Abstract
The Church of Saint Hovhannes in Mamoureh village serves as a remarkable example of cultural exchange and the interplay between Armenian and Iranian architectural styles during the Qajar era. As a nation historically hosting diverse ethnicities and religions, Iran provided fertile ground for cultural interactions. This church, constructed using local materials and Iranian architectural techniques such as brickwork and vaulted structures, reflects a synthesis of Armenian and Iranian architectural traditions. Comparative studies reveal that its design draws inspiration from Armenian church architecture and incorporates elements of Iranian design from the Qajar period. The rectangular layout, the triadic domes, and the symmetrical plan symbolize the Christian concept of the Holy Trinity while simultaneously blending Armenian-Iranian geometrical principles. Furthermore, the climatic characteristics of Chaharmahal-e-Bakhtiari province influenced the design, leading to thick walls that minimize heat transfer and ensure compatibility with the region’s cold weather conditions. From a volumetric and external perspective, the church shares similarities with some mosques of the Qajar era in the region. However, its bell tower and spatial geometry distinctly reflect Armenian architectural traditions. The harmonious design of the church stands as a testament to the cultural links between Armenians and Iranians and serves as a valuable example of Qajar-era art and architecture. This research, conducted using a descriptive-analytical approach and incorporating both library and field studies, examines the architectural integration of Armenian and Iranian elements in the Church of Saint Hovhannes. It identifies shared architectural patterns and provides insights into these deep cultural interactions. The findings reveal that the church, in terms of spatial design, structure, materials, volume, and environmental adaptation, represents a balanced amalgamation of Armenian and Iranian architectural traditions. It is comparable to churches in Isfahan and some mosques in Chaharmahal and Bakhtiari, marking it as a significant example of cultural and architectural convergence.
Keywords: Church, Qajar, Armenian, Saint Hovhannes, Chaharmahal-e-Bakhtiari.
Introduction
The architecture of the Qajar period is one of the periods in the history of Iranian art and architecture that, through cultural interactions with the West, created new developments that are known as a manifestation of the challenge of tradition and modernity. During this period, the contacts of Armenians living in Iran with Muslims led to the creation of unique architectural works that reflect the cultural and artistic ties of these two societies. The past of this Armenian-Islamic connection can be searched for in the architecture of the Safavid era. The presence of Armenians in areas such as Chaharmahal-e-Bakhtiari was accompanied by works such as churches that are a manifestation of the coexistence of Armenian and Iranian architectural traditions. The Church of St. Hovhannes is the only and most prominent example of Armenian architecture in Chaharmahal-e-Bakhtiari that has survived from the Qajar period. Studying the architecture of the Church of St. Hovhannes from historical and artistic aspects is an opportunity to analyze the mutual influences of the Qajar and Armenian architectural styles. This research aims to examine the links between these two architectural traditions and analyzes the structural and decorative elements of this church. Considering that this church is the only remnant of Armenian architecture in Chaharmahal-e-Bakhtiari, undoubtedly studying and understanding it will familiarize us with their architecture in the region. In this article, with the hypothesis that Iranian architecture was used in the construction of the church and this connection was created considering the spaces required by the church, by examining the spaces, form, and architectural style of the St. John's Church and comparing it with local and regional examples, the connections between Iranian and Armenian architecture in the construction of this building are examined. The present research is of a fundamental type and its approach is descriptive-analytical. In its conduct, library studies, historical documents, field research, and direct observations have been used. Given that churches are effective in meeting the material and spiritual needs of Armenians and the reciprocal impact they have on other buildings, the context of the church's relationship with other buildings has been examined for a better analysis.
Discussion
The Church of St. John the Baptist is located in the village of Maamoureh, a part of the Gandoman district of Borujen city in Chaharmahal-e-Bakhtiari province. In addition to the church, there is an Armenian cemetery in this village. According to field surveys and questions from old residents of the village, the Armenian Church of Maamoureh was used by Christians who lived in the village of Maamoureh and the Livasgan region of Gandoman during the Qajar period. Evidence indicates that in front of the altar of the church there was a black stone that introduced a person named Mohammad Reza Khan as the founder of the church and showed the date 1856 AD. Unfortunately, in 1387, the minaret of the church, i.e. the location of the bell on the roof of the church, was destroyed, and after that the building was converted into a Hussainiyyah and a library. The structure of the building is similar to the Safavid churches of Isfahan and some minor decorations have been used in it. In addition, it was largely influenced by native Iranian architecture.
Conclusion
The Church of St. Hovhannes in the village of Maamoureh, as the only remaining work of Armenian architecture in Chaharmahal-Bakhtiari, is a valuable symbol of the cultural and architectural ties between Iranians and Armenians during the Qajar period. It was built in the Iranian architectural style with brick and adobe materials and in the arch and fountain style on brick columns. In terms of style and style, this church is comparable to the churches of Isfahan, including the Church of St. Hovhannes Megdich and the Holy Hakop Church and some mosques in Chaharmahal-Bakhtiari province, and bears little resemblance to the Armenian churches of Armenia; the reason for this can be attributed to its adaptation to environmental conditions and the influence of Iranian architecture. In fact, a harmonious combination of Armenian and Iranian architectural traditions can be seen in the spatial design, structure, materials used, and volume of the building. The architecture of the aforementioned church indicates that this building is completely consistent with Armenian churches in terms of architectural principles and plan; However, in terms of shape and exterior, it was built in accordance with the local architectural styles of the region. In fact, it can be said that the motivation for building the church was to build a building with the common architectural style of the region and with the influence of the manifestations of Christianity, which seems to have been successful in this regard. Based on a comparative study and examination of its architecture, due to the use of square brick columns and arches and entablature in the architecture of this building, it can be considered to belong to the Qajar period, which has many similarities with some of the historical mosques of the province, including the Sureshjan Grand Mosque and the Bardeh Grand Mosque belonging to this period. As part of the Qajar architectural heritage, this church is a manifestation of the interaction of tradition and modernity and the interactions of Armenians and Iranians in the art and architecture of Iran. In addition to a deeper understanding of the architecture of this period, examining these links can be a model for further research on cultural links between different ethnic groups and religions.