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Qadisha ValleyÉ`°ûjOÉb …OGh


Tripoli

Chikka

Batroun

Kfar Sghab

AarbetQozhaya

Sebaal

Karm Saddé

KousbaSeraal

QnatHadathEj-Jebbé

BqerqachaThe Cedars

Amioun

Kfar Hazir

Bsarma

Kfar Aaqqa

El-Bohsas

Zgharta

Aainata

Blaouza4

1

2

3

7

6

5

Ehden

Tourza

HasrounDimane

HadchitBcharré

II

I

IV

V

VIVII

HaouqaIII

Tripoli

Chikka

Batroun

Kfar Sghab

AarbetQozhaya

Sebaal

Karm Saddé

KousbaSeraal

QnatHadathEj-Jebbé

BqerqachaThe Cedars

Amioun

Kfar Hazir

Bsarma

Kfar Aaqqa

El-Bohsas

Zgharta

Aainata

Blaouza

B

Ehden

Tourza

HasrounDimane

HadchitBcharré

II

I

IV

V

VIVII

HaouqaIII

CD

E

F

A



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Qadisha, one of the deepest and most beautiful valleys in Lebanon, is indeed a world apart. At the bottom of this wild,

steep-sided gorge runs the Qadisha River, whose source is in the Qadisha Grotto at the foot of the Cedars. Above the valley and famous Cedar grove towers Qornet Es-Saouda, Lebanon’s

highest peak.

The Qadisha Valley begins at Bcharré village, which marks the start of a deep geological fault whose extending valleys reach

out of sight. All the accumulated water from these smaller valleys flows into the Qadisha River, which runs through the

valley towards Tripoli and the sea. At Tripoli, the name of this river changes to the Abou Ali River. The name Abou Ali is

related to the name Fakhr el Mulk Abi Ali Ibn Ammar, who was the last Emir of Tripoli during the Fatimid period at the dawn of

the Crusades.

The Qadisha Valley houses some of the most important early Christian monastic settlements in the world. Rock-cut chapels,

grottoes, and hermitages, many painted with frescoes dating back to the 12th and 13th centuries, are tucked into the steep

walls. Among the notable monasteries located in the valley are the Monastery of Mar Antonios Qozhaya, the Monastery

of Saydet Haouqa, the Monastery of Qannoubine, and the Monastery of Mar Elisha.

Qadisha ValleyQadisha Valley

Qadisha Valley in HistoryïjQÉàdG »a É`°ûjOÉb …OGh

Qadisha Valley in History The word Qadisha comes from a Semitic root meaning “holiness;” consequently, Wadi Qadisha means the “Holy Valley.” This name may have its roots long before the Christian era. It is possibly related to “The Holy Baal,” a Semitic god to whom a large temple in Tripoli was dedicated during the Roman era. In this Tripoli temple, “The Holy Baal” was known as “The Holy Zeus.”

From the prehistoric periods to the Roman era, people lived in the caves and rock shelters scattered all over the Qadisha Valley. At the dawn of the Christian era, when the new Christian religion was introduced into the valley, these caves and rock shelters were transformed into chapels, hermitages, and monasteries. Generations of monks, hermits, and ascetics found asylum here.

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These religious men belonged to various confessions that grew out of controversies over the nature of Christ during the early Christian era. Among them were the Nestorians, the Monopysites, the Chalcedonians, and the Monothelites. The Nestorians believed that Christ had a human nature until his baptism in the Jordan River, thus refusing the attribute of Mary as the “Mother of God” and only accepting her attribute as the “Mother of Christ.” The Monopysites, or Jacobites, believed that Christ has a unique nature in which the divine almost prevails over the human. The Chalcedonians believed that Christ incorporates two natures, the divine and the human, and consequently Mary can be considered the “Mother of God.” Others, called Monothelites, believed that Christ has only one will, which is the Divine Will. These different communities were always arguing and fighting about the meaning of religious terminologies, which differed according to each group’s language.

