The Khachkar was unique to the Armenian church, inherited from the Vishap (Dragon Stone) tradition beginning in the 5th millennium BCE, and became related to the worship of Astghik, the goddess of water. These monuments continued to be used during the pre-Christian period, some have survived to the early Christian period (4th-5th cc.) and were models for column-like monuments bearing the sign of the cross. Khachkars evolved from the 4th c., when more primitive crosses were erected on the sites of pagan temples before churches were built. The earliest attempts to replace them with stone crosses date to the 4th-7th cc. These are called ‘wing crosses’, some found during the excavation of Dvin. They served the basis for a unique Armenian art form--Khachkars. Beginning in the 9th century, the cities of Armenia (Ani, Lori, Kars, Van) experienced a dynamic growth and along with the construction of churches throughout the country, thousands of Khachkars appeared.
Khachkars were used for a variety of reasons. As well as gravestones, they were erected to mark military victories, to commemorate an event of historical significance, to dedicate the conclusion of the construction of churches, bridges, and other structures, as well as on the occasion of renovating churches or making donations to monasteries. Many were affixed to the walls of churches.
Forming a separate group are the so-called Amenap'rkich or all-savior Khachkars, distinguished from others by a carving at the top of the crucifixion scene. People have ascribed healing qualities to these and converted them into shrines.
The stones are made of either basalt or tuff, and intricate patterns were carved in the form of the cross, with embellishing patterns covering the spaces between. The overriding design was a cross, with the ends of its points always end in three (for the Holy trinity), the lines in the patterns never have a beginning or an end, and numerous sacred number combinations can be found in each one. The master carvers in Armenia were so adept that they turned solid stone into delicate pieces of lace. A special technique was used to carve the intricate patterns, including using needles to inject water in the stone before carving it. Some have compared the Khachkar to; Celtic crosses, but there are significant differences:; Celtic crosses have the same intricate pattern approach to the design of the cross, but where the intricate patterns are rounded, Armenian patterns tend to end in points. Unique to Armenian Khachkar design is the incorporation of three ended points to the cross, and the inclusion of the tree of life under the cross, as well as most including an ornamental pattern representing the pre-Christian sun symbol. Words are never enough to describe how stunning these monuments can be, and even more mind boggling is that in the Republic of Armenia alone, more than 20,000 Khachkars have been recorded--and no two are alike. Inscriptions at the bottom of the stones have made them important historical reference material, but unless you or your guide read G'rapar (Old Armenian), it will be difficult to decipher them. So here’s a little help:
In Khachkar inscriptions beginning with the 12th century appear the names of master carvers. The most famous master of that period was Mkhitar who, with his apprentice Avetis, carved the Khachkar of Dudevordi. Many Khachkar masters were also famous architects who designed cathedrals, among them perhaps the most famous is Armenia’s "Michelangelo," the miniaturist, architect, and sculptor Momik who worked in Vayots Dzor during 1282-1321 CE. His Khachkars can still be found at the Amaghiu Noravank, near Areni.
The Khachkars in Goshavank (1291 CE), by the master Poghos, as well as that in the yard of Geghard monastery (1213 CE), by the masters Dimot and Mkhitar, are recognized as masterpieces, as is the work of Vahram, the creator of the Khachkars of Haghbat and the Amenap'rkich of Dsegh, who gave new form and content to their design.
With the Seljuk invasions, the Khachkar reached the end of its golden era. In the 16th and 17th centuries,; Khachkars experienced a short revival, although it did not attain the artistic standards of the earlier period. Samples of the latest phase in the evolution of Khachkar art are those in the graveyards of Old Julfa, Kamo, and Noradus.