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RELIGIOUS ART

ART, METAPHYSICS AND THE HEALING POWERS OF RELIGION IN EARLY CHRISTIAN ARTS.

SYMBOLISM IN THE PATTERNS AND  DESIGNS

Photo: Guyaneh style.

The earliest examples from the ninth, tenth and eleventh centuries are usually sober and rigid in their design, yet often elegant in execution. The cross is always framed by an elaborate  and sophisticated carving band and sometimes surmounted by an arch, typically Armenian. This very arch architectural design will one day influence the European architecture of cathedrals, basilicas, churches, palaces and courts. The carved stones were characterized by small carved circles which were placed at the corners of the concave ends of each of the four arms of the cross in a very symbolic composition. Those circles represented the directions and zone of the wind and forces of the earth. Later in time, alchemists will interpret this architectural composition as and esoteric enlightenment map or gateway. Leaves sprout upwards from each side of the base of the cross of a khachkar represent life and the energy of the universe through faith in the Savior. The cross of the Crucifixion was thought to be made from the Tree of Life. Later in history, the Cathares and the Templars will add more esoteric and metaphysical interpretation to its divine power. The Crusaders adopted a varied form of the Armenian Cross and placed it on their shields, armors and robes. They strongly believed that the carved Cross had supra powers.

Photos from L to R: 15^th century-16^th century Katchkars at Julfa Cemetery, Nakhichevan in Azerbaijan. Photo: Center for Study and Documentation of Armenian Civilization, Milan . #2. Guyaneh church.