Dadivank's current structures are not older than the 12th century. This monastery's history is essentially a story about the Upper Khachen princely house and its spiritual activities. Excavations in Dadivank have revealed the remains of an ancient megalithic structure (whose circular burial pit constructed with tiny, irregular stones resembles a pre-Christian burial chamber) and the remains of a chapel built on it. At the end of the thirteenth century, an attempt was made to construct a large church that would include the chapel beneath the bema. However, for some reason, it was never completed. A single-nave church with a rectangular tabernacle was constructed on the southern side of this chapel, facing east, before the middle of the 12th century, and a rectangular hall-courtyard was built adjoining it from the west. The main church of Dadivank, which was built in 1214 according to the inscription, is also attached to the single-nave church with its northwestern corner (Fig. 1).

		<img src="https://monumentwatch.org/wp-content/uploads/2023/02/Dadivank.jpg?v=1675318674" width="1355" height="420" srcset="https://monumentwatch.org/wp-content/uploads/2023/02/Dadivank.jpg?v=1675318674 1355w, https://monumentwatch.org/wp-content/uploads/2023/02/Dadivank-300x93.jpg?v=1675318674 300w, https://monumentwatch.org/wp-content/uploads/2023/02/Dadivank-1024x317.jpg?v=1675318674 1024w, https://monumentwatch.org/wp-content/uploads/2023/02/Dadivank-768x238.jpg?v=1675318674 768w, https://monumentwatch.org/wp-content/uploads/2023/02/Dadivank-370x115.jpg?v=1675318674 370w" sizes="(max-width: 1355px) 100vw, 1355px" alt="" loading="lazy" 		class="so-widget-image"/>

			<img src="https://monumentwatch.org/wp-content/uploads/2023/02/001.png?v=1675681736" width="1249" height="854" srcset="https://monumentwatch.org/wp-content/uploads/2023/02/001.png?v=1675681736 1249w, https://monumentwatch.org/wp-content/uploads/2023/02/001-300x205.png?v=1675681736 300w, https://monumentwatch.org/wp-content/uploads/2023/02/001-1024x700.png?v=1675681736 1024w, https://monumentwatch.org/wp-content/uploads/2023/02/001-768x525.png?v=1675681736 768w, https://monumentwatch.org/wp-content/uploads/2023/02/001-370x253.png?v=1675681736 370w" sizes="(max-width: 1249px) 100vw, 1249px" title="" alt="" loading="lazy" 		class="so-widget-image"/>

Fig. 1 Saint Dadi's tomb and adjacent structures 1—the grave and the chapel, 3—the early basilica church, 8—the gavit of the early basilica church, 6—the great gavit, 7—the church initiated by Athanas, 4—the main Church, measurements by S. Ayvazyan.

About Saint Dadi

The first written source about Saint Dadi and Dadivank is found in Movses Daskhurantsi's 10th-century work "History of Aghvank," which concerns 9th-century events: "Varaz Trdat and his son Stephanos Nerseh Philippean, as well as a relative, were murdered in Khoradzor, known as Dado monastery" (Kaghankatvatsi 1983, 340).

Mkhitar Gosh has provided the next bibliographic information (end of the 12th century). When describing the raids of the Choli amira on Artsakh during the battles for Gandzak in 1145, he mentions the destruction of the Dadu monastery: "The apostolic holy place known as Dadivank" (Kaghankatvatsi 1983, 353). Mkhitar Gosh makes no mention of why the monastery is apostolic or who Dadu is. It can only be hypothesized that the monastery's apostolic origin was already known. In addition, the author has stated on the same page that even though Choli destroyed and captured Artsakh's fortifications a year ago, he had to attack and raid again: "...on the side of Khachin, Tandzeats, and Adakh, because not a single castle remained in his hands during the previous advance, but was liberated from him, those who had fled to cedrus forests, took their swords and fortresses from them and rebelled against Turks" (Kaghankatvatsi 1983, 353).

Around this time (the early 1140s), Hasan Vakhtangyan, the elder lord of Khachen, begins his liberation struggle, which he describes in the inscription of the khachkar he constructed in Dadivank in 1182: "I, the son of Hasan Vakhtang, the lord of Haterk and Handaberd, Khachinaberd and Havakhrats, have been in seniority for 40 years. With the help of God, [survived] many wars and defeated my enemies. I gave birth to 6 sons and inherited them my fortresses and province, and came to this monastery. To Father Grigor I became a priest, and brought the khachkar of mine Aghuay, elaborately worked, and with many efforts raised it to commemorate the Holy Cross (Surb Nshan) and my soul. Thus, for the sake of your souls, you who read, remember my prayers. In the year 1182" (CAE 5, 198). We can see that the monastery is mentioned in this inscription without specifying its name.

Further information is available about the end of the 12th century and the first half of the 13th century when Armenian princely houses liberated their estates from Seljuk rulers with the help of joint Armenian-Georgian forces.  This liberation struggle was regarded as a holy war, and the rapidly growing powerful princely houses replaced local saints with pan-Armenian or general Christian saints (Petrosyan 2017, 236-237). The Zakarians made St. Sargis the patron saint of the liberation struggle (especially given his powerful character and the fact that their father was also named Sargis), the Hasan-Jalalyans - Stepanos Nahavka, and Hovhannes the Baptist. Based on the similarity of his name to Saint Thaddeus-Thadeous and possibly some other local legends, the owners of Upper Khachen or Haterk recreated the image of Dado or Dade. It is worth noting that the monastery is referred to as "Dadi's grave" in an inscription carved on the wall of the monastery's main church in 1224 by the Lord of Upper Khachen and Tsar, son of Hassan and Dop: Grigor. The inscription says "in the year 1224. I, father Grigoris, superior of this holy convent, son of Vasak, the martyr, created this chapel for the commemoration of my soul and prayers." (CAE 5, 201, Fig. 2)

Vardan Areveltsi introduces this passage in his translation of Mikael Asori's chronicle from the middle of the 13th century: “Some Thaddeus, from the pagans, who went to Greater Armenia and the northern lands by the commission of Thaddeus (Apostle), and upon hearing about the death of Abgar, turned and moved to Smaller Syunik and was murdered for secret preaching. The monastery was built in that place and named after him” (Asori 1871, appendix 33; Vardan likely obtained this passage from his teacher monastic vardapet (monk), where the saint is referred to as Dadiu, as it is with Mkhitar Gosh; cf. Alishan 1902, 22-23, Matevosyan 2020, 26-28). As a result, attempts were made to change the saint's name to match that of Saint Thaddeus as additional "proof" of his apostolic origin. It can be concluded that Mkhitar Gosh and monastic vardapet (monk) breathed new life into local traditions about Saint Dadi and his grave, justifying and strengthening his image as the patron saint of the Upper Khachen princely house as a pan-Christian saint.

			<img src="https://monumentwatch.org/wp-content/uploads/2023/02/002-1.jpg?v=1675682360" width="1938" height="2173" srcset="https://monumentwatch.org/wp-content/uploads/2023/02/002-1.jpg?v=1675682360 1938w, https://monumentwatch.org/wp-content/uploads/2023/02/002-1-268x300.jpg?v=1675682360 268w, https://monumentwatch.org/wp-content/uploads/2023/02/002-1-913x1024.jpg?v=1675682360 913w, https://monumentwatch.org/wp-content/uploads/2023/02/002-1-768x861.jpg?v=1675682360 768w, https://monumentwatch.org/wp-content/uploads/2023/02/002-1-1370x1536.jpg?v=1675682360 1370w, https://monumentwatch.org/wp-content/uploads/2023/02/002-1-1827x2048.jpg?v=1675682360 1827w, https://monumentwatch.org/wp-content/uploads/2023/02/002-1-330x370.jpg?v=1675682360 330w" sizes="(max-width: 1938px) 100vw, 1938px" title="" alt="" loading="lazy" 		class="so-widget-image"/>

Fig. 2 An inscription of Hasan's son Grigor, mentioning Dadi's grave, photo by H. Petrosyan.

Grave and Chapel of Saint Dadi

There is no clear structure or tomb to indicate Dadi's grave in early 19th-century descriptions and surveys. The great basilica of the north was a possible location for it, potentially because of its unusual width (which could be reminiscent of similar early Christian temples) and the extraordinarily large column constructed in the apse (which could be reminiscent of early Christian monuments, such as were also built on the tombs of saints).

Modern research, however, indicates that the current structure of the basilica church dates from the late 13th century and was built by the monastery's abbot, Bishop Athanas. The same can be said of the monument standing on the stage (Fig. 4), which is close to the anchors of the church's pillars in terms of dimensional resolution and processing. However cross sculptures and an inscription representing the year (possibly 1361 or 1370), most likely refer to the 13-14th centuries. It is also important to note that the earlier small basilica church adjoining this basilica to the south, as well as the main church a bit further to the southeast (built-in 1214, i.e. earlier than the current building of the great basilica), have north entrances. It is a well-known fact that Armenian churches had a northern entrance only in rare circumstances, such as when it was not technically possible to open the entrance from the west or south, or when there were special ritual or religious cases. Since the technical aspect is excluded in this case (the small basilica also has an entrance from the south and the main church one from the west), the presence of the northern entrances must be related to the existence of some sacred place in the area of the large basilica, in this case, a grave attributed to Saint Dadi (cf. Ayvazyan 2015)., 52-53). It is reasonable to assume that when Vardapet Athanas began work on the new church, he had already removed the valuable relics from the ruined tomb and chapel to place them in the new structure. This is demonstrated by the proscenium, which is a unique manifestation of Armenian Church architecture, as well as the numerous sculpted niches incorporated into the walls (Fig. 3).

The ruins of the grave were hidden beneath the church's proscenium and stage. It is worth noting that S. Ayvazyan, the restoring architect of Dadivank claims that Athanas did not initiate a church and abandoned it, but instead created a unique inner courtyard around Dadi's grave and chapel (Ayvazyan 2015, 56). This point of view, however, leaves unsolved the question of how that inner courtyard came to be formed if neither the tomb nor the chapel was visible or accessible.

Indeed, as the excavations revealed, the burial pit was lined with small rough stones, and the chapel built on it was incorporated into the church's proscenium and stage (Figs. 4, 5). Excavations uncovered the remains of a wooden palanquin (Fig. 6), an onyx wand head, and human bones dating from the mid-12th century (the first phase of excavations was conducted by Hamlet Petrosyan, see Petrosyan 2007, the second phase by Gagik Sargsyan, architect: Samvel Ayvazyan, see Ayvazyan, Sargsyan 2012, 1-11, Ayvazyan 2015, 68-73). Thus, at the end of the 13th century, Vardapet Athanas incorporated the already dilapidated structures beneath the stage and proscenium of the new church and carved several sculptured niches in the proscenium's walls for the separated relics. Father Athanas did not complete the church's construction, so it remained an open-air structure.

			<img src="https://monumentwatch.org/wp-content/uploads/2023/02/003-1-scaled.jpg?v=1675682456" width="2560" height="1702" srcset="https://monumentwatch.org/wp-content/uploads/2023/02/003-1-scaled.jpg?v=1675682456 2560w, https://monumentwatch.org/wp-content/uploads/2023/02/003-1-300x199.jpg?v=1675682456 300w, https://monumentwatch.org/wp-content/uploads/2023/02/003-1-1024x681.jpg?v=1675682456 1024w, https://monumentwatch.org/wp-content/uploads/2023/02/003-1-768x511.jpg?v=1675682456 768w, https://monumentwatch.org/wp-content/uploads/2023/02/003-1-1536x1021.jpg?v=1675682456 1536w, https://monumentwatch.org/wp-content/uploads/2023/02/003-1-2048x1362.jpg?v=1675682456 2048w, https://monumentwatch.org/wp-content/uploads/2023/02/003-1-370x246.jpg?v=1675682456 370w, https://monumentwatch.org/wp-content/uploads/2023/02/003-1-272x182.jpg?v=1675682456 272w" sizes="(max-width: 2560px) 100vw, 2560px" title="" alt="" loading="lazy" 		class="so-widget-image"/>

Fig. 3 The northern wall of the proscenium, Father Athanas' church with niches for relics, photo. H. Petrosyan.