In addition to the Christians, Muslim Sufis also lived in the Qadisha Valley. According to Ibn Joubeir, an Andalusian traveler who visited the area during the 12th century A.D., the Christians of the mountains provided food and provisions to the Muslims who chose to isolate themselves from the world in the valley. At that time, the valley used to echo the prayers of its inhabitants, each one in his own language: Greek, Arabic, Syriac, and Ethiopian.

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Visiting the Valley…OGƒdG IQÉjR

At the town of Tourza the Qadisha Valley divides into two branches, each named after a monastery: the Wadi Qozhaya branch leads to Ehden and the Wadi Qannoubine branch leads to the Cedars. A path runs along the bottom of the Qadisha Valley through an area called Bain an-Nahrain (“Between the Two Rivers”), where Wadi Qozhaya meets Wadi Qannoubine. From here, trails lead to various sites inside the valley. You can also start from the top of the valley and take one of the numerous paths to the bottom.

Visiting all the sites in the Qadisha Valley may take several days. This brochure invites you to spend one day visiting the major sites in the valley and its immediate surroundings.

You can drive a car from Tourza to Haouqa via Ehden, then on to the Monastery of Mar Antonios Qozhaya (A). After visiting the monastery, drive back to Haouqa and park your car near the village church. A trail begins at Haouqa, leading down to the medieval Monastery and Oratory of Saydet Haouqa (B), then to the Church of Saint Marina (C), and the Monastery of Qannoubine (D).

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Tripoli

Chikka

Batroun

Kfar Sghab

AarbetQozhaya

Sebaal

Karm Saddé

KousbaSeraal

QnatHadathEj-Jebbé

BqerqachaThe Cedars

Amioun

Kfar Hazir

Bsarma

Kfar Aaqqa

El-Bohsas

Zgharta

Aainata

Blaouza

B

Ehden

Tourza

HasrounDimane

HadchitBcharré

II

I

IV

V

VIVII

HaouqaIII

CD

E

F

A

TourzaGRQƒW

I- TourzaIn the village of Tourza, ask the local inhabitants to point out the Roman-Byzantine rock cut tomb known as Magaharet es-Sabaa (“the Cave of the Lion”). In front of this tomb, a rock face holds a carving representing a griffin or a sphinx, with a winged lion’s body and an eagle’s head and holding two spheres in its hands and feet. The carving has two functions: first, it represents the forces of good protecting the dead from evil, and second, it incites the observer to think about the destiny of man after death. This type of carving is very common on funerary stelae and sarcophagi of the Roman period.

GRQƒW -I

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Ehden¿ógEG

II- EhdenThe origins of Ehden village go back to the Middle Ages. The village is known for its old souk and picturesque main square, or Midan, where the entire village gathers on long summer evenings. The village church, known as the Church of St. Georges (Mar Gerges), preserves the mummified body of Youssef Karam, national hero of the 19th century.

Ehden is dominated by Saydet El-Hosn (Church of Our Lady of the Fortress), which was probably built upon the remains of a Roman structure. From the church’s terrace is a magnificent view of the Cedar grove and the Qadisha Valley, extending all the way to Tripoli and the sea. Nearby, Deir Mar Sarkis (Monastery of St. Sarkis and Bakhos) has several small chapels, the oldest dating to the 13th and 14th centuries. Also nearby is the Church of Saint Mamas (Mar Mema), built in 947 A.D.

Close to the village is the Horsh Ehden Nature Reserve, which contains a particularly diverse and beautiful remnant forest of the Cedars of Lebanon, as well as a mixed forest of juniper, fir, and the country’s last protected community of wild apple trees. The reserve’s beautiful, mist-covered valleys and gorges protect a variety of rare species of trees, plants, flowers, and animals.

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HaouqaÉbƒM

III- HaouqaA- The Monastery of Mar Antonios QozhayaThis monastery is the largest in the Qadisha Valley, and it has probably been inhabited since the medieval period. Historical documents and inscriptions on some household utensils found at the monastery indicate the presence of a community there between the early-11th century and mid-12th century A.D. The present state of the building dates from the year 1926, and the main church of the monastery was constructed in 1865 according to an inscription over its main door.

