View allAll Photos Tagged Profane
A semicúpula da Igreja de Santa María, em Viana, Navarra, é um exemplar notável da arte renascentista espanhola. Concebida como um retábulo em pedra, apresenta um complexo programa iconográfico que culmina na figura da Virgem Maria da Assunção, coroada e cercada por anjos. Esta iconografia está articulada em painéis que representam episódios bíblicos e hagiográficos, evidenciando a intenção catequética da obra. A fachada, projetada inicialmente por Juan de Goyaz e posteriormente concluída por Juan de Orbara por volta de 1570, destaca-se pela sua qualidade técnica e pela fusão de tradições sacras e profanas. Os caixotões decorativos em relevo, que incluem elementos italianos e motivos vegetais, inserem-se no maneirismo característico da escultura da região de La Rioja na segunda metade do século XVI. Este monumento, reconhecido como Monumento Histórico-Artístico em 1931, ilustra a riqueza artística do reino de Navarra e influenciou a construção de outros templos na área, refletindo a importância do culto mariano.
The semi-dome of the Church of Santa María in Viana, Navarra, is a remarkable example of Spanish Renaissance art. Conceived as a stone altarpiece, it features a complex iconographic program culminating in the figure of the Virgin Mary of the Assumption, crowned and surrounded by angels. This iconography is articulated in panels representing biblical and hagiographic episodes, highlighting the catechetical intention of the work. The façade, initially designed by Juan de Goyaz and later completed by Juan de Orbara around 1570, stands out for its technical quality and the fusion of sacred and profane traditions. The decorative relief coffers, which include Italian elements and plant motifs, are part of the characteristic mannerism of sculpture in the La Rioja region in the second half of the 16th century. This monument, recognized as a Historic-Artistic Monument in 1931, illustrates the artistic richness of the kingdom of Navarra and influenced the construction of other temples in the area, reflecting the importance of Marian worship.
Noravank. De kerk is toegewijd aan de Heilige Dopers. De weermuur omsluit het hoofdgebouw, drie kerken, een gavith (narthex), grafkapellen en enkele profane gebouwen.
One of the famed (or profaned?) double coal loads stretches for as far as the eye can see. The power is 2x3x1 with nearly 3 miles of train trailing, 276 loads, and nearly 40,000 tons. Impressive to see in person.
"Enclos paroissiaux" - Calvario.
Prendono il nome dall'enclos, ovvero dal recinto in pietra che circonda il complesso e che serviva per separare lo spazio sacro dall'esterno, vale a dire lo spazio profano o non sacro. Complessi religiosi di questo tipo sono molto numerosi in Bretagna: ne esistono una settantina soltanto nella Bassa Bretagna.
Del complesso di Plougastel-Daoulas rimane solamente il calvario, in quanto il resto è stato distrutto.
Il calvario risale al 1602, voluto dal signore di Kereraod come ex voto per la fine della peste.
Più volte danneggiato e restaurato, rappresenta alcune scene della vita di Cristo.
Alcune delle storie finemente scolpite nella pietra sono la Natività, l’entrata trionfale a Gerusalemme, e l’Ultima Cena.
"Enclos paroissiaux" - Calvary.
They take their name from the enclos, or the stone enclosure that surrounds the complex and which served to separate the sacred space from the outside, that is, the profane or non-sacred space. Religious complexes of this type are very numerous in Brittany: there are about seventy of them in Lower Brittany alone.
Of the Plougastel-Daoulas complex, only the calvary remains, as the rest has been destroyed.
The calvary dates back to 1602, commissioned by the lord of Kereraod as an ex voto for the end of the plague.
Damaged and restored several times, it represents some scenes from the life of Christ.
Some of the stories finely carved in stone are the Nativity, the triumphal entry into Jerusalem, and the Last Supper.
IMG20240518085034m
Plougastel-Daoulas, Finistere, Bretagne, "enclos paroissiaux", Calvario
The Philadelphia Art Museum, aka "The Parthenon on the Parkway," because of its Greek temple design. This tympanum of this part of the museum features ten free-standing figures, mythological Greek gods and goddesses signifying sacred and profane love. The tympanum is seventy-feet wide at its base above the supporting columns, and rises to twelve feet in height at the center. It was designed by C. Paul Jennewein.
I did not get all of it in the shot due to a series of wedding parties posing in front of the museum, thwarting my efforts for a clean shot. I had to edit out the griffins- see below.
Eglise fortifiée construite au XIIIème siècle. Il ne subsiste qu'une tour de défense surle mur nord, avec des meurtrières et un bel escalier de pierres permettant l'accès à l'étage, où se trouvent actuellement les cloches.
L'édifice est assez vaste avec ses collatéraux.
Il a subi de nombreuses transformations et réparations.
Profanée par les troupes espagnoles en 1651, probablement brûlée en même temps qu'une grande partie du village, l'église fut presque totalement détruite par un ouragan en 1725.
L'édifice fut en partie rebâti en 1757. Sa hauteur fut diminuée.