			<img src="https://monumentwatch.org/wp-content/uploads/2023/02/004-1-scaled.jpg?v=1675682570" width="2560" height="1702" srcset="https://monumentwatch.org/wp-content/uploads/2023/02/004-1-scaled.jpg?v=1675682570 2560w, https://monumentwatch.org/wp-content/uploads/2023/02/004-1-300x199.jpg?v=1675682570 300w, https://monumentwatch.org/wp-content/uploads/2023/02/004-1-1024x681.jpg?v=1675682570 1024w, https://monumentwatch.org/wp-content/uploads/2023/02/004-1-768x511.jpg?v=1675682570 768w, https://monumentwatch.org/wp-content/uploads/2023/02/004-1-1536x1021.jpg?v=1675682570 1536w, https://monumentwatch.org/wp-content/uploads/2023/02/004-1-2048x1362.jpg?v=1675682570 2048w, https://monumentwatch.org/wp-content/uploads/2023/02/004-1-370x246.jpg?v=1675682570 370w, https://monumentwatch.org/wp-content/uploads/2023/02/004-1-272x182.jpg?v=1675682570 272w" sizes="(max-width: 2560px) 100vw, 2560px" title="" alt="" loading="lazy" 		class="so-widget-image"/>

Fig. 4 The first stage of the excavation of Dadi's grave, photo by H. Petrosyan.

			<img src="https://monumentwatch.org/wp-content/uploads/2023/02/005-1.jpg?v=1675682712" width="1132" height="1700" srcset="https://monumentwatch.org/wp-content/uploads/2023/02/005-1.jpg?v=1675682712 1132w, https://monumentwatch.org/wp-content/uploads/2023/02/005-1-200x300.jpg?v=1675682712 200w, https://monumentwatch.org/wp-content/uploads/2023/02/005-1-682x1024.jpg?v=1675682712 682w, https://monumentwatch.org/wp-content/uploads/2023/02/005-1-768x1153.jpg?v=1675682712 768w, https://monumentwatch.org/wp-content/uploads/2023/02/005-1-1023x1536.jpg?v=1675682712 1023w, https://monumentwatch.org/wp-content/uploads/2023/02/005-1-246x370.jpg?v=1675682712 246w" sizes="(max-width: 1132px) 100vw, 1132px" title="" alt="" loading="lazy" 		class="so-widget-image"/>

Fig. 5 The first stage of the excavation of Dadi's grave, measurements by S. Ayvazyan.

			<img src="https://monumentwatch.org/wp-content/uploads/2023/02/006-1.jpg?v=1675682773" width="1633" height="1720" srcset="https://monumentwatch.org/wp-content/uploads/2023/02/006-1.jpg?v=1675682773 1633w, https://monumentwatch.org/wp-content/uploads/2023/02/006-1-285x300.jpg?v=1675682773 285w, https://monumentwatch.org/wp-content/uploads/2023/02/006-1-972x1024.jpg?v=1675682773 972w, https://monumentwatch.org/wp-content/uploads/2023/02/006-1-768x809.jpg?v=1675682773 768w, https://monumentwatch.org/wp-content/uploads/2023/02/006-1-1458x1536.jpg?v=1675682773 1458w, https://monumentwatch.org/wp-content/uploads/2023/02/006-1-351x370.jpg?v=1675682773 351w" sizes="(max-width: 1633px) 100vw, 1633px" title="" alt="" loading="lazy" 		class="so-widget-image"/>

Fig. 6 The remains of the palanquin, photo by H. Petrosyan.

Bibliography

Alishan 1902 - Alishan G., Daybreak of Armenian Christianity, Venice, St. Lazarus.

Ayvazyan 2015 - Ayvazyan S., Restoration of Dadi Monastery in 1997–2011, Yerevan, RAA publication.

Ayvazyan, Sargsyan 2012 - Ayvazyan S., Sargsyan G., Excavations in Dadivank in 2008, VARDZK No. 7, pp. 1–11.

Asori 1871 - Chronology of Ter Michael, Patriarch of Assyria, Jerusalem.

CAE, 5-Corpus of Armenian Epigraphy, issue 5, Artsakh/ made by S. Barkhudaryan, Publishing House of the USSR Academy of Sciences of RA, Yerevan, 1982.

Kaghankatvatsi 1983 - Movses Kaghankatvatsi, History of the country Aghvank, Publishing House of the USSR Academy of Sciences of RA, Yerevan.

Matevosyan 2018 - Matevosyan K., Dadivank and its murals, Dadivank. A Reborn Wonder, Yerevan, pp. 25–40.

Petrosyan 2007—Petrosyan H., in the apse section of the great basilica church of Dadivank in 2007. Preliminary report of the exploratory excavations carried out in July, the archive of the Foundation for the Study of Armenian Architecture.

Petrosyan 2017 - Petrosyan H., Excavations of the Surb Stepanos Monastery in Vachar and the issue of modernization of all-Christian saints and relics in the 13th century, Armenia and the Eastern Christian civilization, International conference reports and provisions of the reports, Yerevan, "Giyutyun" publishing house, pp. 231-237.

Dadivank’s current structures are not older than the 12th century. This monastery’s history is essentially a story about the Upper Khachen princely house and its spiritual activities. Excavations in Dadivank have revealed the remains of an ancient megalithic structure (whose circular burial pit constructed with tiny, irregular stones resembles a pre-Christian burial chamber) and the remains of a chapel built on it. At the end of the thirteenth century, an attempt was made to construct a large church that would include the chapel beneath the bema. However, for some reason, it was never completed. A single-nave church with a rectangular tabernacle was constructed on the southern side of this chapel, facing east, before the middle of the 12th century, and a rectangular hall-courtyard was built adjoining it from the west. The main church of Dadivank, which was built in 1214 according to the inscription, is also attached to the single-nave church with its northwestern corner (Fig. 1). About Saint Dadi The first written source about Saint Dadi and Dadivank is found in Movses Daskhurantsi’s 10th-century work “History of Aghvank,” which concerns 9th-century events: “Varaz Trdat and his son Stephanos Nerseh Philippean, as well as a relative, were murdered in Khoradzor, known as Dado monastery” (Kaghankatvatsi 1983, 340). Mkhitar Gosh has provided the next bibliographic information (end of the 12th century). When describing the raids of the Choli amira on Artsakh during the battles for Gandzak in 1145, he mentions the destruction of the Dadu monastery: “The apostolic holy place known as Dadivank” (Kaghankatvatsi 1983, 353). Mkhitar Gosh makes no mention of why the monastery is apostolic or who Dadu is. It can only be hypothesized that the monastery’s apostolic origin was already known. In addition, the author has stated on the same page that even though Choli destroyed and captured Artsakh’s fortifications a year ago, he had to attack and raid again: “…on the side of Khachin, Tandzeats, and Adakh, because not a single castle remained in his hands during the previous advance, but was liberated from him, those who had fled to cedrus forests, took their swords and fortresses from them and rebelled against Turks” (Kaghankatvatsi 1983, 353). Around this time (the early 1140s), Hasan Vakhtangyan, the elder lord of Khachen, begins his liberation struggle, which he describes in the inscription of the khachkar he constructed in Dadivank in 1182: “I, the son of Hasan Vakhtang, the lord of Haterk and Handaberd, Khachinaberd and Havakhrats, have been in seniority for 40 years. With the help of God, [survived] many wars and defeated my enemies. I gave birth to 6 sons and inherited them my fortresses and province, and came to this monastery. To Father Grigor I became a priest, and brought the khachkar of mine Aghuay, elaborately worked, and with many efforts raised it to commemorate the Holy Cross (Surb Nshan) and my soul. Thus, for the sake of your souls, you who read, remember my prayers. In the year 1182” (CAE 5, 198). We can see that the monastery is mentioned in this inscription without specifying its name. Further information is available about the end of the 12th century and the first half of the 13th century when Armenian princely houses liberated their estates from Seljuk rulers with the help of joint Armenian-Georgian forces.  This liberation struggle was regarded as a holy war, and the rapidly growing powerful princely houses replaced local saints with pan-Armenian or general Christian saints (Petrosyan 2017, 236-237). The Zakarians made St. Sargis the patron saint of the liberation struggle (especially given his powerful character and the fact that their father was also named Sargis), the Hasan-Jalalyans – Stepanos Nahavka, and Hovhannes the Baptist. Based on the similarity of his name to Saint Thaddeus-Thadeous and possibly some other local legends, the owners of Upper Khachen or Haterk recreated the image of Dado or Dade. It is worth noting that the monastery is referred to as “Dadi’s grave” in an inscription carved on the wall of the monastery’s main church in 1224 by the Lord of Upper Khachen and Tsar, son of Hassan and Dop: Grigor. The inscription says “in the year 1224. I, father Grigoris, superior of this holy convent, son of Vasak, the martyr, created this chapel for the commemoration of my soul and prayers.” (CAE 5, 201, Fig. 2) Vardan Areveltsi introduces this passage in his translation of Mikael Asori’s chronicle from the middle of the 13th century: “Some Thaddeus, from the pagans, who went to Greater Armenia and the northern lands by the commission of Thaddeus (Apostle), and upon hearing about the death of Abgar, turned and moved to Smaller Syunik and was murdered for secret preaching. The monastery was built in that place and named after him” (Asori 1871, appendix 33; Vardan likely obtained this passage from his teacher monastic vardapet (monk), where the saint is referred to as Dadiu, as it is with Mkhitar Gosh; cf. Alishan 1902, 22-23, Matevosyan 2020, 26-28). As a result, attempts were made to change the saint’s name to match that of Saint Thaddeus as additional “proof” of his apostolic origin. It can be concluded that Mkhitar Gosh and monastic vardapet (monk) breathed new life into local traditions about Saint Dadi and his grave, justifying and strengthening his image as the patron saint of the Upper Khachen princely house as a pan-Christian saint. Grave and Chapel of Saint Dadi There is no clear structure or tomb to indicate Dadi’s grave in early 19th-century descriptions and surveys. The great basilica of the north was a possible location for it, potentially because of its unusual width (which could be reminiscent of similar early Christian temples) and the extraordinarily large column constructed in the apse (which could be reminiscent of early Christian monuments, such as were also built on the tombs of saints). Modern research, however, indicates that the current structure of the basilica church dates from the late 13th century and was built by the monastery’s abbot, Bishop Athanas. The same can be said of the monument standing on the stage (Fig. 4), which is close to the anchors of the church’s pillars in terms of dimensional resolution and processing. However cross sculptures and an inscription representing the year (possibly 1361 or 1370), most likely refer to the 13-14th centuries. It is also important to note that the earlier small basilica church adjoining this basilica to the south, as well as the main church a bit further to the southeast (built-in 1214, i.e. earlier than the current building of the great basilica), have north entrances. It is a well-known fact that Armenian churches had a northern entrance only in rare circumstances, such as when it was not technically possible to open the entrance from the west or south, or when there were special ritual or religious cases. Since the technical aspect is excluded in this case (the small basilica also has an entrance from the south and the main church one from the west), the presence of the northern entrances must be related to the existence of some sacred place in the area of the large basilica, in this case, a grave attributed to Saint Dadi (cf. Ayvazyan 2015)., 52-53). It is reasonable to assume that when Vardapet Athanas began work on the new church, he had already removed the valuable relics from the ruined tomb and chapel to place them in the new structure. This is demonstrated by the proscenium, which is a unique manifestation of Armenian Church architecture, as well as the numerous sculpted niches incorporated into the walls (Fig. 3). The ruins of the grave were hidden beneath the church’s proscenium and stage. It is worth noting that S. Ayvazyan, the restoring architect of Dadivank claims that Athanas did not initiate a church and abandoned it, but instead created a unique inner courtyard around Dadi’s grave and chapel (Ayvazyan 2015, 56). This point of view, however, leaves unsolved the question of how that inner courtyard came to be formed if neither the tomb nor the chapel was visible or accessible. Indeed, as the excavations revealed, the burial pit was lined with small rough stones, and the chapel built on it was incorporated into the church’s proscenium and stage (Figs. 4, 5). Excavations uncovered the remains of a wooden palanquin (Fig. 6), an onyx wand head, and human bones dating from the mid-12th century (the first phase of excavations was conducted by Hamlet Petrosyan, see Petrosyan 2007, the second phase by Gagik Sargsyan, architect: Samvel Ayvazyan, see Ayvazyan, Sargsyan 2012, 1-11, Ayvazyan 2015, 68-73). Thus, at the end of the 13th century, Vardapet Athanas incorporated the already dilapidated structures beneath the stage and proscenium of the new church and carved several sculptured niches in the proscenium’s walls for the separated relics. Father Athanas did not complete the church’s construction, so it remained an open-air structure.

