For centuries, Artsakh has been one of the most important centers of Armenian spiritual and cultural life, especially through the city of Shushi. With its centuries-old history and rich cultural environment, the city shaped the spiritual and cultural identity of Artsakh. Historical facts, in turn, emphasize the importance of Artsakh and Shushi in the Armenian cultural context.

According to data from 1914, the Diocese of Artsakh of the Armenian Apostolic Church had 222 functioning churches and about 200 clergy. At that time, there were approximately 220 Armenian villages in Artsakh, and the number of followers of the Armenian Apostolic Church reached 206,000. The city of Shushi had its own center and church in each district. One of the most famous churches was the Kusanats Monastery, also called the Desert or Holy Mother of God Hermitage.

The church was built in 1816 through the initiative and support of Hripsime Bahduryan. She personally raised the necessary funds for the construction, while her brothers Israel, Astvatsatur, and Petros Bahduryan also contributed. The monastery had a rectangular layout and was built of white stone. The interior walls were decorated with frescoes depicting biblical themes, and a three-story bell tower rose on the southern side. The inscription preserved on the church provides details of its construction:

“This holy church was built in the name of the Holy Mother of God through the diligent labor of the Virgin Saint Hripsime, with the support of the three brothers Grigoryan Bahduryans, in the year 1816.” (“Shushi,” 1999, No. 11–12)

Architectural details of the church have also been preserved, highlighting its cultural value and unique design:

“The Kusanats Monastery was a beautiful and modest structure enclosed in a rectangular plan, built of finely hewn limestone. The prayer hall (20×9.45 m) consisted of an apse, two sacristies, and a hall. The monastery had two entrances—from the south and west—and nine windows. Inside, the walls were decorated with frescoes. According to sources, the doors were richly ornamented, similar to the entrances of medieval churches of Artsakh. On the western side stood a slender three-story bell tower.” (same source)

Beyond its architectural and cultural features, the monastery also had an interesting historical aspect. In its courtyard stood a unique cannon cast in Turin, which played an important role in the defense of the city and Artsakh. In other words, it was one of the symbols of the monastery and the city.

“The monastery had an upper house, strong enclosing walls with upper and lower gates, as well as auxiliary structures. It had a steward, an abbess, three deaconesses, and a nun.

In the courtyard of the hermitage was kept a cannon cast in Turin in 1813. During the heroic defense of Shushi in 1826, Armenian volunteers used this cannon to repel the attack of Persian troops in the direction of the Mkhtararashen gates. It was last used in 1905 during Armenian-Tatar clashes in Shushi to restrain violent mobs. Today, the same cannon is exhibited in the Republican Museum of Stepanakert. It is planned to return the cannon to Shushi and erect a small monument in the former Topkhana Square.” (same source)

However, during the Soviet period, when Artsakh had the status of the Nagorno-Karabakh Autonomous Oblast, Azerbaijan continued its anti-Armenian and genocidal policies.

After the destruction and massacre of Shushi in 1920, the monastery remained in a semi-ruined state, and Azerbaijan ultimately completed its destruction.

During the 1960s–70s, the Kusanats Monastery was completely demolished. Its fate symbolizes not only the tragedy of the loss of Armenian cultural heritage in Shushi but also the long-standing policy of cultural genocide carried out in Artsakh. Azerbaijan continues this policy in occupied Artsakh even today. History repeats itself, the enemy remains unchanged, and unfortunately, we do not change either.

Z. Shushetsi