“……………………………………”
“…………………………………..”
-----------------------------------------------------------------
click to activate the icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream;
or…. Press the “L” button to zoom in the image;
clicca sulla piccola icona per attivare lo slideshow: sulla facciata principale del photostream, in alto a destra c'è un piccolo rettangolo (rappresenta il monitor) con dentro un piccolo triangolo nero;
oppure…. premi il tasto “L” per ingrandire l'immagine;
www.worldphoto.org/sony-world-photography-awards/winners-...
www.fotografidigitali.it/gallery/2726/opere-italiane-segn...
…………………………………………………………………
11 years have passed since I was last in the Sicilian town of Alcara Li Fusi, for me it is easy to know, I just need to see when I took the photographs of the double and contemporary anniversary held in Alcara Li Fusi, photographs that I have posted at the time on Flickr, they are two holidays that are celebrated on the same day of June 24, both holidays proceed together and parallel without ever mixing with each other, one dates back to an ancient pagan rite, the other is a purely religious occasion, probably in the past the Church tried to suppress the pagan rite by superimposing the cult for San Giovanni, but in fact this fortunately did not happen, so that in the early afternoon until the early evening we witness the procession for San Giovanni, while with the late evening arrival we witness the pagan rite of “Muzzuni”: the photographs that I present here try to describe what I saw in Alcara Li Fusi on June 24th. The "feast of Muzzuni" originates from an ancient pagan rite, on the brochures we read that this is the oldest popular festival in Italy, with characteristics that seem to originate from the Hellenic civilization, enclosing ancient rites from the peasant world, as a rite propitiatory turned towards the fertility of the earth, in a broad sense it is aimed at love, nature, rebirth (U 'Muzzuni others is only a phallic symbol); the term "Muzzuni" which would seem to have similarities "with the severed head" of St. John the Baptist, actually comes either from the "neckless jug" or refers to the mowed and collected wheat in bundles called "mazzuna"; this propitiatory rite that has come down to us, is of Greek and profane origin, it was imported by the ancient peoples who arrived in Sicily and from the Minor States of Greece: these peoples venerated rural divinities, among these Demeter (of the Earth), Kore (of Vegetation), Aphrodite (of Love), Adonis (of Fertility), and Dionysus (of Euphoria), these populations maintained these cults in the territories they colonized, and this is how their survival in Alcara Li Fusi is explained ; in the streets that cross the town small altars are prepared, on them will be placed "U 'Muzzuni" which is therefore a jug with a stub neck, from which ears of corn and carnations emerge, covered with a silk scarf and adorned with gold which belong to the families of the neighborhood, the walls of these altars are adorned with typical carpets woven with a pedal loom (the Pizzare), on the Pizza plates are placed with the "Laureddi", which are stalks of wheat sprouted in the dark; this "the pagan component", then there is the "Christian component", dedicated to the beheaded martyr Saint, St. John the Baptist.
Sono passati ben 11 anni da quando sono stato l’ultima volta nel paese siciliano di Alcara Li Fusi, per me è facile saperlo, mi basta vedere quando feci le fotografie della doppia e contemporanea ricorrenza che si tiene ad Alcara Li Fusi, fotografie che ho postato a suo tempo su Flickr, sono due feste che si celebrano lo stesso giorno del 24 giugno, entrambe le feste procedono insieme e parallele senza mai mischiarsi tra loro, una risale ad un antichissimo rito pagano, l’altra è una ricorrenza prettamente religiosa, probabilmente in passato la Chiesa ha tentato di sopprimere il rito di origine pagana sovrapponendovi il culto per San Giovanni, però nei fatti questo fortunatamente non è avvenuto, cosicché nel primo pomeriggio fino ad inizio sera si assiste alla processione per San Giovanni, mentre con l’arrivo della sera inoltrata inoltrata si assiste al rito pagano del “Muzzuni”: le fotografie che qui presento cercano di descrivere quanto ho visto ad Alcara Li Fusi il 24 giugno. La “festa del Muzzuni” origina da un antico rito pagano, sui depliants si legge che questa è la festa popolare più antica d’Italia, con caratteristiche che sembrano originare dalla civiltà ellenica, racchiudendo in se antichi riti provenienti dal mondo contadino, come rito propiziatorio rivolto verso la fertilità della terra, in senso lato esso è rivolto all’amore, alla natura, alla rinascita (U’ Muzzuni altri non è che un simbolo fallico); il termine “Muzzuni” che sembrerebbe avere delle analogie “con la testa mozzata” di San Giovanni Battista, in realtà proviene o dalla “brocca priva di collo” oppure fa riferimento al grano falciato e raccolto in fasci detti “mazzuna”; questo rito propiziatorio che è giunto fino a noi, è di origine greca e profana, esso è stato importato dagli antichi popoli giunti in Sicilia e provenienti dagli Stati Minori della Grecia: questi popoli veneravano divinità agresti, tra questi Demetra (della Terra), Kore (della Vegetazione), Afrodite (dell’Amore), Adone (della Fertilità), e Dioniso (dell’Euforia), tali popolazioni mantennero tali culti nei territori da essi colonizzati, ed è così che si spiega la loro sopravvivenza ad Alcara Li Fusi; nelle stradine che attraversano il paese vengono preparati piccoli altari, su di essi verrà messo “U’ Muzzuni” che quindi è una brocca col collo mozzo, dal quale fuoriescono spighe di grano e garofani, rivestita con un foulard di seta ed adornata con gli ori che appartengono alle famiglie del quartiere, le pareti di questi altari sono adornate con dei tipici tappeti tessuti col telaio a pedale (le Pizzare), sulle Pizzare vengono poggiati i piatti con i “Laureddi”, che sono steli di grano germogliati al buio; questa “la componente pagana”, poi c’è la “componete cristiana”, dedicata al Santo martire decapitato, San Giovanni Battista.
