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Excerpt from www.amo.gov.hk/en/historic-buildings/monuments/hong-kong-...:

Tung Wah Coffin Home

Situated on Sandy Bay Road, Tung Wah Coffin Home was established in 1899. It is believed that the predecessor of Tung Wah Coffin Home was a coffin home near the slaughter house in Kennedy Town, which was established in 1875 with funds from the Man Mo Temple in Sheung Wan. Its management was later handed over to Tung Wah Hospital. In 1899, Tung Wah Coffin Home was officially named when a plot of land in Sandy Bay was granted by the Government for rebuilding the coffin home.

Taking advantage of Hong Kong’s entrepot status, its geographic location at the doorway to mainland China, and the close connections of Tung Wah Hospital’s board members with overseas organisations and global business network, the coffin home was able to provide a repatriation service for those deceased abroad by providing a temporary depository at the coffin home, from where the deceased could then be returned to their birth place for burial. This service eventually allowed the coffin home became the centre of a global charity hub during the last century.

Tung Wah Coffin Home now consists two halls, 72 rooms, gateways, pavilion and gardens built in different periods. Its buildings reflect a variety of architectural styles, ranging from traditional Chinese vernacular architecture to modern Western-style elements, and others that are a hybrid of both. Tung Wah Coffin Home underwent a large scale restoration project between 2003 and 2004, with a view to restore the coffin home’s elements to their original architectural styles. The restoration project won the Award of Merit in the 2005 UNESCO Asia-Pacific Heritage Awards and the Award of Honor in the Heritage Preservation and Conservation Awards offered by the Antiquities and Monuments Office in the same year.

Tung Wah Coffin Home was declared a monument in 2020.

Excerpt from english.cha.go.kr/html/HtmlPage.do?pg=/royal/RoyalPalaces...:

If one passes the garden at the rear of the Juhamnu Pavilion and walks down along the slope of the hill leading into the stairway, the person can find a square pond on the opposite side and a pavilion on the north bank of the pond. This is the Aeryeonjeong, which is composed of only 1 kan. Looking out of the windows of the pavilion, one can enjoy a wonderful view. It looks like just a framed picture, owing to the decorations attached to the upper part of the pillars. Of course, the mood of the picture depends on the season. In particular, the stone structure, through which water comes into the pond, is opposite excellent in beauty and technique of design.

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Εισαγωγή

Χριστιανική μαρτυρία

«Αυτός που κυριαρχεί επί των πάντων» κλιπ - Ο Θεός έχει την κυριαρχία επί των πάντων στο Σύμπαν

Η ανθρωπότητα ψάχνει αυτές τις απαντήσεις εδώ και πολλές χιλιάδες χρόνια: πώς μπορούν και βρίσκονται σε τέτοια τέλεια τάξη τα ουράνια σώματα στο σύμπαν; Γιατί όλα τα έμβια όντα κινούνται πάντα σε κύκλους ακολουθώντας αμετάτρεπτους κανόνες; Γιατί γεννιούνται οι άνθρωποι, και στη συνέχεια γιατί πεθαίνουν; Ποιος έχει καθορίσει, αλήθεια, όλους αυτούς τους κανόνες και τους νόμους; Ποιος πραγματικά κυβερνά στο σύμπαν και σ’ όλα τα πράγματα; Αυτό το υπέροχο απόσπασμα από τη χριστιανική ταινία «Αυτός Που Κυριαρχεί Επί Των Πάντων», θα σας καθοδηγήσει στη ρίζα αυτών των ερωτημάτων και θ’ αποκαλύψει όλα αυτά τα μυστήρια.

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Excerpt from www.amo.gov.hk/en/historic-buildings/monuments/hong-kong-...:

Tung Lin Kok Yuen is situated at No. 15, Shan Kwong Road, Happy Valley, Hong Kong, being a Buddhist monastery founded in 1935 by Lady Clara Ho Tung and her husband Sir Robert Ho Tung. The name of the monastery was derived from the couple’s name Sir Robert Ho Tung and Lady Clara (Dharma name Lin Kok).

