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A khachkar, also known as an Armenian cross-stone (Armenian: խաչքար, pronounced [χɑtʃʰˈkʰɑɾ], խաչ xačʿ "cross" + քար kʿar "stone") is a carved, memorial stele bearing a cross, and often with additional motifs such as rosettes, interlaces, and botanical motifs. Khachkars are characteristic of Medieval Christian Armenian art.
The most common khachkar feature is a cross surmounting a rosette or a solar disc. The remainder of the stone face is typically filled with elaborate patterns of leaves, grapes, pomegranates, and bands of interlace. Occasionally a khachkar is surmounted by a cornice sometimes containing biblical or saintly figures.
Most early khachkars were erected for the salvation of the soul of either a living or a deceased person. Otherwise they were intended to commemorate a military victory, the construction of a church, or as a form of protection from natural disasters.
The most common location for early khachkars was in a graveyard. However, Armenian gravestones take many other forms, and only a minority are khachkars.
The first true khachkars appeared in the 9th century, during the time of Armenian revival after liberation from Arab rule. The oldest khachkar with a known date was carved in 879 (though earlier, cruder, examples exist). Erected in Garni, it is dedicated to queen Katranide I, the wife of king Ashot I Bagratuni. The peak of the khachkar carving art was between the 12th and the 14th centuries. The art declined during the Mongol invasion at the end of the 14th century. It revived in the 16th and 17th centuries, but the artistic heights of the 14th century were never achieved again. Today, the tradition still remains, and one can still see khachkar carvers in some parts of Yerevan.
About 40,000 khachkars survive today. Most of them are free standing, though those recording donations are usually built into monastery walls. The following three khachkars are believed[by whom?] to be the finest examples of the art form:
A number of good examples have been transferred to the Historical Museum in Yerevan and beside the cathedral in Echmiadzin. The largest surviving collection of khachkars is in Armenia, at Noraduz cemetery on the western shore of the Lake Sevan, where an old graveyard with around 900 khachkars from various periods and of various styles can be seen. The largest number was formerly located at Julfa in the Nakhichevan Autonomous Republic of Azerbaijan, but the entire medieval cemetery was destroyed by Azeri soldiers in 2005. 
The art of carving khachkars has witnessed a rebirth as a symbol of Armenian culture in the 20th century. There are hundreds of khachkars worldwide, many of which are memorials to commemorate the victims of the Armenian Genocide. According to one count, there are nearly 30 khachkars on public locations in France.
A large portion of khachkars, which were created in historic Armenia and surrounding regions, in modern times have become the possession of Turkey, Azerbaijan, and partly Georgia and Iran. As a result of systematic eradication of khachkars in Turkey, today only a few examples survive. Unfortunately these few survivors are not cataloged and properly photographed. Thus, it is difficult to follow up with the current situation. One documented example took place in the Armenian Cemetery in Jugha.
One source says that khachkars are being damaged, neglected, or moved in Armenia. Reasons cited for moving these khachkars include; decoration, to create new holy places, or to make space for new burials.
The Holy Savior khachkar in Haghpat (1273)
Various khachkars at Makaravank Monastery in Armenia
A khachkar in Sanahin
A monumental medieval khatchkar at the Armenian monastery of Sanahin in 1902
Modern khachkar (1999), St. James Armenian Church in Watertown, MA, USA
Modern khachkar at Goshavank
A modern khachkar with traditional Armenian symbolism in Yerevan
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