Mademoiselle Tendramour , aime se promener dans la foret , dans les jardins , dans tous ce qui se rapporte a la nature , elle rejoint le manège avec beaucoup de difficulté , elle est vraiment loin de tout ce qu'elle aime . Du coup elle a installé devant le manège quelques bac a fleurs pour pouvoir s'occuper la journée . Jusqu’au jour , ou Tendramour a utiliser les pouvoir de son âme pour créer une barrière végétale autour du manège pour empêcher Profane et Whisper du manège . Elle détient l’âme de la nature .
Tendramour miss, likes to walk in the forest, in gardens, in all that relates to nature, she joined the ride with great difficulty, it is really far from everything she loves. So she set before the carousel tray a few flowers to care the day. Until one day, or Tendramour to use the powers of his soul to create a barrier around the plant to prevent riding Profane and Whisper of the ride. She has the soul of nature.
[JUNE]
Enjoy the shadows, with our exclusive and impeccable items.
Our designers prepared these amazing items for you!
And, we have countless GIFTS (0L$) for you.
Pay us a great visit...
“Desecrating your innocent soul is only a matter of time.”
TAXI.
• Open in June 27th
• Close in July 16th
Der 4. Raum ist der Besenraum. Hier sind etwa 100 große , meist selbstgebundene Besen meiner Besen-Sammlung ausgestellt.
Besen sind nicht nur allgemeines, profanes, billiges Putzgerät für Haus und Umgebung.
Man wundert sich über ihre ureigene, oft geheimnisvolle Symbolik mit fast heiligem Charakter - weltweit.
Leider sind Menschen mit dieser Tätigkeit meist geringgeschätzt und verachtet, obwohl sie für eine angenehme, ästhetische, ordentliche Umgebung sorgen.
Besen sind auch große Pinsel. Entsprechende Gemälde von mir existieren schon oder werden vorbereitet.
The 4th room is the broom-room. Here about 100 large, mostly self-bonded brooms are exhibited by my broom-collection.
Brooms are not only common, mundane, cheap polish machine for home and surroundings.
One wonders about their uniquely original, often mysterious symbolism with almost holy character - worldwide.
Unfortunately, people are often criticized and despised with this activity, though they provide a comfortable, aesthetic, orderly environment.
Broom also make great brush. Appropriate painting from me already exist or are being prepared.
🇮🇹 A caso delle strade ,scopriamo allora la torre campanaria quadrata della chiesa , risalente al XVIII secolo, ci contortiamo per provare a fotografarla tutta nei suoi vicoli che ci fanno crudelmente mancare di prospettiva, poi la vediamo finalmente, dalla cittadella o dal porto, quando non ci si aspetta più.
La chiesa di Sant'Anna è stata completamente rinnovata nel 2017 Santa Patrona della chiesa parrocchiale del villaggio, Sant'Anna è celebrata ogni anno il 26 luglio In questo giorno, dopo la tradizionale messa, la statua della Santa è portata per le strade del villaggio alla fine della giornata prima di tornare in chiesa. Gli abitanti di Saint-Florent si ritrovano poi attorno al bicchiere dell'amicizia e sono invitati a mangiare cosce di rana come vuole una tradizione più profana.
🇫🇷 Au hasard des rues ,on découvre alors la tour clocher carréede l'église , datant du XVIIIème siècle, on se contortionne pour essayer de la photographier en entier dans ses ruelles qui nous font cruellement manquer de recul, puis on l'aperçoit finalement, depuis la citadelle ou depuis le port, alors qu'on ne s'y attend plus.
L’église de Sainte-Anne a été entièrement rénovée en 2017 Sainte Patronne de l’église paroissiale du village, Sainte Anne est célébrée tous les ans le 26 juillet Ce jour-là, après la traditionnelle messe, la statue de la sainte est portée dans les rues du village en toute fin de journée avant de revenir à l’église.Les habitants de Saint-Florent se retrouvent après autour du verre de l’amitié et sont invités à manger des cuisses de grenouilles comme le veut une tradition plus profane.
