Religious Iconography
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El Panecillo is a 200-metre-high hill of volcanic-origin, with loess soil, located between southern and central Quito. On top stands the Virgin de Quito, a 45-meter-tall monument erected in 1975. The virgin stands on top of a globe and is stepping on a snake, which is a classic madonna iconography. Less traditional are the wings.
Removed from the iconography of the Noir cement jungle I incorporated common Noir semiotics to an otherwise typical farm scenario using bleak overtones, restrictive framing, deep contrast, and a stark off angle camera shot.
Not being invited to wander this pasture we peer at these dejected cows through the proverbial glass darkly.
camera: Zenit 122
Lens: Industar 50- 2 pancake
Film: Kodak Tri-X 400 - 35mm
2nd century AD, marble, Archaeological Museum of Thessaloniki. Some say that this is a depiction of Zeus. It could be. Senior gods deserve a serious beard. Christian iconography of Jesus followed exactly this trajectory. Initially, Jesus was shown to be a young, beardless man. Once Christianity had become the state religion, he suddenly grew older - and a large beard. Religious fanatics often prop up their "seriousness" by having an imposing beard. They like to think they act in the name of God. But let me tell you, it is not the beard that does it. Leica M8, Voigtlaender
El Panecillo is a 200-metre-high hill of volcanic-origin, with loess soil, located between southern and central Quito. On top stands the Virgin de Quito, a 45-meter-tall monument erected in 1975. The virgin stands on top of a globe and is stepping on a snake, which is a classic madonna iconography. Less traditional are the wings.
El Panecillo is a 200-metre-high hill of volcanic-origin, with loess soil, located between southern and central Quito. On top stands the Virgin de Quito, a 45-meter-tall monument erected in 1975. The virgin stands on top of a globe and is stepping on a snake, which is a classic madonna iconography. Less traditional are the wings.
Bolniţa "Sf. Nicolae" (Mănăstirea Polovragi)
Polovragi Monastery Infirmary Chapel
www.monumenteromania.ro/index.php/monumente/detalii/en/Bo...
Period: 1732
Importance: A
LMI code: GJ-II-m-A-09356.02
Address:
Location: sat POLOVRAGI; comuna POLOVRAGI
District: Gorj
Region: Oltenia
If one chooses the title "iconography of a genre", one cannot leave this uncommented and must let follow further examples ...
In the beginning, there were certainly steps that were hewn into the rock to avoid slipping, then there were ladders with wider and wider rungs, and at some point there were stairs whose pure function was to overcome two levels.
It increased in the Renaissance, and in the Baroque. There were architects who were passed around all over Europe for their grand staircases.
Then, with the use of steel and concrete, a whole new chapter of stair construction was opened.
Even if today a building is no longer built around a grand staircase, it is almost always tried to make the best of the necessity, unless they take only the function of an emergency staircase and the main movement in the building is posisible via taking elevators or escalators.
This staircase here connects two museums.
You first have to go down to the basement via a spiral staircase, and from there go directly up to the second floor, and then to the fourth.
The first floor and third floor house a watch and jewelry store with a separate entrance.
The height of the staircase, and the fact that it was placed at the edge of the building across the entire width of the building, creates a special situation and a special representative of its genre.
Wenn man den Titel "Ikonografie eines Genres" wählt, kann man das nicht unkommentiert lassen und muss weitere Besispiele folgen lassen ...
Zu Beginn gab es sicher Stufen, die man in den Fels haute, um nicht abzurutschen, dann gab es Leitern mit immer breiteren Sprossen, und irgendwann waren es Treppen, deren reine Funktion die Überwindung zweier Ebenen zum Grund hatten.
Es steigerte sich in der Renaissance, und im Barock gab es dann Architekten, die für ihre Schautreppen in ganz Europa herumgereicht wurden.
Mit der Nutzung von Stahl und Beton ließ sich dann noch ein ganz neues Kapitel des Treppenbaus öffnen.
Wenn auch heute nicht mehr ein Gebäude um eine Schautreppe herumgebaut wird, so wird fast immer versucht, aus der Notwendigkeit das Beste zu machen, es sei denn sie übernehmen nur noch die Funktion einer Nottreppe und die Hauptbewegung im Gebäude übernehmen Fahrstühle oder Rolltreppen.