Lady Clara was a Buddhist and lay patron who had a passionate desire to spread the wisdom and practice of Buddhism as well as to promote the education of women. She founded the Po Kok Free School and the Po Kok Buddhist Institute in Hong Kong in the early 1930s to provide education for women and training for nuns. After Tung Lin Kok Yuen was first built, it housed both the School and the Buddhist Institute. As it is located in the residential area of Happy Valley, Tung Lin Kok Yuen marked the emergence of an urban monastery model in Hong Kong, as contrasted to the traditional monastery setting in the mountains.

With its arrowhead-shaped building plan, Tung Lin Kok Yuen’s appearance resembles a “giant ship” symbolising one of Mahayana Buddhism’s concepts of ferrying all beings to the “other shore”, or in other words enlightenment itself. The architect responsible for the building design was Fung Tsun, and Venerable Shi Ai Ting provided extensive advice for details which embody the Buddhist doctrine. While Tung Lin Kok Yuen adopted Western structural forms, it retained traditional Chinese designs in both its interior and exterior decorations such as flying eaves, brackets and glazed tile roofs. Following the traditional Chinese layout for a Buddhist monastery, it had a Skanda Hall, the Grand Buddha Hall and a Tripitaka Library in designated sequence. On each side of the Grand Buddha Hall were the Dharma Bell and the Dharma Drum. Behind the Grand Buddha Hall there was a courtyard which was redeveloped in 1954 into a three-storied Lin Kok Memorial Building. This was also designed by Fung Tsun to be integrated with the original building in the same style of architecture. The first floor of the Lin Kok Memorial Building now houses the Bhaisajyaguru Buddha Hall.

Tung Lin Kok Yuen was declared a monument in 2017.

[CREDITS]

[MUSIC]

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This one has been taken during the

1st Tuscan Photo Tour

Coming next the 2nd Tuscan Photo Tour.

The BEST SPOTS you have ever seen in Val d'Orcia and the chance to shot the "Mille Miglia" passing through in those days.

Next 13-15 May.

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2- My experience: Publishing a book

3- Rock Concert Photography – 9 Tips on How to Get The Shot

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DECOR

Bed → [ zerkalo ] Delhi - Bed Adult

Pillow → [ zerkalo ] Delhi - Three Pillows Embroidery

Two Pillows Plain → [ zerkalo ] Delhi - Two Pillows Plain

Two Pillows Embroidery→[ zerkalo ] Delhi - Two Pillows Embroidery

Rug → [ zerkalo ] Delhi - Rug Round Embroidery

Rug → [ zerkalo ] Delhi - Rug Square Embroidery

Rug → [ zerkalo ] Delhi - Rug Round Plain

Table → [ zerkalo ] Delhi - Table (Copper, Rose Gold, Gold)

Coffee Maker→ [ zerkalo ] Delhi - Coffee Maker (Black, Silver, White)

Coffee → [ zerkalo ] Delhi - Coffee Cup

Cookies → [ zerkalo ] Delhi - Cookies

Tray → [ zerkalo ] Delhi - Tray (Black, Silver, White)

Lantern→ [ zerkalo ] Delhi - Lantern (Black, Silver, White)

Armchair → [ zerkalo ] Grassington Armchair w/Cloth - PG @access

Candy → [Merak] - Candy Delight

Candy box→ [Merak] - Box of Xmas Delights

Basket → [Merak] - Memmories Basket (A)

Ornament → Apple Fall Ornamental Elephant - Bronze

Mirror → Fancy Decor: Leaning Mirror

Lantern → Aphrodite Arabian Standing Lantern -Purple-

Table → Zen Creations -Tarnished Table 3 (slat)

Table → Zen Creations - Tarnished Table 3 (shorter)

Candles → Zen Creations - Stone Candle in bowl (touch for flames)

Frame → Zen Creations - Vintage Herb Art Sage

Frame → Zen Creations - Vintage Herb Art Basil

Frame → Zen Creations - Vintage Herb Art Parsley

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Excerpt from temple.bongeunsa.org/public_html_en/intro/buddhist.asp:

Panjeon (Tripitaka Hall)

