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Entering this lane, overwhelmed by the huge structure of the Refa'i Mosque and the tiny details of the decorations on its exterior walls, and by the large marble columns that are a part of the entrance portal. The designers and builders of this grand mosque paid considerable attention to every single detail of its ornamentation
Taken @Cairo, Egypt
El municipi de Puigpelat està situat al centre de la comarca, entre els rius Gaià i Francolí, prop del barranc de Vallmoll, i al costat de Bràfim, Alió, Valls, Vilabella i Nulles. Es troba a 252 metres d'altitud. Els edificis del nucli es distribueixen en petits carrers que segueixen la morfologia del terreny. A l'oest es troba l'església parroquial. El centre del nucli és la part més interessant, a causa de la tradició arquitectònica popular que presenten les seves cases.
Notícies històriques
L'origen del poble no és gaire conegut, però s'han trobat restes romanes de viles i sepulcres. Apareix per primera vegada anomenat l'any 1286 com a possessió de la comanda hospitalera de Vallmoll, possessió que es perllonga fins al 1831. Al segle XVIII experimentà un creixement demogràfic; al final d'aquest segle i per manament de l'arquebisbe Santiyán i Armanyá es refà l'aqüeducte romà, amb la finalitat de portar l'aigua de la mina de Puigpelat a Tarragona.
El segle XIX patí diverses oscil·lacions demogràfiques i durant el segle XX va experimentar una caiguda de la població.
invarquit.cultura.gencat.cat/card/39984
L'origen del casc antic de Puigpelat es remunta al segle XII, quan era part de la recent creada Baronia de Vallmoll, la qual va cedir algunes quadres, entre la que estava la de Puigpelat, a l'Ordre de Sant Joan de l'Hospital de Jerusalem.
El municipi de Puigpelat es troba situat al centre de la comarca, entre els rius Gaià i Francolí, prop del barranc de Vallmoll, i al costat de Bràfim, Alió, Valls, Vilabella i Nulles. Es troba a 252 metres d'altitud. Els edificis del nucli es distribueixen en petits carrers que segueixen la morfologia del terreny. A l'oest es troba l'església parroquial. Les cases del poble són entremitgeres de dos o tres plantes.
Notas históricas:
El nulci urbà de Puigpelat apareix per primera vegada anomenat l'any 1286 com a possessió de la comanda hospitalera de Vallmoll, possessió que es perllonga fins el 1831. No obstant, la notícia més antiga s'atribueix a un document de concòrdia del 1184, entre l'arquebisbe de Tarragona i el castellà d'Amposta, en relació als delmes dels Hospitalers a Vallmoll, entre els que estava Puigpelat.
Per allà al 1205 les antigues quadres de l'Hospitalet i Puigpelat constituïren el nucli principal de la comanda hospitalera. En les terres de l'Hospitalet, que devien ser les millors, s'hi va construir la seu de la comanda, i una capella, la qual fou dedicada a la Mare de Déu de l'Hospitalet, que fins l'actual segle (1975) no va ser enderrocada. El segon nucli en importància de la comanda va ser Puigpelat. La seva proximitat amb l'Hospitalet i el fet que allí hi hagués un antic nucli de població va empènyer els hospitalers a fortificar-lo per convertir-lo en un lloc de refugi en cas de perill. Així que gràcies als hospitalers, Puigpelat va començar a créixer.
www.diputaciodetarragona.cat/marc/web/diputacio-de-tarrag...
Portal de Puigpelat
Aquest portal, situat al final del carrer Canals, comunica el nucli urbà amb l'exterior. L'estructura de la part que dóna al nucli està formada per un arc lleugerament apuntat i tallat per una banda. A l'exterior presenta dos arcs, un de mig punt i un altre escarser molt rebaixat. El material de construcció és la pedra. Damunt del pas cobert hi ha una habitatge.
Notas históricas:
A causa de la manca d'informació pel que fa a la creació del nucli, es fa difícil datar aquesta construcció, si bé per la seva estructura sembla que el seu origen respon a l'època medieval.