🇪🇸 Al azar de las calles ,descubrimos entonces la torre campanario cuadrada de la iglesia , que data del siglo XVIII, nos contorneamos para intentar fotografiarla entera en sus callejuelas que nos hacen carecer cruelmente de perspectiva, luego la vemos finalmente, desde la ciudadela o desde el puerto, cuando ya no se espera.
La iglesia de Santa Ana fue completamente renovada en 2017 Santa Patrona de la iglesia parroquial del pueblo, Santa Ana se celebra todos los años el 26 de julio Ese día, después de la tradicional misa, la estatua de la santa se lleva por las calles del pueblo en cualquier momento del día antes de volver a la iglesia. Los habitantes de Saint-Florent se encuentran después alrededor del vaso de la amistad y se les invita a comer ancas de rana como quiere una tradición más profana.
[...] There is no sanctuary so holy that money cannot profane it, no fortress so strong that money cannot take it by storm [...]
-- Quote by Marcus Tullius Cicero (Ancient Roman Lawyer, Writer, Scholar, Orator and Statesman, 106 BC-43 BC)
Nikon D200, Samyang 8mm, f/3.5 fisheye, 8mm - f/5.5 - 8s - HDR 4xp +2/-2EV
Rome, Italy (April, 2016)
Excerpt from ticino.ch:
The church of S. Francesco, near the convent of the same name, dates back to 1316, according to the tradition. The current building has however been reconstructed in 1583 with the stones of the Visconteo castle. The facade of the basilica is in roman style. In its inferior part there are low-reliefs decorated with symbols representing, according to the tradition, the emblems of the three corporations of the population of Locarno: the eagles of the noble, the beef of the bourgeoisie and the lamb of the landlords. It also presents an inscription in gothic characters with the name of Franchino Rusca and the date 1427. The three naves are cut by impressive columns of granite and, on the sides, some chapels shelter stucco and marble altars dating back to the XVIII Century. On the walls of the minor naves, we can observe fresco traces from the XVIII Century, characterized by perspective effets of profane style, works of the Orelli painters from Locarno.
The adjacent convent, from the order of the miner brothers, has been transformed into a cantonal lecture institute after its reconstruction in 1893.
Castello di Masnago Varese
L’edificio ha una vicenda storica lunga e complessa che ne ha marcato l’impianto architettonico, frutto di rimaneggiamenti avvenuti in diverse epoche. Al Medioevo appartiene la torre, elemento primitivo del castello; quattrocentesco è invece il corpo di fabbrica che ad essa si appoggia, famoso per i suoi splendidi affreschi: uno dei pochi esempi a soggetto profano giunti fino a noi.
Masnago Castle - Varese
The building has a long and complex history that has marked the architectural structure, the result of rearrangements occurred at different times. The tower belongs to the Middle Ages, the primitive element of the castle; XV is instead the building which it rests, famous for its beautiful frescoes: one of the few examples in profane come down to us.
1973 - Rome
Mercato rionale del Vicolo della moretta a Roma ,nel marzo 1973. In un periodo storico pieno di ideologie anche la divulgazione culturale passava per le edicole con le dispense che poi raccolte e rilegate costituivano le enciclopedie posizionate nelle librerie casalinghe ,spesso...senza mai essere aperte nemmeno una volta. In quel periodo ovviamente un titolo che poteva invogliare poteva essere "Storia delle rivoluzioni" che copriva la scena politica da destra a sinistra. La Fratelli Fabbri Editori e la De Agostini la facevano da padroni nel settore indicato. Qualche titolo delle più recenti pubblicazioni in dispense fanno capire la differenza rispetto ad oggi. Come non ricordare in questi ultimi anni: "Subbuteo,la leggenda" o "Raccolte di maglia e punto croce" o "L'enciclopedia della creatività"o "carri armati storici della seconda guerra mondiale"
Local market of the Moor Lane in Rome in March 1973. In an era of full disclosure cultural ideologies also passed through the kiosks with the handouts that were then gathered and bound encyclopedias home located in libraries, often without ever being opened ... not once. At that time obviously a title that could entice could be "History of Revolutions" that covered the scene from right to left. Fratelli Fabbri Publishers and De Agostini were the masters in the field indicated. Some titles of recent publications in the handouts they understand the difference today. How can we not remember in recent years: "Subbuteo, the legend" or "Collections of knitting and cross stitch" or "The Encyclopedia of Creativity"or "Historical tanks of the second world war".
Fevers.
