Addis college

Department of architecture and urban planning

Arch 3482 Ethiopian history of Architecture
Summited to Getachew Agegnew (MSc)

Tir/26/2017 E.C
 List of Group Members
NO. Name Id
1 Yordanos kebede…………………… APDR/223/2014
2 Ruth Ahmed ……………………….. APDR/220/2014
3 Ruth Mulu………………………….. APDR/285/2014
4 Kalkidan dawit …………………….. APDR/235/2014
5 Addisalem Anmaw …………………. APDR/178/2014
6 Eden Yemane ………………………. APDR/287/2014
 Abstract

This paper examines the architectural and cultural significance of Lalibela's rock-cut
churches in Ethiopia, with a particular emphasis on Bete Amanuel. Constructed during the
12th century reign of King Lalibela, these churches represent extraordinary achievements in
both engineering and artistry, having been sculpted directly from volcanic tuff. The study
analyzes the distinctive architectural features of Bete Amanuel, including its detailed facades,
innovative structural designs, and symbolic depictions of Ethiopian Orthodox Christian
beliefs. Furthermore, it investigates Lalibela's wider historical context as a prominent
pilgrimage site and its role in preserving Ethiopian cultural heritage. Through a detailed
analysis of architectural styles, construction techniques, and religious symbolism, this
research aims to highlight the enduring importance of Lalibela's churches as testaments to
human ingenuity and spiritual devotion..
 Acknowledgement

The authors express their sincere appreciation to all those who contributed to the successful
completion of this paper on the Lalibela churches, especially Bete Amanuel. We are deeply indebted
to our professors and mentors for their invaluable guidance and sustained support throughout the
research process. We also extend our thanks to the local historians and architects, whose insights
significantly deepened our understanding of the architectural significance of these remarkable
structures. Our fellow students are also recognized for their collaborative spirit and valuable feedback.
Finally, we offer our gratitude to the Ethiopian Orthodox Church for their continued preservation and
sharing of Lalibela's rich historical and cultural legacy, which continues to inspire people for
generations to come.

Content
s4
Chapter One..............................................................................................................................7
Introduction to Ethiopian Architecture.................................................................................7
1.1 Architecture of Ethiopia....................................................................................................7
1.2civilizations of Lalibela.....................................................................................................11
1.2.1 Location and History......................................................................................... 11
1.2.2 Lalibela town................................................................................................... 12
1.2.3 Lalibela.......................................................................................................... 13
Chapter Two...........................................................................................................................14
Historical Background...........................................................................................................14
2.1. History of Lalibela civilization.......................................................................................14
Biete Amanuel (House of Emmanuel)...............................................................................18
2.2 Important events and influences on architecture..........................................................21
2.3 Urban Planning characteristics......................................................................................21
2.3.1 Urban planning principles, organization observed..................................................24
2.3.2 Layout of cities and the organization of spaces.......................................................24
Chapter Three.........................................................................................................................25
Architectural Styles................................................................................................................25
3.1 Architectural Analysis of Bete Amanuel.........................................................................25
3.1.1 Unique architectural styles of bete amanuel...........................................................27
3.2 Materials, techniques, and key features.........................................................................32
3.2.1 Exterior Features.............................................................................................. 33
3.2.2 Interior Design................................................................................................. 33
3.2.3 Unique Characteristics...................................................................................... 33
3.3 Primary building materials utilized in the Lalibela civilization..................................35
3.4 Construction methods......................................................................................................35
3.5 Technique used for building monumental churches.....................................................35
Chapter Four..........................................................................................................................36
Religious and Cultural Influences........................................................................................36
4.1 Religion and culture influenced architectural development in lalibela civilization...36
4.1.1 Ethiopian Orthodox Tewahedo Church.................................................................37
4.2 Role in Ethiopian Orthodox Christianity......................................................................38
Chapter five............................................................................................................................39
Architectural principles.........................................................................................................39
5.1 Architectural analysis for Bete Amanuel church..........................................................39
5.2 Design philosophy.............................................................................................................40
Conclusion...............................................................................................................................40
Reference.................................................................................................................................41
About author...........................................................................................................................42
Contact information/social media links...............................................................................42

LIST OF FIGURES
Figure 1: The ruin of the temple at Yeha, Tigray Region, Ethiopia........................................... 5
Figure 2 : the Oblisk in Axum,Tigray region.............................................................................6
Figure 3 : Church of saint George, in Lalibela, Ethiopia...........................................................7
Figure 4: Fasiledes castle in fasil ghebbi gonder....................................................................... 8
Figure 5: castle in fasil ghebbi gonder.......................................................................................8
Figure 6: location map............................................................................................................. 10
Figure 7: Other significant heritage sites................................................................................. 11
Figure 8: king Lalibela.............................................................................................................12
Figure 9.................................................................................................................................... 14
Figure 10.................................................................................................................................. 15
Figure 11.................................................................................................................................. 15
Figure 12.................................................................................................................................. 16
Figure 13.................................................................................................................................. 16
Figure 14.................................................................................................................................. 17
Figure 15.................................................................................................................................. 17
Figure 16.................................................................................................................................. 17
Figure 17.................................................................................................................................. 18
Figure 18.................................................................................................................................. 18
Figure 19.................................................................................................................................. 18
Figure 20.................................................................................................................................. 19
Figure 21.................................................................................................................................. 21
Figure 22.................................................................................................................................. 21
Figure 23.................................................................................................................................. 21
 Chapter One

Introduction to Ethiopian Architecture

1.1 Architecture of Ethiopia
The architecture of Ethiopia varies greatly from region to region. Over the years, it has
incorporated various architectural styles and techniques.
Dʿmt (c. 800-400 BC)
The best known building of the period in the region is the ruined 8th-century BC multi-story
tower at Yeha in Ethiopia, believed to have been the capital of Dʿmt. The Temple was built
by Sabaeans from modern-day Yemen during the Sabean colonization of Africa and was
dedicated to the Sabean Lunar deity Almaqah. Sabaen texts from Yeha mention a certain
Lhy, of the Grb clan, of the family of Ygdm'I Fqmm of Marib consecrating his worldly
goods and his son Hyrmh to ʿAṯtar and Almaqah.

Figure 1: The ruin of the temple at Yeha, Tigray Region, Ethiopia

Aksumite architecture
Aksumite architecture flourished in the region from the 4th century BC onward. It persisted
even after the transition from the Aksumite dynasty to the Zagwe dynasty in the 12th
century, as attested by the numerous Aksumite influences in and around the medieval
churches of Lalibela. Stelae (hawits) and later entire churches were carved out of single
blocks of rock. This was later emulated at Lalibela and throughout the Tigray Province,
especially during the early-mid medieval period (c. 10th and 11th centuries in Tigray, mainly
12th century around Lalibela). Other monumental structures include massive underground
tombs, often located beneath stelae. Among the most spectacular survivals are the giant
stelae, one of which, now fallen (scholars think that it may have fallen during or immediately
after erection), is the single largest monolithic structure ever erected (or attempted to be
erected). Other well-known structures employing the use of monoliths include tombs such as
the "Tomb of the False Door" and the tombs of Kaleb and Gebre Mesqel in Axum.
Most structures, however, like palaces, villas, commoner's houses, and other churches and
monasteries, were built of alternating layers of stone and wood. The protruding wooden
support beams in these structures have been named "monkey heads" and are a staple of
Aksumite architecture and a mark of Aksumite influence in later structures. Some examples
of this style had whitewashed exteriors and/or interiors, such as the medieval 12th-century
monastery of Yemrehanna Krestos near Lalibela, built during the Zagwe dynasty in
Aksumite style. Contemporary houses were one-room stone structures, or two storey square
houses, or roundhouses of sandstone with basalt foundations. Villas were generally two to
four storeys tall and built on sprawling rectangular plans (cf. Dungur ruins). A good example
of still-standing Aksumite architecture is the monastery of Debre Damo from the 6th century.

