Grigor Khaghbakian

Grigor Khaghbakian (died in 1220–1223) was a Prince of the Armenian Khaghbakian family in the province of Zakarid Armenia, Kingdom of Georgia. Together with his wife Zaz, he built the Surp Stepanos church at Aghjots Vank in 1217.^[4]

Grigor Khaghbakian is also known for a 1233 khatchkar with a sacred image, now in Etchmiadzin Cathedral, where it was brought from Imirzek.^[2]^[1]

The 13th century Armenian historian Kirakos Gandzaketsi reports that some time after a 1220 Mongol incursion under Subutai, the Kipchaks came to the Armenian city of Gandzak between 1220 and 1223, where they encountered the troops of King Lasha of Georgia and his atabeg Ivane.^[5]^[6] Although the Georgians ultimately prevailed, Grigor Khaghbakian was captured and tortured to death by the Kipchak Turks:^[5]

[The Qipchags] seized, among others, Grigor (son of Haghbak, brother of brave Vasak) and his brother's son Papak'; for Vasak had three sons: Papak', Mkdem, and Hasan (called Prhosh), brave and distinguished men who had caused all the Tachik troops to quake with fear. They killed Papak' in battle. As for Grigor, they arrested him and tormented him with numerous tortures to make him deny Christ, but he did not do so. On the contrary, he insulted their deceiving law-giver Mahmet and their loathsome faith even more. [Grigor's captors] grew angry and dragged him naked over the earth and lacerated his entire body with thorns and so tortured him that he gave up the ghost because of the beatings, receiving a martyr's crown from Christ. These men were from Xach'en district of a prominent family, Christians, orthodox, and of Armenian nationality. The impious Iranians oppressed many other captives with various tortures, keeping them hungry, thirsty, and naked.
— History of Armenia, Kirakos Gandzaketsi.^[5]

Grigor Khaghbakian was son of Haghbak, brother of Vasak Khaghbakian, and uncle of Prosh Khaghbakian, founder of the Proshyan dynasty.

The Khachqar cross dedicated by Grigor Khaghbakian in 1233, now located near Etchmiadzin Cathedral, is considered as one of the finest, with its detailed and refined openwork sculpture. A fine Deesis decorated the entablature, and the donator appears on horse at the bottom, a rare occurrence as such crosses are not often decorated with human depictions. ^[7]^[1]^[2]

Khachqar of Grigor Khaghbakian, near Etchmiadzin Cathedral (1233).^[1]
Surp Stepanos church at Aghjots Vank (1217).^[4]
Christ detail on the Khachqar of Grigor Khaghbakian (1233).^[1]

References[edit]

^ ^a ^b ^c ^d ^e Donabédian, Patrick. "Le khatchkar, un art emblématique de la spécificité arménienne". L’Église arménienne entre Grecs et Latins fin XIe – milieu XVe siècle. pp. 8–9, 15 Figure 10. Outre ces figurations, à partir du début du XIIIe siècle, une autre représentation humaine apparaît, soit sous la croix, soit sur le piédestal du khatchkar : l'image du donateur, ou plus exactement du défunt à la mémoire duquel le khatchkar a été érigé. Ce personnage est représenté en tenue d'apparat, armé et à cheval, rappelant le schéma iconographique sassanide de la chasse royale ou princière que l'architecture arménienne pratiquait depuis la période paléochrétienne.
^ ^a ^b ^c Manuelian, Lucy Der; Zarian, Armen; Nersessian, Vrej; Stepanyan, Nonna S.; Eiland, Murray L.; Kouymjian, Dickran (2003). "Armenia, Republic of" (PDF). Oxford Art Online: 25. doi:10.1093/gao/9781884446054.article.T004089. Some khatchk'ars have sacred images on the top frame or beside the cross, and a donor image, such as that at the base of Grigor Khaghbakian's khatchk'ar (1233) on the grounds of Ēdjmiadzin Cathedral, where it was brought from Imirzek'.
^ Nicolle, David (2016). "The Iconography of a Military Elite: Military Figures on an Early Thirteenth-Century Candlestick (Part II) (MSR XIX, 2016)" (PDF). Mamluk Studies Review. XIX: 297. doi:10.6082/M16971RQ.
^ ^a ^b Mathews, Thomas F.; Sanjian, Avedis Krikor (1991). Armenian Gospel Iconography: The Tradition of the Glajor Gospel. Dumbarton Oaks. pp. 14–16. ISBN 978-0-88402-183-4.
^ ^a ^b ^c Bedrosian, Robert. Kirakos Gandzakets'i's History of the Armenians. p. 58, paragraph 12.
^ Bedrosian, Robert (1997). "Armenia during the Seljuk and Mongol Periods". The Armenian People from Ancient to Modern Times, Vol.1 (PDF). New York: Palgrave Macmillan. pp. 241–271. The second invasion of the Caucasus took place immediately after the Mongol departure in 1222, and was caused by it. This time the participants were nomadic Kipchak Turks from the plains to the north. In their turn defeated by the Mongols, one sizable body of Kipchaks fled from them in a southward direction. These nomads pillaged and looted from Darband south to Gandzak in Azerbaijan. Atabeg Ivane mustered troops and went against them, but he was defeated, having underestimated their strength. What was worse, many nakharars were captured, then killed or ransomed for huge sums of money. The Kipchaks continued looting and raiding different parts of the Caucasus until 1223, when Ivane, in alliance with other Caucasian peoples, finally defeated them, killing or selling them into slavery. The Kipchak raids, though less serious than the invasions that preceded and succeeded them, nonetheless contributed to the continued unsettled state of affairs initiated by the Mongols, depleted the Armeno-Georgian military of some capable leaders, and undoubtedly weakened the army's morale.
^ Nersessian, Vrej (2001). Treasures from the Ark: 1700 Years of Armenian Christian Art. The British Library Board - Getty Museum. p. 110. The absolute peak of formal perfection and technique in the art of the khatchk'ar seems to have been reached from the twelfth to the fourteenth century. The khatchk'ar of Grigor Proshian, dated 1233, is an excellent example of 'openwork' sculpture, and of the varied ornamentation typical of the period. A different motif is carved inside each one of the polygons of the frame and, in three places, there is a bird. Even the ornaments of the two 'leaves' which frame the lower arms of the cross are not the same. But this variety does not spoil the unity of the whole. The Deesis decorates the entablature, and this iconographic theme is more highly developed in the khatchk'ar of Prince Prosh.