Namiętności, horrory wymachiwały ogromnymi prawami, tańczyły na skrzydłach, rzeźbiarskie wysokości, wymyślone kroki, odległe pytania, absurdalne badania,
ακραίες γλώσσες συγκλονιστικές αναταραχές πολυάριθμες διαπραγματεύσεις αναταραχές αποπροσανατολιστικές εργασίες χαλάρωσαν ηθικές αισθήσεις προσωρινά δηλητήρια,
l'indignation énormes rebondissements indescriptibles récits mouvementés superstitions barrières avancées profanes examen des droits préoccupations privées personnes grossières,
intruziuni nerezonabile propoziții interpuse niveluri excesive explozii consumative devierea atențiilor mâini evidente întreruperea studiilor,
поразительные повороты, бегущие юбки, царапающие игровые предупреждения, объяснили частые неощутимые часы энергии полные градусы устойчивый ветер в пределах,
ひどい理由を吹く厄介な言語最も厳しい条件深刻な結果衝動的な夢急性の苦痛の怒りのジレンマ点滅する知覚謎の恐怖が感じた.
Steve.D.Hammond.
Leica M2
Leica Summilux 35mm f/1.4 II
Agfaphoto APX 400
Ars Imago FD 1+39
6 min 30 sec 20°C
Scan from negative film
Castello di Masnago Varese
L’edificio ha una vicenda storica lunga e complessa che ne ha marcato l’impianto architettonico, frutto di rimaneggiamenti avvenuti in diverse epoche. Al Medioevo appartiene la torre, elemento primitivo del castello; quattrocentesco è invece il corpo di fabbrica che ad essa si appoggia, famoso per i suoi splendidi affreschi: uno dei pochi esempi a soggetto profano giunti fino a noi.
Masnago Castle - Varese
The building has a long and complex history that has marked the architectural structure, the result of rearrangements occurred at different times. The tower belongs to the Middle Ages, the primitive element of the castle; XV is instead the building which it rests, famous for its beautiful frescoes: one of the few examples in profane come down to us.
X Master from northern Italy - front of chest with adoration of the Magi (? 1400 - ? 1500) tempera on wood 44 x 156.5 cm - Poldi Pezzoli Museum, Milan
Il pannello, abraso e graffiato, si trova purtroppo in uno stato di conservazione irrimediabilmente compromesso. Il soggetto sacro è alquanto anomalo per un fronte di cassone, arredo che veniva abitualmente decorato, data la sua funzione domestica, con scene profane. La rappresentazione è arricchita da motivi ornamentali a rilievo: due colonnine tortili ne segnano i confini laterali e raffinati cherubini, intervallati da altri motivi non più leggibili, sono distribuiti con cadenza regolare nel cielo. La greca di foglie che corre lungo il margine inferiore costituisce idealmente il palcoscenico sul quale “camminano” i personaggi. Il corteo dei Magi esce da una porta fortificata di città visibile all’estrema sinistra, per dirigersi alla capanna della Natività, sul lato opposto. Tra questi due poli è dipinto uno sfondo quasi monocromo di colline, montagne e città turrite, davanti al quale sfilano personaggi e animali. La scena presenta un carattere decisamente narrativo, che invita lo sguardo dell’osservatore a soffermarsi sui numerosi dettagli. Notate le figure a colloquio tra loro, i cavalli bardati, il particolare esotico dei tre cammelli tenuti per le briglie, gli abiti e i copricapi. L’opera mostra però caratteri stilistici disomogenei, che ne rendono difficile l’attribuzione. e ne mettono in discussione l’autenticità. Se il paesaggio di colline e borghi murati, infatti, richiama l’arte senese trecentesca, il prato fiorito, i gruppi di personaggi e la dimensione cavalleresca evocano piuttosto il Gotico Internazionale della prima metà del Quattrocento
The panel, abraded and scratched, is unfortunately in a state of preservation irreparably compromised. The sacred subject is quite anomalous for a front of a chest of drawers, a piece of furniture that was usually decorated, given its domestic function, with profane scenes. The representation is enriched by ornamental motifs in relief: two small twisted columns mark the lateral borders and refined cherubs, interspersed with other motifs that are no longer legible, are distributed at regular intervals in the sky. The frieze of leaves that runs along the lower margin ideally constitutes the stage on which the characters "walk". The procession of the Magi comes out of a fortified city gate visible on the far left, to head for the hut of the Nativity, on the opposite side. Between these two poles is painted an almost monochrome background of hills, mountains and turreted cities, in front of which parade characters and animals. The scene has a decidedly narrative character, inviting the viewer's gaze to linger on the many details. Notice the figures talking to each other, the harnessed horses, the exotic detail of the three camels held by the bridle, the clothes and headgear. The work shows however uneven stylistic characters, that of it make difficult the attribution. and of it they put in discussion the authenticity. If the landscape of hills and walled villages, in fact, recalls fourteenth-century Sienese art, the flowery meadow, the groups of characters and the chivalrous dimension evoke rather the International Gothic of the first half of the fifteenth century.
