Noratus

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Noratus 4: Map of Cemetery. Noratus Cemetery West End

 Noratus Cemetery West End

The west end of the cemetery includes a number of important stones. Among them are “dynastic cemeteries”, groups of stones dedicated to a single family name. Others were carved by a particular master or are exemplary examples of a period of development.

Stop 3: (Left to Right: A, B, C, D): Patrimonial graveyard.
These four stones lying in a row on two pedestals in front of their respective graves, are notable for their fine carvings and imagery. Note especially the stone with the sun and moon symbols flanking the upper part of the cross (C), incorporating pre-Christian imagery into the design.

Khachkars- finely carved, resting on a single pedestal.
A. Three lines inscribed on the cornice and on the
lower part (at the bottom) “Let this Holy Cross
intercede for Khanum Agha. Master Kiram. 1582.”
B. One line on the cornice “Let this Holy Cross
intercede for Gochkaipekin”

Khachkars- two on a single pedestal, next to the
previous khachkars.
C. Two lines on the cornice and sides “Let this Holy
Cross intercede for Ulukhan. Master Kiram. 1600”
D. One line on the cornice “Let this Holy Cross
intercede for Pekum”

Stop 4: Ghazar graveyard

Six khachkars in a row, resting upon a single pedestal built from three large blocks of stone. All six are works of a famous master Kiram. Local lore has it the top of stones C, D and E represent Lake Sevan and the two peaks of Mt. Ararat.

A. Cornice: “Master Kiram. 1597. Let this Holy Cross
intercede for Ghazar”
B. Cornice: “Let this Holy Cross intercede for Gulkan”
C. Pointed top with three crosses on the façade and
two lines inscribed below
“Let this Holy Cross intercede for Sultan”
D. Cornice: “Let this Holy Cross intercede for Taek
Ghul”
E. Cornice: “Let this Holy Cross intercede for
Shahnikar”
F. Cornice: “Let this Holy Cross intercede for Dovlat
Khanum”


Stop 5: Harutents patrimonial graveyard

This row of 24 khachkars was erected for the Harutents family (dynast) in the 14th century, and includes a number of finely carved stones and imagery. Note the stone with white facing (a natural phenomenon from the elements) and the different ways the artists carved the Tree of Life below the central crosses. There is also variety in the top sides of the cross, which varies from plain surfaces to crosses, fennel seeds (a traditional motif) and other imagery.


Original text edited by the International Council on Monuments and Sites-Armenia and the Institute of Archeology and Ethnography of the National Academy of Sciences.