Figure 2 : the Oblisk in Axum,Tigray region

Zagwe dynasty
Ethiopian architecture continued to expand from the Aksumite style, but also incorporating
new traditions with the expansion of the Ethiopian state. Styles incorporated more wood and
rounder structures in commoner’s architecture in the center of the country and the south, and
these stylistic influencies were manifested in the slow construction of churches and
monasteries. Throughout the medieval period, Aksumite architecture and influences and its
monolithic tradition persisted, with its influence strongest in the early medieval (Late
Aksumite) and Zagwe periods (when the churches of Lalibela were carved).
Throughout the medieval period, and especially from the 10 th to 12th centuries, churches
were hewn out of rock throughout Ethiopia, especially during the northernmost region of
Tigray, which was the heart of the Aksumite Empire. However, rockhewn churches have
been found as far south as Adadi Mariam (15 th century), about 100 km south of Addis
Ababa.
The most famous example of Ethiopian rock-hewn architecture are the 11 monolithic
churches of Lalibela, carved out of the red volcanic tuff found around the town. They are
part of the UNESCO World Heritage Site at Lalibela.Though later medieval hagiographies
attribute all 11 structures to the eponymous King Lalibela (the town was called Roha and
Adefa before his reign), new evidence indicates that they may have been built separately
over a period of a few centuries, with only a few of the more recent churches having been
built under his reign. Archaeologist and Ethiopisant David Phillipson postulates, for instance,
that Bete GebrielZagwe dynasty Fasilides’ castle in Fasil Ghebbi, Gondar. Atse Yohannes IV
castle (museum) in Mekelle Rufa’el was actually built in the very early medieval period,
some time between 600 and 800 A.D., originally as a fortress but was later turned into a
church.
Figure3 : Church of saint George, one of the many rock-cut churches in Lalibela, Ethiopia
Gondarine architecture
During the early modern period, the absorption of new diverse influences such as Baroque,
Arab, Turkish and Gujarati Indian style began with the arrival of Portuguese Jesuit
missionaries in the 16th and 17th centuries. Portuguese soldiers had initially come in the
mid-16th century as allies to aid Ethiopia in its fight against Adal, and later Jesuits came
hoping to convert the country. Some Turkish influence may have entered the country during
the late 16th century during its war with the Ottoman Empire (see Habesh), which resulted
in an increased building of fortresses and castles.
Ethiopia, naturally easily defensible because of its numerous ambas or flat-topped
mountains and rugged terrain, yielded little tactical use from the structures in contrast to their
advantages in the flat terrain of Europe and other areas, and so had until this point little
developed the tradition. Castles were built especially beginning with the reign of Sarsa
Dengel around the Lake Tana region, and subsequent Emperors maintained the tradition,
eventually resulting in the creation of the Fasil Ghebbi (royal enclosure of castles) in the
newly founded capital (1636), Gondar. Emperor Susenyos (r.1606-1632) converted to
Catholicism in 1622 and attempted to make it the state religion, declaring it as such from
1624 until his abdication; during this time, he employed Arab, Gujarati (brought by the
Jesuits), and Jesuit masons and their styles, as well as local masons, some of whom were
Beta Israel. With the reign of his son Fasilides, most of these foreigners were expelled,
although some of their architectural styles were absorbed into the prevailing Ethiopian
architectural style. This style of the Gondarine dynasty would persist throughout the 17th
and 18th centuries especially and also influenced modern 19th-century and later styles.
However Gondarine architecture was limited exclusive to royalty.Hassan ibn Ahmed Al
Haymi, Yemeni Ambassador to Ethiopia in 1684, mentions that besides the Fasil Ghebbi the
rest of Gondar was made tukuls, or huts which he describes as “nets of grass”. James Bruce
states that mortar was only used in Gondar, and even there its quality was very bad.1

1
‘Wikipidia’, n.d.
Figure: Fasiledes castle in fasil ghebbi gonder

Figure5 : castle in fasil ghebbi gonder

Ethiopian rock-cut churches
The three main types of Ethiopian rock-cut churches are semimonolithic (half-built, half-
excavated), churches in caves, and completely monolithic.
physical construction/excavation involved and their degree of separation from the rock are
the basis for these classifications.
The bulk of Lalibela churches fall under completely monolithic styles, Eleven rock-hewn
churches can be found in the town of Lalibela.The churches were hewn out of the live rock in
enormous rectangular block shapes from top to bottom rather than being built in the
conventional fashion from bottom to top. The artisans sculpted and chiselled extremely
spectacular structures and hypogeans on these enormous blocks of stone.
These large hypogeans contain elaborate arches, columns, windows, floors of several levels,
and roofs and ceilings. Furthermore, the entirety of the buildings around the cathedral
complex showcase significant accomplishments in architecture and engineering, including
dwellings, hydraulic systems, defensive trenches, and productive structures.
The highlands surrounding Lalibela, especially the Lasta district, are home to rock-hewn and
built-up cave churches in addition to the rock churches and related artefacts found there. The
most well-known of these is Yimrhane Kirstos, which is situated north of Lalibela. With its
starkly striped walls, it is the most ideal and possibly the most startling.
The district's other churches and monasteries are located southeast of Lalibela as
Ne‟akutole‟ab, Asheten Maryam, Genete Maryam, Emekina Lideta Maryam, and Emekina
Medhane Alem; northwest of Lalibela as Bilbala Giyorgis, Bilbala Kirkos, Sarzina Mikael,
Tirkuza Kidan Mihret, and Arbatu Ensessa; northeast of Lalibela is Kenkenit Mikael, and
northeast of Lalibela is Abune Yoseph (pers. investigation). Outside of Lasta district, at a
location known as Mewat Maryam, lies another rock-hewn ruin known as Washaw
Mercurious. This region is located in the northern Wollo Administrative Zone's Gidan district.
However, the rock-hewn churches are not just found in Lalibela and the surrounding area.
Rather, the Northern Province in central and eastern Tigrai, which is divided into four Zones,
has the highest concentrations of rock-hewn churches in Ethiopia. These are the Sinkata-
Adigrat (Agame) Group, the Atsbi Group, the HawzenGeralta Group, and the Tembien
Group.
The precise date of these churches' carvings is unknown, but the oldest church, the Abraha-
Wtsebeha church near Wukro, is thought to have been constructed in A.D. 347 during the
reign of Aksumite kings Abraha and Wtsebaha (Ezana and Sayzana). In addition to Tigrai,
rock-hewn churches can also be found at Maryam Debre-Tsina, near Keren, Eritrea, in the
northern part of Ethiopia in northern Shawa, and even at the southernmost point of the
country, at Goba, in the southeast Bale Highlands.
1.2 civilizations of Lalibela
1.2.1 Location and History
Lalibela is a mountainous area located in the Northern part of Ethiopia. It is about 700 KMs
away from A.A. It is found at an altitude that ranges from 2430m 2550m. Lalibela is
renowned for its 11rock-hewn churches that are World Heritage Sites. The construction of the
churches is attributed to King Lalibela, the 12th-century ruler of the Zagwe Dynasty who was
endeavoring to build a second Jerusalem. Lalibela was one of the first sites to be inscribed on
the World Heritage list in 1978. These churches are owned and operated by the Ethiopian
Orthodox Church. They are active to this day and give religious services to followers of the
faith.2