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<meta property="og:description" content="Dadivank's current structures are not older than the 12th century. This monastery's history is essentially a story about the Upper Khachen princely house and its spiritual activities. Excavations in Dadivank have revealed the remains of an ancient megalithic structure (whose circular burial pit constructed with tiny, irregular stones resembles a pre-Christian burial chamber) and the remains of a chapel built on it. At the end of the thirteenth century, an attempt was made to construct a large church that would include the chapel beneath the bema. However, for some reason, it was never completed. A single-nave church with a rectangular tabernacle was constructed on the southern side of this chapel, facing east, before the middle of the 12th century, and a rectangular hall-courtyard was built adjoining it from the west. The main church of Dadivank, which was built in 1214 according to the inscription, is also attached to the single-nave church with its northwestern corner (Fig. 1). About Saint Dadi The first written source about Saint Dadi and Dadivank is found in Movses Daskhurantsi's 10th-century work "History of Aghvank," which concerns 9th-century events: "Varaz Trdat and his son Stephanos Nerseh Philippean, as well as a relative, were murdered in Khoradzor, known as Dado monastery" (Kaghankatvatsi 1983, 340). Mkhitar Gosh has provided the next bibliographic information (end of the 12th century). When describing the raids of the Choli amira on Artsakh during the battles for Gandzak in 1145, he mentions the destruction of the Dadu monastery: "The apostolic holy place known as Dadivank" (Kaghankatvatsi 1983, 353). Mkhitar Gosh makes no mention of why the monastery is apostolic or who Dadu is. It can only be hypothesized that the monastery's apostolic origin was already known. In addition, the author has stated on the same page that even though Choli destroyed and captured Artsakh's fortifications a year ago, he had to attack and raid again: "...on the side of Khachin, Tandzeats, and Adakh, because not a single castle remained in his hands during the previous advance, but was liberated from him, those who had fled to cedrus forests, took their swords and fortresses from them and rebelled against Turks" (Kaghankatvatsi 1983, 353). Around this time (the early 1140s), Hasan Vakhtangyan, the elder lord of Khachen, begins his liberation struggle, which he describes in the inscription of the khachkar he constructed in Dadivank in 1182: "I, the son of Hasan Vakhtang, the lord of Haterk and Handaberd, Khachinaberd and Havakhrats, have been in seniority for 40 years. With the help of God, [survived] many wars and defeated my enemies. I gave birth to 6 sons and inherited them my fortresses and province, and came to this monastery. To Father Grigor I became a priest, and brought the khachkar of mine Aghuay, elaborately worked, and with many efforts raised it to commemorate the Holy Cross (Surb Nshan) and my soul. Thus, for the sake of your souls, you who read, remember my prayers. In the year 1182" (CAE 5, 198). We can see that the monastery is mentioned in this inscription without specifying its name. Further information is available about the end of the 12th century and the first half of the 13th century when Armenian princely houses liberated their estates from Seljuk rulers with the help of joint Armenian-Georgian forces.  This liberation struggle was regarded as a holy war, and the rapidly growing powerful princely houses replaced local saints with pan-Armenian or general Christian saints (Petrosyan 2017, 236-237). The Zakarians made St. Sargis the patron saint of the liberation struggle (especially given his powerful character and the fact that their father was also named Sargis), the Hasan-Jalalyans - Stepanos Nahavka, and Hovhannes the Baptist. Based on the similarity of his name to Saint Thaddeus-Thadeous and possibly some other local legends, the owners of Upper Khachen or Haterk recreated the image of Dado or Dade. It is worth noting that the monastery is referred to as "Dadi's grave" in an inscription carved on the wall of the monastery's main church in 1224 by the Lord of Upper Khachen and Tsar, son of Hassan and Dop: Grigor. The inscription says "in the year 1224. I, father Grigoris, superior of this holy convent, son of Vasak, the martyr, created this chapel for the commemoration of my soul and prayers." (CAE 5, 201, Fig. 2) Vardan Areveltsi introduces this passage in his translation of Mikael Asori's chronicle from the middle of the 13th century: “Some Thaddeus, from the pagans, who went to Greater Armenia and the northern lands by the commission of Thaddeus (Apostle), and upon hearing about the death of Abgar, turned and moved to Smaller Syunik and was murdered for secret preaching. The monastery was built in that place and named after him” (Asori 1871, appendix 33; Vardan likely obtained this passage from his teacher monastic vardapet (monk), where the saint is referred to as Dadiu, as it is with Mkhitar Gosh; cf. Alishan 1902, 22-23, Matevosyan 2020, 26-28). As a result, attempts were made to change the saint's name to match that of Saint Thaddeus as additional "proof" of his apostolic origin. It can be concluded that Mkhitar Gosh and monastic vardapet (monk) breathed new life into local traditions about Saint Dadi and his grave, justifying and strengthening his image as the patron saint of the Upper Khachen princely house as a pan-Christian saint. Grave and Chapel of Saint Dadi There is no clear structure or tomb to indicate Dadi's grave in early 19th-century descriptions and surveys. The great basilica of the north was a possible location for it, potentially because of its unusual width (which could be reminiscent of similar early Christian temples) and the extraordinarily large column constructed in the apse (which could be reminiscent of early Christian monuments, such as were also built on the tombs of saints). Modern research, however, indicates that the current structure of the basilica church dates from the late 13th century and was built by the monastery's abbot, Bishop Athanas. The same can be said of the monument standing on the stage (Fig. 4), which is close to the anchors of the church's pillars in terms of dimensional resolution and processing. However cross sculptures and an inscription representing the year (possibly 1361 or 1370), most likely refer to the 13-14th centuries. It is also important to note that the earlier small basilica church adjoining this basilica to the south, as well as the main church a bit further to the southeast (built-in 1214, i.e. earlier than the current building of the great basilica), have north entrances. It is a well-known fact that Armenian churches had a northern entrance only in rare circumstances, such as when it was not technically possible to open the entrance from the west or south, or when there were special ritual or religious cases. Since the technical aspect is excluded in this case (the small basilica also has an entrance from the south and the main church one from the west), the presence of the northern entrances must be related to the existence of some sacred place in the area of the large basilica, in this case, a grave attributed to Saint Dadi (cf. Ayvazyan 2015)., 52-53). It is reasonable to assume that when Vardapet Athanas began work on the new church, he had already removed the valuable relics from the ruined tomb and chapel to place them in the new structure. This is demonstrated by the proscenium, which is a unique manifestation of Armenian Church architecture, as well as the numerous sculpted niches incorporated into the walls (Fig. 3). The ruins of the grave were hidden beneath the church's proscenium and stage. It is worth noting that S. Ayvazyan, the restoring architect of Dadivank claims that Athanas did not initiate a church and abandoned it, but instead created a unique inner courtyard around Dadi's grave and chapel (Ayvazyan 2015, 56). This point of view, however, leaves unsolved the question of how that inner courtyard came to be formed if neither the tomb nor the chapel was visible or accessible. Indeed, as the excavations revealed, the burial pit was lined with small rough stones, and the chapel built on it was incorporated into the church's proscenium and stage (Figs. 4, 5). Excavations uncovered the remains of a wooden palanquin (Fig. 6), an onyx wand head, and human bones dating from the mid-12th century (the first phase of excavations was conducted by Hamlet Petrosyan, see Petrosyan 2007, the second phase by Gagik Sargsyan, architect: Samvel Ayvazyan, see Ayvazyan, Sargsyan 2012, 1-11, Ayvazyan 2015, 68-73). Thus, at the end of the 13th century, Vardapet Athanas incorporated the already dilapidated structures beneath the stage and proscenium of the new church and carved several sculptured niches in the proscenium's walls for the separated relics. Father Athanas did not complete the church's construction, so it remained an open-air structure." />
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Վանքի գլխավոր եկեղեցին՝ Կաթողիկեն, գտնվում է հյուսիսային դարավանդի արևելյան ծայրին (նկ. 1)։ Ըստ շինարարական արձանագրության՝ այն 1214 թվականին կառուցել է Հաթերքի իշխան Վախթանգի կին Արզուխաթունը (ԴՀՎ 5, 198-199)։ Եկեղեցին արտաքուստ ուղղանկյուն (10,6x12,2 մետր), ներքուստ խաչաձև, չորս անկյուններում երկհարկ ավանդատներով գմբեթավոր կառույց է (նկ․ 2, 3)։ Հայաստանում հորինվածքային այս լուծումը տարածված էր դեռևս 10-րդ դարից (Հաղպատ, Սանահին, Կեչառիս), իսկ հետագայում նաև 13-րդ դարի (Հառիճ, Հովհաննավանք, Գեղարդ) վանական համալիրների եկեղեցիներում։

		<img src="https://monumentwatch.org/wp-content/uploads/2023/02/Dadivank.jpg?v=1675318674" width="1355" height="420" srcset="https://monumentwatch.org/wp-content/uploads/2023/02/Dadivank.jpg?v=1675318674 1355w, https://monumentwatch.org/wp-content/uploads/2023/02/Dadivank-300x93.jpg?v=1675318674 300w, https://monumentwatch.org/wp-content/uploads/2023/02/Dadivank-1024x317.jpg?v=1675318674 1024w, https://monumentwatch.org/wp-content/uploads/2023/02/Dadivank-768x238.jpg?v=1675318674 768w, https://monumentwatch.org/wp-content/uploads/2023/02/Dadivank-370x115.jpg?v=1675318674 370w" sizes="(max-width: 1355px) 100vw, 1355px" alt="" loading="lazy" 		class="so-widget-image"/>

			<img src="https://monumentwatch.org/wp-content/uploads/2023/02/001-1.png?v=1676108745" width="3073" height="2179" srcset="https://monumentwatch.org/wp-content/uploads/2023/02/001-1.png?v=1676108745 3073w, https://monumentwatch.org/wp-content/uploads/2023/02/001-1-300x213.png?v=1676108745 300w, https://monumentwatch.org/wp-content/uploads/2023/02/001-1-1024x726.png?v=1676108745 1024w, https://monumentwatch.org/wp-content/uploads/2023/02/001-1-768x545.png?v=1676108745 768w, https://monumentwatch.org/wp-content/uploads/2023/02/001-1-1536x1089.png?v=1676108745 1536w, https://monumentwatch.org/wp-content/uploads/2023/02/001-1-2048x1452.png?v=1676108745 2048w, https://monumentwatch.org/wp-content/uploads/2023/02/001-1-370x262.png?v=1676108745 370w" sizes="(max-width: 3073px) 100vw, 3073px" title="" alt="" loading="lazy" 		class="so-widget-image"/>

Նկ. 1 Վանական համալիրի գլխավոր հատակագիծը, չափագրությունը Ս. Այվազյանի։

			<img src="https://monumentwatch.org/wp-content/uploads/2023/02/image-11-02-23-02-08.jpeg?v=1676110123" width="1170" height="1879" srcset="https://monumentwatch.org/wp-content/uploads/2023/02/image-11-02-23-02-08.jpeg?v=1676110123 1170w, https://monumentwatch.org/wp-content/uploads/2023/02/image-11-02-23-02-08-187x300.jpeg?v=1676110123 187w, https://monumentwatch.org/wp-content/uploads/2023/02/image-11-02-23-02-08-638x1024.jpeg?v=1676110123 638w, https://monumentwatch.org/wp-content/uploads/2023/02/image-11-02-23-02-08-768x1233.jpeg?v=1676110123 768w, https://monumentwatch.org/wp-content/uploads/2023/02/image-11-02-23-02-08-956x1536.jpeg?v=1676110123 956w, https://monumentwatch.org/wp-content/uploads/2023/02/image-11-02-23-02-08-230x370.jpeg?v=1676110123 230w" sizes="(max-width: 1170px) 100vw, 1170px" title="" alt="" loading="lazy" 		class="so-widget-image"/>

