclusive. The monastery complex was rebuilt and fortified in the 2000s.

🧱 Archaeological description

Location:
The main monument group of Makaravank consists of the following buildings: old church, main church, vestibule, St. Astvatsatsin Church, residential and auxiliary buildings, chapel, gate walls, “alms house”, spring, and cemetery.

Architecture:

The main church. According to the inscription preserved on the khachkar, it was built in 1205 with the funds of Vardan, the son of Prince Bazaz. It is rectangular on the outside, cross-shaped on the inside, on both sides of the altar it has a domed structure with two-story vaults built with pink andesite hewn stones. The western facade has a richly decorated porch, the concrete wall of which is a chess-shaped arrangement of multi-colored stones. The northern porch opening into the vestibule has almost the same design. Under the window of the southern wall of the church is a high sculpture of an eagle holding a calf in its claws, made with great craftsmanship. In the bright and spacious hall of the church, the decoration of the altar is very impressive with its original solutions. The semicircular wall of the altar is decorated with 13 concave niches, separated from each other by a pair of arched pillars. One of the important elements of the church decoration are the front stage sculptures consisting of stars, octagonal polygons, and diagonals. The self-portrait of the sculptor stands out among the Makaravank sculptures. It is embedded in the central part of the mosaic-like decoration on the front stage. The master’s name is engraved in the upper right corner of the image: YERITASARD (YOUNG). The images of souvenirs, fishes (one of the sculptures depicting the biblical theme of Hovhan’s caressing the whale), and birds, enriched with floral and geometric ornament motifs, stand out among the sculptures.

Gavit (the vestibule) is attached to the northern side of the main church. The time of the vestibule construction and the builder are unknown. Judging by the priest Sargis’ donation carved on the south-eastern wall of the vestibule vestry, the vestibule was already built in 1224. It is almost square in plan, with four columns in the center, built with pink andesite hewn stones. The ornament of the western facade of the vestibule is its porch with a carved sculptural frame, above it are a masonry khachkar, high sculptures of a lion and a bull fighting and a centaur. On the base slabs of the dome are the initials of the vestibule builders’ names.

The old church (X-XI centuries) is the oldest among the currently preserved buildings of the complex, located in the north-east of the complex. Rectangular on the outside, cross-shaped on the inside, the building is mainly built with large semi-finished reddish tuff stones, and the roof and dome, rebuilt in the XIII century, with the same tuff hewn stones. The main element of the decoration are the delicate floral and geometric ornaments on the front stage crowned in diagonal frames.

St. Astvatatsin Church was built by the Makaravank leader Hovhannes I in 1198. A small, multifaceted monument erected on a circular earthen rampart is located a few meters east of the main church. There are bas-reliefs of birds, lions, roses, an eagle and a dragon fighting on the belt covering the crowns of the windows and the fan-shaped tops of the niches. There is a small half-destroyed, vaulted chapel adjacent to the church from the north. To its east and below there are remains of economic buildings and cells.

“Nshkharatnun” (alms house) is a white stone structure (XIII century) with a rectangular plan. Located in the north-eastern corner of the complex, the entrance is from the vestibule.

Only the south-western part of the wall with an arched gate has been preserved.

The spring is located outside the monastery wall, about 100m north-east of the gate. Water was once brought in clay pipes from a spring on the western side of the hillside, which still flows today.

There are two cemeteries: one extends about 150m west of the monastery gate, on a wooded hill. The other cemetery is on the south-western side of the monastery, on the hillside. They are dated back to the XII-XIII centuries.

🔨 Findings

In the course of research, dozens of lithographs, fragments of decorated khachkars and sculptures were found from the territory of the monastery and its surroundings.

🌍 Significance

Due to its craftsmanship and perfection of the sculptures, Makaravank is considered one of the unique examples of the Armenian cultural history. It ranks among Aghtamar, Bgheno Noravan, and Gandzasar with its originality, richness and diversity of ornaments.

📜 Traditional legends

According to the legend, the monastery was built by a master named Makar and his son. The son carried the stone, decorated it, and the father arranged it. One day master Makar notices that the shape of the stones and the ornaments are different. He asks his son over the wall what happened, but they answer him that the boy is gone. The master completes the monastery construction, jumps off the church dome and dies. Master Makar is buried under the monastery wall, and the monastery is called Makaravank.

📚 Sources

Literature

Diva of the Armenian lithography 1977, Ijevan region, site 6, compiled by S. Avagyan, H. Janpoladyan, Yerevan, ASSR the Academy
of Sciences ed., 223 pages.
C. Karakhanyan 1974, The sculptures of Makaravank and their author, Historical and Philosophical Journal, N4, pp. 100-108.
V. Harutyunyan 1992, History of Armenian Architecture, Yerevan, “Luys”, 540 pages.
G. Sargsyan 1954, Makaravank, “Echmiadzin”, N2, pp. 22-34, N3, pp. 19-22, N4, pp. 30-36, N5, pp. 46-52.