Figure 6: location map

2
‘The Cultural Significance of Ethiopian Lalibela Rock-Hewn Churches_ Architecture,
History, and Religious Importance - Moments Log’, n.d.
1.2.2 Lalibela town
People chose to dwell on flat-topped hills with sweeping views of the surroundings in the
early days of Lalibela town, which was known as "a hub for hermits, devotees, and pilgrims."
The primary justifications were the need for plain areas for cultivation, defence against
adversaries, and protection from seasonal flooding. near family members built their homes
near to one another, but the community lived in scattered homestead communities of huts and
tukuls.
Rectangular homes that are far larger than their older counterparts are widespread these days.
Modern building materials like concrete and corrugated iron sheet are increasingly being used
to construct residential houses. This is cherished and thought to be superior to the round mud
homes that have come to symbolise poverty. The fundamental feature of the growing town of
Lalibela is its organic expansion, which has dispersed in all four directions, with the rock-
hewn churches serving as its focal point
The new governing Dynasty, known as Zagwe, had arisen in the Lasta mountain region
during the Early Middle Ages. The region is located between 250 and 300 km southeast of
Aksum, near the head of the Tekeze River.According to oral tradition, the Agaw ethnic group
originated in this area and founded the new Christian dynasty that emerged in the first half of
the twelfth century. This dynasty ruled over Roha, or the present-day Lalibela, and the
surrounding area for more than three centuries.
Regarding how long the Zagwe Dynasty ruled, there is no universal agreement among the
secondary sources that are currently available; estimates range from 133 to 375 years. The
Zagwe Dynasty lasted from 133 to 370 years, with five to eleven monarchs ruling during that
time. As a result, this time frame makes it difficult to determine the precise Zagwe Dynasty
period. However, some historical evidence allow for the suggestion of Lalibela's reign.
The establishment of the Zagwe monarchs' governmental and religious centre at Bugna, in
the Wag and Lasta region, is widely acknowledged by scholars and traditional sources. It is
thought, therefore, that the Zagwe monarchs did not have a common head quarter. Adafa was
identified as the political hub of the Zagwe monarchs in the deeds of King Yimrhane Kirstos
and other Arabic sources. Taddesse endorsed this notion as well.King Lalibela's ancestors
originally came from Bugna, and he founded his royal city at Adafa.
Today, only the town of Lalibela is well-known. Located in the northern central Ethiopian
region of the North Wollo Administrative Zone, Lalibela town serves as the hub of both the
rural Lasta Woreda and the Lalibela Town Administration. Eleven rock-hewn churches from
the 12th century can be discovered in the area. They were built in honour of King Lalibela
and were inspired by the wooden
manbar (Ark of the Tabernacle) in the church of Bete Medhane Alem, which has an etched
invocation to King Lalibela's name and his wife. These churches were added to the list of
World Heritage Sites on September 8, 1978, after being acknowledged by the United Nations
Educational, Scientific, and Cultural Organisation (UNESCO) as having World Heritage
status.
According to local legend, Kaleb, the well-known Aksumite king of the sixth century AD,
laid the foundation for Lalibela town. At first, it is thought that King Kaleb built the Mikael
Church of Qedemt at a location in Qedemt. According to Mengistu, this church was built
following the model of Aksum 26 Tsion and was previously thought to be the first in Lalibela.
As a result, this location served as a model for the founding of Lalibela town.A mound on the
northern side of the main road leading to Sokota and Bilbala is still known by the name
Qedemt.3

Figure 3: Other significant heritage sites

1.2.3 Lalibela
"In A.D. 1137 the royal power passed to an Agao family of Lasta called the Zagwa who
founded their capital Roha in their own homeland. This change of dynasty marked a change
of political power from the semitized Abyssinians who had inherited the Aksumite tradition
to the more recently christianized Agao” The name Roha corresponds to the ancient name of
Edessa in Syria, which became known in Ethiopia together with the introduction of
Christianity.
Emperor Lalibela as ruler: Lalibela was the most outstanding member of the Zagwe dynasty
which ruled Ethiopia in the 1100s and 1200s.4

Figure4: king Lalibela

3
Abebe Taffere, ‘Archaeological Survey in and around Lalibela’, 2010,
https://doi.org/10.13140/RG.2.2.13934.48969.
4
Etsegenet M Kebede, ‘Cultural Heritage Sites and Urban Growth: The Case of
Neakutoleab, Lalibela’, n.d.
 Chapter Two

Historical Background
2.1. History of Lalibela civilization
Lalibela was originally known as Roha during the reign of St. Gebre Mesqel Lalibela, and
was later named after him - Lalibela. St. Gebre was a member of the Zagwe Dynasty who
ruled Ethiopia for around 40 years in the late 12th century. The name “Lalibela“ was given to
him because he was surrounded by a swarm of bees at birth; his mother took this a sign of his
future reign of Ethiopia. The name “Lalibela“ means “the bees recognise his sovereignty“
(that's a lot to fit in one word!) in Old Agaw, a Cushitic language no longer spoken in
Ethiopia. Lalibela was the capital of Ethiopia until the 13th century.
Ethiopian Orthodox history holds that King Lalibela, who was inspired by God to create a
new Jerusalem in the midst of Muslim conquests in the Holy Land, built the eleven rock-
hewn cathedrals during his reign. However, King Gebre Mesqel Lalibela, who ruled in the
late 12th and early 13th centuries, is credited by scholars with building the churches.Because
of this, many places in Lalibela have names of Biblical origin - one example being the river
in the town, which is called the River Jordan
St. Gebre is also well-known as the king who commissioned/built Lalibela's monolithic
churches - the main attraction of Lalibela.
Lalibela is the host of an extraordinary sight - or rather, 11. These are the rock-cut churches,
which are a UNESCO World Heritage Site. The churches are grouped into the Northern,
Western, and Eastern groups.
UNESCO World Heritage Site: In 1978, the Lalibela churches, including Bete Mariam, were
designated a UNESCO World Heritage Site.5
 The Northern group:
1) Bete Medhane Alem (House of the Saviour of the World),
home to the Lalibela Cross. It is also believed to be the largest monolithic church in the
world.
Bete Medhane Alem is one of the most extraordinary rock-hewn churches in Lalibela,
Ethiopia.
This remarkable structure, part of the UNESCO World Heritage Site, stands out not only for
its size but its unique architectural style.
The church is considered the largest monolithic church in the world and is carved entirely out
of a single block of volcanic rock.
This church is said to symbolize the House of the Saviour of the World and is home to the
famous Lalibela Cross.
This cruciform artifact is cherished by Ethiopian Orthodox Christians. It’s a breathtaking relic
that adds to the spiritual aura of the church.
Designed to resemble a vast basilica, Bet Medhane Alem features 72 columns supporting its
roof and walls.
5
‘Wikipidia Lalibela’, n.d.
These columns create a somber yet majestic atmosphere, perfect for reflection and worship.
The intricate carvings and architectural prowess have stood the test of time, showcasing the
extraordinary skills of the medieval artisans who brought this masterpiece to life

