Hripsime
Hripsime
church, one of the finest works of Armenian architecture of the
classical period (618 AD), a variant of the concentrical domed
composition, stands on a slight elevation, at the eastern edge
of Echmiadzin City. This kind of composition is characteristic
only of the Christian countries of the Transcaucasus. Its
expressive silhouette, seen from afar, stands up sharply against
the background of an emerald-green valley dominated by the
snow-capped Mt. Ararat.
St.
Hripsime church, completed in 618, is a vivid example of a
structure distinguished by the unity of layout and decoration in
which the central-dome system is brought to perfection. The
interior layout is subordinated to the vertical axis of the
undercupola space, which makes it crystal-clear and solemnly
monumental.
The plan
is basically a square with the semi-circles of apses at the
sides. The corners of the central crossing are premises,
three-quarter in the plan, which serve as passages to the square
annexes complementing the plan of the building to a rectangle
stretched out from west to east. This is achieved through
increasing the depth of the appropriate apses. The cupola, which
covers a substantial proportion of the floor area, subordinates
all the interior space of the church.
The
building of the three-quarter (in the plan) passages to the
annexes was made necessary by the need to distribute the weight
of the cupola over more abutments which, for greater strength,
are made organic parts of the massive walls. The leading
constructive role of the wall, characteristic of Armenian
architecture, shows most clearly here. The transition from the
square base of the plan to the circumference of the cupola drum
is effected through a system of complicated large stepped and
small trompes which create a certain rhythm of the transition
from the interior proper to the cupola crowning it. The millings
intensifying the cupolas sphere make the upper part of the
interior very imposing. The church interior is distinguished by
its laconicism. The compositional combination of its individual
elements emphasizes the integrity and concentricity of the domed
edifice.
The outward
appearance of the church is also clean-cut. As distinct from its
predecessor - the cathedral in Avan (589—609), Hripsime church
clearly reflects the inner structure in its outward monumental
and, at the same time, simple image. The twin deep trapeziform
niches, as high as the facades, emphasize the inner layout of
the building on the outside and impart special expressiveness to
it. At the same time they make the stone masonry between the
apses and the annexes look lighter. By dividing the walls, the
niches, crowned by thin cornices, add plasticity to the outward
appearance of the building. The outside niches, which appeared
in Hripsimeh Church for the first time, presently became a
characteristic feature of Armenian architecture in the feudal
epoch.
The
sixteen-facet cupola is commensurable with the main part of the
building. Its size and proportions emphasize the dominating
importance of the under-cupola space in the structure’s
interior. The round towers at the base of the cupola do not only
strengthen its weak places structurally, but visually dovetail
its multihedra! shape with the rectangular building it crowns.
By emphasizing the rhythm of vertical divisions, created by the
facade niches, and lightening the building’s top, the towers
reveal its dimensions. The harmonious combination of individual
components imparts monumentality and grandeur to Hripsimeh
church which is relatively small.
The
decoration of the building is extremely modest, and actually
limited to the unpretentiously-shaped cornices, rosettes of
concentric circles on the inner surface of the cupola.
multi-petal ornaments on the smaller trompes and varied but
chiefly geometrical motifs on the window edges.
St.
Hripsimeh church is among outstanding works of Armenian
architecture. Its type was repeatedly reproduced in other
structures of the Transcaucasus. The simplicity and clarity of
the concept. the laconic shapes and the interior layout had a
decisive influence on the subsequent development of Armenian
architecture.
Later, the
church underwent certain changes; in particular, the western and
southern entrance porticos were pulled down, and the side
windows of the altar apse were walled up. In 1790. a two-tier
bell-tower with an eight-column belfry was added to it.
As far as
the church’s furnishing is concerned, of interest is the inlaid
mother-of-pearl altar piece of 1741 which indicates a high level
of Armenian applied art of the 18th century. The composition of
the ornament, made up of framed interwoven branches with
stylized leaves and various fruit and blooms, arranged around an
encircled Greek cross, is most original.
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Weight: 8.6 oz (244 grams)
Dimensions: 3¾"x4"x2¾"
(9.5x10x7 cm)
Price: $28.50
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