The Structure and Ideology of Khachkar Composition
The rectilinear "motion" in khachkar composition, the cross as a common mediator
The cross composition, due to the rectilineal stele and the angularity of the central cross, (the horizontal wings of which are raised) has emphasized rectilinearity. If we compare the motives, icons and decors located beneath and above the horizontal wings, then we can state that the bottom part has more vegetative, flower motives, and the upper part has more fruit motives, while the bottom part has more water, underground, long-living lizards, quadrupeds, birds, then the top part has "celestial" birds, more frequently the mortals are depicted under the horizontal wings, and the saints and immortals are over the horizontal part. We can conclude, that in khachkar composition the motion from the bottom to top moves from the root to the fruit, from terrestrial to celestial, from secular to spiritual, from private to public, from past to the future, from death to immortality. The cross relies on the bottom symbols with its lower symbols, and by its upper wing stretches toward the upper symbols. The cross visibly connects these two spheres, appearing as an implementer of common connection between them, with its angular appearance, and underlies the superiority of the upper sphere over the lower.
Taking into consideration the characteristics given to the cross in khachkar inscriptions, which present the holy symbol as the assistant and savior of the believer, the mediator and the leader, the guarantor of the saving souls, it could be stated that in khachkar composition the cross was considered as a negotiator between the believer and god. In fact, whatever the inscription declared by means of words, the composition stated by means of its structure. And this is the main and foremost ideology of the khachkar composition.
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The cross composition, due to the rectilineal stele and the angularity of the central cross, (the horizontal wings of which are raised) has emphasized rectilinearity. If we compare the motives, icons and decors located beneath and above the horizontal wings, then we can state that the bottom part has more vegetative, flower motives, and the upper part has more fruit motives, while the bottom part has more water, underground, long-living lizards, quadrupeds, birds, then the top part has "celestial" birds, more frequently the mortals are depicted under the horizontal wings, and the saints and immortals are over the horizontal part. We can conclude, that in khachkar composition the motion from the bottom to top moves from the root to the fruit, from terrestrial to celestial, from secular to spiritual, from private to public, from past to the future, from death to immortality. The cross relies on the bottom symbols with its lower symbols, and by its upper wing stretches toward the upper symbols. The cross visibly connects these two spheres, appearing as an implementer of common connection between them, with its angular appearance, and underlies the superiority of the upper sphere over the lower.