Originàriament, l'Hospitalet i Puigpelat havien estat quadres de l'antic castell de Vallmoll que, en data incerta del segle XII, van ser donades en lliure franc alou a l'Ordre de l'Hospital. Tot sembla indicar que a començaments del segle XIII, els santjoantistes instal·laren allí una comanda que portà per nom "les cases de Vallmoll" o l'Hospitalet.
Per allà al 1205 les antigues quadres de l'Hospitalet i Puigpelat constituïren el nucli principal de la comanda hospitalera. En les terres de l'Hospitalet, que devien ser les millors, s'hi va construir la seu de la comanda, i una capella, la qual fou dedicada a la Mare de Déu de l'Hospitalet, que fins l'actual segle (1975) no va ser enderrocada. El segon nucli en importància de la comanda va ser Puigpelat. La seva proximitat amb l'Hospitalet i el fet que allí hi hagués un antic nucli de població va empènyer els hospitalers a fortificar-lo per convertir-lo en un lloc de refugi en cas de perill. Així que gràcies als hospitalers, Puigpelat va començar a créixer.
www.diputaciodetarragona.cat/marc/web/diputacio-de-tarrag...
Aquest portal, situat al final del carrer Canals, comunica el nucli urbà amb l'exterior. L'estructura de la part que dona al nucli està formada per un arc lleugerament apuntat i tallat per una banda. A l'exterior presenta dos arcs, un de mig punt i un altre escarser molt rebaixat. El material de construcció és la pedra. Damunt del pas cobert hi ha un habitatge.
Notícies històriques
A causa de la manca d'informació pel que fa a la creació del nucli, es fa difícil datar aquesta construcció. Per la seva estructura sembla que el seu origen respon a l'època medieval.
Beauty standards (white complexion and big black eyes of the houris), jewels and fabrics worn by the people of paradise (rubis, coral, silk, brocade), perfumes that embalm the gardens of Eden (musc, amber), food and food in abundance, correspond to this horizon. The Muslim tradition is full of details about the physical features and customs of the inhabitants of paradise. Basically: beautiful, radiant, 33 years old (all men and women, without exception), they do not know sleep or fatigue and will never have children, because procreation is impossible in paradise. According to this description, the elected and blessed will all speak Arabic. In addition to being the language of the Koran, Arabic will also be the language of paradise. The palaces reserved for the inhabitants of paradise are carved out of precious stones and constructed of gold, ruby and musk, and are spread out over tens of kilometers and their ceilings are hundreds of meters high. Excessive dimensions that will make the poet Bashar Ibn Bord's teasing spirit say that it must be very cold during the month of December in such spacious and tall residences.
“Satisfaction is the greatest gate of God and the paradise of this world.” Know that the servant will not approach being satisfied with God". In addition to other descriptions of Jannah (heaven), Islamic tradition describes heaven as having eight "doors" or "gates." Each one has a name, describing the types of people who will be admitted through it. Some scholars interpret that these doors are found inside Jannah, after one enters the main gate. The exact nature of these doors is unknown, but they were mentioned in the Quran and their names were given by the Prophet Muhammad.Most of the Qur' anic verses evoking the resurrection, paradise and hell have been revealed in Mecca. During the first thirteen years of Islam, the Prophet Muhammad was to conquer the hearts and minds of the men and women who would make up the first Muslim community. This period spent in Mecca was a time of fragility, hardship and endurance for the prophet of Islam. The rich and powerful chiefs of the Qurayche tribe saw no point in believing and following the message of a destitute orphan, protected by an aging uncle and supported by "the weak and slaves". Mohammed then described the spiritual and moral aspects of his revelation, and described life here on earth as a passage, a transition, a trial course, where only submission to God and the fulfillment of good deeds counted. Wealth, prestige, noble belonging and titles had no interest or usefulness after death. The verses revealed to Mecca abound in descriptions that depict the future life, where the pious, rich or poor, will be rewarded, while the arrogant, the ungodly and the unbelievers will be promised to the torment and torment of hell. The description of paradise in these verses is sensual, taking up the aspects of luxury, opulence and comfort that were prevalent at the time among the wealthy inhabitants of Mecca. As pointed out by Sheikh Soubhi El-Saleh, author of a reference book on the subject (The Future Life According to the Qur' an, Vrin Edition, 1986), the highly materialistic nature of life in Mecca explains the use of this sensual description. A thriving centre of commerce, a meeting place for Arab tribes, Mecca was dominated by the cult of wealth, lush and affluence. The Qur' an should then present a description of the delights of paradise and the afflictions of hell close to the mental and cultural horizon of the inhabitants of Mecca.
