The gospel of Haghpat has its unique place among the 13th century manuscripts of Matenadaran (N6288). It was written and had been preserved in Haghpat Monastery for many years, by the name of which it is known today. The manuscript was reproduced in 1211 on the order of two wealthy brothers: Sahak and Araqel, then it was taken to Ani where it was illustrated by a prophet painter. The miniatures of the manuscript express the characteristics of the time connected with the development of secular and civic life, a phenomenon which was rarely illustrated in the manuscripts as the miniatures mainly express biblical plots of spiritual nature.
The gospel of Haghpat has different illustration. In the side of the manuscript we can see a folk singer, minstrel who sits under the tree of pomegranate with a saz in hand, and blowzy evangelists, too. Two miniatures are of special interest; the portraits of two brothers who ordered to reproduce the manuscript, and the scene “Entrance to Jerusalem”.
In the first miniature brothers Sahak and Araqel are portrayed in the altar holding a jag and a big fish in their hands, which they are possibly taking for the feast. The cloths of the brothers and especially the hats are very interesting. The miniature which portrays Christ’s entry to Jerusalem is the only preserved plot miniature. In this miniature the entry of Christ to Jerusalem is expressed as a civic scene where the host receives his guest and invites to his house, and the hostess greets him from the balcony. The mood of the miniature is full of joyful and festive warmth. Everything is portrayed with liveliness; Christ entering Jerusalem with his two apostles, the children watching the scene from the palm tree and the host and hostess who gladly receive their “guest”. All this speaks not only about the painter’s creative talent but also about those great changes in people’s way of thinking that took place in the 13th century, which are portrayed in the alive, dynamic, cheerful and secular images of the scene.