The church’s façade was built with yellow limestone and has 15 arches decorated with small columns. Three bell domes were built over the arches. The main door of the church is decorated with 19th century-style arabesques. The building’s architecture is similar to that of other palaces in Mount Lebanon built during the Emirs period.

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Inside, the church has one vaulted nave with a semicircular apse at its eastern end. To the north, a void in the rock holds a baptismal vat. The southern wall of the church has a painting of the Holy Trinity crowning the Virgin Mary. The arch that separates the nave from the apse is decorated with wall paintings representing crossed circles colored with red, black, and white.

A cave situated to the northwest of the main entrance of the monastery is known as the “Cave of the Fools.” This cave still holds some of the chains that were once used to tie up insane persons, leaving them to the care of Saint Anthony (Saint Antonios). On the altar of this cave is a small cylindrical press, once used to help cure people of some diseases. A sick person would roll this cylindrical press over the place of illness in his body, hoping to be cured.

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Another section of the monastery, built during the years 1820-1823, was dedicated to a printing press. The monastery’s first printing press was brought from Rome by Maronite monks at the end of the 18th century, and it was placed in the monastery in 1815. The monks bought a newer printing press in 1871 to replace the former one. The newer printing press is on exhibit in the monastery today. However, this monastery was also using portable printing presses imported from Europe long before the 18th century, allowing the monks to print the first Psalter in 1585 and 1610 A.D., and making this monastery the first in the Middle East to introduce the art of printing in the Syriac language.

Next to the printing press is a small exhibition of printing tools, locally printed books, rural household utensils, and some of the clothing used by the monks during different periods.

A few meters to the west of the monastery is a small hermitage, which was built during the medieval period.

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B - The Monastery of Saydet Haouqa & its OratoryThe Monastery of Saydet Haouqa can be reached by walking on a steep pathway leading down from the village of Haouqa, which was created by the local community to facilitate the access to the valley. The monastery is composed of a sanctuary and a few hermitages. It was built during the 13th century in a voided rock face transformed by the monks into a living space.

Historical documents suggest a relationship between the building of this monastery and some military events that happened during the 13th century, when the Mamluke army invaded the local bastions in the mountains. The Mamlukes would not have been able to invade and take over the area in 1283 without the help of a local person named Ibn el-Sabha al-Kafarsghabi. According to some historical accounts, Ibn el-Sabha felt sorry for assisting the Mamlukes and built the Haouqa monastery as an act of repentance.

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For a short period during the 17th century, the monastery hosted a seminary for the Maronite order. It was deserted afterwards and annexed to the Monastery of Mar Antonios Qozhaya. Lately, the monastery was rehabilitated, and it now hosts a Colombian hermit who entered the Maronite Order. On the eve of 15th of August, the locals inhabitants celebrate the Dormition of the Virgin in the monastery’s church.

Inside, the monastery’s small church has a single tunnel-vaulted nave with a semi-circular apse at its eastern end. Unfortunately, during recent restoration work the lime mortar holding many wall paintings was removed. At the west end of the church, a small hole in the ceiling is used for the rope of the church’s bell, which is situated inside a small tower over the main door. A well is situated outside, on the right side of church door.

In the mid-20th century, after the monastery was abandoned for a long time, an old painting representing the “Virgin with the Child” was found. On the reverse of this painting, there is another painting representing a saint monk healing a sick person wearing white clothing and a turban on his head. This painting may be connected to the 13th century Mamluke invasions, as it is believed that the sick person depicted in the painting may be Ibn al-Sabha. The painting is now part of a private collection, and a copy of it is exhibited in the Monastery of Qannoubine.

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The monastery’s oratory is situated in a natural cave. It has a single nave oriented to the northeast, ending with a small apse. A painting occupies the center of the nave; it represents the “Virgin with the Child,” and at her feet is John the Baptist in his childhood. It seems that this painting was inspired by an older painting that was present in the monastery until the year 1900 and later disappeared. This painting was inspired by a painting by the Italian Renaissance artist Raphael.

