Due to the vertical orientation of the crucifix and the upward displacement of the central cross's horizontal arms, the khachkar composition exhibits a pronounced verticality. Comparing the motifs, figures, and decorations placed above and below the horizontal arms of the cross, it is evident that there are more shrub, leaf, and flower motifs below the horizontal arms, while fruit motifs are more common above them. Aquatic creatures, underground animals, terrestrial reptiles, quadrupeds, and birds are depicted below the horizontal arms, while celestial birds, immortals, and saints are portrayed above them. We can conclude that the movement in the khachkar composition flows from the bottom to the top, symbolizing a journey from root to fruit, from the earthly to the heavenly, from the worldly to the sacred, from the particular to the universal, from the past to the future, and from death to immortality. The cross, with its lower arm resting on the lower emblems and its upper arm reaching towards the upper symbols, visibly bridges these two realms. It serves as a conduit for the universal connection between them, underscoring the supremacy of the heavenly sphere over the earthly one with its vertical orientation.

H. Petrosyan, Khachkar, Yerevan, "Zangak" publishing house, 2015, pp. 45-46.