Figure 5: Biete Medhane Alem

2) Bete Maryam (House of Miriam/House of Mary),
possibly the oldest of the churches.
Bet Maryam, or House of Mary, is one of the stunning rock-hewn churches in Lalibela.
It’s especially notable for its intricate carvings and historical significance. Carved directly out
of the rock, Bet Maryam is an architectural marvel.
The church is dedicated to the Virgin Mary, reflecting the deep religious roots of the
Ethiopian Orthodox Tewahedo Church.
It’s part of the UNESCO World Heritage Site in Lalibela, making it a must-see.
Unlike many historical buildings, Bet Maryam’s exact construction date remains a mystery.
Inside, it contains beautiful frescoes and intricate designs.
The interior, like its exterior, is carved from a single piece of rock. Each detail tells a story,
from religious symbols to artistic expressions.
It’s an incredible blend of faith and craftsmanship.
Bet Maryam isn’t just a tourist attraction; it’s a living place of worship.
Pilgrims often visit to pray and perform rituals. Their devotion adds a profound sense of
sacredness to the atmosphere.
Think about this: standing in a church carved from one massive rock. The sheer effort and
skill required are mind-boggling. And it’s still standing strong today!
The church’s surroundings are just as intriguing.
Nearby,tunnels and passageways connecting Bet Maryam to other churches in Lalibela. This
network symbolizes the interconnected nature of faith in this historical site.
Figure 6 Biete Maryam
3) Bete Golgotha Mikael (House of Golgotha Mikael),
known for its arts, and said to contain the tomb of King Lalibela
Bet Golgotha is one of the eleven rock-hewn churches in Lalibela. This church stands out be -
cause of its unique design and spiritual importance.

Carved directly from red volcanic rock, it feels like stepping into another world.

Statues of saints and crosses carved into the walls create a deep sense of reverence.

The interior of Bet Golgotha is simple, yet deeply moving. The dim lighting, coupled with the
echoes of soft prayers, heightens the spiritual experience.

Bet Golgotha is linked with the crucifixion of Jesus. The church’s name itself hints at this
connection.
It’s a central place of worship and reflection for Ethiopian Orthodox Christians, making it a
must-see for anyone interested in religious history.

Navigating the church can be a bit of a challenge, given its age and structure. Yet, this adds to
its charm.

It’s a reminder of the extraordinary effort that went into creating such an architectural feat.

4) Bete Maskal (House of the Cross)

A smaller church,it lo it look like a chaple(9M by 4M )
the facade is nicely decorated
monkey head
5) Bete Denagel (House of Virgins)
Figure 7
 The Western group:
6) Biete Giyorgis (Church of Saint George), said to be the best preserved church
Bet Giyorgis is truly a marvel. Unlike any other, this church is carved directly out of vocanic
rock.

Imagine that for a moment. Crafting an entire church from a single piece of stone. It’s a re-
markable feat of engineering and devotion.

The first thing that can notice is the incredible cross-shaped design.

It’s not just for show. This layout reflects deep spiritual symbolism.

What dedication! These artisans achieved precision and beauty with the simplest tools.

Bet Giyorgis stands as a testimony to medieval Ethiopian architecture.

Its intricate details and design choices are awe-inspiring. Each curve and angle carefully
planned.

The church isn’t just about its exterior.

The interior is spacious yet intimate, perfect for reflection and worship.

Connecting Bet Giyorgis to the other rock churches in Lalibela through narrow passages adds
to its mystery.

Each pathway feels like a journey back in time.

Figure 8: Bet Giyorgis surrounding landscape

Figure 9: Bet Giyorgis

 The Eastern group:
7) Biete Amanuel (House of Emmanuel)

Bet Amanuel, a striking example of Ethiopian rock-hewn architecture, stands proudly in Lali-
bela.
This underground church, part of the monolithic marvels, captures both the imagination and
spirit of visitors.
Cut directly from volcanic rock, Bet Amanuel is believed to have been a royal chapel.
The church’s elaborate design includes features that hint at an influence from early Akumite
architecture.
Walking toward the church, one is greeted by its impressive step plinth on the west facade.
This base design has ties to royal architecture from regions such as Arabia and Mesopotamia.
Inside, Bet Amanuel’s halls echo with centuries of history.
The spaces are intricately carved, with meticulous attention to detail that reflects the skill of
medieval craftsmen.
Simple tools like chisels and hammers were used to create this masterpiece.
Figure 10:c House of Emmanuel
8) Biete Qeddus Mercoreus (House of St. Mercoreos/House of St. Mark)

Figure 11:house of St.mark

9) Biete Abba Libanos (House of Abbot Libanos)

Figure 12: Biete Abba Libanos

 10) Biete Gabriel-Rufael (House of the angels Gabriel, and Raphael)

Figure 13: house of angles Gebriel-Raphael

11) Biete Lehem (House of Holy Bread)6

Figure 14: bete lhem

Figure 15:rock-hewn churches Lalibela

6
‘Churches Details’, n.d.
2.2 Important events and influences on architecture
The churches, some of which have intricate carvings and murals, vary in size and style and
were excavated from volcanic tuff. The churches of Lalibela were finally rediscovered by
Portuguese missionaries in the 16th century after being abandoned for many years following
the collapse of the Zagwe dynasty, which is believed to have funded the building.
Every church, including the well-known Church of St. George, which is shaped like a cross,
has elaborate architectural and religious importance that visitors can investigate for
Ethiopian Orthodox Christians, who congregate there for religious holidays and festivities all
year long, the churches remain a significant location.
The churches continue to stand as a tribute to the creativity and dedication of those who
constructed them, despite their age and preservation difficulties.

Figure 16: one of the Lalibela famous church, st geotgis

2.3 Urban Planning characteristics

Since the monolithic churches' inscription to the WHL, Lalibela town has developed and
thrived in all four directions. Between 1994 and 2014, there was an unheard-of increase in the
urban footprint, which increased from 1.22 km2 to 3.056 km2.36 2015 saw a further
expansion of the footprint, adding 0.54 km2 to the growing city.
The town has seen growth in both the west and east directions, but the main growth is along a
key roadway that runs north to south. The striking mountainous terrain of Lalibela, which
stretches from 2000 to 4190 meters in elevation (Mt. Abune Yoseph), is largely responsible
for determining the growth pattern.
The vast majority of the terrain is unsuitable for farming, habitation, or transportation
because 84% of it has slopes steeper than 15. The Lalibela Town Administration Information
Office reports that there are mountains on 33.3% of the land, plains on 53%, and river valleys
on 13.65% of the area.Because of these factors, growth is focused where relatively flat terrain
is available, along the north-south axis.
Lalibela Town Administration includes two urban and three rural kebels; and based on 1999
E.C population census, a total 34,029 inhabitants live in these area. Among the total
population, 15,506 inhabitants live in the two kebels of Lalibela town and the remaining
18,523 live in the three rural Kebels which surround Lalibela. Although the town has 15,506
inhabitants, it is also the main urban settlement of the surrounding Lasta Woreda which
divided in to 21 kebels‟. There are 128,980 rural populations in Lasta Woreda, which places
further pressure and dependency in the town (Lalibela Town Administration Information
Office).
The medieval town of Lalibela seems to have been established taking the rock-churches of
Lalibela as a hub. The church compound consists of the three groups of churches and
trenches, which connect them together. All of the three clusters of churches are located at the
centre and communities are habituated surrounding them. The spatial distribution of the
communities in the area followed geographically defined areas which are divided by villages
(locally called sefers or gots).
- Religious Focus: The town is primarily centered around its churches, which are carved
directly from rock. The layout is designed to reflect the importance of these religious
structures, with churches often located in a way that facilitates easy access for pilgrims.
-Topography and Terrain Adaptation: Lalibela is situated in a mountainous region. The urban
layout adapts to the natural topography, with pathways and steps carved into the rock to
connect the various churches and residential areas.
-Monastic Planning: The churches are often surrounded by monastic communities. The urban
design accommodates both religious activities and the daily lives of monks and pilgrims,
fostering a spiritual atmosphere.
-Limited Urban Expansion: Due to its geographical constraints, Lalibela has limited urban
expansion. This has resulted in a compact urban form where buildings often blend with the
natural landscape.
-Traditional Construction Materials: Buildings in Lalibela are primarily constructed from
local materials, particularly stone. This not only reflects the architectural style but also aligns
with the sustainable use of local resources.
-Cultural Significance: The layout of the town reflects its cultural and historical significance.
The design takes into account the need for communal spaces, residential areas, and pathways
that promote social interactions among residents and visitors.
-Pilgrimage Routes: The planning incorporates designated routes for pilgrims, enhancing
accessibility to the churches during religious festivals and ceremonies.
-Integration with Nature: The urban layout emphasizes harmony with the natural
environment. Water management systems, such as small channels for rainwater, reflect
traditional practices that have been maintained over centuries.7