Diese Treppe hier verbindet zwei Museen.
Mann muss zunächst ins Untergeschoss über eine Wendel, um dann von dort direkt in die erste Etage zu steigen und dann in die dritte. Erdgeschoss und zweite Etage beherbergen einen Uhren- und Schmuckladen, mit einem separaten Eingang.
Durch die Höhe der Treppe, und dadurch, dass man sie an den Rand des Gebäudes, über die gesamte Gebäudebreite positioniert hat, ergibt sich eine besondere Situation und eine besondere Vertreterin ihrer Gattung.
ƒ/6.3 14.0 mm 1/125 250
_DSC1084_pt2
У центрі воріт, на притворній півколонці, розміщено різноманітні накладки: велика митра з хрестом, крилаті голівки херувимів, двоголовий орел зі скіпетром і державою,
Двоголовий орел - символ Вселенського Патріархату. Річ у тім, що з останньою спадкоємицею Візантійського двору є Софія Палеолог, яка вийшла заміж за Івана ІІІ, в Московію потрапив династичний знак Палеологів - двоголовий орел.
Колись і Анна Порфірородна (дружина київського князя Володимира) привезла королівську корону Володимиру Хрестителю, після чого на монетах його почали зображати у короні. Царські регалії мали право успадкувати лише сини Володимира від його шлюбу з Анною - Борис і Гліб. А сини Володимира від інших жінок не мали такого права.
Коли Борис і Гліб загинули, ніхто з інших синів Володимира не зазіхав на царські регалії. І в Росії, коли померли сини Івана Жахливого (росіяни називають його "Грозним") - онука Софії Палеолог - наступники вже не мали права користуватись двоголовим орлом.
Але московити, як завжди, порушили усталені світові традиції, узурпувавши цей символ.
Тому варто розрізняти, де двоголовий орел є символом колишніх окупантів, а де - знаменом православної церкви.
«Іконографіі двоголових орлів в опорядженні українських іконостасів XVII–XVI ст. та складені з них композиції не є точними репліками державного герба ні Московського царства, згодом Російської імперії, ні Габсбурзької монархії, отже, немає підстав інтерпретувати їх в іконостасі, як герби.
У XVII ст., коли відбувається активна адаптація двоголового орла в культурний простір України, він осмислюється як полісемантичний мотив. Одночасно з його значенням “провладного” символу з очевидними імперськими смислами, з ним пов’язуються смисли про небесне заступництво і божественний протекторат, а сам орел сприймається як символ Христа.
Разом з тим, регулярне використання двоголового орла в системі символів православної церкви, яке відомо вже у палеологівський період, дозволяє говорити, що церковні ієрархи України XVII–XVIII ст. були добре знайомі з цим зображенням поза контекстом державної чи особистої геральдики.
Геральдичні орли, розміщені в іконостасі уздовж центральної вертикалі, мали христологічну символіку. Їх значення розкривало різні аспекти теми Божественного заступництва над світом в новозавітній історії. Інші смислові аспекти цього полісемантичного мотиву були пов’язані з ідеєю Одкровення Божого і темою спасіння, на шляху до набуття якого підкреслювалася особлива роль церкви східнохристиянського обряду.»
/Світлана Оляніна, «Під крилами Бога: символіка геральдичного орла в українських іконостасах XVII–XVIII ст.»/
ISSN 2311-9489. The Culturology ideas, 2016, N9.
This black-and-white photograph captures an ancient stone engraving of the Eye of Providence within a radiant triangle. Common in Christian iconography, the symbol represents divine omniscience and the Holy Trinity. The weathered surface and cracked masonry evoke a sense of time’s passage, while the surrounding shadows enhance the solemn, almost sacred atmosphere. Found in the old cemetery beside Oberhofenkirche in Goeppingen, this emblem serves as a reminder of faith, vigilance, and the eternal watchfulness of the divine.
"The iconography of Fujin seems to have its origin in the cultural exchanges along the Silk Road. The Greek wind god Boreas became the god Wardo in Greco-Buddhist art, then a wind deity in China, and finally the Japanese Wind God Fujin.
