Haghpat Monastery

The Haghpat Monastery is the result of the power of Armenian kings and queens, the struggle of Armenian princes and guardian soldiers, the strength of faith of the clergy of the Armenian Apostolic Church, and the forge of thought of Armenian scholars. It is a magnificent example of Armenian architecture, which has remained a symbol of Armenian unity from the 10th century to this day.

Historical Overview

In 976, the construction of Haghpat Monastery began at the initiative of Queen Khosrovanuysh, the wife of King Ashot the Merciful of Bagratid Armenia. From that moment on, over the next three centuries, the monastery was gradually completed and acquired its present form.

The Haghpat Monastic Complex has been one of the most significant and central centers of the Armenian Apostolic Church, which has a history of more than 1,700 years. In 1064, by decree of King Kyurike I Bagratuni, it was proclaimed an episcopal seat and retained that status until 1836. At various times, the clergy of the monastery participated in major decisions concerning Armenia and the Armenian Apostolic Church, having a special right to speak.

Haghpat Monastery is an architectural masterpiece and a historical monument of global significance. Together with the Sanahin Monastery, it is included in the UNESCO World Heritage List.

Structure of the Monastery and Architectural Description

Surb Nshan Main Church

The main and first building of the monastic complex is the Surb Nshan Church. Its construction was initiated by Queen Khosrovanuysh of Bagratid Armenia for the long life of her sons, Smbat and Gurgen. Construction began in 976 and lasted 15 years. It was overseen by the monastery’s founder, Father Simeon, and his assistant Tiranun. Smbat was the King of Bagratid Armenia, known as Smbat II the Conqueror, while Gurgen was the King of Lori in Armenia and the founder of the Kyurikian royal dynasty. The high-relief sculptures of the two kings are carved on the exterior of the church’s eastern wall, showing them standing opposite each other, holding a small model of the church with both hands.

Surb Nshan Church is a striking example of Armenian architecture. It was designed by the world-renowned Armenian architect Trdat. The exterior is rectangular, while the interior has a cruciform hall, topped with a circular drum and a wide dome. The church is built from finely hewn bluish basalt. Each side of the exterior walls has two large niches that lighten and strengthen the walls and add elegance to the structure. Inside, there are no columns. The dome rests on massive semi-columns built in the four corners, connected by arches. Previously, much of the interior wall surface was covered with high-quality frescoes, some of which have survived well, especially behind the altar and on parts of the southern wall. Both the interior and exterior are adorned with decorative patterns and Armenian inscriptions.

The church has two entrances: the main entrance on the west opens into the Great Gavit, and a smaller entrance is on the north side. Both are framed externally by ornate columns connected at the top with an arch. The walls and drum have intricately decorated windows through which sunlight enters. In earlier times, the church was also adorned with numerous valuable and beautiful donated items, including the altar curtain donated by the wife of Prince Vakhtang of Haterk in Artsakh, which was operated by her daughters and decorated with icons and floral designs.

The Great Gavit and the Royal Tomb

The Great Gavit of Haghpat Monastery is built adjacent to the Surb Nshan church, on its western side. It is one of the most remarkable structures of the monastery. Originally, the gavit did not have its current appearance. In 1185, Mariam, daughter of King Kyurike III of the Kingdom of Lori, with the assistance of her sister Rusukan, built a gavit-mausoleum as a burial place for members of the Kyurikid royal house. In an Armenian inscription left on the wall, Princess Mariam asks all visitors of Haghpat Monastery to remember the kings and catholicoi of Armenia in their prayers. The gavit built by Mariam had an elongated rectangular shape, a vaulted ceiling, and a double-pitched roof, standing about 2.5 meters away from the Surb Nshan church. Two opposing walls of this royal structure have survived — now forming the southern and northern walls of the Great Gavit, each with prominent double-arched entrances decorated with ornate carvings. Later, these entrances were lined with finely hewn basalt, leaving only the upper parts of the arches open.

