Noravank

Name: Noravank
Monument type: Monastery complex
Region: Vayots Dzor Province
Periods: Medieval

Name: Noravank

Other nomination: Noravank Amaghu

Monument type: Monastery complex

Region: Vayots Dzor

Community: Areni

Residence: Amaghu village (abandoned)

Location: 3 km north-east of the now abandoned village of Amaghu, the right side of Gnishikadzor, on a small hill

Preservation: Standing

Coordinates: 39°41’03.6″N 45°13’58.2″E

Elevation: 1500 m

Era and chronology: XII-XVIII centuries, High Middle Ages

Noravank: The ‘’Living Encyclopedia’’ of Armenian Cultural Heritage

Your journey to Noravank is a voyage through time and space, where the modern world gives way to an ancient oasis of spirituality and creativity.
Beyond its profound historical significance, this High Middle Ages Monastic Complex is often revered as a “Living Encyclopedia,” unveiling Armenia’s rich cultural heritage right before your eyes.
Whether you’re captivated by its awe-inspiring architecture, intricate sculptures, timeless literature, or other hidden treasures, Noravank promises an unparalleled feast of creative revelations. So, prepare yourself for an extraordinary journey that is truly incomparable!

Nestled within the picturesque Vayots Dzor, just 3 kilometers northeast of the now-abandoned village of Amaghu, Noravank is perched atop a gentle hill at an elevation of 1500 meters. Its roots date back to the High Middle Ages, spanning from the 12th to the 18th centuries.

This monastic complex’s historical role extends beyond its striking architecture. In the late 13th century to the middle of the 14th century, it served as the Metropolitan Prefect of Syunik, a testament to its ecclesiastical importance. What makes Noravank truly exceptional, however, is its multifaceted significance in preserving Armenian cultural heritage. Its architectural wonders, intricate sculptures, ancient writings, and miniature art collectively paint a vivid portrait of the Armenian past.

And one remarkable aspect of Noravank is the preservation of the names of more than one architect in its inscriptions—a rarity among historical monuments.
The monastery complex includes four churches, a vestibule, chapels, and various structures within its walled courtyard. Outside the walls, one can find the ruins of monastic buildings and guest houses. Among the treasures of Noravank are the sculptural khachkars created by the talented hands of artists like Momik.
St. Karapet church, one of the earliest structures within Noravank, stands as a testament to the skilled craftsmanship of its time. But the centerpiece of this architectural marvel is St. Stepanos Nakhavka church, a cross-shaped, domed masterpiece built under the patronage of Liparit Orbelyan. Its western facade is adorned with intricate sculptures depicting biblical scenes and a unique bust of Father-God.

The Gavit, or vestibule, constructed by Smbat Orbelyan in 1261, is a grand hall with a remarkable bas-relief on its ceiling, depicting a hunting scene. The western facade of the vestibule stands out with its rich decoration, including a sculptural niche featuring the Mother of God and a captivating representation of Adam’s head held by the Holy Spirit Dove.
Adjacent to St. Stepanos is St. Grigor Tomb-Church, an elegant vaulted structure built by Siranes, the palace architect of the Orbelian dynasty. This sacred space served as a burial site for the Orbelians and their descendants.
A true gem within Noravank is the “Burtelashen” St. Astvatsatsin Church, designed by the renowned architect Momik. This unique two-story church, built in 1339, boasts sculptures of animals, birds, plants, and geometric patterns adorning its western facade. It is a testament to the architectural innovation and artistic prowess of the time.

Excavations and restoration efforts have uncovered not only architectural details but also khachkars, tombstones, lithographs, and pottery artifacts, shedding light on the lives of those who once inhabited this remarkable site.

But like many historical treasures, Noravank has its legends too. The tragic tale of Master Momik, who lost his life while building the monastery, adds a touch of romance and tragedy to this already captivating site. It speaks to the enduring allure of Noravank and the profound dedication of those who contributed to its creation.

FACTS

❈ Noravank, perched in Vayots Dzor, preserves Armenian cultural heritage through its architecture, sculptures, writings, and miniature art, dating back to the 12th to 18th centuries.

❈ This monastic complex stands out for its rare inscriptions that name multiple architects, and it comprises four churches, chapels, and various structures, showcasing exquisite craftsmanship.

❈ St. Stepanos Nakhavka church, the centerpiece of Noravank, features intricate sculptures and unique religious depictions.

❈ The “Burtelashen” St. Astvatsatsin Church, designed by renowned architect Momik, is a testament to architectural innovation and artistic prowess with its diverse sculptures.

❈ Noravank’s excavations and restoration efforts reveal not only architectural details but also artifacts that provide insights into the lives of its past inhabitants, enriching its historical significance.

🔍 Research history

The first information about the monument was reported by the XIX century topographical researchers. Various problems referring to the role and significance of Noravank have been studied by many benefactors of Armenology. In the framework of the restoration projects, excavations were carried out in 1947, in the 1980s and 1990s (E. Ayvazyan, Z. Mugdusyan).