7
‘121’, n.d.
Figure 17: Lalibela city organization of space(clusted)

Figure 18:Lalibela city

Figure 19:Lalibela city landscape

2.3.1 Urban planning principles, organization observed
Principles are :- Religious centrality -focused on churches
Symbolic orientation- representation of Jerusalem8
2.3.2 Layout of cities and the organization of spaces

Figure 20:Lalibela and surrounding site

Figure 21:Space organization: Northen and Southern Clusters

8
‘Lalibelaa’, n.d.
CHAPTER THREE

Architectural Styles
3.1 Architectural Analysis of Bete Amanuel
Monolithic Church:- Biete Amanuel is a prime example of a monolithic church, a type of
structure carved entirely from a single piece of stone. This distinguishes it from other
buildings that might be constructed from multiple blocks or materials. The monolithic nature
of Biete Amanuel contributes to its strength and durability, allowing it to withstand the test of
time. Its design and construction reflect the religious devotion and architectural innovation of
the period.9
The architecture of the churches contain significant Aksumite influences, as Stuart Munro-
Hay notes that the church of Biete Amanuel displays a stone imitation of wooden
architectural features, which can still be seen in some of the ancient churches of Tigray and
Eritrea.10
Architecturally, the churches in and around Lalibela are unique and have their own
significance. First, all the churches of Lalibela were carved out one mass of solid rock.
Secondly, the churches of Lalibela have their individuals unique features which underlining
the creativities and abilities of the masons. In addition, the various art expressions such as
carved relief-bas figures, the way the interior walls, ceilings, pillars and window decorated
and the general appearance of the exterior which are reflected on the churches of Lalibela
have their own influence to artists and a source of admiration to visitors
These churches' architectural forms developed through subtraction and modelling, interior
cutting and monumental façade hewing, or three-dimensional architecture, with the use of
each technique depending on the site's morphology, be it a rocky plateau or a cliff (UNESCO
2008:18). On the faces of vertical cliffs, modelling and subtraction are used. In this case,
hewing, or subtracting rock while concurrently modelling, evolved the hypogean rock
architecture. Most likely, no changes are made to the external surface, but the interior
receives greater attention when modelling and subtraction procedures yield the best
architectural elements. Bete Danaghel was accomplished using this method at Lalibela
(UNESCO 2008:18).
Ramps or wells provide access to the carved facade category of underground hypogea, which
has a monumental entrance on the surface. Semi-monolithic typologies are the result of the
construction of the court system's monumental facades at Lalibela. Monuments that are
partially detached from the main rock and have varying degrees of attachment to it are known
as semi-monolithic constructions. Both of its sides have carved walls, and the roofs are made
of the same bed rock. This category includes Bete Gabriel-Rafael, Bete Golgotha, and Bete
Abba Libanos. 37 On the other hand, monuments that are solely affixed to their floor to the
main rock and are isolated from the surroundings on all four sides and at the top are referred
to as three-dimensional or monolithic. Unlike the monuments created by subtraction and
modeling or semimonolithic structures, three dimensional architecture brought the highest
precision. Bete Medhane Alem, Bete Amanuel, Bete Maryam and Bete Giyorgis are
examples of monolithic rock-hewn churches in Lalibela.11
Architectural Mastery
9
‘12’, n.d.
10
‘Wikipidia Lalibela’, n.d.
11
‘121’.
The mastery behind the construction of Lalibela Churches is a tale of human dedication and
architectural brilliance. Laborers, craftsmen, and artisans worked with rudimentary tools to
sculpt these edifices from top to bottom, meticulously hollowing out volcanic tuff to shape
the pillars, windows, and doors. Each church possesses a unique style, making the entirety of
Lalibela an exhibition of diverse architectural ingenuity. Their monolithic forms, including
the iconic cross-shaped Church of Saint George, stand as a testament to the technology of the
era and the unrelenting ambition to manifest celestial visions on earth.12
Entrances: Inside the courtyard on the ground, it is accessed by three gates,
1 Main entrance:- west side of the courtyard. This can be reached through a long rocky pas-
sage leading to the entrance.
2 southwest:- It comes from Bete Merkorios in the southwest. This path goes through serious
steps.
3, east side of the courtyard through a hole that leads to several steps. The other entrance is
on the east side of the courtyard which passes through a group of churches in the north and a
huge incision leading to the south. Through massive rock cuts that also connect to Bete Aba
Libanos
It is 12m high, 18m long, and 10m wide. It is a monolithic church. The structure is com-
pletely freed from the surrounding trench at a depth of 24 meters. Bete Amanuel’s Architec-
tural style mimics the wood and stone buildings of the ancient Axum style.
The church is supported by eight columns running in two rows in the east-west direction.
Four of them are complete, but the rest are three sides.
Its wall is carved with horizontal strips that go around the walls. It has 24 external columns
and 45 small windows. Stairs carved into the rocks, take one to the first floor.
The external walls are richly decorated with horizontal carving decorations on the external
walls and alternating vertical and horizontal moldings on the four facades of the Lalibela
church are impressive.
Windows: is a three-story building in which the ground floor in cross-shaped, the first floor
is arched over, and the second is square-headed.
The three-row windows have their own unique characters. The lower windows are cross-
shaped, the middle is round-arched with capitals, and the uppers are square-headed. The bot-
tom and the top windows exhibit frames with corner posts of Axumite style. The top row
windows have no fillings.
These unique windows are one of the defining architectural features of the Lalibela churches.
They allow for the diffusion of light while maintaining a sense of privacy and mystery within
the church.13
Examining Biete Amanuel's External Features in Detail
Biete Amanuel's exterior is decorated with eye-catching elements including friezes, columns,
and well carved walls.The columns, which are carved straight out of the rock, serve as both
ornamental and structural support.The religious themes and motifs depicted in the friezes en-
hance the spiritual atmosphere of the chapel.The artists' talent and attention to detail are dis -
played on the walls, which have intricate carvings and designs.

12
‘The Zagwe Dynasty Lalibela Churches in Ethiopia’, n.d.
13
‘Bete Amanuel Church Lalibelaa’, n.d.
Interior Design Biete Amanuel's interior design is equally striking.With its large, well-lit in-
terior and lofty ceilings, the nave, or main hall, exudes majesty.There are smaller chapels
with their own altars and decorations along the aisles on either side of the nave.The interior's
layout is intended to make worship easier.