X Master from northern Italy - front of chest with adoration of the Magi (? 1400 - ? 1500) tempera on wood 44 x 156.5 cm - Poldi Pezzoli Museum, Milan
Il pannello, abraso e graffiato, si trova purtroppo in uno stato di conservazione irrimediabilmente compromesso. Il soggetto sacro è alquanto anomalo per un fronte di cassone, arredo che veniva abitualmente decorato, data la sua funzione domestica, con scene profane. La rappresentazione è arricchita da motivi ornamentali a rilievo: due colonnine tortili ne segnano i confini laterali e raffinati cherubini, intervallati da altri motivi non più leggibili, sono distribuiti con cadenza regolare nel cielo. La greca di foglie che corre lungo il margine inferiore costituisce idealmente il palcoscenico sul quale “camminano” i personaggi. Il corteo dei Magi esce da una porta fortificata di città visibile all’estrema sinistra, per dirigersi alla capanna della Natività, sul lato opposto. Tra questi due poli è dipinto uno sfondo quasi monocromo di colline, montagne e città turrite, davanti al quale sfilano personaggi e animali. La scena presenta un carattere decisamente narrativo, che invita lo sguardo dell’osservatore a soffermarsi sui numerosi dettagli. Notate le figure a colloquio tra loro, i cavalli bardati, il particolare esotico dei tre cammelli tenuti per le briglie, gli abiti e i copricapi. L’opera mostra però caratteri stilistici disomogenei, che ne rendono difficile l’attribuzione. e ne mettono in discussione l’autenticità. Se il paesaggio di colline e borghi murati, infatti, richiama l’arte senese trecentesca, il prato fiorito, i gruppi di personaggi e la dimensione cavalleresca evocano piuttosto il Gotico Internazionale della prima metà del Quattrocento
The panel, abraded and scratched, is unfortunately in a state of preservation irreparably compromised. The sacred subject is quite anomalous for a front of a chest of drawers, a piece of furniture that was usually decorated, given its domestic function, with profane scenes. The representation is enriched by ornamental motifs in relief: two small twisted columns mark the lateral borders and refined cherubs, interspersed with other motifs that are no longer legible, are distributed at regular intervals in the sky. The frieze of leaves that runs along the lower margin ideally constitutes the stage on which the characters "walk". The procession of the Magi comes out of a fortified city gate visible on the far left, to head for the hut of the Nativity, on the opposite side. Between these two poles is painted an almost monochrome background of hills, mountains and turreted cities, in front of which parade characters and animals. The scene has a decidedly narrative character, inviting the viewer's gaze to linger on the many details. Notice the figures talking to each other, the harnessed horses, the exotic detail of the three camels held by the bridle, the clothes and headgear. The work shows however uneven stylistic characters, that of it make difficult the attribution. and of it they put in discussion the authenticity. If the landscape of hills and walled villages, in fact, recalls fourteenth-century Sienese art, the flowery meadow, the groups of characters and the chivalrous dimension evoke rather the International Gothic of the first half of the fifteenth century.
As arquivoltas do portal românico da Igreja de São Pedro, em Leiria, são ornamentadas com figuras antropomórficas esculpidas em calcário, que podem simbolizar pecadores em busca da salvação celestial. Esta ornamentação, rara em Portugal, reflete influências da arte anglo-normanda, possivelmente trazidas por comunidades britânicas após a Conquista de Lisboa em 1147. Características da arquitetura românica portuguesa dos séculos XII e XIII, as arquivoltas exibem uma decoração escultórica ao longo do arco, criando uma narrativa visual que tipicamente representa figuras bíblicas e elementos simbólicos da comunidade cristã medieval. Essa ornamentação demonstra a importância do portal como elemento de transição entre o espaço profano e o sagrado, funcionando como um instrumento didático e devocional para os fiéis. Localizada perto do castelo de Leiria, a Igreja de São Pedro, construída pelos cónegos regrantes de Santo Agostinho e associada à fundação do mosteiro de Santa Cruz de Coimbra, é um dos raros exemplares de arquitetura românica na região, destacando-se pela sua relevância histórica e cultural.
The archivolts of the Romanesque portal of the Church of São Pedro, in Leiria, are decorated with anthropomorphic figures carved in limestone, which may symbolize sinners seeking heavenly salvation. This ornamentation, rare in Portugal, reflects influences from Anglo-Norman art, possibly brought by British communities after the Conquest of Lisbon in 1147. Characteristic of Portuguese Romanesque architecture from the 12th and 13th centuries, the archivolts display sculptural decoration along the arch, creating a visual narrative that typically represents biblical figures and symbolic elements of the medieval Christian community. This ornamentation demonstrates the importance of the portal as a transitional element between the profane and sacred spaces, functioning as a didactic and devotional tool for the faithful. Located near the castle of Leiria, the Church of São Pedro, built by the canons regent of Saint Augustine and associated with the foundation of the monastery of Santa Cruz de Coimbra, is one of the rare examples of Romanesque architecture in the region, standing out for its historical and cultural relevance.
qwikLoadr™ Videos....
NOVA | Finding My Father Mark Everett! • YouTube™
NOVA | Mystery of a Masterpiece Show Trailer • YouTube™
Museum of Fine Arts [Boston] | Michelangelo: Sacred and Profane Master Drawings • YouTube™
Leonardo da Vinci | Mystery of a Masterpiece • PBS:
www.pbs.org/wgbh/nova/tech/mystery-masterpiece.html
^see the last link to watch the full show, its quite fascinating and such an amazing portrait.