🧱 Archaeological description

Stratigraphy
According to the XIII century historian and Syunyats Metropolitan Stepanos Orbelyan, in 1105 , after the destruction of the Kingdom of Baghk, Bishop Hovhannes Kapantsi, the leader of Vahanavank, came and settled in the valley of Noravank where St. Karapet Church and Pokas Patriarch’s Chapel were located.
The Noravank congregation and economy expanded in the XIII-XIV centuries, during the reign of the Orbelians, who sponsored the construction of other monument group structures. During their reign, Noravank became the metropolitan center of Syunik, as well as the family cemetery of the Orbelyans. In 1297 Stepanos Orbelyan completed his history in Noravank.
The monastery continues its existence in later centuries as well. The monument group was damaged by the 1840 earthquake, after which it was abandoned. Restoration and improvement works were carried out in 1948, 1982-1989 and 1996-1998. (A. Balasanyan, H. Gasparyan).

Architecture
The monastic complex consists of the four churches, the vestibule, the chapels, and the buildings of economic importance located in the enclosed courtyard. The ruins of the monastic buildings and guest houses can be seen outside the wall, on the eastern and north-eastern sides. The sculptural khachkars made by Momik and other masters are also included in the monument group.
St. Karapet church is the earliest single-nave structure of the monastery built with semi-cultured stones, the ruins of which were excavated adjacent to the southern wall of St. Stepanos in 1982-83.
The main building of the monument group is St. Stepanos Nakhavka church built by Liparit Orbelyan at the time of Archbishop Sargis’ leadership (1216-1221). It is an externally rectangular and internally cross-shaped domed composition with double-story vaults in the four corners. The only entrance on the western side opens into the vestibule.
Gavit (the vestibule) was built by Smbat Orbelyan in 1261. It is a large pillarless hall, the semi-arches rising from the walls intersect diagonally and form the square crowned with an arch. The floor is covered with tombstones of Orbelians and monastery leaders. On the north-eastern side of the ceiling is a bas-relief depicting a hunting scene. It has two entrances on the western and south-eastern sides.
The western facade stands out in the exterior decoration. On the front stone of the door, on a small sculptural niche, Mother of God is depicted sitting on a throne covered with a carpet, holding baby Jesus in her arms, with one prophet on each side. The pediment is fringed by an inscription band and a double arch decorated with amethyst carvings. Above the entrance, a broad mullioned bay window terminates in a pointed pediment, the wide arched frame of which finishes with a zigzag band and alabaster moldings. In the center of the facade there is an impressive bust of Father-God, unique in Armenian sculpture, holding Adam’s head in his hand, revived by the Holy Spirit Dove. To the right is the Crucifixion scene, to the left is a winged angel. In addition to the plot high sculptures, the internal and external decoration of the vestibule is completed by cross-stones.
St. Grigor Tomb-Church adjacent to St. Stepanos from the north is a one-nave vaulted building built by the Orbelians palace architect Siranes in 1275, by Tarsayich Orbelyan’s order, on the grave of his brother Smbat Orbelyan. Later, other representatives of the Orbelian dynasty were buried here.
“Burtelashen” (Burtel’s construction) St. Astvatsatsin Church is designed by architect Momik. It is one of the rare two-story churches in Armenia. The construction was completed in 1339. The first floor is externally a quadrangular structure, and internally it is a cross-shaped structure, which used to be a tomb. The second floor is internally and externally a cruciform structure with vaults on the eastern side, crowned by a colonnaded rotunda.
Externally, the western facade stands out among the ones decorated with sculptures of animals, birds, plant and geometric ornaments. Cantilevered stairs lead up to the second floor porch on either side. On the headstone of the first floor Mother of God with baby Jesus in her arms is depicted flanked by archangels Michael and Gabriel; on the second floor is the bust of Christ accompanied by apostles Peter and Paul.
There is a thematic sculpture on the third floor columns of the rotunda: Virgin Mary with the Child and the patrons of the church, Burtel holding the church icon and the sons.

🔨 Findings

Architectural details, khachkars, tombstones, lithographs, pottery findings.

🌍 Significance

Noravank was the Metropolitan Prefect of Syunik from the end of the XIII century to the middle of the XIV century. It is important not only for its history, but it is also considered as an exclusive encyclopedia of the Armenian cultural heritage due to its architecture, sculptural, writing and miniature art. It is one of the unique monument groups with the names of more than one architect preserved in the inscriptions.

📜 Traditional legends

Master Momik falls in love with the beautiful daughter of Syunyats Prince. The girl also likes Momik. The Prince of Syunik calls Momik and says: “I will marry my daughter to you if you build a new, beautiful monastery for me in three years.” The young master accepts the prince’s condition and starts working. By cutting and chopping stones from the rocks, he is about to finish the construction of the monastery in due time. Knowing this, the prince sends a servant, who by the order of his master, climbs the dome of the monastery and pushes Momik down. The last stone cut by the Momik becomes his tombstone.

📚 Sources

Stepanos Orbelyan 1986, History of Syunik (translated by A. Abrahamyan), Yerevan, “Soviet writer”, 615 pages.
Yeghiazaryan H. 1955, Cultural monuments of Azizbekov region, Yerevan, “Haypethrat”, 111 pages.
Ghanalanyan A. 1969, Avandapatum, Yerevan, “Publication of the USSR Academy of Sciences”, 530 pages.
Matevosyan K. 2017, Noravank lithographs and memorials, Yerevan, “Mughni”, 244 pages.
Kajberuni 2003, Travel notes, Yerevan, “Mughni”, 498 pages.

List of monuments
Vayots Dzor 11.8.1/1