To those who reject Our signs and treat them with arrogance, no opening will there be of the gates of heaven, nor will they enter the garden, until the camel can pass through the eye of the needle. Such is Our reward for those in sin. (Quran 7:40)
And those who feared their Lord will be led to the Garden in crowds, until behold, they arrive there. Its gates will be opened, and its keepers will say: 'Peace be upon you! You have done well! Enter here, to dwell therein.' (Quran 39:73)
Ubadah narrated that the Prophet Muhammad said: "If anyone testifies that none has the right to be worshipped but Allah Alone Who has no partners, and that Muhammad is his slave and His Apostle, and that Jesus is Allah's slave and His Apostle and His word which He bestowed on Mary and a spirit created by Him, and that Paradise is true, and Hell is true, Allah will admit him into Paradise through any of its eight gates he likes."
Abu Hurairah narrated that the Prophet said: "Whoever spends two things in the way of Allah will be called from the gates of Paradise and will be addressed, 'O slave of Allah, here is prosperity!' So whoever was among the people who used to offer their prayers will be called from the gate of prayer; and whoever was among the people who used to participate in jihad will be called from the gate of jihad; and whoever was among those who used to observe fasts will be called from the gate of ar-Rayyaan; and whoever was among those who used to give in charity will be called from the gate of charity."
It is natural to wonder: What will happen to those people who have earned the privilege to enter Jannah through more than one gate? Abu Bakr had the same question, and he eagerly asked the Prophet Muhammad: "Will there be anyone who will be called from all these gates?" The Prophet answered him, "Yes. And I hope you will be one of them."
The most commonly-cited list of the eight doors of Jannah includes:
Baab As-Salaat: Those who were punctual and focused in their prayers (salaat) will be granted entry through this door.
Baab Al-Jihad: Those who have died in the defense of Islam (jihad) will be granted entry through this door. Note that the Quran calls upon Muslims to solve issues by peaceful means, and only engage in defensive battles. "Let there be no hostility except to those who practice oppression" (Quran 2:193).
Baab As-Sadaqah: Those who frequently give away in charity (sadaqah) will be admitted into Jannah through this door.
Baab Ar-Rayyaan
The people who constantly observed fasting (especially during Ramadan) will be granted entry through this door.
Baab Al-Hajj: Those who observe the Hajj pilgrimage will be admitted through this door.
Baab Al-Kaazimeen Al-Ghaiz Wal Aafina Anin Naas: This door is reserved for those who control their anger and forgive others.
Baab Al-Iman: This door is reserved for the entry of such people who have sincere faith and trust in Allah, and who strive to follow the commands of Allah.
Baab Al-Dhikr: Those who constantly remembered Allah (dhikr) will be admitted through this door.
Whether one believes that these "gates" of heaven are metaphorical or literal, it helps one to see where the core values of Islam lie. The names of the gates each describe a spiritual practice that one should strive to incorporate into one's life.
“There are eight gates for Paradise and seven gates for the Fire.” said the Prophet (pbuh).