The church of the Holy Trinity is located in the centre of Piraeus overlooking the port.It stands imposing on the junction of EthnikisAntistaseos and V. Georgios Street, two busy main roads.The first church of the Holy Trinity was founded in 1839, but it was entirely destroyed in 1944.
It was replaced by an extempore small church to accommodate the believers, which stood there for 12 years.Eventually, after the claims of the plot by the municipality and the objections of the Archaeological Association due to the findings, the temple was founded again in 1956 and was inaugurated 8 years later, while the construction works of the church were still in progress.Its architecture and the iconographies are particularly interesting.
The support of the dome makes it visible from every spot of the church, while the figures of the iconographies are characterized by intense humane features, inspired by the Macedonian and Cretan school.
Χερουβικόν - 2nd tone (Byzantine Chant)
Chanted by Bulgarian Byzantine Choir
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photo:
Church of St. Stephen, Nesebar, Bulgaria
Sveti Stefan, Свети Стефан (Несебър), България
several construction phases: 11th - 13th, 16th and 18th century
iconography from 1599
en.wikipedia.org/wiki/Church_of_St_Stephen,_Nesebar
www.ancient-nessebar.com/html/main_en.php?menu=sights_svs...
Nessebar - UNESCO World Heritage site
The skull with crossbones (the two femurs) became popular in Europe as the symbol of mortality and the transitoriness of life (or, as a memento mori) between the 16th and 18th centuries. Here, a gravestone from around 1700 in Flamstead, Hertfordshire (churchyard of St Leonard's).
Χερουβικόν - 2nd tone (Byzantine Chant)
Chanted by Bulgarian Byzantine Choir
.
.
.
photo:
Church of St. Stephen, Nesebar, Bulgaria
Sveti Stefan, Свети Стефан (Несебър), България
several construction phases: 11th - 13th, 16th and 18th century
iconography from 1599
en.wikipedia.org/wiki/Church_of_St_Stephen,_Nesebar
www.ancient-nessebar.com/html/main_en.php?menu=sights_svs...
Nessebar - UNESCO World Heritage site
Aussie iconography. I came across this female red kangaroo on a bushwalk in the Pinnaroo cemetery bush gardens/reserve. I walked right past her then noticed her and came back. She didnt move and I was concerned she was injured. Turns out she was just sleeping. They are wild kangaroos but are accustomed to people as they reside in the memorial gardens.
The iconography observed on the nose ornaments and earrings, which accompany the dead of the Chimù elite, is associated with the figure of the deceased ruler, who is represented at the centre of echelon architecture. These structures could correspond to the representation of the funerary platforms where the great rulers were buried.
Χερουβικόν - 2nd tone (Byzantine Chant)
Chanted by Bulgarian Byzantine Choir
.
.
.
photo:
exonarthex
Church of St. Stephen, Nesebar, Bulgaria
Sveti Stefan, Свети Стефан (Несебър), България
several construction phases: 11th - 13th, 16th and 18th century
iconography from 1599
en.wikipedia.org/wiki/Church_of_St_Stephen,_Nesebar
www.ancient-nessebar.com/html/main_en.php?menu=sights_svs...
Nessebar - UNESCO World Heritage site
Stained Glass window in St John the Baptist, Markyate (detail). What triggered my interest in this image is its rigorous adherence to a traditional type of Latin Christian iconography that goes back to medieval times - including the golden-haired Jesus child. However, this window was created in 1895 when the visual language of contemporary art was profoundly different. And not only that, Black churches in the Caribbean and in South Africa had already produced black representations of the Madonna and the Jesus child. This image, however, is not in dialogue with the past - it is quoting the past.
Samyang 300/6.3 reflex lens.
Iconostasis (view from the north wall of the temple) of the Cathedral of the Archangel Michael Mikhailovsky Zlatoverho monastery.
Около 1713 г. на средства киевского генерал - губернатора Д. М. Голицына в соборе был перестроен северный придел великомученицы Варвары, стены которого расписаны в 1818 г. Голицын заказал для Варваринского придела деревянный резной иконостас и деревянный балдахин над ракой с мощами великомученицы Варвары.