Panjeon was built in 1855 by the Venerable Yeonggi and a great scholar and calligrapher Kim Jeong-hee whose pen name was Chusa to preserve the wooden blocks of the 81 volumes of the Avatamsaka Sutra. Added later were the wooden blocks of the Vimalakirti Sutra, the Collection of Poems written by hermit Hansanja, the Initial Self-Discipline by monk Jinul and the printing of Sakyamuni Buddha's feet among others. Currently 3,438 wooden blocks are well kept in this hall. This is the oldest building in the Bongeunsa Temple where the Vairocana Buddha is enshrined. The hanging board of Panjeon and the wooden blocks of the Avatamsaka Sutra have been designated as the Tangible Cultural Property No. 83 and No. 84 of the Seoul City. The hanging board features the last work of Chusa Kim Jeong-hee as a calligrapher of the Joseon Dynasty.

Excerpt from www.mtr.com.hk/en/customer/community/art_archi_hku_our_me...:

Art in station architecture

Artwork Title:

Our Memories of the Western District - HKU

Artist Name:

Photo winners from local community and MTR Corporation (Hong Kong)

Artwork Location:

HKU Station - Concourse

Form of Artwork:

Digital Printing on Glass

Artwork Completion Date:

December 2014

Artist's Concept:

The photographic competition entitled "Our Memories of the Western District" was the inaugural activity of the West Island Line Community Art Programme. Unique images of the HKU area were captured by local residents and the winning photographs from the champion, 1st runner-up, 2nd runner-up and merit award recipients were selected as the theme images for use in HKU Station. These photographic images were then pixelated using thousands of images collected from the community and then combined with monochrome graphics to create a panoramic collage, reflecting the uniqueness and culture of Western District with traditional buildings and daily life of the local community.

Café Du Monde is a Vieux Carré (French Quarter) icon. Just below Jackson Sqaure at Decatur, it is open 24 hours, serving up chicory-cut cafe au lait and beignets (powered sugar coated fried fritters) to locals and visitors alike. Someone told me that Café Du Monde only lost their awning in Katrina, but they didnt know if that was because of Jesus or the devil, because both are known to drink at Du Monde.

Excerpt from miyajima.or.jp/english/spot/spot_other.html:

Designated as a National Important Cultural Property on August 29, 1910

Hokoku Shrine is dedicated to the warlord Toyotomi Hideyoshi (one of the three unifiers of Japan in the 16th century) and his loyal aid Kato Kiyomasa. The reason for building this structure is clearly stated in a letter by Ankokuji Ekei, head monk of Ankokuji Temple. In 1587, Ekei asked Daiganji Temple, the temple in charge of construction and repair work in Miyajima including Itsukushima Shrine, to build a Buddhist library in which the chanting of Senbu-kyo sutras could be held every month. As there is no board ceiling or outer gate, it is believed that the construction of the building was not completed.

Originally, Amida Buddha and two subordinate Buddhist saints, Anan and Kasho-sonja, were enshrined in the Buddhist altar until the early Meiji era. Since that time, however, the altar has been used in Shinto rituals.

The building is called Senjokaku (Hall of One Thousand Tatami Mats), reflecting its standing as the largest structure on Miyajima Island. The shrine was a popular landmark in Miyajima where many people came to relax and cool themselves and to buy popular souvenirs such as tooth picks, and a variety of legends and traditions have been created here.

The fact that this structure, unique among the buildings belonging to Itsukushima Shrine, is unpainted and that its exact date of founding is recorded makes it a valuable gauge of the passage of time. The traces of weathering on its pillars and floor boards can be used to determine the approximate age of any other wooden structure on Miyajima.

A piece of wood used as a measuring device in the reconstruction work of the O-Torii in 1873 hangs on a pillar under the floor of the south part of the shrine. Countless votive picture tablets that had been hanging on the walls of Itsukushima Shrine buildings until the mid Meiji era decorate the walls inside the hall.

The shrine did not yet exist at the time of the Battle of Itsukushima in 1555 when the Mori clan defeated the Sue clan to unify the Chugoku region. The headquarters of the Sue clan was located on this hill, which was then called To-no-oka (Pagoda Hill). Starting in the Meiji era, the hill was developed through the establishment of stone steps, among other additions.