On the trail leading downhill from the Monastery of Haouqa, inside the grand northern rock promontory, is a cave known as Aassi Haouqa. This cave hosts the remains of some ancient wall paintings. An inscription dates the remains to “the year 1504 of the years of Alexander the son of Philip the Macedonian,” which means 1193 A.D.

Near Aassi Haouqa, on the left side of the trail, are the remains of a medieval structure known as the Tower of Saint Thomas.

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The Church of Saint MarinaÉæjQÉe á°ùjó≤dG á°ù«æc

C- The Church of Saint MarinaAlong the trail leading from the Monastery of Saydet Haouqa to the Monastery of Qannoubine stands the Church of Saint Marina. The church has two sections. The southern section was built in 1909, according to an inscribed stone panel situated over the main door. The northern section was created by converting a rock cavity into an apse. Inside the apse, a new altar was built in 1953 in front of an older altar whose remains are still visible.

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To the right side of the altar, a marble panel holds the names of 17 Maronite patriarchs buried here between the 15th and the 19th centuries. The carved marble pieces surrounding the panel are of a later date.

Saint Marina is one of the most venerated saints of the Qadisha Valley. Her life story is printed on a panel on the eastern wall of the church.

The Monastery of Qannoubineø«Hƒæb ôjO

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D- The Monastery of Qannoubine

The name of this monastery originates from the Greek word koinobion, which simply means “monastery.” Although some local traditions attribute the construction of this monastery to the Byzantine Emperor Theodosius the Great (4th century A.D.), it is more probable that the monastery was founded by the disciples of Theodosius the Cenobiarc. This hermit, who lived between 423 and 528 A.D., created a code of instruction for the monks, from which Ignatius of Loyola, the founder of the Jesuit Order, was inspired. Historical documents attest that Qannoubine Monastery was the seat of the Maronite Patriarchate between the 15th and the 19th centuries.

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The monastery’s church has a single vaulted nave ending with a semi-circular apse on its eastern end. Two semi-circular niches are situated on both sides of the apse. The nave is divided into two sections by two arches. The bases of these arches hold preliminary drawings for wall paintings that are unfinished. On the northeast and the southeast bases are drawings of two flowerpots, in addition to two bearded men wearing long robes, holding grapes in one hand and holding a basket full of fruits over their head with the other hand. On the southwest bases are the drawings of two angels wearing the costumes of deacons, each one holding a candle and a censer. In the center of the northern wall, a niche holds a baptismal vat. To the left end of the same wall, an opening blocked with a decorated stone leads to a tomb.


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This church is decorated with wall paintings that date from the days of the Patriarch Estephan Al-Doweihi (1670-1704). The apse wall painting is a mixture of two themes. The first theme is a Deisis representing the Christ between Mary and Saint Stephen, who was the protector saint of Patriarch Al-Doweihi. This depiction of Saint Stephen deviates from a typical Deisis, in which John would usually be depicted. The second theme concerns the representation of the Christ as the apocalyptic Pantocrator (in contradiction with the Byzantine tradition of a Deisis), and next to him an altar with a slaughtered lamb (taken from the Biblical book of Revelations, Chapter 5).

The northern niche left to the main apse is also decorated with a wall painting, representing Saint Joseph holding the child Jesus in one hand and a saw in the other. The southern niche is decorated with a painting of the Prophet Daniel in the pit of lions. The painting on the north wall represents the Trinity crowning the Virgin above an altar with a slaughtered lamb. Surrounding the altar are 14 Maronite archbishops assisting the crowning scene, and Patriarch Al-Doweihi is to the left side of the scene holding the Parochial Scepter with a sphere and a cross on its top.