The saying of praise for Allah, “Al-Hamdu Lil-lahi,” has eight alphabets*; the number of the gates of Paradise is also eight, therefore he who recites these eight alphabets out of purity of heart does deserve (the opening of) the eight gates of Paradise. Know that indeed there are eight gates for Paradise, and in the rank that you reach after reciting, “I take refuge in Allah from Shaytan the outcast…” one gate of the eight gates of Paradise opens for you; that is the gate of Ma’refa (Divine Gnosis).
A second gate is that of al-Dhikr (Remembrance) as you are reciting ‘Bismil-lahir Rahmanir Rahim’.
The third gate is that of Shukr (Gratitude) after reciting ‘Al-Hamdu Lil-Lahi Rabbil Alamin’.
The fourth gate is that of Hope when you recite ‘Ar-Rahanir Rahimi’.
The fifth gate is that of Fear when you recite ‘Maliki Yaumid-Din’.
The sixth gate is that of Purity born out of the Ma’refa (Divine Gnosis) of ‘Ubudiat (Servitude) and Rububiat (Divinity) in your reciting ‘Iyyaka Na’budu Wa Iyyaka Nasta’inu’.
The seventh gate is that of Du’a (Invocation) in your reciting ‘Ihdinas Siratal Mustaqim’.
The eighth gate is that of ‘Iqtidā’ (emulation or following the example) of the good and pure souls, and of seeking guidance through their Nur (Divine Light) and that is in your reciting of ‘Siratal La-Dhina…’
Now you know the secrets of the Eight Gates of Paradise and what is referred to in 38:50. ‘The Gardens of Eden with opened gates for them’. For the Gardens of Divine Gnosis have been opened by these spiritual keys, and this does point to what happens during the Prayer of Spiritual Ascension, like that of the Prophet (pbuh) to the Heavens.
– From the Tasfir al-Kabir (The Great Commentary), al-Fatiha, verse 7, by Fahkr al-Din al-Razi (his exegesis on the Quran), also named the Mafatih al-Ghayb (The Keys to the Unknown).
The transition to Medina and the creation of the Islamic state marked a new trend in the description of the afterlife. The Qur' anic verses revealed to Medina, depicting heaven and hell, are more spiritual, less picturesque, and the notion of "divine satisfaction" (or Ridwan) is placed above any divine reward or reward. It is obvious that this evolution of spiritual thought is in Medina where the prophet has become the spiritual guide of the new community. It is precisely this period of great importance for the future of Islam that puts an end to the Paradise description,"notes Sheikh Sobhi El-Saleh, a former president of the Lebanese Ulema League and a member of the Academy of the Kingdom of Morocco.
It should be noted, however, that the Qur' an remains concise and sober in the description of heaven, hell and life after death. It is the Hadith and Muslim tradition that provide the most detailed and exuberant accounts of the afterlife.The resurrection and the day of the judgment are the subject of a Dantean and terrifying narrative in Muslim religious texts. According to a verse of the Qur' an, the resurrection (Al Qiyama) is announced by a trumpet blow (Al Nafkh fi Sour). All creatures will then find life and recover their bodies, souls and spirits. Harboured and stunned by their resurrection, human beings realize what happens to them and prefer to return to their graves rather than face the day of the final judgment. They are then placed in a long and unbearable wait, in a state of nudity and anguish, which will make the most selfish reflexes of the human being reappear: the mothers will forget their own children and everyone will be concerned about their own fate. In his masterpiece Al Foutouhat Al Makkiya, the mystical Andalusian master Ibn Arabi speaks of 50 stops along the way from resurrection to heaven or hell. According to Ibn Arabi, each stopping place is equivalent to a thousand years of waiting, and at each station (Mawqif), the different actions of human beings will be scrutinized. The good accomplished and the evil done by each one will be weighed and evaluated, before the faithful join paradise and the ungodly rushed into hell. The Hadith and Muslim tradition provide a colourful and very ceremonial description of the arrival in paradise. Thus, after having passed through the trials of judgment, the blessed ones will arrive before the eight immense gates of paradise. Each door has a name that designates it according to the benefits and virtues of the faithful: a door of prayer, jihad, fasting, repentance, almsgiving, submission to God, control of anger, and a last door reserved for those who will enter heaven without judgment. According to the Muslim tradition, the first person to enter heaven is the prophet Muhammad, followed by members of the Muslim community, the poor first, then