Excerpt from www.japan-experience.com/all-about-japan/miyajima/temples...:

Its bare appearance may not intrigue you at first. Only unfinished walls and a hundred pillars. Although the building is pretty, there is something missing. But once inside, look up: the gigantic ceiling is covered with a mosaic of paintings whose subjects are as varied as the styles and periods of implementation. Medieval battles, Buddhist representations, landscapes and animals in a modern style, the eye does not know where to turn.

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what will happen! What?

October 31 Halloween🎃

Dr. M Creation!

My dear Frankenstein will gather

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Δευτέρα Παρουσία

Ο Θεός λέει:« ...Ό,τι έχει δημιουργήσει ο Θεός, συμπεριλαμβανομένων εκείνων που κινούνται αλλά και εκείνων που είναι ακίνητα, όπως για παράδειγμα τα πτηνά και τα ψάρια κι όπως τα δέντρα και τα λουλούδια, συμπεριλαμβανομένων και των ζώων της φάρμας, των εντόμων και των αγρίων ζώων που έπλασε την έκτη ημέρα – ήταν όλα καλά με τον Θεό και επιπλέον, στα μάτια του Θεού, όλα αυτά, σύμφωνα με το σχέδιό Του, είχαν όλα φθάσει στο στάδιο της τελειότητας και ήταν στο επίπεδο που επιθυμούσε ο Θεός. Βήμα-βήμα ο Δημιουργός πραγματοποίησε το έργο που επιθυμούσε να κάνει, σύμφωνα με το σχέδιό Του. Το ένα μετά το άλλο, τα πράγματα που ήθελε να δημιουργήσει εμφανίστηκαν και η εμφάνιση του καθενός από αυτά ήταν η απεικόνιση της εξουσίας του Δημιουργού και η αποκρυστάλλωση της εξουσίας Του, και εξαιτίας αυτής της αποκρυστάλλωσης, όλα τα δημιουργήματά Του, δεν θα μπορούσαν παρά να είναι ευγνώμονα στη χάρη του Δημιουργού και στις παροχές Του. Καθώς οι θαυματουργές πράξεις του Θεού εκδηλώνονταν, αυτός ο κόσμος κομμάτι-κομμάτι γέμισε, με όλα αυτά που δημιούργησε ο Θεός κι άλλαξε από το χάος και το σκοτάδι κι έγινε καθαρό και φωτεινό κι από τη θανάσιμη ακινησία πέρασε στη ζωντάνια και την απεριόριστη ζωτικότητα.... »

από το βιβλίο «Ο Λόγος Ενσαρκώνεται»

το θέλημα του θεού

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وَ كل عامٍ وَ أنا بخيْر = ) ..

thanx all for sharing this special day with me .. ^^

Cameron Highland, Malaysia 馬來西亞

Mouche verte / Common green bottle fly

Lucilia sp. (Lucilia sericata ?)

spipoll.snv.jussieu.fr/mkey/mkey-spipoll.html

aramel.free.fr/INSECTES15-50.shtml

The common green bottle fly (Lucilia sericata) is a blow fly found in most areas of the world, and the most well-known of the numerous green bottle fly species. It is 10–14 mm long, slightly larger than a house fly, and has brilliant, metallic, blue-green or golden coloration with black markings.

Medical importance

L. sericata has been of medical importance since 1826, when Meigen removed larvae from the eyes and facial cavities of a human patient. L. sericata has shown promise in three separate clinical approaches. First, larvae have been shown to debride wounds with extremely low probability of myiasis upon clinical application. Larval secretions have been shown to help in tissue regeneration. Basically, L. sericata larvae can be used as biosurgery agents in cases where antibiotics and surgery are impractical.

en.wikipedia.org/wiki/Common_green_bottle_fly#Medical_imp...

La mouche verte commune (Lucilia sericata) est une mouche commune dans le monde et la plus connue des nombreuses espèces de mouches vertes. De 10 à 14 mm de long, légèrement plus grande qu'une mouche domestique, elle présente une coloration brillante, métallique, bleu-verte ou dorée avec des marques noires.