[PD-1] Donabédian, Patrick. "Le khatchkar, un art emblématique de la spécificité arménienne". L’Église arménienne entre Grecs et Latins fin XIe – milieu XVe siècle. pp. 8–9, 15 Figure 10. Outre ces figurations, à partir du début du XIIIe siècle, une autre représentation humaine apparaît, soit sous la croix, soit sur le piédestal du khatchkar : l'image du donateur, ou plus exactement du défunt à la mémoire duquel le khatchkar a été érigé. Ce personnage est représenté en tenue d'apparat, armé et à cheval, rappelant le schéma iconographique sassanide de la chasse royale ou princière que l'architecture arménienne pratiquait depuis la période paléochrétienne.

[LDM-2] Manuelian, Lucy Der; Zarian, Armen; Nersessian, Vrej; Stepanyan, Nonna S.; Eiland, Murray L.; Kouymjian, Dickran (2003). "Armenia, Republic of" (PDF). Oxford Art Online: 25. doi:10.1093/gao/9781884446054.article.T004089. Some khatchk'ars have sacred images on the top frame or beside the cross, and a donor image, such as that at the base of Grigor Khaghbakian's khatchk'ar (1233) on the grounds of Ēdjmiadzin Cathedral, where it was brought from Imirzek'.

[3] Nicolle, David (2016). "The Iconography of a Military Elite: Military Figures on an Early Thirteenth-Century Candlestick (Part II) (MSR XIX, 2016)" (PDF). Mamluk Studies Review. XIX: 297. doi:10.6082/M16971RQ.

[TFM14-4] Mathews, Thomas F.; Sanjian, Avedis Krikor (1991). Armenian Gospel Iconography: The Tradition of the Glajor Gospel. Dumbarton Oaks. pp. 14–16. ISBN 978-0-88402-183-4.

[RB-5] Bedrosian, Robert. Kirakos Gandzakets'i's History of the Armenians. p. 58, paragraph 12.

[6] Bedrosian, Robert (1997). "Armenia during the Seljuk and Mongol Periods". The Armenian People from Ancient to Modern Times, Vol.1 (PDF). New York: Palgrave Macmillan. pp. 241–271. The second invasion of the Caucasus took place immediately after the Mongol departure in 1222, and was caused by it. This time the participants were nomadic Kipchak Turks from the plains to the north. In their turn defeated by the Mongols, one sizable body of Kipchaks fled from them in a southward direction. These nomads pillaged and looted from Darband south to Gandzak in Azerbaijan. Atabeg Ivane mustered troops and went against them, but he was defeated, having underestimated their strength. What was worse, many nakharars were captured, then killed or ransomed for huge sums of money. The Kipchaks continued looting and raiding different parts of the Caucasus until 1223, when Ivane, in alliance with other Caucasian peoples, finally defeated them, killing or selling them into slavery. The Kipchak raids, though less serious than the invasions that preceded and succeeded them, nonetheless contributed to the continued unsettled state of affairs initiated by the Mongols, depleted the Armeno-Georgian military of some capable leaders, and undoubtedly weakened the army's morale.

[7] Nersessian, Vrej (2001). Treasures from the Ark: 1700 Years of Armenian Christian Art. The British Library Board - Getty Museum. p. 110. The absolute peak of formal perfection and technique in the art of the khatchk'ar seems to have been reached from the twelfth to the fourteenth century. The khatchk'ar of Grigor Proshian, dated 1233, is an excellent example of 'openwork' sculpture, and of the varied ornamentation typical of the period. A different motif is carved inside each one of the polygons of the frame and, in three places, there is a bird. Even the ornaments of the two 'leaves' which frame the lower arms of the cross are not the same. But this variety does not spoil the unity of the whole. The Deesis decorates the entablature, and this iconographic theme is more highly developed in the khatchk'ar of Prince Prosh.

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