Նկ. 2 Կաթողիկե եկեղեցին վերականգնումից առաջ, լուս. Ս․ Այվազյանի:

			<img src="https://monumentwatch.org/wp-content/uploads/2023/02/003-2.jpg?v=1676108841" width="770" height="1247" srcset="https://monumentwatch.org/wp-content/uploads/2023/02/003-2.jpg?v=1676108841 770w, https://monumentwatch.org/wp-content/uploads/2023/02/003-2-185x300.jpg?v=1676108841 185w, https://monumentwatch.org/wp-content/uploads/2023/02/003-2-632x1024.jpg?v=1676108841 632w, https://monumentwatch.org/wp-content/uploads/2023/02/003-2-768x1244.jpg?v=1676108841 768w, https://monumentwatch.org/wp-content/uploads/2023/02/003-2-228x370.jpg?v=1676108841 228w" sizes="(max-width: 770px) 100vw, 770px" title="" alt="" loading="lazy" 		class="so-widget-image"/>

Նկ. 3 Կաթողիկե եկեղեցին վերականգնումից հետո, լուս. Ս․ Այվազյանի։

			<img src="https://monumentwatch.org/wp-content/uploads/2023/02/004-2-scaled.jpg?v=1676108883" width="1894" height="2560" srcset="https://monumentwatch.org/wp-content/uploads/2023/02/004-2-scaled.jpg?v=1676108883 1894w, https://monumentwatch.org/wp-content/uploads/2023/02/004-2-222x300.jpg?v=1676108883 222w, https://monumentwatch.org/wp-content/uploads/2023/02/004-2-758x1024.jpg?v=1676108883 758w, https://monumentwatch.org/wp-content/uploads/2023/02/004-2-768x1038.jpg?v=1676108883 768w, https://monumentwatch.org/wp-content/uploads/2023/02/004-2-1137x1536.jpg?v=1676108883 1137w, https://monumentwatch.org/wp-content/uploads/2023/02/004-2-1516x2048.jpg?v=1676108883 1516w, https://monumentwatch.org/wp-content/uploads/2023/02/004-2-274x370.jpg?v=1676108883 274w" sizes="(max-width: 1894px) 100vw, 1894px" title="" alt="" loading="lazy" 		class="so-widget-image"/>

Նկ. 4 Կաթողիկեի հյուսիսային մուտքը, լուս. Հ. Պետրոսյանի։

Այսպիսին է նաև Արցախի Գանձասարի վանքի սբ. Հովհաննես Մկրտիչ եկեղեցու հորինվածքը (Якобсон 1977, 59, 60)։ Դադիվանքի Կաթողիկեն Գանձասարի վանքի եկեղեցուց երկու տարի առաջ է կառուցվել, այս հանգամանքը, ինչպես նաև հորինվածքային առնչությունները թույլ են տվել ենթադրել, որ Արցախի այս երկու նշանավոր հուշարձանների ճարտարապետը նույնն է եղել (Հասրաթյան 1992, 45)։ Սակայն նկատենք, որ Գանձասարի եկեղեցու հարուստ քանդակային հորինվածքները միանգամայն այլ մտահղացման և տեխնիկական կատարման արդյունք են։ Ի տարբերություն Գանձասարի վանքի եկեղեցու, Դադիվանքում հատակագիծը ավելի մոտ է քառակուսուն և խաչաթևերի խորության տարբերության շատ փոքր լինելու հանգամանքը նրան տալիս է կենտրոնագմբեթ կառույցի տեսք։

Եկեղեցու անկյունային երկհարկանի ավանդատները թաղածածկ են և արևելյան կողմից կիսաշրջանաձև Առաջին հարկում դրանց մուտքն աղոթասրահից է։ Երկրորդ հարկում, արևելյան ավանդատան մուտքը բեմի կողմից է,  հյուսիսարևմտյանը` աղոթասրահից,  իսկ հարավարևմտյանը՝ հարավային ճակատից։

Ներսից գմբեթատակ քառակուսու անկյունները շեշտված են կիսասյուներով, որոնց վրա հենվում են գմբեթակիր կամարները։ Աղոթասրահը լուսավորվում է հյուսիսային, հարավային և արևմտյան ճակատներում բացված լուսամուտներով։ Մուտքերը արևմտյան և հյուսիսային կողմում են։ Հյուսիսային մուտքը հետագայում փակվել է, ապա ներսից սվաղվել և զարդարվել է որմնանկարով։

Ներքին խաչաձև հորինվածքն արտահայտված է նաև եկեղեցու արտաքին հարուստ ծավալներում։ Խաչաթևերը շեշտված են ճակտոններով, իսկ ավանդատները փոքր ինչ ցածրացված են։ Ճակտոններն ընդգծված են նաև եռանկյունաձև կտրվածքի խորշերով։ Ճակատների դեկորատիվ հարդարանքն ամբողջանում է զույգ կիսագլանիկներով կազմված որմանասյուների վրա «հանգչող» ռիթմիկ կամարաշարով։ Ճակտոնի կենտրոնը շեշտված է բարձր և լայն կամարաշարով, կողային հատվածը՝ ավելի ցածր և նեղ։ Խորշերն ընդգծվում են միջին կամարներով։ Լուսամուտներն ունեն քանդակազարդ շրջանակների մեջ ներառված կիսաշրջանաձև վերջավորությամբ բացվածքներ։

Շքեղ մշակում ունեն եկեղեցու մուտքերը։ Հյուսիսային մուտքի ուղղանկյուն բացվածքը ներգծված է եռյակ գլանաձև կամարներով և կիսասյունիկներով շրջանակի մեջ։ Դռան բարավորի վերնամասը ուռուցիկ վարդյակ ունի, իսկ ներքնամասը հարդարված է սլաքաձև խոշոր քանդակների շարքով (նկ. 4)։ Քանդակազարդ են նաև շքամուտքի խոյակները։ Նմանատիպ մշակում ունի նաև արևմտյան շքամուտքը (նկ. 5)․ ավելին՝ դռան ուղղանկյուն շրջանակի աջակողմյան հատվածում՝ երեք փոքրիկ, հյուսկեն խաչերի արանքում պահպանվել էր քանդակագործի ինքնագիրը՝ «Նկարող սուրբ նշանացս զՊողոս յիշեցեք» (ԴՀՎ 5, 210)։ Այժմ այդ քարն անհետացել է։ Եկեղեցու գմբեթը ներսից գլանաձև է, դրսից՝ 16 նիստանի։ Բոլոր նիստերը զարդարված են սյունակամարաշարով։ Նիստերից ութի վրա բացվում են քանդակազարդ պսակներով պատուհաններ, մյուս՝ խուլ նիստերի մակերևույթներն աշխուժանում են խորշերով։ Դադիվանքի Կաթողիկե եկեղեցու ճարտարապետությանը աշխուժություն է հաղորդում նաև բազմագունությունը։ Կաթնագույն ֆելզիտով շարված կամարաշարերը, շքամուտքերը, զարդաքանդակները ընդգծվում են պատերի գորշավուն մակերևույթների ետնախորքի վրա։ Պատերի շարքերում օգտագործված են նաև բաց վարդագույն տուֆ քարեր։

			<img src="https://monumentwatch.org/wp-content/uploads/2023/02/005-2-scaled.jpg?v=1676109067" width="2560" height="1702" srcset="https://monumentwatch.org/wp-content/uploads/2023/02/005-2-scaled.jpg?v=1676109067 2560w, https://monumentwatch.org/wp-content/uploads/2023/02/005-2-300x199.jpg?v=1676109067 300w, https://monumentwatch.org/wp-content/uploads/2023/02/005-2-1024x681.jpg?v=1676109067 1024w, https://monumentwatch.org/wp-content/uploads/2023/02/005-2-768x511.jpg?v=1676109067 768w, https://monumentwatch.org/wp-content/uploads/2023/02/005-2-1536x1021.jpg?v=1676109067 1536w, https://monumentwatch.org/wp-content/uploads/2023/02/005-2-2048x1362.jpg?v=1676109067 2048w, https://monumentwatch.org/wp-content/uploads/2023/02/005-2-370x246.jpg?v=1676109067 370w, https://monumentwatch.org/wp-content/uploads/2023/02/005-2-272x182.jpg?v=1676109067 272w" sizes="(max-width: 2560px) 100vw, 2560px" title="" alt="" loading="lazy" 		class="so-widget-image"/>

Նկ. 5  Կաթողիկեի արևմտյան մուտքը, լուս. Հ. Պետրոսյանի։

Եկեղեցու հարավային և արևելյան ճակատներին կան նվիրատվական կտիտորական բարձրաքանդակներ (Մնացականյան 1976, 109-106): Հարավային ճակատին՝ պատուհանի երկու կողմերում, ամբողջ բարձրությամբ Արզուխաթունի երկու որդիներն են՝ Հասանը և Գրիգորը՝ պարեգոտերով և գլխարկներով (նկ. 6): Եկեղեցու մանրակերտը պատուհանի վերևում է։ Պատուհանից ցած՝ պատի ամբողջ մակերեսին Արզուխաթունի ընդարձակ, խոշոր տառերով փորագրված արձանագրությունն է, որի հիմքը շարված է կաթնագույն ֆելզիտ քարով՝ հանգամանք, որ շեշտել է պատի այս հատվածը և ավելի արտահայտիչ ու միասնական դարձրել հարավային պատի ձևավորումը (կամարը, պատկերաքանդակները, լուսամուտը, արձանագրությունը իրար հետ մեկ միասնական հորինվածք են կազմում, նկ. 7): Հասանը և Գրիգորը պատկերված են լուսապսակներով. նման պատկերագրությունն, ինչպես նկատել են հետազոտողները, հազվադեպ է  նմանատիպ հուշարձաններում (Հասրաթյան 1992, 48) և կոչված է բացահայտելու Արզուխաթունի հանգուցյալ որդիներին։

Եկեղեցու մանրակերտը, համարյա բոլորակ քանդակ է՝ իր ծավալի կեսից ավելին դուրս է գալիս պատի հարթությունից և կրկնում է Կաթողիկեի ինչպես ծավալները, այնպես էլ ճարտարապետական բոլոր ձևերը (կամարաշարերը, լուսամուտները, գմբեթի վեղարի մշակումը և այլն)։

Արևելյան ճակատի պատկերաքանդակը (նկ. 8) նույնպես լուսամուտի հետ մեկ ընդհանուր հորինվածք է կազմում և վերջինիս գերիշխող թեման է։ Այստեղ քանդակված են Սուրբ Դադին և իշխան Վախթանգը (Արզուխաթունի ամուսինը): Քանդակները պահպանվել են գոտկատեղից վերև միայն։ Իշխանի և իր որդիների դիմաքանդակները նման են միմյանց՝ լուսապսակով, թավ մորուքով, առանց բեղերի մասնատման։ Սուրբ Դադին գլխաբաց է, նույնպես մորուքով և լուսապսակով։ Նրանց երկուսի ձեռքերն էլ ուղղված են դեպի լուսամուտի վերևում և դրա առանցքով քանդակված մանրակերտը։ Դադիվանքի կտիտորական քանդակները իրենց ինքնատիպությամբ ու նորարարությամբ առանձնանում են Հայաստանի այս տիպի քանդակների շարքում։