В 1877 г., при епископе Порфирии (Успенском), на средства московского купца В. Зенина был построен новый 3-ярусный позолоченный иконостас.
В 1731 г., возможно на пожертвования императора Петра I и его супруги Екатерины, с южной стороны Михайловского собора симметрично Варваринскому был пристроен придел во имя великомученицы Екатерины. В 3-ярусном иконостасе имелись иконы великомучениц Екатерины и Варвары в серебряных ризах.
Для освещения собора между основным объемом и приделами были вырезаны широкие арки.
В 1820 г. на средства иеромонаха Иеронима стены Екатерининского придела были расписаны сценами из Апокалипсиса; в 1888 г. росписи «возобновлены».
Χερουβικόν - 2nd tone (Byzantine Chant)
Chanted by Bulgarian Byzantine Choir
.
.
.
photo:
Church of St. Stephen, Nesebar, Bulgaria
Sveti Stefan, Свети Стефан (Несебър), България
several construction phases: 11th - 13th, 16th and 18th century
iconography from 1599
en.wikipedia.org/wiki/Church_of_St_Stephen,_Nesebar
www.ancient-nessebar.com/html/main_en.php?menu=sights_svs...
Nessebar - UNESCO World Heritage site
Χερουβικόν - 2nd tone (Byzantine Chant)
Chanted by Bulgarian Byzantine Choir
.
.
.
photo:
Church of St. Stephen, Nesebar, Bulgaria
Sveti Stefan, Свети Стефан (Несебър), България
several construction phases: 11th - 13th, 16th and 18th century
iconography from 1599
en.wikipedia.org/wiki/Church_of_St_Stephen,_Nesebar
www.ancient-nessebar.com/html/main_en.php?menu=sights_svs...
Nessebar - UNESCO World Heritage site
Statue équestre de Saint Longin le Centurion, sculptée par Pedro José Luis en 1819.
Longin (en latin Longinus) ou Longin le centurion est un soldat romain qui a percé de sa lance le côté droit de Jésus de Nazareth pour s'assurer de sa mort lors de la crucifixion.
La Légende dorée en fait plus tard un héros de roman, aveugle, qui aurait été guéri de sa cécité physique (symbole de cécité spirituelle) par le sang qui aurait coulé de la plaie du Christ en croix jusque dans ses yeux. L'iconographie chrétienne reprend ainsi le thème de sa conversion après avoir reçu dans son œil une goutte de sang du Christ qui le guérit de son ophtalmie.
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Equestrian statue of Saint Longinus the Centurion, sculpted by Pedro José Luis in 1819.
Longinus (in Latin Longinus) or Longinus the centurion is a Roman soldier who pierced the right side of Jesus of Nazareth with his spear to ensure his death during the crucifixion.
The Golden Legend later makes him a hero of a novel, blind, who would have been cured of his physical blindness (a symbol of spiritual blindness) by the blood which would have flowed from the wound of Christ on the cross into his eyes. Christian iconography thus takes up the theme of his conversion after having received in his eye a drop of blood from Christ which healed him of his ophthalmia.
Im Stephansdom
"In Christian iconography, Anna selbdritt refers to a representation of St. Anne with her daughter Mary and the infant Jesus. The image type belongs to the devotional images that emerged in the late Middle Ages and particularly frequently and in many forms in Germany and the Netherlands, but also in Italy and Spain. The expression "selbdritt" is an old word which means "in a threesome"." de.wikipedia.org/wiki/Anna_selbdritt
"Names for this particular subject in other languages include:
Dutch: Anna te Drieën
French: Anne Trinitaire [...]
Italian: Anna Metterza
Slovene: Ana Samotretja"
en.wikipedia.org/wiki/Virgin_and_Child_with_Saint_Anne
I still wonder who the saint with the knife in his hand is.
The iconography of the image is unusual: John the Baptist is depicted with angelic wings. This is a symbolic image that reveals his special mission as a messenger ("angelos" in Greek - "messenger, messenger"), prophet and forerunner of the Messiah (Christ).