In 1189, David, nephew of Abbot Barsegh of Haghpat, built a small mausoleum over the graves of his father Vasak and sister Burdukhan. It was located between the Mariamashen Gavit and the Surb Nshan church, adjacent to the present Great Gavit. Vasak was the son-in-law of the Kyurikid kings — the husband of Princess Vanenu, daughter of King Kyurike III — and therefore he and his descendants were permitted to be buried there.

After 1208, Abbot Hovhannes Khachentsi dismantled much of the smaller Mariamashen Gavit and began the construction of the current Great Gavit. The building was completed in the 1210s. The Great Gavit of Haghpat Monastery is considered one of the masterpieces of medieval Armenian architecture. The spacious rectangular hall is directly attached to the Surb Nshan church and measures 21×18 meters externally. In the two corners of the wall adjoining the church, there are two-story vestries containing four altars where liturgies were celebrated.

The floor of the hall is entirely covered with tombstones level with the ground. Here lie many notable Armenians of the time — kings, queens, members of royal and noble families, and high-ranking clergymen. It served as the main burial site of the Kyurikid royal dynasty and the secondary burial place of the Zakarian noble family.

The principal beauty of the gavit lies in its ceiling, which rests on two pairs of intersecting arches with spans of 12 meters each. On three sides, the arches rest on wall-attached half-columns, while on the western side they stand on two freestanding columns about three meters from the wall. Within the formed square are smaller arches that elevate the central part of the ceiling, giving it a majestic appearance. At the center of the roof, a small dome rises on six columns, serving as the main source of light. Inside the gavit, valuable khachkars (cross-stones) are set into the walls and pedestals. The entrance, located on the western side, is surrounded by decorative carvings and ornate columns. Above the doorway is an Armenian inscription dedicated to Zakare Zakaryan. Both the interior and exterior of the gavit are covered with numerous Armenian inscriptions, crosses, and ornamental carvings.

The Bell Tower — a Jewel of Armenian Architecture

The bell tower of Haghpat Monastery is one of the most renowned monuments of medieval Armenian architecture and is considered a true hallmark of Armenian design. It stands on the elevated eastern part of the monastic complex, dominating all other structures. Its construction was initiated in 1245 by the monastery’s abbot, Archbishop Hamazasp, with the support of numerous donors.

It is a three-story rectangular structure topped with a domed belfry resting on columns. The tower rises 25 meters high, with a base measuring 9.3×9.3 meters. The only entrance is on the western side. In ancient times, all three floors served as a church; small chapels with altars were built within the storage rooms. On the first floor, there are two chapels in the corners opposite the entrance; on the second, one near the staircase; and on the third, one in each corner. The bells were hung inside the dome, supported by seven columns, and their sound resonated throughout the monastery and surrounding areas. Even today, at set hours, the bells continue to play divine tones, and those who hear them pause for a moment to feel their vibration through the body.

The walls of the bell tower are adorned with intricate carvings, crosses, and Armenian inscriptions. One of the inscriptions, placed above the entrance, tells the story of its construction. Around the bell tower lie tombstones and khachkars (cross-stones). Directly opposite the entrance is the tomb of the medieval Armenian scholar and philosopher Hovhannes Imastasēr.

The Haghpat Library — the Pan-Armenian Repository of Books

The library of Haghpat, often rightfully called a “Matenadaran,” was one of the richest repositories of medieval Armenian manuscripts. It housed ancient Armenian manuscripts devoted to science and education, religion and philosophy, ideology, socio-cultural thought, and Armenian history. New manuscripts were created here, and valuable books were copied. If compared with modern institutions, it can be considered the equivalent of the world-renowned Matenadaran in Yerevan, named after Mesrop Mashtots. Thanks to the manuscripts of Haghpat’s library, many pages of Armenian history are known today, and the existence of the Yerevan Matenadaran is partly owed to it. The library was part of one of medieval Armenia’s most distinguished educational institutions — the Haghpat School.

