Analysis of information sources in references of the Wikipedia article "Kobayr monastery" in English language version.
The frescoes of the Kobayr monastery (...) The frescoes of Kobayr refer to the second, i . e . to the Zakarian period. There has been a period when most of the structures of the monastery were covered with paintings. Now if we don't count the traces of painting on the other structures, only two monuments have preserved part of their decoration; and those are the Big Church and the Aisle adjoining it from the north. Thanks to the inscription referring to the construction of the building, we are informed of the date, which is the year 1282, and also the name of the donor, the monk George who was the son of Shahnshah, of the Zakarian family. Though we don't have documental informations concerning the paintings of the Aisle, the portraits of the donators whom we consider to be Shahnshah and his wife allow us to look upon the painting as one close to the date of the Big Church; the likeness in the artistic style confirms this suggestion. - From all the wall paintings of the Big Church only that of the altar has been preserved. As for the Aisle, here we can see not only the altar painting, but also remains of frescoes on the northern and western walls. The iconography of the altar paintings of the Big Church and the Aisle, on the whole, can be traced back to the Byzantine system of decoration. Having been already formed in the XI c., it has also some local peculiarities, the sources of which go back to the Armenian monumental art of earlier ages, beginning from the VII c. The set-up of both altar paintings are similar: the Church Fathers are in the lower rank, the Eucharist is in the middle. The difference lies in the upper circle, in the concha...
Thus, it could be assumed that in Haghpat there was painted a group of patrons, besides Khutlubuga and Sadun presumably including Zakare (from the right to left), Ivane, and Shahnshah.
In this regard, we could compare it with the other patron's composition in the small church of Kobayr (1282) with the members of Zakare family, where some of them are included inside the arches [6, pp. 12–13, fig. 34–35].
Shahnshah, of the Zakarian family. Though we don't have documental informations concerning the paintings of the Aisle, the portraits of the donators whom we consider to be Shahnshah and his wife allow us to look upon the painting as one close to the date of the Big Church; the likeness in the artistic style confirms this suggestion
Thus, it could be assumed that in Haghpat there was painted a group of patrons, besides Khutlubuga and Sadun presumably including Zakare (from the right to left), Ivane, and Shahnshah.
In this regard, we could compare it with the other patron's composition in the small church of Kobayr (1282) with the members of Zakare family, where some of them are included inside the arches [6, pp. 12–13, fig. 34–35].
