At the end of the 10th and in the beginning of the 11th centuries the pure khachkar style was formed. This means that monumentality is accompanied with ornamentality. In the first stage of this process the strict separation of the carving from the background is still present, but the sculpture becomes more decorated with vegetative and geometrical ornaments (Aruch, Sanahin, Tsovak, Marmashen, Verin Chambarak). The circular tri-lobed buttons at the ends of the wings of the cross in some examples becomes three-buds, thus focusing on the perspective of vegetation. In the 11th century some compositions present the cross inserted in the architectural arch (Tsaghats Kar, Havuts Tar, Aruch, Byurakan, Ani, Ashtarak, Karmir Vank). In some compositions the palmette ornament under the cross becomes larger, and as a result the cross becomes nearly equal-winged (as opposed to pulled proportioned). In the 11th century the overall palm ornamentation is typical. Namely, wings of the cross -designed as palm branch, palmette ornaments are growing from the top and bottom of the cross. Banding and interlacing horizontal and vertical palm branches speak to the fact that not only weaving and jewelry patterns are imitated, but also the bouquets, diadems and cross-bunches which are sewn and used for ritual purposes.
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At the end of the 10th and in the beginning of the 11th centuries the pure khachkar style was formed. This means that monumentality is accompanied with ornamentality. In the first stage of this process the strict separation of the carving from the background is still present, but the sculpture becomes more decorated with vegetative and geometrical ornaments (Aruch, Sanahin, Tsovak, Marmashen, Verin Chambarak). The circular tri-lobed buttons at the ends of the wings of the cross in some examples becomes three-buds, thus focusing on the perspective of vegetation. In the 11th century some compositions present the cross inserted in the architectural arch (Tsaghats Kar, Havuts Tar, Aruch, Byurakan, Ani, Ashtarak, Karmir Vank). 
In some compositions the palmette ornament under the cross becomes larger, and as a result the cross becomes nearly equal-winged (as opposed to pulled proportioned). In the 11th century the overall palm ornamentation is typical. Namely, wings of the cross -designed as palm branch, palmette ornaments are growing from the top and bottom of the cross. Banding and interlacing horizontal and vertical palm branches speak to the fact that not only weaving and jewelry patterns are imitated, but also the bouquets, diadems and cross-bunches which are sewn and used for ritual purposes.