The original library building was constructed in the 11th century and was rebuilt and beautified between 1258 and 1262 through the initiative of the monastery’s abbot, Archbishop Hovhannes. From the 11th-century structure, the walls and many elegant book niches have been preserved. Today, some irregularities between niches and columns can be noticed — a result of later reconstruction. The builders sought to preserve as much of the old building as possible. An inscription referring to the 13th-century reconstruction is found on the back of the khachkar known as “Amenaprkich” (the All-Savior) near the Surb Nshan church, and on another khachkar placed beside the library entrance.

Each wall of the library contains two low columns that support arches forming the single-span roof. At the intersection of the arches rises a dome-shaped skylight (yerdik). Niches for books are built into the walls. The only entrance is on the western side and is modest in design.

The building served as a library for about five centuries. In the 14th–15th centuries, to protect ancient manuscripts from invading enemies, they were transferred to nearly inaccessible caves in the Haghpat area — one of them being Tsakayr Cave. From the 16th–17th centuries onward, the monks repurposed the former library for economic needs. Large clay vessels (karases) embedded in the floor date from that time and were used to store wine.

Between the Surb Nshan church and the library lies a connecting corridor extending from south to north. The southern entrance is arched. Tombstones are set in the floor, and khachkars are placed against the walls — some originally located here, others brought for safekeeping. Armenian inscriptions are carved on the walls. The corridor’s northern end connects directly to the library.

Hamazasp’s Gavit or Assembly Hall

On the northern side of the Surb Nshan church stands a spacious building with an interesting design, known as Hamazasp’s Gavit. There are several interpretations of its purpose, but when compared, it becomes clear that it served both as a gavit (narthex) for the small adjoining church to the east and as an assembly hall for the monastery’s brotherhood. It was built in 1257 by the abbot of the monastery, Archbishop Hamazasp.

This is the largest structure within the Haghpat Monastery complex. It is built from finely hewn bluish-gray basalt and measures 18 × 18.5 meters. The interior hall is divided into nine sections by four central columns and two wall pilasters on each side. The central square, formed by the four connected arches, supports a smaller gavit with a skylight opening (yerdik). The eight surrounding sections each form a vaulted square around the center. The columns and other parts of the structure bear finely carved decorative reliefs. The height of the building is only 7.2 meters, which is relatively low compared to its footprint — likely intentional so that its height would not exceed that of the adjacent Great Gavit. The entrance is on the western side, framed by a rectangular portal. In the middle of the eastern wall, there is a doorway leading into the small adjoining church. Together, these two buildings form a unified architectural complex. Inside Hamazasp’s Gavit lie several tombstones of monks, one of which dates back to 1145.

Surb Grigor Church

On the southern side of the Great Gavit of the monastery stands Surb Grigor Church. It was built in 1025 from carefully hewn bluish-gray basalt. The church measures 11 × 8.5 meters and has a double-pitched tiled roof. The only entrance is on the western side. The exterior is decorated with half-columns and an arch, inside which is the symbol of eternity.

Next to the altar are single-story chapels, while near the entrance are two-story chapels, each containing tables for liturgical services. There are five windows on the western side and three on the eastern side, all framed with decorative carvings. In 1211, the abbot of the monastery, Hovhannes Khachents, initiated restoration work on the interior of the church.

Today, visitors have developed a certain tradition of walking along the stone on the southern outer wall of Surb Grigor Church and making a wish. This practice is not part of the Armenian Apostolic Church rituals, but it is a beloved pastime.

Surb Astvatsatsin or Khatunashen Church

This 13th-century church is located on the northern side of the Great Gavit and the southwest side of Hamazasp’s Gavit. According to the Armenian inscription on the eastern wall, the church was built by Khatun, the daughter of the Armenian prince Desumyants Hasan, in memory of her brothers who came from Artsakh to Haghpat and passed away there. In honor of its founder, the church is also commonly called Khatunashen. The inscription also notes that Khatun’s husband, Gaga, lord of the fortresses of Tavush, Gardman, and other nearby areas, was Blu Zakare Vahramyan.

