Hripsimeh Vank

he Church is located 2 kilometers east of Komitas H’raperak on Mashtots Poghots, and is normally the first stop by tourists visiting Echmiadzin from Yerevan. It--and Zvartnots Cathedral, 7 kilometers further east--deserve to be the last, since they represent the last, and greatest triumphs of Armenia's sacred architecture in the 7th century, and were both pivotal in promoting Christianity during the long Pagan Wars.

Hripsimeh Church is built over the burial crypt of the martyr S. Hripsimeh, the maiden coveted by both the Roman Emperor Diocletian and the Armenian King T'rdat III.

Where

Hripsimeh is located 2 kilometers east of Komitas H'raparak on Mashtots poghots. It is on the eastern edge of the city, just past the Echmiadzin bypass if approaching from Yerevan. Ease left as the bypass approaches to enter the city. The church and complex are on the right. The Church is easily seen in the distance, its dome distinctive in the skyline.

Zvartnots Bus # 1, 2, 3 (100 AMD) go to Hripsimeh, as does the Yerevan-Echmiadzin inter-city bus #111 (220 AMD). Both leave from Komitas H'raparak.

Use Echmiadzin CITY MAP to locate Hripsimeh and Shoghakat.

See HRIPSIMEH VANK plan for the complex tour. Points appear inside "()" of this plan.

Background

Hripsimeh's martyrdom, as well as those of Guyaneh and 37 other Roman maidens precipitated King T'rdat's madness and later conversion to Christianity. As such, Hripsimeh is often sited as the determining factor in the conversion of the nation.

One tradition says that Hripsimeh was the daughter of a Roman nobleman, and was to be wedded to the Roman Emperor Diocletian. A Christian, Hripsimeh escaped with Guyaneh and the other maidens to Armenia. Diocletian sent a message to T'rdat ordering him to capture the maidens, offering Hripsimeh as a reward if T'rdat wanted her. If not, he asked T'rdat to return Hripsimeh to Rome so he could have her. Hripsimeh is described in legend as the most beautiful maiden in the empire, and T'rdat fell madly in love with her at their first meeting.

One of the more interesting legends says that with each advance T'rdat was rebuked by Hripsimeh in more and more eloquent ways. Suspecting Guyaneh of coaching escapes from his advances, T'rdat commanded his soldiers to silence the older maiden. They did this quite effectively, cutting off her tongue before stoning her to death. Hripsimeh and the remaining maidens were kept in the palace for several month's while T'rdat attempted to persuade Hripsimeh to marry him. However, Hripsimeh became more and more eloquent in her refusals, finally declaring she could not wed one when she was already promised to another. Furious, T'rdat demanded to know her suitor. "Christ," was the reply, and in a rage T'rdat had Hripsimeh and the rest of her entourage beheaded, their bodies buried in a common burial site.

Just after this, T'rdat became gravely ill, raving like an animal. Medieval drawings and carvings depict his insanity by placing the head of a wild boar on his head, and the more vivid legends interpret this literally to mean he turned into a pig. Actually the depiction is a symbolic one, meaning he had become "subhuman", since wild boars were considered among the most subhuman animal Armenians knew.

T'rdat's sister Khosrovadukht (literally, "daughter of Khosrov"), herself a Christian, then had a dream where she was told that the only way to cure the king and save the nation was to release Grigor. She convinced T'rdat to free Grigor and come into his presence. Having survived 13 years imprisonment in the virab at Artashat (legends say through the kindness of an old woman who threw bread and drink into his pit), Grigor came before the king in rags covered with the train of his hair and beard. Laying his hand on the head of the king, he is believed to have immediately cured him of his insanity.

The original martyrion was built in the 4th century over Hripsimeh's burial site and was reconstructed in the 5th century as a two story monument (a 5th-6th centuries picture of the monument can be found carved on the southeast stele at Odzun Vank in Northern Armenia).

The present church was built in 618 AD under the patronage of the Katoghikos Komitas I. This was during the twilight of Armenia's first golden age, 20 years before the first Arab invasions brought a violent end to an intense flowering of culture and independence. As such, it is considereed a crowing achievement of Armenian architecture, its proportions a perfect representation of the cosmos and sacred geometry for that time. The bell tower was added in 1790.

Complex

The fortress walls and towers (1), were originally built at the same time as the church, rebuilt numerous times, and are believed to have originally been more than 15 meters high. These standing are probably reconstrucionts from the 15-17th centuries. When first constructed, Hripsimeh was a fortress-vank. Persian and Roman invasions had already decimated the royal city of Echmiadzin-Vagharshapat, and complete conversion had not yet occurred. Lying half way between Echmiadzin and Zvartnots (which was still a pagan temple at the time), Hripsimeh was literally a fortress for Christians in the wilderness.

As you enter the vank from Mashtots Poghots, you will pass the 18th century rectory (3), and a Khachkar (4), date unknown. Immediately to your left, under the plaza are the only public toilets (5) in Echmiadzin.

