Ashtarak

Ashtarak lies just 20 kilometers from Yerevan, at the fork of the highways to Gyumri and Vanadzor. Nestled near the foot of Mount Aragats—the highest peak in Armenia, rising to 4,090 meters—its name translates from Armenian as “tower.” Though home to only about 20,000 residents, this quiet town lines the banks of the Kasagh River and holds a remarkable place in Armenia’s cultural and architectural heritage.

Tourists are drawn here not for grandeur, but for churches—modest in size, but rich in story. Three of them—Tsiranavor, Spitakavor, and Karmravor—are tied to a local legend of love and sacrifice. Their names mean Apricot, White, and Red, reflecting the colors worn by three sisters who, falling in love with the same man, chose to end their lives rather than divide his affection. The two elder sisters leapt into the Kasagh Gorge dressed in apricot and red. The youngest, overcome with grief, followed in white. The young man, Sargis, became a hermit. In their memory, three churches rose in the town.

The Church of Tsiranavor, built in the 6th century, now lies in ruins—but its shattered stones still stir the imagination. Grapevines grow near it, and snakes are known to shelter under the loose rocks. The White Church, Spitakavor, has barely survived; visitors seldom linger there. Karmravor, however, is different. Erected in the 7th century, it is still largely intact. Though tiny, its distinct architecture has made it a favorite stop. Near the Kasagh River, families rest in the park—especially welcome during Armenia’s hot summers.

As in many Armenian towns, Ashtarak’s main square is a roundabout. Modest in layout, it bears the name of Catholicos Nerses V (1770–1857), a key figure in Armenian church history. The nearby Soviet-era cultural center stands beside pre-revolutionary buildings that, despite renovation, still show their original character.

Most visitors begin their walk through town at its most iconic structure: the old bridge, built in the 16th century. It has withstood multiple earthquakes without shifting a stone. The secret lies in its structure—hollow inside, but faced with lightweight volcanic tuff. Its three arches step down to connect both riverbanks. Nearby, remnants of an earlier bridge still cling to the shoreline. After it was destroyed by floodwaters, the current bridge was built and served as the town’s only link to the outside world until the construction of a modern crossing in 1950.

Descending to the left bank, you’ll find the medieval Muhsonats water mill. At nearly 400 years old, it’s the region’s oldest and largest. Its stone grinders once ran day and night, processing tons of wheat daily. Local flour was carried to Yerevan and neighboring villages. The old mill sits deep in the Ashtarak Gorge—another reason not to miss this place.

The gorge stretches 10 kilometers with sheer walls that reach 200 meters deep. It’s a place of still air and fast water. The trees grow thick, and the river’s chill cuts through the heat. Locals say fish are so plentiful here—perch, crucian carp, even trout—you can catch them by hand. The area is ideal for a family picnic, and Ashtarak’s famed walnuts grow in abundance here. Locals claim they’re the finest in the world.

Another reason to visit Ashtarak is the Church of the Holy Mother of God. Built in the 7th century, it stands apart architecturally. Its red stone gives it the name Karmravor—“the Red One.” It’s the only church in Armenia where the original tile roof has survived. The builders used a precise method: the tiles were pressed into lime mortar and fixed with nails.

The church is one of Armenia’s earliest examples of the cross-domed style—not in the earlier tetraconch form, but a later, more refined structure. It is said to have been built in memory of the sister who wore red. Once, Ashtarak had eleven churches; now only five remain, and the Church of the Holy Mother of God is the most revered. It even appears on the city’s coat of arms. Modest in scale, without elaborate decoration, it is still considered one of the most beautiful churches in the country. Beneath its dome, frescoes of the Virgin Mary, John the Baptist, and Saint George have endured through the centuries. To see them is to witness Armenian devotion in stone and pigment.

Two other ancient churches rest closer to the river. The basilica of Spitakavor is large and visible from Karmravor. It can be reached through the alleys. Likely built in the 5th century—though some say the mid-6th—it is now a fragment of its former self. The vault has collapsed, and much of the structure has been rebuilt. At one point, it was partially converted into a fortress: the south wall was raised and fitted with arrow slits; the northern wall was reinforced with additional masonry at its base.

Among Ashtarak’s functioning churches, the youngest by Armenian standards is the Church of Saint Marine, built in the 13th century. Tucked between residential buildings and low-rise apartment blocks, it’s surrounded by a quiet garden where children, students, and the elderly often gather—some for prayer, others just to sit in the shade and talk. The church is dedicated to Saint Marina the Great Martyr, and its structure, built from dark brown tuff, stands out in its setting. A bell tower, added in 1838, rises modestly beside it. Though not ancient by Armenian reckoning, Saint Marine’s Church is the largest among the three still-active churches in Ashtarak and remains central to the town’s spiritual life.

Another small yet striking house of worship is the Church of Surb Sargis (Saint Sargis), perched dramatically above the edge of the Ashtarak Gorge. Originally established in the 12th century, the current structure dates to the 19th. Reaching it on foot is not easy, especially as the final stretch leads to the cliff’s edge, where the church clings to the rock. From its courtyard, the view opens across the Kasagh River, framing both the old and new bridges that span it—clear symbols of the town’s layered history.

Not far from Ashtarak lies the village of Mughni, home to the Monastery of Saint Gevork (Saint George). Founded in the 13th century by monks from Hovhannavank, the monastery became an important spiritual and pilgrimage site. It houses relics of Saint George the Victorious, the Apostle Thaddeus, and the Evangelist Matthew—making it a point of reverence for those seeking a direct connection to the early saints of the Christian world.

Ashtarak is an old city—so old, in fact, that it can be hard to tell whether a building is truly ancient or simply worn by time. One such structure is a long-abandoned Turkish bathhouse, now half-swallowed by neglect. Some say it dates back centuries; others believe it’s a more recent relic. Sources disagree, and in Ashtarak, such ambiguity is common. The line between history and ruin often blurs. Here, every wall seems to hold a story, even if its origins are lost.