3.1.1 Unique architectural styles of bete amanuel

Bete Amanuel (Emmanuel church) has a pinkish-red color and is smoother than other
Lalibela churches. Many scholars agree that it is the most beautiful and finest of all churches
of Lalibela. Some of them suggested that Bet Amanuel was the royal family’s private chapel.
It is 12m high, 18m long, and 10m wide.
It is a monolithic church. The structure is completely freed from the surrounding trench at a
depth of 24 meters. Bete Amanuel’s Architectural style mimics the wood and stone buildings
of the ancient Axum style. In a similar way to the cave church of Yimrehane Kristos.
Yimrehane Kristos is a church built inside a natural cave, the wall of the churches is made
using a projecting and recessing alternating layers of wood and stone though Bete Amanuel
gets this kind of shape from the carving the Rock.14
Plan: 12 m high, 18.5 x 12.5 m.

Figure 22: Plan view of bete ammanuel

Lalibela lacks the timber cross pieces (also known as "monkey-heads") that are carefully
replicated in the Aksumite stelae, but the outside wall surfaces include simple horizontal
bands that mimic Aksumite stone and timber construction. In terms of both horizontal and
vertical lines, Amanuel is the most precise of the churches. The courtyard walls are said to
include a few tiny caverns or holes for "holy bees" in remembrance of King Lalibela. Chests
that were very huge ("larger than the door openings") were mentioned by Alvares in the
1520s, and they were still visible in the 1930s.
It rises like a pit from its narrow, deep court. In this instance, the outside is the most ornate,
including indentations of the same tradition and horizontal courses that alternately project and
14
‘Bete Amanuel Church Lalibelaa’.
recede to symbolise the stone and timber strata of Debra Damo. A nave, two aisles (the latter
with lofts above), and a striking stone replica of the Debra Damo frieze can all be found
inside. There are longitudinal arches in the nave and transverse ones across the aisles, and a
dome atop the sanctuary, which is reached via an arch. "Amanuel has a few windows that are
in the traditional Aksum design. Others, like Medhane Alem, have spherical arches held up
by brackets.-- Three rows of windows are present; the bottom row is square, the middle row
is arched, and the top row is square once more.
With windows above that gaze into the lofts to the north and south, a gorgeously carved
frieze encircles the east and west ends. Alvarez discovered a space that he believed should be
the choir but was really utilised to store the vestments and open several tiny cells from the
upper story of Amanuel's spiral staircase."Entrances and windows are irregularly placed in
the wall, but all of them imitate Axumite style."15

Figure 23: Elevation K2 of Biet Emmanuel in Lalibela, Ethiopia

Figure 24: Section M1 of Biet Emmanuel in Lalibela

15
Bernhard Lindahl, ‘Local History of Ethiopia : Lala - Lazole Reidabe’, 2005.
Figure 25: Section N2 of Biet Emmanuel in Lalibela

Figure 26:Section M2 of Biet Emmanuel in Lalibela

Figure 27:Elevation P2 of Biet Emmanuel in Lalibela

Figure 28:Section I2 of Biet Emmanuel in Lalibela

Figure 29:Elevation L2 of Biet Emmanuel in Lalibela

Figure 30 :Section J2 of Biet Emmanuel in Lalibela

Figure 31:Section F2 of Biet Emmanuel in Lalibela

Figure 32:Section P1of Biet Emmanuel in Lalibela

Figure 33:Section N1 of Biet Emmanuel in Lalibela

Figure 35:Section I1 of Biet Emmanuel in Lalibela

Figure 36:Section H1 of Biet Emmanuel in Lalibela

Figure 37:Section G1 of Biet Emmanuel in Lalibela

 Figure 38:elevation of Biet Emmanuel in Lalibela

Figure 40: 3Dviews

3.2 Materials, techniques, and key features

The construction of Biete Amanuel involved meticulously carving the church out of a single
block of rock. This process required advanced knowledge of stone working and an
understanding of structural engineering to ensure the church's stability. The builders used
tools such as chisels and hammers to carve out the interior and exterior details, creating a
seamless structure that blends naturally with the surrounding rock.
The church was carefully carved out of a single slab of rock during the building of Biete
Amanuel. Advanced stoneworking skills and an awareness of structural engineering were ne-
cessary for this process in order to guarantee the stability of the church. The builders created
a smooth structure that blends in with the surroundings by carving out the external and in-
ternal elements with chisels and hammers.
3.2.1 Exterior Features
The exterior of Biete Amanuel is adorned with striking features, including columns, friezes,
and intricately carved walls. The columns, carved directly from the rock, provide structural
support while also serving as decorative elements. The friezes depict religious symbols and
motifs, adding to the church's spiritual ambiance. The walls, with their precise carvings and
patterns, showcase the artisans' skill and attention to detail.
3.2.2 Interior Design
Inside Biete Amanuel, the design is equally impressive. The nave, or main hall, is spacious
and well-lit, with high ceilings that create a sense of grandeur. The aisles on either side of the
nave lead to smaller chapels, each with its own unique decorations and altars. The interior's
layout is designed to facilitate worship and contemplation, providing a serene environment
for visitors.
3.2.3 Unique Characteristics

Biete Amanuel stands out among the churches of Lalibela for its distinctive architectural
features.
One of its unique characteristics is the alternating layers of wood and stone, which create a
visually striking pattern and enhance the structure's stability. The church's double-frieze
design, with two parallel bands of carvings, is another feature that sets it apart. Additionally,
Biete Amanuel's location and the manner in which it is partially hidden within the rock make
it a particularly intriguing site to explore.
Certainly, the controversial heavyweight shelter Erected by UNESCO has done more damage
than good to protect the church. Besides, the most elegant view of the church is marred by the
massive structure. Urgent and competent conservation and restoration work is required.
However, there seems to be little progress towards this goal at this time.The church is
supported by eight columns running in two rows in the east-west direction. Four of them are
complete, but the rest are three sides. To the southwest is a lower gallery, accessible by a rock
staircase leading from the side room. The double Axumite frieze in the nave is a very striking
feature from the inner parts. Holes found in the bottom of the church lead to the churches of
Bet Merkorios and Bet Gabriel-Rufael through long underground excavations. Find the holy
bee’s nest outside the church. It is believed that honey has special healing properties. The
legend of Lalibela is related to the flock of bees and swarm him completely when he was
born. Lalibela means “honey eater”.16