			<img src="https://monumentwatch.org/wp-content/uploads/2023/02/006-2-scaled.jpg?v=1676109202" width="2560" height="1702" srcset="https://monumentwatch.org/wp-content/uploads/2023/02/006-2-scaled.jpg?v=1676109202 2560w, https://monumentwatch.org/wp-content/uploads/2023/02/006-2-300x199.jpg?v=1676109202 300w, https://monumentwatch.org/wp-content/uploads/2023/02/006-2-1024x681.jpg?v=1676109202 1024w, https://monumentwatch.org/wp-content/uploads/2023/02/006-2-768x511.jpg?v=1676109202 768w, https://monumentwatch.org/wp-content/uploads/2023/02/006-2-1536x1021.jpg?v=1676109202 1536w, https://monumentwatch.org/wp-content/uploads/2023/02/006-2-2048x1362.jpg?v=1676109202 2048w, https://monumentwatch.org/wp-content/uploads/2023/02/006-2-370x246.jpg?v=1676109202 370w, https://monumentwatch.org/wp-content/uploads/2023/02/006-2-272x182.jpg?v=1676109202 272w" sizes="(max-width: 2560px) 100vw, 2560px" title="" alt="" loading="lazy" 		class="so-widget-image"/>

Նկ. 6 Հասան և Գրիգոր իշխանների պատկերաքանդակը, լուս. Հ. Պետրոսյանի։

			<img src="https://monumentwatch.org/wp-content/uploads/2023/02/008-1-scaled.jpg?v=1676109312" width="2560" height="1702" srcset="https://monumentwatch.org/wp-content/uploads/2023/02/008-1-scaled.jpg?v=1676109312 2560w, https://monumentwatch.org/wp-content/uploads/2023/02/008-1-300x199.jpg?v=1676109312 300w, https://monumentwatch.org/wp-content/uploads/2023/02/008-1-1024x681.jpg?v=1676109312 1024w, https://monumentwatch.org/wp-content/uploads/2023/02/008-1-768x511.jpg?v=1676109312 768w, https://monumentwatch.org/wp-content/uploads/2023/02/008-1-1536x1021.jpg?v=1676109312 1536w, https://monumentwatch.org/wp-content/uploads/2023/02/008-1-2048x1362.jpg?v=1676109312 2048w, https://monumentwatch.org/wp-content/uploads/2023/02/008-1-370x246.jpg?v=1676109312 370w, https://monumentwatch.org/wp-content/uploads/2023/02/008-1-272x182.jpg?v=1676109312 272w" sizes="(max-width: 2560px) 100vw, 2560px" title="" alt="" loading="lazy" 		class="so-widget-image"/>

Նկ. 8 Սուրբ Դադիի և Վախթանգ իշխանի քանդակները, լուս. Հ. Պետրոսյանի։

			<img src="https://monumentwatch.org/wp-content/uploads/2023/02/007-scaled.jpg?v=1676109258" width="1702" height="2560" srcset="https://monumentwatch.org/wp-content/uploads/2023/02/007-scaled.jpg?v=1676109258 1702w, https://monumentwatch.org/wp-content/uploads/2023/02/007-199x300.jpg?v=1676109258 199w, https://monumentwatch.org/wp-content/uploads/2023/02/007-681x1024.jpg?v=1676109258 681w, https://monumentwatch.org/wp-content/uploads/2023/02/007-768x1155.jpg?v=1676109258 768w, https://monumentwatch.org/wp-content/uploads/2023/02/007-1021x1536.jpg?v=1676109258 1021w, https://monumentwatch.org/wp-content/uploads/2023/02/007-1362x2048.jpg?v=1676109258 1362w, https://monumentwatch.org/wp-content/uploads/2023/02/007-246x370.jpg?v=1676109258 246w" sizes="(max-width: 1702px) 100vw, 1702px" title="" alt="" loading="lazy" 		class="so-widget-image"/>

Նկ. 7 Կաթողիկեի հարավային պատի հորինվածքը, լուս. Հ. Պետրոսյանի։

Կաթողիկեի հարդարանքում կարևոր են նաև 1297 թվականին արված որմնանկարները, որոնք բավական վնասված էին։ Վերջերս, Արա Զարյանի և Քրիստին Լամուրեի ջանքերով դրանք վերականգնվել են (Զարյան, Լամուրե 2018, 63-75)։ Հարավային պատի խոշոր որմնանկարը պատկերում է Քրիստոսի կողմից Սուրբ Նիկողայոս հրաշագործին վեղարի և Մարիամ Աստվածածնի կողմից թիկնոցի հանձնումը (նկ. 9), իսկ հյուսիսային պատին՝ Սուրբ Ստեփանոս Նախավկային քարկոծելով նահատակության թեման է (նկ. 10, Дурново 1979, 154, Մաթևոսյան 2018, 34-40, Ավետիսյան 2018, 43-52)։

Կաթողիկեին արևմտյան կողմից կցված է թաղածածկ սյունասրահը։ Այն բավական երկար (3,7x17,8 մետր), վեց քարուկիր զանգվածեղ սյուներով (տրամագիծը մոտ 1,4 մետր) կամարակապ սրահ է (նկ. 11)։

			<img src="https://monumentwatch.org/wp-content/uploads/2023/02/009-scaled.jpg?v=1676109442" width="2560" height="1703" srcset="https://monumentwatch.org/wp-content/uploads/2023/02/009-scaled.jpg?v=1676109442 2560w, https://monumentwatch.org/wp-content/uploads/2023/02/009-300x200.jpg?v=1676109442 300w, https://monumentwatch.org/wp-content/uploads/2023/02/009-1024x681.jpg?v=1676109442 1024w, https://monumentwatch.org/wp-content/uploads/2023/02/009-768x511.jpg?v=1676109442 768w, https://monumentwatch.org/wp-content/uploads/2023/02/009-1536x1022.jpg?v=1676109442 1536w, https://monumentwatch.org/wp-content/uploads/2023/02/009-2048x1363.jpg?v=1676109442 2048w, https://monumentwatch.org/wp-content/uploads/2023/02/009-370x246.jpg?v=1676109442 370w, https://monumentwatch.org/wp-content/uploads/2023/02/009-272x182.jpg?v=1676109442 272w" sizes="(max-width: 2560px) 100vw, 2560px" title="" alt="" loading="lazy" 		class="so-widget-image"/>

Նկ. 9 Սուրբ Նիկողայոս Սքանչելագործին հայրապետական իշխանության շնորհումը, լուս. Հ. Պետրոսյանի։

			<img src="https://monumentwatch.org/wp-content/uploads/2023/02/010-scaled.jpg?v=1676109492" width="2175" height="2560" srcset="https://monumentwatch.org/wp-content/uploads/2023/02/010-scaled.jpg?v=1676109492 2175w, https://monumentwatch.org/wp-content/uploads/2023/02/010-255x300.jpg?v=1676109492 255w, https://monumentwatch.org/wp-content/uploads/2023/02/010-870x1024.jpg?v=1676109492 870w, https://monumentwatch.org/wp-content/uploads/2023/02/010-768x904.jpg?v=1676109492 768w, https://monumentwatch.org/wp-content/uploads/2023/02/010-1305x1536.jpg?v=1676109492 1305w, https://monumentwatch.org/wp-content/uploads/2023/02/010-1740x2048.jpg?v=1676109492 1740w, https://monumentwatch.org/wp-content/uploads/2023/02/010-314x370.jpg?v=1676109492 314w" sizes="(max-width: 2175px) 100vw, 2175px" title="" alt="" loading="lazy" 		class="so-widget-image"/>

Նկ. 10 Սուրբ Ստեփանոս Նախավկայի քարկոծումը, լուս. Հ. Պետրոսյանի։

			<img src="https://monumentwatch.org/wp-content/uploads/2023/02/011-scaled.jpg?v=1676109537" width="2560" height="1702" srcset="https://monumentwatch.org/wp-content/uploads/2023/02/011-scaled.jpg?v=1676109537 2560w, https://monumentwatch.org/wp-content/uploads/2023/02/011-300x199.jpg?v=1676109537 300w, https://monumentwatch.org/wp-content/uploads/2023/02/011-1024x681.jpg?v=1676109537 1024w, https://monumentwatch.org/wp-content/uploads/2023/02/011-768x511.jpg?v=1676109537 768w, https://monumentwatch.org/wp-content/uploads/2023/02/011-1536x1021.jpg?v=1676109537 1536w, https://monumentwatch.org/wp-content/uploads/2023/02/011-2048x1362.jpg?v=1676109537 2048w, https://monumentwatch.org/wp-content/uploads/2023/02/011-370x246.jpg?v=1676109537 370w, https://monumentwatch.org/wp-content/uploads/2023/02/011-272x182.jpg?v=1676109537 272w" sizes="(max-width: 2560px) 100vw, 2560px" title="" alt="" loading="lazy" 		class="so-widget-image"/>

Նկ. 11 Կաթողիկեին արմևմուտքից կից բաց սյունասրահը, լուս. Հ. Պետրոսյանի։

Սյունասրահին հյուսիսից կից է Դադիվանքի միանավ եկեղեցու և նրա գավթի հարավային ճակատը, իսկ արևմուտքից՝ զանգակատան պատը (նկ. 1/3)։ Այս եկեղեցին և գավիթը համալիրի ներկա կանգուն կառույցներից ամենավաղն են և ամենայն հավանականությամբ կառուցվել են 12-րդ դարում։ Միանավ եկեղեցին ձգված համաչափություններով (2,2x7,6 մետր), ուղղանկյուն աբսիդով թաղածածկ դահլիճ է, որը արևելյան կողմից կից է Կաթողիկեի արևմտյան պատին։ Պետք է ասել, որ Արցախի վանական համալիրների թաղածածկ տիպի եկեղեցիներում (Գտչավանք, Խաթրավանք, Հանդաբերդի վանք, Եղիշա Առաքյալի վանք, Չարեքտարի վանք, Կարմիր քարի վանք և այլն) լայն կիրառություն է ունեցել ներսից ուղղանկյուն խորանի ձևը (Պետրոսյան, Կիրակոսյան, Սաֆարյան 2009, 33- 34)։ Միանավ եկեղեցուն արևմտյան կողմից կցված է թաղածածկ գավիթը (նկ. 1/8), որն իր հատակաձևով տարբերվում է նմանատիպ շենքերից (դրանք սովորաբար քառակուսուն մոտեցող հատակագիծ ունեն․ այստեղ այն բավական ձգված ուղղանկյուն է՝ 3,8 x 8,25 մետր չափերով)։

Վերոնշյալ շինություններին հյուսիսային կողմից կցված է Սուրբ Դադիի կիսակառույց եկեղեցին (նկ. 1/7), որը 13-րդ դարի վերջերին նախաձեռնել, սակայն ավարտին չի հասցրել վանքի վանահայր Աթանասը։ Այն միանավ բազիլիկ տիպի խոշոր կառույց է և իր չափերով (ներսի 9,0x21,4 մետր) ավելի մոտենում է Հայաստանի եռանավ բազիլիկաներին։ Եկեղեցու երկայնական պատերից 0,8 մետր դուրս են գալիս երեք զույգ որմնասյուներ, որոնք նախատեսված են եղել թաղակիր կամարների համար։ Ինչպես նկատել են հետազոտողները (Հասրաթյան 1992, 50), առկա են միայն այդ որմնասյուները, իսկ դրանց արանքում երկայնական պատերի վրա կամարներ չեն դրվել, որը կփոքրացներ աղոթասրահի թռիչքը և ծածկի թաղը կհենվեր որմնախորշերի կամարների վրա։ Եկեղեցու պատերը պահպանվել են ողջ բարձրությամբ, մինչև ծածկի թաղի տակը՝ առանց որմնակամարների որևէ հետքի։ Եկեղեցու պատերը ողջ պարագծով նույն բարձրության վրա են։ Այս հանգամանքը ևս խոսում է այն մասին, որ, հավանաբար, մի շարք  պարճառներով (քաղաքական և տնտեսական անբարենպաստ պայմաններ, իրականացման տեխնիկական բարդություններ) կառույցն անավարտ է մնացել։ Եկեղեցու առանձնահատկություններից է նաև այն, որ ավանդատները տեղադրված են կիսաշրջանաձև խորանի և պատերի ուղղանկյուն եզրագծի միջև ստացվող անկյունային հոծ զանգվածի մեջ։ Դրանք արևմուտքից-արևելք ձգվող ուղղանկյուն, կիսաշրջանաձև աբսիդով, թաղածածկ փոքր (1,8x1,45 մետր) խցեր են, որոնք լուսավորվում են եկեղեցու արևելյան ճակատի լուսամուտներով (նկ․ 7)։ Այս եկեղեցու աբսիդի տակ պեղումներով բացվել են սուրրբ Դադիին վերագրվող գերեզմանի և մատուռի մնացորդները (մանրամասն տե՛ս «Դադիվանք. Սուրբ Դադիի և նրա գերեզմանի մասին» հոդվածը)։

