The term originated from vardbad, a Middle Persian term, while the Parthian variant, varžapet, is retained in Armenian for "teacher". James R. Russell said that the Middle Persian form indicates that the Christian Armenian title was adopted on the model of a Sasanian Zoroastrian office.[5] The term vardapet, which in Classical Armenian had the primary meaning of 'teacher' or 'head teacher',[6] has been used in the Armenian Church from its earliest days.[7]Mesrop Mashtots, the creator of the Armenian alphabet, is regarded as the first great vardapet.[7] A vardapet has the right to interpret scripture, preach and, especially, to teach.[7] A vardapet's staff (gavazan) is a symbol of his office.[1] The title of vardapet requires special ordination and is not held by all high-ranking Armenian clergyman; there have been Armenian bishops and patriarchs who did not achieve the rank of vardapet.[1][7]
The Armenian Church has fourteen ranks of vardapet, which are granted to celibate priests who have completed special education and presented a thesis.[7] The first four ranks of vardapet are called masnavor vardapetut’yun or 'partial/minor vardapet-hood', while the remaining ten are called tsayraguyn vardapetut’yun or 'supreme vardapet-hood'.[7] The ordination of new vardapets was formerly conducted by tsayraguyn vardapets, but it is now done solely by bishops.[7] The lower ranks of vardapet are equivalent to the degree of Master of Divinity, while the rank of tsayraguyn vardapet is equivalent to the degree of Doctor of Divinity.[8] The canons of the vardapet-hood were recorded by the medieval jurist and theologian Mkhitar Gosh, while Gregory of Tatev laid out the fourteen ranks of vardapet and the rules for their granting, which are used today by the Armenian Church.[7] Mkhitar Gosh writes that a cleric could only receive the title of vardapet after examination by a panel of two or three vardapets.[6] The orations presented by aspiring vardapets at the medieval University of Gladzor have been preserved in some Armenian manuscripts, which show that these orations dealt with particular philosophical and theological themes.[6]
Sanjian, Avedis K. (1991). "The Historical Setting". In Mathews, Thomas F.; Sanjian, Avedis K. (eds.). Armenian Gospel Iconography: The Tradition of the Glajor Gospel. Dunbarton Oaks Studies; 29. Washington, D.C.: Dunbarton Oaks Research Library and Collection. p. 23. ISBN978-0-88402-183-4.