Figure 40:bete ammanuel

16
‘12’.
 Figure 41:Bete Ammanuel currently

Figure 42:bete ammanuel entrance

3.3 Primary building materials utilized in the Lalibela civilization

The primary material used in the construction at Lalibela is volcanic rock.
This type of rock is abundant in the region and has the necessary hardness and durability for
carving detailed structures.
The workers used simple tools to shape the rock, painstakingly chiseling away to create each
church directly from the mountains.
The quality of the volcanic rock allowed for intricate designs, including window frames and
archways that were carved out with incredible precision.
These materials also give the churches their distinctive red hue, further enhancing their visual
appeal.
3.4 Construction methods
The construction of the rock-hewn churches of Lalibela was an incredible feat of engineering
and artistic skill. The techniques used to carve the churches out of solid rock are still
shrouded in mystery, but it is believed that the builders used chisels, hammers, and other hand
tools to create the intricate designs and decorations. The construction of the churches required
a deep understanding of geology and rock formations, as well as advanced knowledge of
mathematics and architecture. Even today, the churches continue to inspire awe and
admiration for the skill and ingenuity of their builders.
One interesting aspect of the construction techniques used in Lalibela’s churches is the use of
hidden passageways and tunnels.
These were created to allow for ventilation and drainage, as well as to provide access to
different parts of the churches. Some of these passageways are so well-hidden that they have
only been discovered in recent years, adding to the mystery and intrigue surrounding these
incredible structures.
3.5 Technique used for building monumental churches
Construction Techniques and Materials Used
The construction process involved these key steps:
1. Tracing the church outline on the rock surface
2. Excavating trenches around the structure
3. Carving the interior spaces
4. Creating drainage systems for water management
The craftsmen built sophisticated hydraulic systems to prevent flooding with drainage
canals and strategic roof slopes. Each church shows unique architectural features.
beautiful bas-reliefs in Bet Golgotha and colorful geometric designs in Bet Mariam.
The builders worked with simple tools – chisels, hammers and picks. The volcanic
tuff they used had special properties. It started soft and hardened over time, which let
them create intricate details while making sure the structure would last. 17

17
‘Lalibelaa’.
Chapter Four

Religious and Cultural Influences

4.1 Religion and culture influenced architectural development in lalibela
civilization
The architecture of the rock-hewn churches of Lalibela is a remarkable blend of ancient
Ethiopian and Byzantine styles, reflecting the influence of different cultures and religions.
Each church is unique in its style and layout, but they share some common features. The
churches were designed to be hidden and inaccessible, with entrances carved into trenches or
tunnels leading to underground chambers. Some of the churches are three storied, reflecting
the influence of traditional Ethiopian architecture. They are decorated with murals and
frescoes depicting biblical scenes and Ethiopian saints, and adorned with beautiful crosses
made of wood or metal.
One interesting fact about the Lalibela churches is that they were built without the use of
mortar or cement. Instead, the builders used a technique called “keying,” where each stone
was carefully carved to fit perfectly with the surrounding stones. This not only made the
churches more stable, but also added to their unique beauty. The Lalibela churches are truly a
testament to the ingenuity and skill of the ancient Ethiopian builders.
Religious Significance: Lalibela as a Pilgrimage Site for Ethiopian Orthodox Christians
For Ethiopian Orthodox Christians, the town of Lalibela, which is tucked away in the
country's untamed highlands, is more than just a work of architectural genius; it has deep
religious meaning. More than just buildings, the Lalibela churches are living examples of
faith, dedication, and the rich history of Ethiopia. They are hewn out of the rock. Many
Christians view these churches as a place of spiritual refuge, where the divine and the
material worlds coexist, and where centuries of tradition are still upheld.
Due to the attraction of its holy sites, thousands of pilgrims travel to Lalibela each year. This
pilgrimage is a profoundly spiritual experience that binds people to their faith and to one
other; it is not only a physical trek. Many pilgrims consider their own challenges and goals
while navigating the difficult terrain, finding comfort in the idea that they are a part of a
wider community bound together by common values. The act of pilgrimage itself is rich in
tradition, reflecting the paths taken by many faithful who have gone before them in search of
a closer relationship with God.
Pilgrims are welcomed to Lalibela by the magnificent view of the rock-hewn churches, each
of which is a work of artistic and technical genius. The Church of St. George, the most well-
known of them, is frequently considered Lalibela's crown jewel. It inspires awe and reverence
with its cross-shaped design and elaborate carvings. A spirit of meditation and reflection
envelops pilgrims as they enter these hallowed places. The aroma of incense fills the air, and
the gentle glimmer of candlelight flickers over the old stone walls, fostering an atmosphere
that encourages introspection and interpersonal relationships.
Beyond its aesthetic appeal, Lalibela has religious importance as a representation of
Ethiopian resiliency and identity. The churches were built in the 12th century during King
Lalibela, when Ethiopia was dealing with both internal conflict and exterior threats. King
Lalibela envisioned a "New Jerusalem" as an answer to these problems, a location where
Ethiopian Christians might congregate for worship without having to go to the Holy Land. In
addition to offering a place of spiritual solace, this vision encouraged Ethiopians to feel
united and proud of their country.
Additionally, the churches act as the centre of attention during significant religious holidays
and festivities. Timkat, the Ethiopian Orthodox festival of Epiphany, is one of the most
important occasions, drawing thousands of pilgrims from all across the nation. Participants in
this lively celebration recreate Jesus' baptism in the Jordan River, complete with loud
processions, traditional music, and impassioned prayers. In the centre of Lalibela, pilgrims
gather to celebrate their faith in an electrifying atmosphere that is full of pleasure and
dedication.
Lalibela is essentially a live representation of faith, history, and culture rather than merely a
place of pilgrimage. The rock-hewn churches invite everyone who visits to join in a journey
that goes beyond time and location, serving as a monument to the eternal spirit of Ethiopian
Orthodox Christianity. Lalibela is a beloved location for pilgrims looking for spiritual
rejuvenation and camaraderie since it provides visitors with a deep connection to the divine in
addition to a window into the past. Many of them go with a greater comprehension of their
faith and its role in the rich tapestry of Ethiopian tradition, in addition to recollections of their
trip.
4.1.1 Ethiopian Orthodox Tewahedo Church
Biete Amanuel holds a significant place in the Ethiopian Orthodox Tewahedo Church, one of
the oldest Christian denominations in the world. The church is an essential part of religious
life in Ethiopia, serving as a place of worship, pilgrimage, and community gathering. Its
historical and spiritual importance makes it a revered site for Ethiopian Orthodox Christians.
Pilgrimage Site
Biete Amanuel is a major pilgrimage site for Ethiopian Orthodox Christians, attracting
thousands of devotees each year. Pilgrims visit the church to seek spiritual solace, participate
in religious ceremonies, and connect with their faith. The journey to Biete Amanuel is seen as
a way to strengthen one's faith and experience the divine presence.
Cultural Heritage: The Role of Lalibela in Ethiopian Identity and Tradition
With good cause, the churches of Lalibela are been dubbed the "Eighth Wonder of the
World." Their intricate designs and monumental scale reflect not only the architectural
ingenuity of their creators but also the deep-rooted religious fervor that inspired their
construction.
Each church is a marvel in its own right, with features that showcase a blend of Christian
symbolism and local artistry. This unique architectural style has become a symbol of
Ethiopian Christianity, distinguishing it from other forms of worship around the globe. As
such, these churches serve as a source of pride for Ethiopians, reinforcing their sense of
belonging to a rich cultural tapestry that has endured through centuries of change.
Furthermore, being a place of pilgrimage, Lalibela is particularly dear to Ethiopians. The
attraction of this holy town's spiritual significance draws hundreds of devout Christians there
each year. The churches are thriving hubs of communal life where customs are passed down
through the years, and they are more than just places of prayer. The sounds of chanting and
the steady drumming fill the air during religious festivals, resulting in an electrifying and
solemn mood. Worshippers feel more united as a result of these events, which supports the
notion that faith is a shared experience that unites the society rather than only being an
individual endeavour.
Apart from its religious significance, the churches in Lalibela serve as a storehouse of
Ethiopian history. They serve as mute witnesses to the struggles and victories of a country
that has seen internal conflict, colonisation, and invasions. These churches' courageous
defiance of outside pressures was demonstrated by their carving into the rock, which
represented the Ethiopian people's will to uphold their identity and beliefs. Lalibela thus
inspires pride in a common history that endures through time and acts as a reminder of the
tenacity and fortitude that define Ethiopian culture.
Furthermore, preserving Ethiopia's cultural identity depends on the churches of Lalibela
being preserved. Concern over the decline of regional customs is growing as globalisation
continues to impact societies around the world. Ethiopians are reminded of their distinct
history and values by the churches, which act as a barrier against this flow. In addition to
preserving these architectural wonders, Lalibela's preservation and promotion efforts make
sure that future generations may reconnect with their roots and recognise the value of their
cultural legacy.
4.2 Role in Ethiopian Orthodox Christianity
Lalibela’s churches are the life-blood of Ethiopian Christianity, especially after they became
alternatives to the holy places of Jerusalem and Bethlehem. These structures mean much
more than buildings to the Ethiopian Orthodox Church – generations.
Modern-day Religious Practices and Ceremonies
The churches thrive as worship centers today and host many religious celebrations year-
round, including:
Orthodox Christmas (Genna) – drawing nearly 200,000 pilgrims
St. Michael’s and St. Lalibela’s Festival – featuring rare displays of sacred artifacts
Timkat – marked by special ceremonies and gatherings
they create a deep spiritual bond that has shaped Ethiopian Christianity through
Palace Role in lalibela civilazation18
Symbolic Design Elements and Religious Significance
These churches’ layout carries deep symbolic meaning as they tried to recreate Jerusalem.
The architectural design shows strong Aksumite influences in the framed doors and windows
that mirror ancient stelae patterns. On top of that, it blends Syrian and Coptic elements,
especially in Biete Maryam’s pitched roof and linear moldings.