Іконографія образу незвичайна: Іоанн Предтеча зображений з ангельськими крилами. Це символічне зображення, яке розкриває його особливу місію як посланця («ангелос» по-грецьки — «посланник, вісник»), пророка та предтечі Месії (Христа).
Образ звертається не тільки до Євангелія, де Іоанну приділено велику увагу, але й до пророцтва Малахії: «Ось Я посилаю Ангела Мого, і він приготує дорогу передо Мною» (Мал. 3:1).
Як і пророки Старого Завіту, Іоан закликав до покаяння, він прийшов перед самим пришестям Христа, щоб приготувати Йому шлях («Предтеча» - означає «ідучий попереду»), і до нього відносили також слова пророка Ісаї: «Голос того, що кричить у пустелі: приготуйте дорогу Господу, прямими зробіть дороги Йому» (Іс. 40:3).
Жодна світова релігія не оминула увагою Предтечу Господнього. Мусульмани називають його пророк Ях’я, іудеї – пророк Йоханан. Останній пророк Старого Заповіту, водночас він шанується як перший пророк Заповіту Нового. У богослужбових піснеспівах Іоанна Хрестителя називають ранковою зорею, що провістила єдине Сонце Правди – Христа.
If one chooses the title "iconography of a genre", one cannot leave this uncommented and must let follow further examples ...
In the beginning, there were certainly steps that were hewn into the rock to avoid slipping, then there were ladders with wider and wider rungs, and at some point there were stairs whose pure function was to overcome two levels.
It increased in the Renaissance, and in the Baroque. There were architects who were passed around all over Europe for their grand staircases.
Then, with the use of steel and concrete, a whole new chapter of stair construction was opened.
Even if today a building is no longer built around a grand staircase, it is almost always tried to make the best of the necessity, unless they take only the function of an emergency staircase and the main movement in the building is posisible via taking elevators or escalators.
This staircase here connects two museums.
You first have to go down to the basement via a spiral staircase, and from there go directly up to the second floor, and then to the fourth.
The first floor and third floor house a watch and jewelry store with a separate entrance.
The height of the staircase, and the fact that it was placed at the edge of the building across the entire width of the building, creates a special situation and a special representative of its genre.
Wenn man den Titel "Ikonografie eines Genres" wählt, kann man das nicht unkommentiert lassen und muss weitere Besispiele folgen lassen ...
Zu Beginn gab es sicher Stufen, die man in den Fels haute, um nicht abzurutschen, dann gab es Leitern mit immer breiteren Sprossen, und irgendwann waren es Treppen, deren reine Funktion die Überwindung zweier Ebenen zum Grund hatten.
Es steigerte sich in der Renaissance, und im Barock gab es dann Architekten, die für ihre Schautreppen in ganz Europa herumgereicht wurden.
Mit der Nutzung von Stahl und Beton ließ sich dann noch ein ganz neues Kapitel des Treppenbaus öffnen.
Wenn auch heute nicht mehr ein Gebäude um eine Schautreppe herumgebaut wird, so wird fast immer versucht, aus der Notwendigkeit das Beste zu machen, es sei denn sie übernehmen nur noch die Funktion einer Nottreppe und die Hauptbewegung im Gebäude übernehmen Fahrstühle oder Rolltreppen.
Diese Treppe hier verbindet zwei Museen.
Mann muss zunächst ins Untergeschoss über eine Wendel, um dann von dort direkt in die erste Etage zu steigen und dann in die dritte. Erdgeschoss und zweite Etage beherbergen einen Uhren- und Schmuckladen, mit einem separaten Eingang.
Durch die Höhe der Treppe, und dadurch, dass man sie an den Rand des Gebäudes, über die gesamte Gebäudebreite positioniert hat, ergibt sich eine besondere Situation und eine besondere Vertreterin ihrer Gattung.
ƒ/6.3
14.0 mm
1/125
250
_DSC1082_pa2
Christ Church Cathedral - Dublin
Knowing God …
As Father,Son & Holy Spirit
Andrei Rublev's,15th century, Illuminated Icon marked by grandiloquent style & the Heraldic colour Gold.
One of the most-visited quiet corners of Christ Church Cathedral,in Dublin,is the side chapel in the south-east corner where there is a large copy of Andrei Rublev’s Icon of the Holy Trinity.The original one is held in the Tretyakov Gallery in Moscow.