Importance médicale

L. sericata a une importance médicale depuis 1826, lorsque Meigen a retiré les larves des yeux et des cavités faciales d'un patient humain. L. sericata s'est montré prometteuse dans trois approches cliniques distinctes. Premièrement, il a été démontré que les larves corrigent les plaies avec une probabilité extrêmement faible de myiasis lors d’une application clinique. Il a été démontré que les sécrétions larvaires aident à la régénération des tissus. Fondamentalement, les larves de L. sericata peuvent être utilisées comme agents de biochirurgie dans les cas où les antibiotiques et la chirurgie ne sont pas employables.

Τα έτη πολλά και Παναγιοσκέπαστα!

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Ι.Μ.Παναγίας Πελεκητής H.M.Virgin Mary Rusticated

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Παναγία Πελεκητή: Η «βασίλισσα» των Αγράφων

Είναι ένα από τα μοναστήρια που ξεχωρίζουν. Το τοπίο, η αρχιτεκτονική του, η ιστορία του καθιστούν την Ιερά Μονή της Παναγίας Πελεκητής προσκυνηματικό κέντρο. Βρίσκεται κτισμένη πάνω από την τεχνητή λίμνη Πλαστήρα στην Καρδίτσα και υπάγεται διοικητικά στη Μητρόπολη Φαναριοφερσάλων. Σύμφωνα με τα τελευταία ιστορικά στοιχεία, κτίστηκε πριν από περίπου πέντε αιώνες σε μια απόκρημνη, βραχώδη πλαγιά των Αγράφων, σε υψόμετρο 1.400 μέτρων, βορειοδυτικά του χωριού Καρίτσα.

Η ιστορία της Ιεράς Μονής Παναγίας Πελεκητής έχει συνδεθεί με την πορεία της περιοχής, η οποία συμμετείχε σε όλους τους αγώνες του Έθνους. Κατά την επανάσταση του 1821 η Καρίτσα καταστράφηκε από τους Τούρκους, ενώ το 1943 από τους Γερμανούς. Οι μοναχοί της μονής ήταν εκ των πρωταγωνιστών κατά την απελευθέρωση της Καρίτσας από τους Τούρκους, δημιουργώντας μια διαφορετική σχέση με τους κατοίκους.

Από την ίδρυσή της η μονή δέσποζε στα εκκλησιαστικά πράγματα της περιοχής αφού είχε αναγνωριστεί ως σταυροπηγιακή το 1606 από τον Οικουμενικό Πατριάρχη Ραφαήλ Β΄.

Πελεκητή ονομάστηκε καθώς τα κελιά της δημιουργήθηκαν μέσα στους βράχους σε τέσσερα επίπεδα, όπου οι μοναχοί ζούσαν και λειτουργούσαν το μοναστήρι, ενώ υπήρχε ακόμη και κρυφό σχολειό.

Ο Πορφύριος

Όπως αναφέρει ο Φώτης Κερασιώτης, που έχει ασχοληθεί με την ιστορία της μονής, η ίδρυσή της άρχισε πιθανότατα στα τέλη του 15ου αιώνα από τον Πνευματικό Πορφύριο και ολοκληρώθηκε το 1529 στη σημερινή της μορφή από τον νέο Οσιομάρτυρα Δαμιανό, ο οποίος ιστορείται ως «κτήτωρ» σε δύο τοιχογραφίες της. Το μοναστήρι αγιογραφήθηκε στα μέσα του 17ου αιώνα και έχει δύο ναούς, τον Ναό της Αναλήψεως του Χριστού και τον Ναό της Παναγιάς Φανερωμένης (το Καθολικό).

Το Καθολικό είναι ο κεντρικός και αρχαιότερος ναός, αφιερωμένος στην Ανάληψη του Κυρίου. Είναι μονόκλιτη βασιλική με νάρθηκα, στεγασμένη με κυλινδρική καμάρα, με ενισχυτικό τόξο στο μέσο. Σύμφωνα με σχετική επιγραφή που υπάρχει εντός του ναού, αγιογραφήθηκε το 1654 από τους αγιογράφους Ιωάννη, Νικόλαο Ιερέα και Ιάκωβο Ιερομόναχο.

Ο δεύτερος ναός είναι αφιερωμένος στην Παναγία Φανερωμένη. Είναι αθωνικού ρυθμού, με τρούλο και πλευρικούς χορούς, χωρίς εσωτερικούς κίονες. Οι τοιχογραφίες, όπως προκύπτει από σχετική επιγραφή που υπάρχει επάνω από τη θύρα εισόδου, ιστορήθηκαν το 1666. Ανιστορήθηκαν το 1674 από τον αγιογράφο Ιάκωβο και τον γιο του Δημήτριο.