18
‘Lalibelaa’.
Chapter five

Architectural principles
5.1 Architectural analysis for Bete Amanuel church
Bete Amanuel is a rock-hewn church in Lalibela, Ethiopia, known for its unique architectural
and historical significance.
The monolithic rock-cut cathedrals of Lalibela, a town in northern Ethiopia, are well-known
and have great religious and cultural significance. Founded in the 12th century under King
Lalibela, this location has grown to be a popular destination for Ethiopian Orthodox Christi-
ans on pilgrimage. In order to provide a spiritual experience for individuals who are unable to
travel to the Holy Land, the churches of Lalibela, especially Biete Amanuel, were constructed
to represent Jerusalem.
Aksum's Kingdom
The formation of the rock-hewn churches of Lalibela was greatly influenced by the ancient
Ethiopian civilization known as the Kingdom of Aksum. With a long history that began in the
first century AD, Aksum was a strong and significant kingdom that converted to Christianity
in the fourth century. The cultural customs and architectural methods of Aksum influenced
the construction of Lalibela's churches, including Biete Amanuel, blending ancient Ethiopian
and Christian elements.
Monolithic :- Bete Amanuel is another underground monolithic rock-cut Lalibela church. The
church building shows the Axum construction prints more than any of the other Lalibela
churches. The building is believed to be a royal prayer house of King Lalibela and his family.
5.2 Design philosophy
Spiritual Symbolism Trying to create new Jerusalem Cross-Shaped Layout: The bete Giorgis
church’s layout often follows a cross shape, symbolizing Christ’s crucifixion and serving as a
reminder of faith and salvation. Integration with Nature Natural Elements: The design incorporates
natural light through openings, creating an ethereal atmosphere that enhances worship and meditation.
Gathering Space The church is designed as a communal space for worship, reflection, and gatherings,
emphasizing its role within the community.19

19
‘The Cultural Significance of Ethiopian Lalibela Rock-Hewn Churches_ Architecture,
History, and Religious Importance - Moments Log’, n.d.
Conclusion

Bete Amanuel church in Lalibela showcases a masterful blend of architectural

skill, religious fervor, and cultural heritage. The ingenuity of its creators is
evident in its monolithic construction, detailed carvings, and distinctive design.
This remarkable church's enduring legacy powerfully demonstrates the ability of
faith to inspire awe-inspiring architecture that transcends time. However, further
research is crucial to fully grasp the construction methods and the societal
context surrounding its creation.
Reference
- https://onlybyland.com/lalibela-ethiopia https://www.google.com/url?
sa=t&source=web&rct=j&opi=89978449&url=https://en.wikipedia.org/wiki/
Architecture_of_Ethiopia&ved=2ahUKEwiQw72XjrOLAxWjxQIHHctAEJYQFnoE
CC4QAQ&usg=AOvVaw30KtJ9iWE3dRCArWg90-wT
- https://www.google.com/url?sa=t&source=web&rct=j&opi=89978449&url=https://
en.wikipedia.org/wiki/Lalibela&ved=2ahUKEwjz28rUjrOLAxX-
3gIHHfx6H8cQFnoFCIgBEAE&usg=AOvVaw2zYQv3ICndTm5yvMB5ruA8
- The Zagwe Dynasty Lalibela Churches in Ethiopia https://www.google.com/url?
sa=t&source=web&rct=j&opi=89978449&url=https://thebrainchamber.com/lalibela-
churches/
&ved=2ahUKEwj0mZ_Zj7OLAxXtQkEAHS4yGt4QFnoECB0QAQ&usg=AOvVaw
0bUaXqfhnZH0S9NyptEqmR
- The Cultural Significance of Ethiopian Lalibela Rock-Hewn Churches_ Architecture,
History, and Religious Importance - Moments Log
- ORTLAL05.pdf https://www.google.com/url?
sa=t&source=web&rct=j&opi=89978449&url=https://nai.uu.se/download/
18.39fca04516faedec8b248e0f/1580829012921/
ORTLAL05.pdf&ved=2ahUKEwjJh9bekLOLAxXcXEEAHYSzGAkQFnoECCQQA
Q&usg=AOvVaw2gA52h4R7xeb_S--fhlM8b
- enginner and architect of America
- Lalibela and Gädlä Lalibela The Making and Unmaking of an Ethiopian Holy Land
Yikunnoamlak Mezgebu Zerabiruk
- http://www.connollycove.com/the-rock-churches-of-lalibela-ethiopia
- http://www.connollycove.com/the-rock-churches-of-lalibela-ethiopia
- https://onlybyland.com/lalibela-ethiopia
- enginner and architect of america
- ajol-file-journals_769_articles_259599_655c6e8095920
- Exploring the Rock-Hewn Churches of Lalibela_ An Introduction to Ethiopia’s
Architectural Heritage - WeChronicle.html
- Cultural Heritage Sites and Urban growth: The case of Neakutoleab, Lalibela by
Kebede
- Archaeological Survey in and around Lalibela by Abebe Taffere
- Urban development and associated cultural heritage management practices:
Evidencefrom the World Heritage Site of Lalibela, Ethiopia by Ayele Bekerie
-
 About author
We are fourth-year Architecture and Urban Planning students at Addis College, Addis Ababa,
Ethiopia.
We are currently taking the Ethiopian History of Architecture 2 course.
In the previous course (Ethiopian History of Architecture 1), we worked on and documented the
Yohan Mausoleum from the Axumite Civilization.
This semester, we have been assigned a group project that involves both documentation and
modelling. The project focuses on the rock-hewn churches of Lalibela, with a particular emphasis on
Bete Ammanuel, detailing its architectural and historical significance.

Contact information/social media links

1) Yordanos kebede Telegram: :@hello77 I

2) Ruth Ahmed Telegram: @LUTA2112
3) Ruth Mulu Telegram: @Rutina17
4) Kalkidan dawit Telegram: --------
5) Addisalem Anmaw Telegram: ------
6) Eden Yemane Telegram: @Edi_5