In Christian times relief sculpture on the façades of churches is very abundant. Almost all sixth and seventh century churches have carved decorative bands, but some like Ptghni, Mren, Zvart'nots' and Odzun have figural reliefs around windows and in the tympana of doorways. The capitals of Zvart'nots, uncovered during the excavations of this seventh century monument, are especially elaborate, some carved in a basket style with monograms, while the capitals of the four supporting pillars have enormous heraldic eagles whose wings are wrapped around the sides.
The most famous series of relief carvings in Armenian art are those which cover the entire facade of the tenth century church of the Holy Cross on the island of Aght'amar. The church with its external carvings and internal frescoes was built as a palace church between 915 and 921 for king Gagik Artsruni. The unusually deep carving combined with the monumental character of Christ and other figures make this collection of sculpture unique in both Armenian and world art. The sculptures at Aght'amar are of a mixed style, with only slight interest in classical forms. The art is very Eastern, very Armenian, peopled with biblical figures in rigid frontal poses. This remarkable façade combines an Old Testament cycle on the major band with a continuous peopled vine scroll above and, still higher, the large individual sculptures of the four Evangelists, one in each of the four roof pediments.
Recessed in a niche to the north of the altar at Odzun is a finely sculpted Virgin and Child in the Byzantine pose known as the "Guide" (Hodegetria). Christ is on Mary's left knee with her cloak wrapped around Him. Her right hand is pointing at Christ. Though this impressive work is attached to the niche, it is carved nearly in three-quarters round, rare for the early Christian period where authorities harbored strong feelings against idols. Relief sculpture, however, was tolerated because it stopped short of recreating the full human form, so important to classical pagan sculpture, and so distasteful to Christian clerics.
Elaborate sculpted scenes on tympana above church entrances and on the drums supporting the domes are popular in the thirteenth and fourteenth centuries. The monasteries of Tatev, Geghart, Hovhannavank, Haghbat, Sanahin, Saghmosavank', Makaravank, Noravank at Amaghu, Haghartsin, Kech'aris, Ts'akhats'k'ar, and Spitakavor are among the most famous. In both quantity and quality, these sculptures represent a very important chapter in Armenian art, one that deserves more attention.