Γνωστή είναι η μικρή αλλά θαυματουργή εικόνα της Παναγίας Πελεκητής, στην οποία έχει ζωγραφιστεί η Παναγία με τον Χριστό στην αγκαλιά της. Η εικόνα δυστυχώς εκλάπη και αναζητείται για να επιστραφεί στη φυσική της θέση, το μοναστήρι. Ο Ευρυτάνας ιστορικός Πάνος Βασιλείου το 1929 έγραψε τα εξής: «Εκτός της αρίστης Βυζαντινής τέχνης σε τοιχογραφίες, υπάρχει εδώ μια εικόνα (ελαιογραφία 0,04Χ0,03) της Παναγίας με τον Χριστό στην αγκαλιά της, έργο Ραφαηλικής τέχνης. Δεν εξηγείται πώς η μικροσκοπική αυτή εικονίτσα, που θεωρείται και σαν παλαιότερη, αλλά θαυματουργός, βρέθηκε εδώ πάνω. Φέρει χρονολογία 1654.

Η τεχνοτροπία της θυμίζει τον Χριστό του Πρωτάτου του Αγίου Όρους, το γνωστό έργο του Πανσέληνου. Μάλιστα ήταν η εικονίτσα τούτη στολισμένη με 20 πολύτιμες πέτρες από τις οποίες οι 16 αφαιρέθηκαν από… αγνώστους, χωρίς φυσικά τούτου να σημειωθεί σε κανένα, ως τα σήμερα, αστυνομικό δελτίο. Μένουν ακόμα, ευτυχώς, 4 ερυθρόχρωμες πετρούλες στο επαργυρωμένο περίβλημά της που έχει μέγεθος 0,21Χ0,23 μ. και που φέρει επάνω του σκαλισμένα αγγελούδια. Μια απέραντη καλοσύνη ζωγραφίζεται στο χαμογελαστό πρόσωπο της Παναγίας, της οποίας το παιδάκι παρουσιάζει κάτι το αληθινά Θείο και αξιοθαύμαστο για τη χαρούμενη εκφραστικότητά του. Η θαυμάσια αυτή εικόνα της Παναγίας της Πελεκητής θυμίζει Αναγέννηση».

Το μοναστήρι λόγω της περίτεχνης κατασκευής του και της ένδοξης ιστορίας του έχει ανακηρυχθεί «Ιστορικό Διατηρητέο Μνημείο». Δυστυχώς, όμως, από τον πλούτο των εκκλησιαστικών κειμηλίων και της σπάνιας βιβλιοθήκης του ελάχιστα, σήμερα, διασώζονται.

Το μοναστήρι πανηγυρίζει στις 15 Αυγούστου, της Κοιμήσεως της Θεοτόκου. Τα τελευταία χρόνια, ύστερα από σημαντικές πρωτοβουλίες των τοπικών φορέων και άλλων παραγόντων, εξευρέθηκαν τα απαραίτητα χρηματικά ποσά και το μοναστήρι έχει ανακαινισθεί και αξιοποιηθεί, συγκεντρώνοντας πλήθος προσκυνητών από ολόκληρη την ελληνική επικράτεια.

Όταν οι μοναχοί μετακίνησαν τα σύνορα το 1831

Εντύπωση προκαλεί και το εξής περιστατικό: Μετά τη δημιουργία του ελληνικού Κράτους, το 1831, η Καρύτσα (είναι το χωριό κάτω από το μοναστήρι) και ο Μπελεκομύτης βρέθηκαν εκτός ελληνικών συνόρων γιατί καθορίστηκαν επί του Καρυτσιώτη ποταμού, ενώ αυτά τα δύο χωριά βρίσκονται μετά τον ποταμό. Τότε οι μοναχοί μαζί με τους κατοίκους των δύο χωριών μετακίνησαν αυθαίρετα τα σύνορα και τα τοποθέτησαν μετά το μοναστήρι, στο οροπέδιο του Καραμανώλη.