Blogger GrfxDziner | Sting Like a B, Honey...
GrfxDziner.blogspot.com/2018/01/sting-like-b-honey.html
Sting Like a B, Honey [Blue Moon] discussion...
www.flickr.com/groups/GrfxDziner/discuss/72157663371402567/
This is for the Fix My Pic Please group.
From a beautiful original by MADCAT19 titled, Galleries.
Tenuous Link: Mosaic tiles
.
Take your pick. Plaster cast of the head of the god Hermes and a war-time doll (or even older). Natural light apart from an LED torch to illuminate the face of the doll. Processed in Luminar and in macOS High Sierra photo editor.
Every year from 8 to 13 June in Rotonda we celebrate one of the unique marriages "among trees" that are distinctive of an ancestral Lucan tradition: "L'a 'pitu e la rocca".
The "bride" and the "groom" are a fir and a beech, one uprooted from the woods of Terranova di Pollino, the other divelto in the locality of Piano Pedarreto, always in the splendid scenery of the Pollino Park.
In the following days, as two spouses, the plants "meet" and on the day of the "wedding", as happens in the greater wall of the Lucanian arboreal rites, the profane party merges with the sacred one, with the procession of the Saint, Saint Anthony , through the streets of the village.
Songs, dances, good food animate the ritual, as in any self-respecting "marriage", on the other hand.
Swept in madness,
born through the dark.
Lodestar draped in
many-armed damnation.
Eternal, lifeless,
determined and profane.
Coil of loss, the broken link
in the chain of life.
Let the rivers cross
and let them wildly flow.
Tearing the barrier of hope,
breaking the barrier of life.
Sterile and black
without sign of guilt,
quenching the thirst
of the nightside spawn.
Rotten curse of life,
whose light is but a piss
in the measureless ocean
of Death’s firm grip.
See the rivers rush through
the orifices of the world.
Embraced by the liquid,
drown thy self.
A sacrifice without a gain
to burn for the fire alone!
Razor key, show thyself!
Nightside, my tempting whore.
Expose for us, but feeble men,
the truths thou bear within!
Let the rivers cross
and let them wildly flow.
Carrying the seed
of the sharpest blade.
Tempter and perfection,
highest of the high.
Tempter and perfection,
highest of the high.
See the rivers rush through
the orifices of the world,
yearning the liquid
to drown the self.
A sacrifice without a gain,
I burn for the fire alone.
For the fire alone!
At Fushimi Inari Taisha, after a long walk up Inari Mountain through thousands of toriii gates, you reach the peak (ichi no mine) and the upper shrine (kamisha). The torii gates symbolically mark the transition from the profane to the sacred. This image is from the upper shrine where small red torii gates have been left as offerings. The fox (kitsune) is the messenger of Inari, the Shinto goddess of rice and fertility and four fox statues can be seen here against a background of Japanese maples in full fall colour.
24/08/16 www.allenfotowild.com
Excerpt from visitportugal.com:
According to tradition, the origin of this church dates back to the Visigothic period, having been converted into a mosque during the Muslim period and converted to Christianity after D. Afonso Henriques conquered the village in 1148, consecrating it to Marian Devotion.
From 1210, the town of Óbidos became part of the Casa das Rainhas, benefiting from the artistic and religious patronage of the Crown for the next six hundred years. The various modifications in the Church of Saint Mary are testament to this fact.
The temple that today sits in the Santa Maria Square, at the bottom of the Rua Direita main street, dates from the 16th century and was built by the initiative of Queen D. Leonor, wife of D. João II. It was in this church that, on August 15, 1441, the infant D. Afonso (later King D. Afonso V of Portugal) married his cousin D. Isabel, at the ages of ten and eight. From 1571, given its state of ruin, it was thoroughly renovated by order of Queen D. Catherine of Austria, to its present configuration.
At the entrance, on the Mannerist portal, one sees an image of Our Lady of the Assumption, patroness of the parish. Next to the altar the Renaissance tomb of D. João de Noronha ("The Lad"), captain of Óbidos in the 16th century, deserves to be admired. It is a masterpiece of Renaissance tomb sculptures, attributed to Frenchman Nicolau Chanterenne. In addition, one can observe paintings by Baltazar Gomes Figueira and the famous Josefa de Óbidos (1634-1684), which combined the profane and the sacred in atmospheres of soft sensuality and mysticism, as in the altarpiece dated 1611, which represents the Mystic Marriage of Santa Catarina, on show in the sacristy. Much of the work of this remarkable painter (and of the church's collection) is preserved in museums, particularly in Óbidos. The walls, covered top to bottom with 17th century tiles and painted wood, create a beautiful decorative effect, designed by Francisco de Azevedo Caminha, also in the 17th century.
Coup de coeur pour cet outfit sur Zuora , je trouve que ca va super bien , j'en suis plutôt gaga .
