The Church of the Holy Cross in Aghtamar

Built on an island on the Van Lake, the small church of the Holy Cross in Aghtamar formed part of the palace complex of Gagik I, the Armenian king of Vaspurakan (Western Armenia) vassal of the Abbasid caliph[1] at the beginning of the 10^th century. It was directly linked to the palace by a gallery to the south, just as the Doge’s palace in Venice was in the same period linked to the embryonic Saint Mark’s Basilica.

The construction material is typical of the region and had been in use since the 6th century, being relatively resistant to earthquakes; it was later used in Seljuk constructions in the 13^th century[2].

The plan of the building is structured around a central space punctuated by four apses in the form of half domes and four corner niches.  Two narrow chapels lead from the east apse.  The quatrefoil structure, recalling the Byzantine tradition, was widely adopted by Armenian churches, for example, the Church of Soradir (9^th century) which was the pantheon of the Gagik dynasty.

The interior is entirely vaulted unlike Eastern Christian architecture of the period which largely used timber frames. The interior dome echoes the conical roof resting on a sixteen-sided polygonal drum; this element recurs in Seljuk architecture throughout the 13^th century[3].

The interior friezes depict scenes from the lives of the Virgin and Christ and contain a narrative cycle from Genesis. The hieratic figures recall Byzantine art but certain examples of drapery and facial features recall Abbasid painting in Samarra[4] (Iraq).

The exterior of the building is decorated with numerous reliefs[5].  The four friezes set out at different levels demonstrate a thematic interrelationship with Islamic Art.  The first frieze from the bottom depicts the motif of the palm leaf which recurs frequently in the stucco decoration at Samarra.  The second vine scroll frieze depicts animals and figures relating to the theme of princely pleasures.  This iconography originating in Sasanian Iran is widely found in Islamic Art from the Umayyad period onwards[6]. The same themes can be found in the upper friezes (beneath the cornice and the roof) which depict running animals[7].

The majority of the figurative decoration is located between the two lower friezes. Biblical scenes alternate with representations of the saints, both full length and in medallions, animal figures and cross motifs. This section is a plane which contrasts with the animal protomes which emerge from the walls. The plane prefigures the mural decorations of Konya, the Seljuk capital in the 13^th century, and also Diyarbakir.  The association of planes with motifs in very high relief finds its echo in the sculpted decorations of Seljuk Anatolia[8]. The episode de Jonah[9] also reveals an Islamic influence, as much by the posture of the prince of Nineveh as the depiction of the sea monster.  This fantastic creature, a senmurv, appears in Sasanian art, in its textiles[10], silverware and stucco.  The motif appears in the south of Italy[11] in the 6th century and recurs in Islamic Iran[12]. The depiction of the vegetation under which Jonah rests is similar to that in Arab paintings of the 12^th and 13^th centuries[13].

The story of Jonah appears in Islamic miniatures in the 14th century[14].  Other motifs demonstrate a Christian-Armenian origin, for example, the Armenian (Siroun) crosses[15], the small arches over some apertures and the arched tracery at the base of the drum.

[2] Ulu Kümbeti Eski in Ahlat, Anatolia, on the banks of the Van Lake.

[3] See note 2.

[4]  Wall painting depicting dancing figures, Jawsaq, Samarra, Iraq, 9th century.

[5] Their richness is noteworthy as an example of decoration executed a century after the end of the crisis of iconoclasm.  The Councils of 730 and 815 forbade the cult of images. The crisis finally ended in 843 by Theodora, widow of Theophile.

[6] Ivory pyx, Spain, Cordoba, second half of the 10^th century, Paris, musée du Louvre, inv. AO2774.

[7] Freize of running animals, Egypt, CVIII-IX ., pin, Paris, musée du Louvre, AA165.

[8] North and west portals of the mosque-hospital at Divrigi (1228-1229), Turkey.

[9] West facade.

[10] Cloth with senmurv, Iran, 6^th-7^th century, embroidered samit of silk, Paris, musée des arts decoratifs, inv. 16364.

[11] Mosaic of the ambon in Ravello Cathedral, Italy, 6^th century.

[12] Plaque of fantastic animals, Iran, 7^th-9^th century, cast bronze, Paris, musée du Louvre, inv. OA 6676.

[13] « La fabrication du plomb », De Materia Medica, Dioscoride, Mesopotamia ( ?), 1224, Paris, musée du Louvre, inv. K 3425.

[14] Histoire universelle,  Rachîd al-Dîn, Iran, Tabriz, 1306, Edinburgh, University Library, Ms 20, fol.23v.

[15] Located on the west facade, at the springing of the short arches above some openings.