Andrei Rublev (Андре́й Рублёв),is regarded as the greatest mediaeval Russian painter of Orthodox icons and frescos.He was born in the 1360s and died at the Andronikov Monastery in Moscow in 1428,but we have little information about his life, and we do not know when or where he was born.He probably lived in the Trinity Lavra of Saint Sergius near Moscow.
Rublev is first referred to in 1405 when he decorated icons and frescos for the Cathedral of the Annunciation in the Kremlin in Moscow, working alongside Theophanes the Greek.
Theophanes the Greek was an important Byzantine master who moved to Russia, and is considered to have trained Rublev.
Rublev's work has influenced many artists and theologians.
He combines two traditions,the Highest Asceticism and the Classic Harmony of Byzantine Mannerism. His paintings are always characterised by peacefulness and calm and are often regarded as the ideal of Eastern Church painting and of Orthodox iconography.
Works of Arts with religious themes.
Idols or Icons ... ? With Respect to Religious Freedom and Religious Tolerance ...
Art stands beyond homiletics & speaks to us Independent of any Dogmas and Beliefs ...
And, “If a man can arrange his religion so that it perfectly satisfies his conscience,it is not incumbent on him to care whether the arrangement is satisfactory to anyone else or not.”
~ Many Thanks for all your visits,comments & pink ☆s ~
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Montenegro is a country in Eastern Europe bordering Bosnia and Herzegovina, Serbia, Kosovo, Albania and the Adriatic Sea. It used to be a part of Yugoslavia. The capital is Podgorica. The name Montenegro is Italian and means Black mountain. Montenegro was an independent princedom between 1878 and 1910 and an independent kingdom until 1918. That year Montenegro became part of Yugoslavia. In 2003 Yugoslavia was transformed into the new country of Serbia and Montenegro, but this fell apart in 2006 when both countries went their separate ways. Montenegro is therefore the youngest country in Europe. Montenegro is not a member of the European Union, but it is a member of NATO. Despite the fact that Montenegro is not yet an EU Member State, people do pay with the euro. Montenegro may be small, but this beautiful nation has a huge array of natural and man-made wonders. Once overlooked in favor of more famous Mediterranean countries, Montenegro is quickly gaining a reputation as a great place to travel. It's easy to see why. The mountainous hinterland is home to deep gorges, flowing rivers, glacial lakes and old-growth forests, popular for adventure activities. The winding coast runs along pretty blonde bays overlooking the royal blue Adriatic Sea, ancient Venetian villages and UNESCO-walled towns. Podgorica is the capital city of Montenegro. Its rivers and bridges include the modern Millennium Bridge over the Morača River, and the stone bridge spanning the Ribnica River. The centuries-old Clock Tower, built by the Turks, dominates the old town.
Cetinje used to be the capital of Montenegro, but in 1946 it became Podgorica. The city was then called by a different name, namely Titograd, named after the Yugoslav president Tito, who died in 1980. In 1992 it was renamed Podgorica. Characteristic are the modern buildings, green parks, but also the large gray streets and buildings. The "new cathedral" Hristovog Vaskrsenja cathedral (as it is known in Podgorica) is great to visit. Built between 1993 and 2013, this must be one of the most spectacular cathedrals built in the last century. The large dome, the large towers with white stones and golden crosses of this immense new Serbian Orthodox cathedral are amazing. The inside with many frescoes is also impressive to see. The large central dome with supporting semi-domes is a sight to behold. The large chandeliers; the wall-to-wall murals and the beautiful marble floor. The cathedral has only been open since 2014. The interiors are enriched with iconography. The artistic decoration inside will blow your minds. Since the cathedral is quite new, the details are bright and clear. The locals are sometimes a bit disdainful of the cathedral - they prefer the really old churches with a lot of history - but the interior is beautiful.