J'aime beaucoup ce qu'elle degage naturellement , elle fait un peu fantasmagorique ici .
Favorite outfit on Zuora for this, I think it's going great, I'm pretty gaga.
I love it naturally emerges, it is a bit spooky here.
hair
tram G1207 hair
make
::c.A.:: Kikuri [cosmetics]
clothes
::GB::Off shoulder kimono / FATPACK
+ Coal Profane Guardian + {egosumaii}
2018年はどんな１年になるのだろう。
Rzeźba Mitoraja
Rzeźba Igora Mitoraja "Eros Bendato" (Eros vendado / Eros bound)
Escultura / Sculpture .- 1999
----------------------------------------------------------------------------
Cabeza de Eros completamente vendada con una belleza muy típica de la Grecia Clásica.
Sus ojos vacíos quieren representar
la mirada interior (como si la escultura mirara hacia dentro).
------------------------------------------------------------------------------
Among Kraków’s most well-known landmarks, this sculpture in the western corner of the market square is a popular meeting place and at some point serves as a photographic backdrop for almost every tourist who visits the city. Affectionately referred to as ‘The Head’, the bronze body part’s official title is ‘Eros Bendato’ (Eros Bound) and is the work of Polish artist Igor Mitoraj (1944 - 2014). A student of Tadeusz Kantor at the Kraków School of Art, an exhibition of 14 of Mitoraj’s monumental works dressed the Rynek from Oct 17, 2003 to Jan 25, 2004, during which the artist gifted this work to the city, sparking controversy over what to do with it. Initially, the sculpture was designated for the square in front of Galeria Krakowska, but the artist was indignant about having his work in front of a commercial building. Despite protest from historians and many locals, the sculpture eventually found its current place near the Town Hall Tower, where it has become an unexpected tourist attraction. In summer, children can be seen crawling all over the hollow edifice, sticking their heads and limbs through the eyeholes for camera-snapping parents, though winter too often finds it profaned with trash and foul-smelling liquids. Fans of Mitoraj’s work will find another of his large sculptures – titled ‘Luci di Nara’ - adorning the charming courtyard of Collegium Luridicum (ul. Grodzka 53), and another in front of the Kraków Opera building (ul. Lubicz 48).
A torii is a traditional Japanese gate most commonly found at the entrance of or within a Shinto shrine, where it symbolically marks the transition from the profane to the sacred The presence of a torii at the entrance is usually the simplest way to identify Shinto shrines.
Torii were traditionally made from wood or stone, but today they can be also made of reinforced concrete, copper, stainless steel or other materials. They are usually either unpainted or painted vermilion with a black upper lintel. Inari shrines typically have many torii because those who have been successful in business often donate in gratitude a torii to Inari, kami of fertility and industry. Fushimi Inari-taisha in Kyoto has thousands of such torii, each bearing the donor name.
Outfit from Grabiel Gacha can get in her store
::GB::Leather strap vest
::GB::Buckle sneakers
::GB::Leather strap pants
Accesories
[The Forge] Diesel Mech Ear Piece
[The Forge] Kusurgi Blade, Steel
[NC] - Fighter Upper Armband
Dragon// + Snow Profane Guardian + {egosumaii}
Now please Mr Rollie ...drink that double
Don’t bother yourself with other trouble
Those boys in Belgium know their trade
Don’t fall to a place where you gotta wade...
Yes now Mr Rollie ...drink that brew
It’l do you good to have a few
Those Lowland boys know their stuff
A pint of yeast will be enough
The other pot is good for grins
But a pour of malt is good for wins*
Those Belgium boys know their art
Save t’other for the bottom part...
* some sources have this as:
“The other pot is worth a grin
But careful man ....you might fall in.”
After driving four hours from Tbilisi (Capital city of Georgia) and then hiking for almost an hour finally I was able to experience this amazing view. The Gergeti Trinity Church, the main cultural landmark of Stepantsminda surrounded by Kazbegi’s mountains.
Canon 5D Mark III, Canon EF 24-105 f/4L USM IS, F/9, exposure time 1/800, ISO 200, focal length 90.
Excerpt from ticino.ch:
The church of S. Francesco, near the convent of the same name, dates back to 1316, according to the tradition. The current building has however been reconstructed in 1583 with the stones of the Visconteo castle. The facade of the basilica is in roman style. In its inferior part there are low-reliefs decorated with symbols representing, according to the tradition, the emblems of the three corporations of the population of Locarno: the eagles of the noble, the beef of the bourgeoisie and the lamb of the landlords. It also presents an inscription in gothic characters with the name of Franchino Rusca and the date 1427. The three naves are cut by impressive columns of granite and, on the sides, some chapels shelter stucco and marble altars dating back to the XVIII Century. On the walls of the minor naves, we can observe fresco traces from the XVIII Century, characterized by perspective effets of profane style, works of the Orelli painters from Locarno.
The adjacent convent, from the order of the miner brothers, has been transformed into a cantonal lecture institute after its reconstruction in 1893.