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E- The Monastery of Mar Elisha

Originally built as a hermitage around the 12th-13th centuries, the Monastery of Mar Elisha hosted a Maronite Archbishopric during the 14th century. A number of European travelers visited here during the 17th and the 18th centuries, when it was known as the Monastery of Saint Shallita and/or Saint Assia. Shallita and Assia are the names of two famous hermits who lived and died here during the 17th-18th centuries.

After visiting the Monastery of Qannoubine (D), you can stop at a small restaurant situated at the bottom of the valley to the right side of the trail. Ask there for a taxi to drive you back to Haouqa. On the way up, you can visit the Monastery of Mar Elisha (E), the Museum of Gibran Khalil Gibran and the Oratory of Saydet el-Derr (F) in Bcharré, and the village of Hadchit.

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The Lebanese Maronite Order was founded at this monastery in 1696. When the Order was divided between the Lebanese and the Aleppine monks in 1770, the Monastery of Mar Elisha was granted to the Aleppines (who became known as the Maronite Mariamite Order in 1969).

Except for some small sections, most parts of the monastery building date from the 20th century. The ground floor holds an exhibit of daily household utensils and clothing used by the monks, in addition to prayer books printed in the Monastery of Qozhaya, the Monastery of Khinshara, Venice, Beirut, and the United States. The first floor holds the rooms of the monks, in addition to a small rock cavity transformed into a small church.

The monastery’s main church has a single vaulted nave ending with three rectangular apses. The main apse of the church holds a 19th century icon painted in the Byzantine-Melkite style. The icon represents the Prophet Elisha wearing the mantle (cloak) given to him by the Prophet Elijah, as Elijah was transcending into the sky in his fire chariot. In the four corners of the Icon are scenes of the life of Elisha, as mentioned in the Bible in the Second Book of Kings.

A stone panel over the main door dates the construction of the church to the year 1835. A small door to the left side of the church leads to a cave, in which many hermits are buried, among them the French hermit François de Chasteuil, who died here in 1664.

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IV- BcharréConsidered as a gateway to the Cedars, the history of this town goes back to the medieval period. In Crusader times, Bcharré was known as one of the fiefs of the county of Tripoli. It has a strategic position, dominating the road of the caravans crossing from the Békaa to the coast.

Museum of Gibran Khalil GibranBcharré is noted as the birthplace of Gibran Khalil Gibran (1883-1931), author of The Prophet and many other famous works. One of Gibran’s last wishes was to spend his final days in Bcharré and to be buried in the small Monastery of Mar Sarkis at the entrance of the town. Although Gibran did not spend his final days in the town, he was in fact buried in the monastery, which today serves as the Gibran Museum. Here, Gibran’s paintings, drawings, and manuscripts are on display.

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F- The Oratory of Saydet el-DerrThe Oratory of Saydet el-Derr is a cave situated near the road between Bcharré and Hadchit. This cave was originally a Roman tomb and was transformed into a Christian oratory during the Middle Ages. The entrance of the oratory is very recent and has no ancient elements in it.

Inside, the oratory is decorated with wall paintings dating to the 13th or 14th centuries. One of the paintings represents the baptism of Christ and figures of Saints. The paintings are very badly damaged, but you can still see the representation of a woman with a child standing beside her. In local Christian tradition, this woman was known as Saint Shmouna or Mart Shmouna and also as Salome or Salomoni. She was the mother of the seven brothers killed by King Antiochos the Third when he took over Palestine and Jerusalem, according to the Second Book of Machabees in the Bible. Saint Shmouna was very famous in the region. Another small oratory, located in a rock cavity near the village of Hadchit, was also dedicated to her and is known as Mart Shmouna. Unfortunately, the wall paintings in this oratory were destroyed and covered with lime wash.

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V- HadchitHadchit stands on the edge of a high rocky cliff overlooking the Qadisha Valley, between the villages of Ehden and Bcharré. This village’s old narrow streets, traditional houses, and churches are still well-preserved. Among them is the Church of Saint Romanos, whose current building dates to the end of the 19th century. The original church here was built over the ruins of a Roman temple, and a statue from this temple was discovered while digging the foundations of the current church.