Montenegro is een land in Oost-Europa en grenst aan Bosnië en Herzegovina, Servië, Kosovo, Albanië en de Adriatische Zee. Vroeger was het een deel van Joegoslavië. De hoofdstad is Podgorica. De naam Montenegro is Italiaans en betekent Zwarte berg. Montenegro was tussen 1878 en 1910 een zelfstandig prinsdom en tot 1918 een zelfstandig koninkrijk. Dat jaar werd Montenegro onderdeel van Joegoslavië. In 2003 werd Joegoslavië omgevormd in het nieuwe land Servië en Montenegro, maar dit viel in 2006 uit elkaar toen beide landen een eigen weg gingen. Montenegro is misschien klein, maar deze prachtige natie heeft een enorm scala aan natuurlijke en door de mens gemaakte wonderen. Ooit over het hoofd gezien ten gunste van meer bekende mediterrane landen, krijgt Montenegro snel een reputatie als een geweldige plek om te reizen. Voorheen was Cetinje de hoofdstad van Montenegro, maar in 1946 werd dit Podgorica. De stad heette toen nog anders, namelijk Titograd, vernoemd naar de in 1980 overleden Joegoslavische president Tito. In 1992 kreeg het de naam Podgorica. Kenmerkend zijn de moderne gebouwen, groene parken maar ook de grote grauwe straten en gebouwen. De nieuwe kathedraal Hristovog Vaskrsenja kathedraal (zoals die in Podgorica bekend staat) is geweldig om te bezoeken. Gebouwd tussen 1993 en 2013 moet dit één van de meest spectaculaire kathedralen zijn die in de vorige eeuw zijn gebouwd. De grote koepel, de grote torens met witte stenen en gouden kruizen van deze immense nieuwe Servische Orthodoxe kathedraal zijn waanzinnig. Ook de binnenkant met vele fresco’s zijn indrukwekkend om te zien. De grote centrale koepel met ondersteunende halve koepels is een lust voor het oog. De grote kroonluchters; de muurschilderingen van muur tot muur en de prachtige marmeren vloer. De kathedraal is pas geopend sinds 2014. De interieurs zijn verrijkt met iconografie, de artistieke decoratie binnen zal je verbazen. Omdat de kathedraal vrij nieuw is, zijn de details helder en duidelijk. De lokale bevolking is soms een beetje minachtend voor de kathedraal - ze geven de voorkeur aan de echt oude kerken met veel geschiedenis - maar het interieur is prachtig.
I saw this gorgeous rock formation out my window driving down 191 in the Navajo Nation and had to pull over to enjoy photographing it in this lovely sunset light.
Happy Friday All!!!
Cette cour, nichée le long du flanc nord de la Cathédrale, occupe l'emplacement de l'une des anciennes églises formant le groupe-cathédrale paléo-chrétien. Il a servi de nécropole au moyen âge, a également reçu des constructions qui ont appartenu à la communauté des chanoines et certainement à un palais archiépiscopal.
Le dessin de Jacques Le Lieur nous montre une rangée de maisons la bordant sur le nord. De telles maisons existaient également à l'ouest (rue des Quatre-Vents, rue Georges Lanfry actuelle). Ces maisons ont disparu à la fin du XXe siècle. En plus d'une abondante iconographie, il nous reste une seule rescapée : la "Vieille Maison" de la rue Saint-Romain. Des traces de solives sont également visibles sur les murs inférieurs de la tour Saint-Romain.
Jacques Le Lieur n'a pas figuré les bâtiments qui s'élèvent entre la cour d'Albane et la cour des Libraires. Une galerie de cloître reconstruite au XIIIe siècle est surmontée de l'ancienne Trésorerie, formant le logis d'Albane. Elle a été construite par Pierre de Colmieu, devenu cardinal d'Albano (Italie) pour accueillir le Collège d'Albane. A l'origine, ce collège accueillait dix clercs qui devaient chanter les offices dans la Cathédrale. C'est dans ce bâtiment qu'était la bibliothèque de la Cathédrale, riche d'une cinquantaine d'ouvrages au XIIe siècle.
Deux travées au sud et des pierres d'attente sur le mur nord de la cathédrale attestent que ce cloître était projeté pour les autres côtés du quadrilatère. Il aurait reconstitué l'atrium de la cathédrale primitive.