Միանավ եկեղեցուն արևմուտքից կից է ժամատուն-գավիթը, որը 1224 թվականին կառուցել է վանքի առաջնորդ Գրիգորիս եպիսկոպոսը (ԴՀՎ 5, 210)։ Այն նաև ծառայել է որպես Հաթերքի իշխանների տապանատուն։ Կառույցը հատակագծում պատկանում է քառամույթ գավիթների հորինվածքային տիպին (նկ․ 1/6)։ Սակայն, ինչպես հատակագծային, այնպես էլ ծավալատարածական լուծումներով այն տարբերվում է Հայաստանի 12-13-րդ դարերի նմանատիպ կառույցներից։ Վերջիններս հիմնականում կենտրոնաձիգ կառուցվածքներ են՝ հատակագծում քառակուսի, կամ՝ քառակուսուն մոտեցող (Հաղարծին, Գոշավանք, Սանահին, Գեղարդ, Կեչառիս, Հառիճավանք, Մակարավանք և այլն)։ Այս շենքերի ծածկերը հիմնականում ունենում են երեք տիպի լուծում (Мнацаканян 1952, 134): Դադիվանքի գավիթն ունի բազիլիկայի համաչափություններ՝ երկարությունը մոտ 1,5 անգամ գերազանցում է լայնությանը (ներսի չափերն են 9,1x13,8 մետր) և շատ ինքնատիպ ծածկի լուծում։ Վերջինս երկթեք կտուրի տակ վերցված թաղ է, որի կենտրոնում բարձրանում է ութանիստ գմբեթը (նկ․ 12/8)։ Անկյունային հատվածները ծածկվում են հյուսիսային և հարավային հատվածների հետ քառորդ գլանի ձև ունեցող թաղով։

			<img src="https://monumentwatch.org/wp-content/uploads/2023/02/012.jpg?v=1676109711" width="1034" height="597" srcset="https://monumentwatch.org/wp-content/uploads/2023/02/012.jpg?v=1676109711 1034w, https://monumentwatch.org/wp-content/uploads/2023/02/012-300x173.jpg?v=1676109711 300w, https://monumentwatch.org/wp-content/uploads/2023/02/012-1024x591.jpg?v=1676109711 1024w, https://monumentwatch.org/wp-content/uploads/2023/02/012-768x443.jpg?v=1676109711 768w, https://monumentwatch.org/wp-content/uploads/2023/02/012-370x214.jpg?v=1676109711 370w" sizes="(max-width: 1034px) 100vw, 1034px" title="" alt="" loading="lazy" 		class="so-widget-image"/>

Նկ. 12 ժամատուն-գավթի ընդհանուր տեսքը մինչև վերականգնումը, լուս. Ս. Այվազյանի։

Գմբեթը հենվում է քառանկյունի հատույթով չորս մույթերի վրա։ Գավթի պատերին որմնամույթեր չկան։ Գմբեթատակ քառակուսուց գմբեթին անցումն իրականացված է տրոմպների միջոցով (նկ․ 13): Գմբեթն օրգանապես կապված չէ շենքի վերին մասի ծավալի հետ, այլ ուղղակի դուրս է գալիս երկթեք ծածկի միջից: Գավիթը հիմնականում կառուցված է կոպտատաշ բազալտով, բացառություն են կազմում սյուները, կամարներն ու թմբուկը: Հարդարանքը նույնպես զուսպ է: Արևելյան շքամուտքից բացի հարդարանքի տարր են նուրբ քանդակներով ծածկված տարբեր մեծության խաչքարերը, որոնցով ձևավորված են գավթի պատերը: Կառույցը լուսավորվում է վերևից՝ երդիկի միջոցով և արևմտյան կողմի զույգ լուսամուտներով:

			<img src="https://monumentwatch.org/wp-content/uploads/2023/02/013-scaled.jpg?v=1676109813" width="2560" height="1703" srcset="https://monumentwatch.org/wp-content/uploads/2023/02/013-scaled.jpg?v=1676109813 2560w, https://monumentwatch.org/wp-content/uploads/2023/02/013-300x200.jpg?v=1676109813 300w, https://monumentwatch.org/wp-content/uploads/2023/02/013-1024x681.jpg?v=1676109813 1024w, https://monumentwatch.org/wp-content/uploads/2023/02/013-768x511.jpg?v=1676109813 768w, https://monumentwatch.org/wp-content/uploads/2023/02/013-1536x1022.jpg?v=1676109813 1536w, https://monumentwatch.org/wp-content/uploads/2023/02/013-2048x1363.jpg?v=1676109813 2048w, https://monumentwatch.org/wp-content/uploads/2023/02/013-370x246.jpg?v=1676109813 370w, https://monumentwatch.org/wp-content/uploads/2023/02/013-272x182.jpg?v=1676109813 272w" sizes="(max-width: 2560px) 100vw, 2560px" title="" alt="" loading="lazy" 		class="so-widget-image"/>

Նկ. 13 Ժամատուն-գավթի ծածկի համակարգը, լուս. Հ. Պետրոսյանի։

Գրականություն

Ավետիսյան 2018 – Ավետիսյան Գ․, Դադիվանքի որմնանկարները և Ս. Նիկողայոս Սքանչելագործի պատկերները հայկական միջնադարյան արվեստում, Դադիվանք. վերածնված հրաշալիք, Երևան, էջ 43-61։

Զարյան, Լամուրե 2018 – Զարյան Ա., Լամուրե Ք., Դադիվանքի որմնանկարների պահպանական վերականգնումը, Դադիվանք. վերածնված հրաշալիք, Երևան, էջ 63-75։

ԴՀՎ 5 - Դիվան հայ վիմագրության, պր․ 5, Արցախ /կազմեց՝ Ս․ Բարխուդարյան, ՀՍՍՀ ԳԱ հրատ․, Երևան, 1982։

Հասրաթյան 1992 - Հասրաթյան Մ., Արցախի ճարտարապետական դպրոցը, ՀՀ ԳԱ հրատարակչութուն, Երևան:

Մաթևոսյան 2018 - Մաթևոսյան Կ., Դադիվանքը և նրա որմնանկարները, Դադիվանք. վերածնված հրաշալիք, Երևան, էջ 25-40։

Մնացականյան 1976 - Մնացականյան Ս․, Հայկական աշխարհիկ պատկերաքանդակը 4-14-րդ դարերում, ՀՍՍՀ ԳԱ հրատ., Երևան։

Պետրոսյան, Կիրակոսյան, Սաֆարյան 2009 - Պետրոսյան Հ․, Կիրակոսյան Լ․, Սաֆարյան Վ․, Հանդաբերդի վանքը և նրա պեղումները, ՀՀ ԳԱԱ «Գիտություն» հրատ., Երևան։

Дурново 1979 - Дурново Л․ Очерки изобразительного искусствасредневековой Армении. «Искуссто», Москва․

Мнацаканян 1952 - Мнацаканян С. Архитектура армянских притворов, Издательство АН АрмССР, Ереван.

Якобсон 1977 - Якобсон А․ Изистории армянского средневекового зодчества, Вестник общественных наук, №12․

Վանքի գլխավոր եկեղեցին՝ Կաթողիկեն, գտնվում է հյուսիսային դարավանդի արևելյան ծայրին (նկ. 1)։ Ըստ շինարարական արձանագրության՝ այն 1214 թվականին կառուցել է Հաթերքի իշխան Վախթանգի կին Արզուխաթունը (ԴՀՎ 5, 198-199)։ Եկեղեցին արտաքուստ ուղղանկյուն (10,6×12,2 մետր), ներքուստ խաչաձև, չորս անկյուններում երկհարկ ավանդատներով գմբեթավոր կառույց է (նկ․ 2, 3)։ Հայաստանում հորինվածքային այս լուծումը տարածված էր դեռևս 10-րդ դարից (Հաղպատ, Սանահին, Կեչառիս), իսկ հետագայում նաև 13-րդ դարի (Հառիճ, Հովհաննավանք, Գեղարդ) վանական համալիրների եկեղեցիներում։

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Katoghike, the monastery's main church, is located at the eastern end of the northern rising ground (Fig. 1). According to the building inscription, Arzukhatun, the wife of Haterk lord Vakhtang, built it in 1214. (CAE 5, 198-199). The church has a rectangular structure outwardly (10.6x12.2 meters) and cross-shaped inwardly, with two-story vaults in each of the four corners (Figs. 2, 3). This compositional solution was prevalent in Armenia beginning in the 10th century (Haghpat, Sanahin, Kecharis) and later in 13th-century monastic complexes (Harich, Hovhannavank, Geghard).

		<img src="https://monumentwatch.org/wp-content/uploads/2023/02/Dadivank.jpg?v=1675318674" width="1355" height="420" srcset="https://monumentwatch.org/wp-content/uploads/2023/02/Dadivank.jpg?v=1675318674 1355w, https://monumentwatch.org/wp-content/uploads/2023/02/Dadivank-300x93.jpg?v=1675318674 300w, https://monumentwatch.org/wp-content/uploads/2023/02/Dadivank-1024x317.jpg?v=1675318674 1024w, https://monumentwatch.org/wp-content/uploads/2023/02/Dadivank-768x238.jpg?v=1675318674 768w, https://monumentwatch.org/wp-content/uploads/2023/02/Dadivank-370x115.jpg?v=1675318674 370w" sizes="(max-width: 1355px) 100vw, 1355px" alt="" loading="lazy" 		class="so-widget-image"/>

			<img src="https://monumentwatch.org/wp-content/uploads/2023/02/001-1.png?v=1676108745" width="3073" height="2179" srcset="https://monumentwatch.org/wp-content/uploads/2023/02/001-1.png?v=1676108745 3073w, https://monumentwatch.org/wp-content/uploads/2023/02/001-1-300x213.png?v=1676108745 300w, https://monumentwatch.org/wp-content/uploads/2023/02/001-1-1024x726.png?v=1676108745 1024w, https://monumentwatch.org/wp-content/uploads/2023/02/001-1-768x545.png?v=1676108745 768w, https://monumentwatch.org/wp-content/uploads/2023/02/001-1-1536x1089.png?v=1676108745 1536w, https://monumentwatch.org/wp-content/uploads/2023/02/001-1-2048x1452.png?v=1676108745 2048w, https://monumentwatch.org/wp-content/uploads/2023/02/001-1-370x262.png?v=1676108745 370w" sizes="(max-width: 3073px) 100vw, 3073px" title="" alt="" loading="lazy" 		class="so-widget-image"/>

Fig. 1 The main architectural plan of the monastery complex, measurements by S. Ayvazyan.

			<img src="https://monumentwatch.org/wp-content/uploads/2023/02/image-11-02-23-02-08.jpeg?v=1676110123" width="1170" height="1879" srcset="https://monumentwatch.org/wp-content/uploads/2023/02/image-11-02-23-02-08.jpeg?v=1676110123 1170w, https://monumentwatch.org/wp-content/uploads/2023/02/image-11-02-23-02-08-187x300.jpeg?v=1676110123 187w, https://monumentwatch.org/wp-content/uploads/2023/02/image-11-02-23-02-08-638x1024.jpeg?v=1676110123 638w, https://monumentwatch.org/wp-content/uploads/2023/02/image-11-02-23-02-08-768x1233.jpeg?v=1676110123 768w, https://monumentwatch.org/wp-content/uploads/2023/02/image-11-02-23-02-08-956x1536.jpeg?v=1676110123 956w, https://monumentwatch.org/wp-content/uploads/2023/02/image-11-02-23-02-08-230x370.jpeg?v=1676110123 230w" sizes="(max-width: 1170px) 100vw, 1170px" title="" alt="" loading="lazy" 		class="so-widget-image"/>

Fig. 2 The Katoghike (main) Church before restoration, photo by S. Ayvazyan.