Near the village cemetery, a small road leads to the Houla Valley, one of the small valleys extending from the Qadisha. Many churches, oratories, and monasteries were built on the left side of this valley, including Mar Sarkis and Bakhos, Mar Bohna, and Mart Shmouna (mentioned above).

From Hadchit, you can walk down on the right side of the Houla Valley to visit the Monastery of Deir el-Salib. The Byzantine-style wall paintings in this monastery, dating from between the 12th and the 14th centuries, represent the Apostles, Evangelists, and Saints, along with a representation of John Chrystosome (“the gold mouth”). Other wall paintings, scattered throughout the monastery, represent the Annunciation and the Crucifixion. The latter could be the reason why the monastery is called Deir el-Salib, meaning “the Monastery of the Cross.”

Vi- HasrounA red-roofed town hugging the edge of the Qadisha Valley, Hasroun is notable for its picturesque 19th century dwellings, old churches, and gardens, with origins going back to the 15th and 16th centuries.

The Church of Saint Laba (also known as the Apostle Labbaeus or Thaddaeus) is the most famous church in Hasroun. Built during the 19th century, it has a tower rising over its front door and a marble panel dating its construction to the year 1924.

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Vii- DimaneLocated along the road from Hasroun to Tourza, the village of Dimane is the new summer residence of the Maronite Patriarch. It overlooks the Monastery of Qannoubine, the prior seat of the Patriarch. Built during the 19th century, the Monastery of Dimane has a church that is famous for its wall paintings done during the 1940s by Lebanese painter Saliba Doueihy. The paintings represent scenes from the New Testament of the Bible: the Annunciation, the Nativity, the Adoration of the Magi, the Baptism of Jesus, one of the Christ’s miracles, the Crucifixion, and the Resurrection. There is also a painting representing Saint Marina with a child next to her, in addition to two scenes of the Dormition of the Virgin and her crowning.

● Text by Dr. Hassan Salamé-Sarkis.● English translation by Assaad Seif.● Maps: Assaad Seif.

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GlossaryAltar: Raised platform or structure where sacrifices are offered and religious rites are performed.

Apse: Semi-circular area at east end of a church, often with a domed or vaulted roof.

Arabesque: Oriental type of decoration with intricate intertwining designs.

Censer: A container for burning incense.

Deir: Arabic word for “Monastery.”

Deisis: From the Greek word meaning “prayer” or “intercession,” in iconographic language it represents a group of three persons: Christ in the center, with the Virgin Mary to his right and John the Baptist to his left.

Dormition Also known as the “Dormition of the Theotokos” of the Virgin: in the Eastern Orthodox Church and as the “Assumption of the Virgin” by Roman Catholics, it refers to the Virgin Mary’s being taken up to heaven when her life ended. The word “dormition” literally means “falling asleep,” and this refers to a local tradition that the Virgin did not bodily die, but fell into a deep sleep before ascending to heaven.

Fief: An estate or region controlled by a feudal lord.

Griffin: A mythological winged animal with an eagle-like head and a lion’s body.

Icon: A representation or picture of sacred person, such as Jesus, Mary, or a Saint, often painted on a wooden panel.

Nave: The central space in a church.

Oratory: A small room or secluded place, set apart for private prayer.

Pantocrator: Jesus as the supreme judge of the universe.

Puddle Clay: A concrete-like mixture of wet clay, small gravel, and sand used in certain wall building techniques. It is similar to the modern technique of making a cast and pouring the mixture inside in steps or phases. After each phase, the clay would be beaten or compressed before the next layer was poured into the cast.

Sarcophagus: A stone or marble coffin.

Saydet: Arabic word for “The Lady” or “Our Lady” (the Virgin Mary).

Souk: Open-air marketplace.

Sphinx: A statue representing a lion with a human head.

Stelae: Plural of Stele, a monolithic slab that serves as a monument and sometimes has an inscription.

Tunnel-vaulted: A semi circular tunnel-like vault.

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