Constructed from carefully hewn bluish-gray basalt, the church measures 4.7 × 3.5 meters externally in a rectangular shape, with a cruciform interior layout. The four interior corners feature columns that form arches at the top, supporting a dome with a circular drum. The entrance is decorated with a rectangular ornamental frame, an arch, and sculpted columns.

Tombs of the Ukanants Princes

On the northwest side of Hamazasp’s Gavit, near the monastery’s enclosure, are the tombs of the Ukanants Princes. These monuments are the main structures of the burial ground of the Armenian noble family of the Ukanants. Their architecture is highly unique and represents a rare example of funerary architecture. From south to north, three tombs stand side by side, each topped with a highly artistic khachkar (cross-stone). Currently, the khachkar of the central tomb is missing. A 19th-century historian noted that it was already absent in his time. The Ukanants family originates from Ukan, who lived in the 12th century. Ukan’s grandson, Bishop Barsegh, had a brother, Vasak, who was married to Vaneni, the daughter of King Kyurike III of Lori. It is also known that Ukan’s grandson Najmadin, his son Smbat, and their sons Smbat and Vahram were honorary representatives of the Georgian kingdom and were under the authority of the Zakarian princes.

The entrances to the tombs face west. The walls on that side are entirely covered with ornamental carvings and other engravings. The upper parts of the west, north, and south walls slightly protrude and are decorated with sculpted designs. The pedestals of the khachkars on the roofs are also adorned with carved ornaments. Such decorations are unique to Haghpat Monastery and can also be seen on the Great Gavit. In front of the tombs, at ground level, lie the tombstones of the Ukanants family members.

The central tomb belongs to Barsegh, abbot of Haghpat Monastery and a member of the Ukanants family. His brother, the Armenian prince Kurd, died in 1220, for whom the southern tomb was built. The northern tomb was constructed in 1211 on the burial sites of Ukan’s grandson Najmadin and his sons Vahram and Smbat.

Refectory

The refectory of Haghpat Monastery is located on the northwest side, along the monastery’s enclosure. This secular structure, with its unique architectural design, occupies an exceptional place among medieval Armenian monuments. It was built in the 1220s. The names of the builders are unknown. Besides serving as a dining hall for the monastic community, it was also used for holding assemblies. Several historians have noted that it also served as a classroom for the Haghpat school. In the early 19th century, part of the building was used for extracting oil. For this reason, the refectory is sometimes called the “oil press.” To this day, the round stones of the oil press are preserved inside the building.

The refectory has a rectangular plan, measuring 19.8*9.25 m. From the floor to the highest point of the intersecting arches, it reaches 8 m. The entrance is framed with a rectangular border, with a carved cross on the tympanum. The facade of the building features carved crosses, and the upper windows are emphasized with decorative ornamentation.

Wall and towers

Haghpat Monastery is surrounded by a thick wall with towers forming part of it. It has two arched gates and one modern entrance, through which most visitors enter today.

The original wall was built in the 10th–11th centuries, either simultaneously with the initial monastery buildings or immediately after, covering a smaller area. In 1220, the monastery’s head, Archbishop Barsegh, together with his brother, the Armenian prince Kurd, expanded the wall to include three small neighboring chapels. The western section of the wall, with three watchtowers, is part of the original fortification and is mostly constructed from blue hewn basalt. The southwestern corner tower is the largest and built from fired bricks and rough stones, giving it an aesthetic appearance. The other sections of the wall are mainly made of uncut stones.

The main historic entrance is an arched gate on the eastern side, topped with a large stone cross. It was built in 1246 on the initiative of the monastery’s head, Archbishop Hamazasp. Later, the defensive structure underwent some repairs.