Up the stairs is a large plaza (6) surrounding the church, with Khachkar and carving fragments lining the eastern wall (7). A new akhpiur or memorial fountain (8) is immediately behind the main apse of the church.

At the entrance to the church are two graves (4, 5) for Armenian Katoghikos. The one on the left (9) reads "Ter Ter Karapet Ulnetsi (from Ulneh) Katoghikos 1726-1729" and the other (10) reads "Ter Ter Astvatsatar A. Hamadantsi (from Hamada) 1715-1725".

Exterior

The church is considered one of the masterpieces of early medieval Armenian architecture, a perfected form of that begun at Echmiadzin. Following the plan of Echmiadzin (cruciform with semi-circular apses at the cardinal points, chapels on the diagonal points), the architects at Hripsimeh created a harmonious and elegant space, one of the earliest uses of placing the dome directly over the supporting walls.

There are few of the carvings found on the Echmiadzin Cathedral, or even the geometric and symbolic carvings that covered Zvartnots. Even Guyaneh appears more intricate in its design, though built in the same period. Hripisimeh seems austere and as a martyr shrine, that serves its purpose well. But unlike Guyaneh or even the Cathedral, tjhe church saves it most impressive features for the inside. Just as the crypt and sanctuary were once covered with rich tapestries and gold imagery with precious stones, the architecture is covered with a kind of tapestry, and soars in its grand design--from the inside.

The large niche' on the southern flank were not meant for statuary--Armenia originally prescribed to the iconoclasts and refused 3 dimensional represetnations. By the time icons became more widely accepted, the Arabaian and Persian dominations were so deeply felt (human representations were forbidden) that the greatest expressions of faith artistically are the geometric designs on Khachkars and the sides of later chruches.

Hripsimeh's geometry is sacred geometry in the way the lines of the building converge to points and circular patterns in a stunning display of lightness for such an obviously heavy structure. Numerology abounds: 2 niches and 3 openings on each side, 3 roof lines on each end, the 2 to 3 ratio in measurements--everything outside the building reinforces the sacred numbers 2 (duality of God on earth and in heaven) and 3 (The Holy Trinity); while all inside reinforces the number 4 (The totality, seasons, all time). It is a purest form of worship in architecture. Even the 8 niches (not at all common in Armenian church architecture) represents the 8th day, in biblical terms the day of resurrection, the beginning of life after God rested.

Interior

Originally the inner walls were covered with frescos depicting the crucifixion, annunciation, the Apostles and S. Grigor and Hripsimeh, but they were lost long ago. Even without the original frescos, the masonry and angular niche patterns show a mastery of craftsmanship.

At other early churches central pillars support the dome, but Hripsimeh's dome covers the entire central hall, and the support fluting gives the illusion of lightness that defies the dome's massive weight. The engineering was such that the church survived intact several severe earthquakes.

During renovations in 1959-1962 a number of segments from the previous structures were discovered in the foundation of the church, and can be seen underneath glass floor plates.

To your left as you enter the church is a large 12th century Khachkar (A), an early example of the open cross form (where the stone is completely cut through). Just beyond it in front of the northern apse is a gravestone (B) engraved "1104 year 25 March died Haghbaktsi (from Haghbak) Ter Pilip Pos Sakia Katoghikos". This is a rare example of someone other than a martyr being interred within a church.

The paintings (C) covering the altar platform wall are a reconstruction of original fresco work, depicting the Virgin and Child flanked by The Apostles and Ss. Stepanos and Pilipos.

The altar (D) is newly carved from light brown stone, showing pomegranates (symbolizing love) and grapes (the blood of Christ) flanked by eagles (supreme power).

The painting Astvatsatsin over the altar is 20th century. Over the southern apse and door is the large 17th century painting of S. Hripsimeh (E) by Hovnatan Hovnatanian.

As you face the altar, the entrance to the Crypt (F) is to the left. The first room has fragments of Khachkars and inscription stones, as well as an old wood and bronze door. To enter the crypt, go into the unlit passageway to the right and down the steps.

The crypt's design, like the martyrion at Guyaneh, has its roots in the pre-Christian period, and resembles Urartian sanctuary design, as well as the inner sanctuary at Garni. In fact, the size and proportions are proportionately identical to the sanctuaries of Sushi at Erebuni and Mythra at Garni.

Armenian crypts are probably inherited from these traditions via the Roman and Syrian catacomb tradition. On the outskirts of the Roman Empire, Christians in Syria adopted the Semitic tradition of Mesopotamia regarding the individual construction of tombs, cut into rock, or partially or completely excavated below ground level. The entrance usually featured a façade preceding an antechamber. The design of Hripsimeh and Guyaneh Martyria closely follow this example.

The inner chamber of the Martyrion holds the remains of Hripsimeh (G) behind the wall to your right as you enter. A 1986 painting of the saint is on the large marble sarcophagus (H) in the center of the chamber. Next to it in a small wall niche (I) is a glass window protecting a black stone, which is believed to have been one used to crush Guyaneh's head. You'll need a flashlight to see it in the dimly lit chamber.