Along the Sevan-Vardenis highway in Gegharkunik Province, just a few kilometers from the town of Gavar, a turn leads toward Sevan and the ancient village of Noratus. In the 16th century, this village served as the seat of Armenian meliks—local princes who governed smaller principalities within the vast historic Armenian territories. Medieval Armenia was divided into large provinces called ashkhars, themselves composed of smaller districts known as gavars—the basis for today’s marzes, such as Gegharkunik surrounding Lake Sevan. Yet beneath these lay even smaller units: melikdoms. Noratus was the center of the Tsmak melikdom in the Middle Ages.
Arriving at the village’s edge, visitors encounter a striking scene: rows of vertical stone slabs—khachkars—lined up on a gentle slope like a somber procession. Slightly tilted forward, these cross-stones evoke the image of mourners in a funeral march. Legend says that during his invasion, Timur (Tamerlane) mistook these stones for an armed army and retreated.
Covering about seven hectares, Noratus Cemetery holds hundreds of khachkars, some dating back to the 9th and 10th centuries. Though the graves span centuries, the stones stand shoulder to shoulder in a single line, making this the largest collection of khachkars in Armenia.
The word “khachkar” means “cross-stone.” The tradition of erecting stone steles on the Armenian highlands predates the Urartian kingdom. Ancient peoples placed “dragons” (vishaps) near springs and streams, pagan obelisks, and later Christian monuments commemorating events. With the arrival of Muslim rule, Armenians from the 9th century onward began carving crosses into rock as a visible sign of identity. Early khachkars resembled boulders marked with crosses, a form that persisted until the 11th or 12th century.
The khachkar as we know it today is a fusion of Armenian and Turkic artistic traditions. The Seljuks, originating from Khwarezm, were famed for delicate carving but worked mainly with soft materials like alabaster and wood. Turks taught Armenians these fine carving techniques, while Armenians passed on their expertise in stonework. This cultural exchange produced masterpieces such as the Muslim necropolis of Ahlat on Lake Van’s shore, often called the “Muslim Noratus.”
Khachkar art flourished from the 13th to the 16th centuries. Noratus was home to a renowned school of master carvers, including Kiram Kazmokh—perhaps Armenia’s greatest stone sculptor. In the late 16th century, he crafted 54 khachkars, 32 of which remain in Noratus. Other notable artists like Arakel and Melikset raised the bar so high that producing anything less was considered disrespectful. While the oldest khachkars here date to the 9th century, the ensemble’s heart belongs to the 16th century. Most feature a combination of the cross and the “bairak” or “bajterek”—the world tree crowned by the sun.
Among the khachkars stand two chapels. The first dates from the 18th century, its walls inscribed with words from Aleksan, grandson of Sarkis and son of Mirzat: “I built this church in 1714. When I, Aleksan, built this chapel, times were very hard and sorrowful.” This reflects the era when Armenians struggled to return to their ancestral lands, fragmented into Turkic khanates.
The second chapel is older and more unusual: several khachkars crown its roof like a stone headdress, while inscriptions adorn its rear. One reads: “In 1211, under our devout princes Zakare and Ivane, I, Mkhitar Pechurents, son of David, by God’s help and the command of great Ivane, became head of the famous village of Noratus. They wished me to set this cross for the salvation of the souls of my deceased. Those who pray here, remember the land freed from Muslims and given to me and my sons.” This refers to Armenia’s last golden era when the Georgian-Armenian army led by the Zakarian princes launched successful campaigns into Persia. Mkhitar was honored with the title of malik (prince). The inscription originally adorned a khachkar pedestal; the chapel itself dates 20–30 years later. Another inscription states: “I, son of Mkhitar, head of my renowned village Noratus, wished to build this chapel in memory of my soul, the soul of Zuza, my father Mkhitar, and all my deceased. Those who pray here, remember us in their prayers.”
Noratus Cemetery’s fame is not limited to khachkars. Among them lie flat gravestones called tapanakars and cradle-shaped markers. Their moss-covered surfaces bear carved images sometimes at odds with the stones’ mournful purpose. Like actors arranged by a director, khachkars and tapanakars form silent tableaux where peasants stand beside courtiers, brave warriors beside carefree revelers. Here a jester with a cap and bells, there a ploughman hard at work, and nearby a feasting group with musicians. Walking through the cemetery feels like watching a film from a distant past or reading an ancient, richly illustrated book written over centuries. Traces of war and attempts to impose foreign aesthetics appear in some khachkars, which display Persian and Arabic artistic elements. Yet, through all foreign ornamentation, the cross stands firm—a testament to the resilience and spirit of the Armenian people.
Khachkars are among the most distinctive monuments of Armenian architecture. The common belief that they are solely gravestones is mistaken. Initially, these stone steles with simple carvings replaced wooden crosses marking property boundaries, ruined pagan shrines, or commemorating notable events. Over time, the khachkar developed its characteristic form: a small roof-like projection shielding the carving from weather—a subtle gesture of care by the craftsman. Perhaps this tilt also evokes a bowed human head. The traditional khachkar’s main elements are a circle symbolizing a seed and a cross growing from it. The circle evolved into ornate rosettes or shields, while the cross branched into the tree of life. Sometimes two or three crosses appear on one khachkar. Ornamentation often includes grapevines and pomegranate branches. The projecting cornice bears intricate inscriptions woven into the design.
Khachkars appear everywhere in Armenia—alone or in groups, standing on the ground or raised on pedestals, near churches or in remote fields. Their style reveals their historical period, ranging from simple stone markers to true works of art. Most khachkars are anonymous, but history preserves the names of some masters—Momik, Pavlos, Goldzak, Vardan—known from manuscripts and inscriptions.
In Noratus, the finest khachkars are attributed to Kiram Kazmokh, active in the late 16th century. Over decades, he crafted numerous khachkars found in Martuni, Ashtarak, and Gavar. Other masters like Meliset and Nerses also left their mark.
At the cemetery’s main entrance, informative panels help visitors understand the site’s rich history.
The cemetery’s appearance shifts with the day. Dawn and dusk silhouettes, seasonal changes in the colors of tuff, moss, snow, and grass give the site a unique character. For anyone who has visited, the profound silence and the distant blue shimmer of Lake Sevan remain unforgettable. The mournful stones, standing in unison, seem to bear the vast dome of sky above—a silent witness to centuries of Armenian history.