Panagia Pelekiti(rusticated): The "Queen" of Agrafa

It is one of the monasteries that stand out. The landscape, architecture, history make the Holy Monastery of Panayia Pelekiti a pilgrimage center. It is built above the artificial lake Plastira in Karditsa and is administratively subordinated to the Cathedral of Fanariers. According to the latest historical data, it was built about five centuries ago on a steep rocky slope of Agrafa, at an altitude of 1,400 meters, northwest of Karitsa village.

The history of the Holy Monastery of Panagia Pelekiti has been linked to the course of the region, which participated in all the struggles of the Nation. During the revolution of 1821 Karitsa was destroyed by the Turks, while in 1943 by the Germans. The monks of the monastery were among the protagonists in the liberation of Karitsa from the Turks, creating a different relationship with the inhabitants.

Since its founding, the monastery has dominated the ecclesiastical things of the region since it was recognized as a cruciform in 1606 by the Ecumenical Patriarch Raffael II.

Pelekiti was named as its cells were created in the rocks on four levels, where the monks lived and functioned the monastery, while there was even a hidden school.

Porphyrios

According to Fotis Kerassiotis, who has dealt with the history of the monastery, it was probably founded at the end of the 15th century by the Spiritual Porphyry and was completed in 1529 in its present form by the new Omar Martyr Damianos, who is described as a "builder" In two frescoes. The monastery was hagiographed in the middle of the 17th century and has two temples, the Church of the Ascension of Christ and the Church of Panagia Faneromeni (the Catholic).

The Katholikon is the central and most ancient temple, devoted to Ascension of the Lord. It is a one-aisled basilica with a narthex, sheltered by a cylindrical arch, with a reinforcement bow in the middle. According to a relevant inscription inside the temple, it was painted in 1654 by hagiographers Ioannis, Nicholas Priest and Iacob Ieromonas.

The second temple is dedicated to Panagia Faneromeni. It is of the Athonian style, with dome and side dances, without internal columns. The frescoes, as indicated by a relevant inscription above the entrance door, were discovered in 1666. They were painted in 1674 by the icon-painter Iakovos and his son Dimitrios.

Known is the small but miraculous icon of Panagia Pelekiti, in which the Virgin Mary is painted with Christ in her arms. The picture is unfortunately stolen and sought to be returned to its natural place, the monastery. Evrytanas historian Panos Vassiliou wrote in 1929: "In addition to the excellent Byzantine art in frescoes, there is an icon (oil painting 0,04x0,03) of the Virgin Mary with Christ in her arms, a work of Raphael art. It is not explained how this tiny icon, which is considered as an old but miraculous icon, was found here. It dates back to 1654.

The style reminiscent of the Christ of the Protaton of Mount Athos, the well-known work of the Full Moon. In fact, this icon was embellished with 20 precious stones, of which 16 were removed from ... strangers, of course not to mention to anyone, as today, a police record. There are still, fortunately, 4 red-colored petals in its silver-plated casing, which is 0.21 x 0.23 m in size and carved on it with carved angels. An immense kindness is painted on the smiling face of Our Lady, whose child presents something truly divine and admirable for his joyful expressiveness. This magnificent icon of Virgin Mary Pelekite reminds Renaissance. "

The monastery, due to its elaborate construction and its glorious history, has been declared "Historic Preserved Monument". Unfortunately, however, the wealth of ecclesiastical heirlooms and its rare library are scarcely preserved today.

The monastery celebrates on August 15, the Assumption of the Virgin Mary. In recent years, after significant initiatives by local actors and other actors, the necessary money has been found and the monastery has been renovated and exploited, gathering crowds of pilgrims from all over Greece.

When the monks moved the border in 1831

The following incident is also impressed: After the Greek State was founded in 1831, Karytsa (the village under the monastery) and Belekomytis were found outside the Greek border because they were established on the river Karytsiotis, and these two villages are afterwards River. Then the monks, along with the inhabitants of the two villages, arbitrarily moved the borders and placed them after the monastery, on the plateau of Karamanolis.

•Source

Kenrokuen 兼六園

www.japan-guide.com/e/e4200.html

en.wikipedia.org/wiki/Kenroku-en