Cinq travées rythmées par de solides contreforts ont deux niveaux sous des combles couverts de petites tuiles. Les fenêtres du rez-de-chaussée ont été fermées au XIXe siècle par un remplage dans le goût du XVe siècle. A l'origine, la galerie était ouverte.
Au nord, les restes d'une chapelle romane ont été découvert en 1937. Cette chapelle était peut-être dédiée à saint Romain.
D'autres bâtiments occupaient l'espace : la Prison capitulaire, la Trésorerie, la Loge aux Chiens, chenil réservé aux dogues qui étaient lâchés dans la Cathédrale le soir.
Le jardin a été reconstitué dans la partie la plus proche de l'église, mettant en valeur les restes du cloître. le long des rues Saint-Romain et Georges Lanfry, un petit jardin ouvert au public rappelle els anciennes maisons détruites à la fin du XIXe siècle.
This courtyard, nestled along the northern flank of the Cathedral, occupies the site of one of the old churches forming the paleo-Christian cathedral group. It served as a necropolis in the Middle Ages, also received buildings that belonged to the community of canons and certainly to an archiepiscopal palace.
Jacques Le Lieur's drawing shows us a row of houses bordering it on the north. Such houses also existed to the west (rue des Quatre-Vents, current rue Georges Lanfry). These houses disappeared at the end of the 20th century. In addition to an abundant iconography, we have only one survivor: the "Old House" of rue Saint-Romain. Traces of joists are also visible on the lower walls of the Saint-Romain tower.
Jacques Le Lieur did not depict the buildings that rise between the cour d'Albane and the cour des Libraires. A cloister gallery rebuilt in the 13th century is surmounted by the old Treasury, forming the Albane residence. It was built by Pierre de Colmieu, who became Cardinal of Albano (Italy) to house the Albane College. Originally, this college housed ten clerics who were to sing the services in the Cathedral. It was in this building that the Cathedral library was located, containing around fifty works in the 12th century.
Two bays to the south and supporting stones on the north wall of the cathedral attest that this cloister was planned for the other sides of the quadrilateral. It would have reconstituted the atrium of the original cathedral.
Five bays punctuated by solid buttresses have two levels under attics covered with small tiles. The windows on the ground floor were closed in the 19th century by a tracery in the style of the 15th century. Originally, the gallery was open.
To the north, the remains of a Romanesque chapel were discovered in 1937. This chapel was perhaps dedicated to Saint Romain.
Other buildings occupied the space: the Chapter Prison, the Treasury, the Dog Lodge, a kennel reserved for the mastiffs that were released into the Cathedral in the evening.
The garden has been recreated in the part closest to the church, highlighting the remains of the cloister. Along the streets Saint-Romain and Georges Lanfry, a small garden open to the public recalls the old houses destroyed at the end of the 19th century.
The 10th century Kilmorie Cross in Kirkcolm, North Rhins. A double sided cross slab, rare in it's combination of both christian and Norse pagan iconography, possibly dating from the Gall-Gaidhil period.
Foxes, serving as messengers for Inari (the deity associated with paddy fields and other attributes), are depicted as statues marking the shrines. Narrative paintings and scrolls often feature kitsune (foxes), particularly as white foxes.
At Fushimi Inari Shrine, the kitsune sculptures make up over 25% of all fox statues found at shrines throughout Japan.
In Japanese iconography, foxes hold significant roles, ranging from cunning shape-shifters to guardians of rice and granaries. In mythology, foxes (kitsune) can be either bad (nogitsune) or good (yako or zenko), often distinguished by their colors and facial expressions in paintings.
Regarding sculptures, good foxes are typically placed at the entrances of Inari shrines, serving as guardians. These statues are often adorned with a red cloth, symbolizing the auspicious color of Inari. In contrast, bad fox statues are fewer and usually hidden in thickets or remote locations.
At the Inari shrine, a kitsune holding a key to the rice granary welcomes visitors. Its raised tail and stern expression signify its role as a guardian. The other kitsune in the pair greets visitors with a pleasant expression. Both kitsune at Fushimi Inari have one tail, while some kitsune depicted as spirits or souls in paintings have multiple tails.
Fushimi Inari Taisha, Fushimi-ku, Kyoto, Japan