			<img src="https://monumentwatch.org/wp-content/uploads/2023/02/003-2.jpg?v=1676108841" width="770" height="1247" srcset="https://monumentwatch.org/wp-content/uploads/2023/02/003-2.jpg?v=1676108841 770w, https://monumentwatch.org/wp-content/uploads/2023/02/003-2-185x300.jpg?v=1676108841 185w, https://monumentwatch.org/wp-content/uploads/2023/02/003-2-632x1024.jpg?v=1676108841 632w, https://monumentwatch.org/wp-content/uploads/2023/02/003-2-768x1244.jpg?v=1676108841 768w, https://monumentwatch.org/wp-content/uploads/2023/02/003-2-228x370.jpg?v=1676108841 228w" sizes="(max-width: 770px) 100vw, 770px" title="" alt="" loading="lazy" 		class="so-widget-image"/>

Fig. 3 The Katoghike (main) Church after restoration, photo by S. Ayvazyan.

			<img src="https://monumentwatch.org/wp-content/uploads/2023/02/004-2-scaled.jpg?v=1676108883" width="1894" height="2560" srcset="https://monumentwatch.org/wp-content/uploads/2023/02/004-2-scaled.jpg?v=1676108883 1894w, https://monumentwatch.org/wp-content/uploads/2023/02/004-2-222x300.jpg?v=1676108883 222w, https://monumentwatch.org/wp-content/uploads/2023/02/004-2-758x1024.jpg?v=1676108883 758w, https://monumentwatch.org/wp-content/uploads/2023/02/004-2-768x1038.jpg?v=1676108883 768w, https://monumentwatch.org/wp-content/uploads/2023/02/004-2-1137x1536.jpg?v=1676108883 1137w, https://monumentwatch.org/wp-content/uploads/2023/02/004-2-1516x2048.jpg?v=1676108883 1516w, https://monumentwatch.org/wp-content/uploads/2023/02/004-2-274x370.jpg?v=1676108883 274w" sizes="(max-width: 1894px) 100vw, 1894px" title="" alt="" loading="lazy" 		class="so-widget-image"/>

Fig. 4 The northern entrance of the Katoghike Church, photo by H. Petrosyan.

Surb Hovhannes Mkrtich (Baptist) church of the Gandzasar monastery in Artsakh is also composed in this style (Yakobson 1977, 59, 60). Dadivank's main church was constructed two years before the church of Gandzasar monastery; this fact, along with compositional similarities, leads us to believe that the architect of these two famous Artsakh monuments was the same (Hasratyan 1992, 45). However, we should note that the Gandzasar church's rich sculptural compositions are the outcome of an entirely different idea and technical execution. In contrast to the church of Gandzasar monastery, the architectural plan of Dadivank is nearly square, and the difference in the depth of the cross-wings is quite small, giving it the appearance of a central dome structure.

The church's two-story corner sacristies are vaulted and semicircular on the eastern side. The entrance on the first floor is from the prayer hall. On the second floor, the eastern sacristy is accessed via the bema, the northwestern via the prayer hall, and the southwestern via the southern facade.

Semi-columns on which the dome-bearing arches rest highlight the corners of the square under the dome inwardly. Windows on the northern, southern, and western facades illuminate the prayer hall. The entrances are located on the west and north sides of the building. Later, the northern entrance was closed, and the interior was plastered and decorated with a mural.

The rich external volumes of the church reflect the internal cruciform composition. Pediments accent the cross wings, and the sacristies are slightly lowered. Triangular section niches are also utilized to highlight the pediments. The facades' ornament decoration is completed by a rhythmic arch "resting" on columns created by a pair of semi-cylinders. A high and wide arcade emphasizes the pediment's center, while the side part is lower and narrower. The middle arches highlight the niches. The windows feature semicircular openings embedded in sculpted frames.

The church's entrances are lavishly decorated. The northern entrance's rectangular opening is framed by triple cylindrical arches and semi-columns. The upper portion of the door lintel features a convex rosette, while the inner part is decorated with a group of large arrow-shaped sculptures (Fig. 4). The porch's capitals are also sculpted. A similar composition can be found on the western porch (Fig. 5). Furthermore, the sculptor's autograph was preserved in the right part of the rectangular frame of the door, between three small woven crosses: "Painter of these holy signs is Poghos, remember" (CAE 5, 210). That stone has now disappeared. The church dome is cylindrical inwardly and has 16 facets on the outside. Colonnades adorn all of the facets. Windows with sculpted crowns open on eight facets, while niches enliven the surfaces of the other dull facets. The multi-color enhances the architecture of Dadivank's Katoghike (main) Church. The arches, porches, and ornaments are highlighted against the gray surfaces of the walls. The rows of walls are also constructed with light pink tuff stones.

			<img src="https://monumentwatch.org/wp-content/uploads/2023/02/005-2-scaled.jpg?v=1676109067" width="2560" height="1702" srcset="https://monumentwatch.org/wp-content/uploads/2023/02/005-2-scaled.jpg?v=1676109067 2560w, https://monumentwatch.org/wp-content/uploads/2023/02/005-2-300x199.jpg?v=1676109067 300w, https://monumentwatch.org/wp-content/uploads/2023/02/005-2-1024x681.jpg?v=1676109067 1024w, https://monumentwatch.org/wp-content/uploads/2023/02/005-2-768x511.jpg?v=1676109067 768w, https://monumentwatch.org/wp-content/uploads/2023/02/005-2-1536x1021.jpg?v=1676109067 1536w, https://monumentwatch.org/wp-content/uploads/2023/02/005-2-2048x1362.jpg?v=1676109067 2048w, https://monumentwatch.org/wp-content/uploads/2023/02/005-2-370x246.jpg?v=1676109067 370w, https://monumentwatch.org/wp-content/uploads/2023/02/005-2-272x182.jpg?v=1676109067 272w" sizes="(max-width: 2560px) 100vw, 2560px" title="" alt="" loading="lazy" 		class="so-widget-image"/>

Fig. 5 The southern entrance of the Katoghike Church, photo by H. Petrosyan.

Donation bas-reliefs of the Ktetor type adorn the church's southern and eastern facades (Mnatsakanyan 1976, 109-106). On the south facade, on both sides of the window, two of Arzukhatun's sons, Hasan and Grigor, are depicted at full height, wearing cassocks and hats (Fig. 6). Above the window is a scale model of the church. A large inscription of Arzukhatun is carved in large letters on the entire surface of the wall below the window, the base of which is lined with creamy felsite stone, a circumstance that highlighted this part of the wall and managed to make the design of the southern wall more compelling and unified (the arch, the sculptures, the window, and the inscription all form a single composition, Fig. 7). Hasan and Grigor are shown with haloes. Similar iconography, as the researchers discovered, is uncommon in this type of monument (Hasratyan 1992, 48) and is intended to identify Arzukhatun's deceased sons.

The church's scale model is a nearly complete sculpture; more than half of its volume protrudes from the plane of the wall and repeats both the volumes and all of the architectural forms of the Katoghike church (arches, windows, dome vaulting, etc.).

The eastern facade's iconography (Fig. 8) also shares a common composition with the window and is the dominant theme. Saint Dadi and Lord Vakhtang (Arzukhatun's husband) are carved here. The sculptures were only preserved up to the waist. The lords and his sons' portraits are similar, with halos, thick beards, and no mustache. Saint Dadi is hatless, with a beard and a halo. Their hands are both pointed at the carved figure above the window and its axis. Dadivank's ktetor bas-relief sculptures stand out among Armenian artworks of this type due to their uniqueness and innovation.

			<img src="https://monumentwatch.org/wp-content/uploads/2023/02/006-2-scaled.jpg?v=1676109202" width="2560" height="1702" srcset="https://monumentwatch.org/wp-content/uploads/2023/02/006-2-scaled.jpg?v=1676109202 2560w, https://monumentwatch.org/wp-content/uploads/2023/02/006-2-300x199.jpg?v=1676109202 300w, https://monumentwatch.org/wp-content/uploads/2023/02/006-2-1024x681.jpg?v=1676109202 1024w, https://monumentwatch.org/wp-content/uploads/2023/02/006-2-768x511.jpg?v=1676109202 768w, https://monumentwatch.org/wp-content/uploads/2023/02/006-2-1536x1021.jpg?v=1676109202 1536w, https://monumentwatch.org/wp-content/uploads/2023/02/006-2-2048x1362.jpg?v=1676109202 2048w, https://monumentwatch.org/wp-content/uploads/2023/02/006-2-370x246.jpg?v=1676109202 370w, https://monumentwatch.org/wp-content/uploads/2023/02/006-2-272x182.jpg?v=1676109202 272w" sizes="(max-width: 2560px) 100vw, 2560px" title="" alt="" loading="lazy" 		class="so-widget-image"/>

Fig. 6 The sculpture of Lords Hasan and Grigor, photo by H. Petrosyan.

			<img src="https://monumentwatch.org/wp-content/uploads/2023/02/008-1-scaled.jpg?v=1676109312" width="2560" height="1702" srcset="https://monumentwatch.org/wp-content/uploads/2023/02/008-1-scaled.jpg?v=1676109312 2560w, https://monumentwatch.org/wp-content/uploads/2023/02/008-1-300x199.jpg?v=1676109312 300w, https://monumentwatch.org/wp-content/uploads/2023/02/008-1-1024x681.jpg?v=1676109312 1024w, https://monumentwatch.org/wp-content/uploads/2023/02/008-1-768x511.jpg?v=1676109312 768w, https://monumentwatch.org/wp-content/uploads/2023/02/008-1-1536x1021.jpg?v=1676109312 1536w, https://monumentwatch.org/wp-content/uploads/2023/02/008-1-2048x1362.jpg?v=1676109312 2048w, https://monumentwatch.org/wp-content/uploads/2023/02/008-1-370x246.jpg?v=1676109312 370w, https://monumentwatch.org/wp-content/uploads/2023/02/008-1-272x182.jpg?v=1676109312 272w" sizes="(max-width: 2560px) 100vw, 2560px" title="" alt="" loading="lazy" 		class="so-widget-image"/>

Fig. 8 The sculptures of Saint Dadi and Lord Vakhtang, photo by H. Petrosyan.

			<img src="https://monumentwatch.org/wp-content/uploads/2023/02/007-scaled.jpg?v=1676109258" width="1702" height="2560" srcset="https://monumentwatch.org/wp-content/uploads/2023/02/007-scaled.jpg?v=1676109258 1702w, https://monumentwatch.org/wp-content/uploads/2023/02/007-199x300.jpg?v=1676109258 199w, https://monumentwatch.org/wp-content/uploads/2023/02/007-681x1024.jpg?v=1676109258 681w, https://monumentwatch.org/wp-content/uploads/2023/02/007-768x1155.jpg?v=1676109258 768w, https://monumentwatch.org/wp-content/uploads/2023/02/007-1021x1536.jpg?v=1676109258 1021w, https://monumentwatch.org/wp-content/uploads/2023/02/007-1362x2048.jpg?v=1676109258 1362w, https://monumentwatch.org/wp-content/uploads/2023/02/007-246x370.jpg?v=1676109258 246w" sizes="(max-width: 1702px) 100vw, 1702px" title="" alt="" loading="lazy" 		class="so-widget-image"/>

Fig. 7 The composition of the southern wall of the Katoghike Church, photo by H. Petrosyan.

The frescoes painted in 1297, though badly damaged, are also significant in the decoration of the Katoghike Church. They have recently been restored thanks to the efforts of Ara Zaryan and Christine Lamoureux (Zaryan, Lamoureux 2018, 63–75). The large mural on the south wall depicts Christ handing over the veil to St. Nicholas the Wonderworker and the cloak to the Virgin Mary (Fig. 9), while the theme of St. Stephen's martyrdom by stoning is depicted on the north wall (Figs. 10, Durnovo 1979, 154, Matevosyan 2018, 34–40, and Avetisyan 2018, 45–52).

From the west side, the vaulted colonnade is attached to the Katoghike church. It is a long vaulted hall (3.7x17.8 meters) with six massive stone pillars (diameter is about 1.4 meters) (Fig. 11).

			<img src="https://monumentwatch.org/wp-content/uploads/2023/02/009-scaled.jpg?v=1676109442" width="2560" height="1703" srcset="https://monumentwatch.org/wp-content/uploads/2023/02/009-scaled.jpg?v=1676109442 2560w, https://monumentwatch.org/wp-content/uploads/2023/02/009-300x200.jpg?v=1676109442 300w, https://monumentwatch.org/wp-content/uploads/2023/02/009-1024x681.jpg?v=1676109442 1024w, https://monumentwatch.org/wp-content/uploads/2023/02/009-768x511.jpg?v=1676109442 768w, https://monumentwatch.org/wp-content/uploads/2023/02/009-1536x1022.jpg?v=1676109442 1536w, https://monumentwatch.org/wp-content/uploads/2023/02/009-2048x1363.jpg?v=1676109442 2048w, https://monumentwatch.org/wp-content/uploads/2023/02/009-370x246.jpg?v=1676109442 370w, https://monumentwatch.org/wp-content/uploads/2023/02/009-272x182.jpg?v=1676109442 272w" sizes="(max-width: 2560px) 100vw, 2560px" title="" alt="" loading="lazy" 		class="so-widget-image"/>

Fig. 9 The grant of patriarchal power to St. Nicholas the Wonderworker, photo by H. Petrosyan.

			<img src="https://monumentwatch.org/wp-content/uploads/2023/02/010-scaled.jpg?v=1676109492" width="2175" height="2560" srcset="https://monumentwatch.org/wp-content/uploads/2023/02/010-scaled.jpg?v=1676109492 2175w, https://monumentwatch.org/wp-content/uploads/2023/02/010-255x300.jpg?v=1676109492 255w, https://monumentwatch.org/wp-content/uploads/2023/02/010-870x1024.jpg?v=1676109492 870w, https://monumentwatch.org/wp-content/uploads/2023/02/010-768x904.jpg?v=1676109492 768w, https://monumentwatch.org/wp-content/uploads/2023/02/010-1305x1536.jpg?v=1676109492 1305w, https://monumentwatch.org/wp-content/uploads/2023/02/010-1740x2048.jpg?v=1676109492 1740w, https://monumentwatch.org/wp-content/uploads/2023/02/010-314x370.jpg?v=1676109492 314w" sizes="(max-width: 2175px) 100vw, 2175px" title="" alt="" loading="lazy" 		class="so-widget-image"/>

Fig. 10 The stoning of St. Stephen, photo by H. Petrosyan.

			<img src="https://monumentwatch.org/wp-content/uploads/2023/02/011-scaled.jpg?v=1676109537" width="2560" height="1702" srcset="https://monumentwatch.org/wp-content/uploads/2023/02/011-scaled.jpg?v=1676109537 2560w, https://monumentwatch.org/wp-content/uploads/2023/02/011-300x199.jpg?v=1676109537 300w, https://monumentwatch.org/wp-content/uploads/2023/02/011-1024x681.jpg?v=1676109537 1024w, https://monumentwatch.org/wp-content/uploads/2023/02/011-768x511.jpg?v=1676109537 768w, https://monumentwatch.org/wp-content/uploads/2023/02/011-1536x1021.jpg?v=1676109537 1536w, https://monumentwatch.org/wp-content/uploads/2023/02/011-2048x1362.jpg?v=1676109537 2048w, https://monumentwatch.org/wp-content/uploads/2023/02/011-370x246.jpg?v=1676109537 370w, https://monumentwatch.org/wp-content/uploads/2023/02/011-272x182.jpg?v=1676109537 272w" sizes="(max-width: 2560px) 100vw, 2560px" title="" alt="" loading="lazy" 		class="so-widget-image"/>

Fig. 11 The open colonnade which is adjacent to the Katoghike church from the west, photo by H. Petrosyan.

The southern facade of Dadivank's single-nave church and its gavit is adjacent to the colonnade from the north, and the wall of the bell tower is adjoining from the west (Fig. 1/3). This church and gavit are the oldest structures still standing in the complex and were presumably built in the 12th century. The single-nave church is a vaulted hall with stretched symmetry (2.2x7.6 meters), a rectangular apse, and is adjacent to the western wall of the Katoghike Church on the eastern side. It's worth noting that the rectangular tabernacle inside the church was prevalently used in the dome-type churches of Artsakh's monastery complexes (Gtchavank, Khatravank, Handaberdi Monastery, Yeghisha Apostle Monastery, Charektari Monastery, Karmir Kari Monastery, and so on) (Petrosyan, Kirakosyan, Safaryan 2009, 33–34). A vaulted gavit (Fig. 1/8) is attached to the single-nave church from the west side, which differentiates in floor plan from similar buildings (they usually have a plan approaching a square; it is a stretched rectangle, measuring 3.8 x 8.25 meters).

Saint Dadi's partially built church (Fig. 1/7) is attached to the previously mentioned buildings from the north side, and was initiated at the end of the 13th century but not finished by the monastery's abbot, Athanas. It is a large single-nave basilica structure with dimensions similar to Armenian three-nave basilicas (9.0x21.4 meters inwardly). Three pairs of wall pillars protrude 0.8 meters from the church's longitudinal walls and were intended to support vault-bearing arches. According to the researchers (Hasratyan 1992, 50), only those wall pillars are visible, and there are no arches on the longitudinal walls between them, which would also shorten the prayer hall's span and allow the roof to rest on the arches of the alcoves. The church's walls have been preserved up to the roof, with no traces of arcatures. The church's walls are the same height all around. This circumstance also suggests that, most likely, the structure remained unfinished due to a variety of factors (unfavorable political and economic circumstances, technical implementation issues). The vaults are located in the corner mass between the semicircular tabernacle and the rectangular border of the walls, making them a distinguishable feature of the church. These are small vaulted cells (1.8x1.45 meters) with a rectangular, semicircular apse stretching from west to east, lit by the windows on the church's eastern facade (Fig. 7). Excavations revealed the remains of a grave and chapel attributed to St. Dadi beneath the apse of this church (see the article "Dadivank: About St. Dadi and his grave" for further details).

The gavit-chapel, which faces the single-nave church from the west, was built in 1224 by Bishop Grigoris, the monastery's leader (CAE 5, 210). It was also the resting place of Haterk lords. The structure's plan is of the compositional type of quadripartite gavits (Fig. 1/6). However, it differs from similar structures in Armenia from the 12th to 13th centuries in terms of the plan and spatial solutions. The latter are mostly centripetal structures with square or nearly square plans (Haghartsin, Goshavank, Sanahin, Geghard, Kecharis, Harichavank, Makaravank, etc.). These buildings' roofs typically have three types of compositional solutions (Mnatsakanyan 1952, 134). The symmetry of Dadivank's gavit is that of a basilica: the length is approximately 1.5 times larger than the width (internal dimensions are 9.1x13.8 meters) and has quite a unique roof solution: a vault under a gabled roof and an octagonal dome in the center (fig. 12/8). A quarter-cylindrical vault connects the corner sections to the north and south sections.

			<img src="https://monumentwatch.org/wp-content/uploads/2023/02/012.jpg?v=1676109711" width="1034" height="597" srcset="https://monumentwatch.org/wp-content/uploads/2023/02/012.jpg?v=1676109711 1034w, https://monumentwatch.org/wp-content/uploads/2023/02/012-300x173.jpg?v=1676109711 300w, https://monumentwatch.org/wp-content/uploads/2023/02/012-1024x591.jpg?v=1676109711 1024w, https://monumentwatch.org/wp-content/uploads/2023/02/012-768x443.jpg?v=1676109711 768w, https://monumentwatch.org/wp-content/uploads/2023/02/012-370x214.jpg?v=1676109711 370w" sizes="(max-width: 1034px) 100vw, 1034px" title="" alt="" loading="lazy" 		class="so-widget-image"/>

Fig. 12 The general view of the chapel-gavit before the restoration, photo by S. Ayvazyan.

The dome is supported by four wall pilasters with a quadrangular section. The gavit has no wall pilasters. Squinches connect the square under the dome to the dome (Fig. 13). The dome protrudes from the pitched roof and is not organically connected to the volume of the upper part of the building. The gavit is mostly constructed of rough basalt, except for the columns, arches, and drum. The decor is also understated. Aside from the eastern porch, the khachkars of various sizes, covered with fine sculptures that form the gavit walls are a decorative element. A garret and a pair of windows on the west side of the structure provide lighting.

			<img src="https://monumentwatch.org/wp-content/uploads/2023/02/013-scaled.jpg?v=1676109813" width="2560" height="1703" srcset="https://monumentwatch.org/wp-content/uploads/2023/02/013-scaled.jpg?v=1676109813 2560w, https://monumentwatch.org/wp-content/uploads/2023/02/013-300x200.jpg?v=1676109813 300w, https://monumentwatch.org/wp-content/uploads/2023/02/013-1024x681.jpg?v=1676109813 1024w, https://monumentwatch.org/wp-content/uploads/2023/02/013-768x511.jpg?v=1676109813 768w, https://monumentwatch.org/wp-content/uploads/2023/02/013-1536x1022.jpg?v=1676109813 1536w, https://monumentwatch.org/wp-content/uploads/2023/02/013-2048x1363.jpg?v=1676109813 2048w, https://monumentwatch.org/wp-content/uploads/2023/02/013-370x246.jpg?v=1676109813 370w, https://monumentwatch.org/wp-content/uploads/2023/02/013-272x182.jpg?v=1676109813 272w" sizes="(max-width: 2560px) 100vw, 2560px" title="" alt="" loading="lazy" 		class="so-widget-image"/>

Fig. 13 The chapel-gavit’s roof system, photo by H. Petrosyan.

Bibliography

Avetisyan 2018 - Avetisyan G., Dadivank murals, and Images of St. Nicholas the Wonderworker in Armenian medieval art, Dadivank: A Reborn Wonder, Yerevan, pp. 43–61.

Zaryan, Lamoureux 2018 - Zaryan A., Lamureux K., Restoration of Dadivank Wall Paintings, Dadivank: A Reborn Wonder, Yerevan, pp. 63–75.

CAE, 5-Corpus of Armenian Epigraphy, issue 5, Artsakh/ made by S. Barkhudaryan, Publishing House of the USSR Academy of Sciences of RA, Yerevan, 1982.

Hasratyan 1992 – Hasratyan M., Artsakh School of Armenian Architecture, Publishing House of the Academy of Sciences of RA, Yerevan.

Matevosyan 2018 - Matevosyan K., Dadivank and its murals, Dadivank: A Reborn Wonder, Yerevan, pp. 25–40.

Mnatsakanyan, 1976 - Mnatsakanyan S., Armenian secular iconography in the 4th–14th centuries, Publishing House of the USSR Academy of Sciences of RA, Yerevan.

Petrosyan, Kirakosyan, Safaryan 2009 - Petrosyan H., Kirakosyan L., Safaryan V., Handaberd Monastery and its excavations, Publishing House of the Academy of Sciences of RA, Yerevan.

Durnovo 1979 - Durnovo L․ Essays on the Fine Arts of Medieval Armenia."Iskusstva", Moscow․

Mnatsakanyan, 1952-Mnatsakanyan S., Architecture of Armenian vestibules (gavits), Publishing House of the Academy of Sciences of the Armenian SSR, Yerevan.

Jacobson 1977 - Jacobson A. History of Armenian Medieval Architecture, Herald of Social Sciences, No. 12.

Katoghike, the monastery’s main church, is located at the eastern end of the northern rising ground (Fig. 1). According to the building inscription, Arzukhatun, the wife of Haterk lord Vakhtang, built it in 1214. (CAE 5, 198-199). The church has a rectangular structure outwardly (10.6×12.2 meters) and cross-shaped inwardly, with two-story vaults in each of the four corners (Figs. 2, 3). This compositional solution was prevalent in Armenia beginning in the 10th century (Haghpat, Sanahin, Kecharis) and later in 13th-century monastic complexes (Harich, Hovhannavank, Geghard).

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