the rich and the affluent. This discrimination is a way of "rewarding" the poor, slaves and wretched who were the first to believe in the message of the prophet of Islam. After the Muslim community, it is the turn of Christians, guided by Jesus, to reach heaven. The other communities will follow in their footsteps, led by their respective prophets. Noah and those who followed him after the flood will close this long procession to heaven. The arrival in front of the seven gates of hell is described in a more terrifying way. The damned doomed to hell will arrive in seven groups, depending on the seriousness of the sins committed. Each door will be assigned to a group and sinners belonging to the Muslim community will move towards the door where torments are the least cruel. Honoured, humiliated, carrying heavy weight, the condemned to hell are watched over by an incalculable number of guards endowed with an incomparable strength and an indescribable cruelty. As the ungodly and unbelievers approached, hell roared and spit out its flames, and a rain of fire, ropes and chains fell upon the future tenants of hell. At the sight of this frightening spectacle, the latter retreat from fear and fear, cry, cry, scream, but relentless angels will follow them and precipitate them into hell, and their fall will spread over several years (70 years according to some accounts) before reaching the bottom. The Muslim tradition is inexhaustible of details and imagination in the description of paradise, perceived as a place of rest, bliss and eternal enjoyment. The disproportionate dimensions, the abundance of goods and delicacies, the extremely sensual nature of the narratives that depict paradise, have prompted rational theologians and Sufis to put a dose of relativity and even doubt in this description. According to the Muslim tradition, which includes Hadith and comments from the Qur' an, heaven is placed in the seventh heaven below God's throne, to mark the closeness of the blessed mansion to God's dwelling-place. However, paradise does contain levels according to the degree of piety, faith and actions accomplished here below. The chosen ones, i. e. the most faithful prophets and believers, placed on higher floors, will appear to the other tenants of paradise as "the rays of the stars and stars". The alleys of paradise are inlaid with precious stones and rubies and the ground is covered with musk and saffron, and heady scents embellish the atmosphere. Rivers of honey, milk and wine flow through paradise and water its people with their unalterable taste. According to this description, the bodies of the inhabitants of paradise do not know sickness, decay or death. Moreover, a hadith explains that death will be incarnated in the form of a ram, brought back by angels, and slain before the people of heaven and hell, to signify to them the eternal character of life in the afterlife and the end of the fear of death that haunts humans.
The exuberant, picturesque and luxurious description of paradise has prompted a number of Muslim theologians and mystics to react, who wanted to give a more spiritual, rational or symbolic aspect to the catalogue of pleasures promised to the blessed in paradise. For Al Ghazali, the famous 11th century theologian, no human being is able to grasp or describe life perfectly in heaven or hell. Al Ghazali defines paradise and its pleasures in the words of a hadith:"Paradise is what no eye has seen, no ear has heard, and which has never passed through the heart of a human being". The description of paradise thus has the value of illustration and example. According to this vision of Al Ghazali, the delights of paradise are therefore nothing more than a theatre of shadows and a presentation close to the material meaning that humans give to the notion of pleasure. God has revealed only a figuration of paradise and not its essence nor its true and real nature, which is known only to him.
Much closer to us, Sheikh Mohamed Abdou, the great Egyptian religious reformer, is sceptical and sometimes critical of the material and overly detailed description of life in paradise, and the afterlife in general. While accepting the concrete and sensual nature of paradise, Sheikh Mohamed Abdou considers spiritual retribution to be more important than the material pleasures of paradise. The Egyptian reformer, aware of the role of tradition in amplifying stories about the afterlife, only admits to these questions the Motawatar hadiths, i. e. those with a high degree of authenticity and whose number is very small. The method allows this great figure of reformist and rational Salafism to give a sober description of paradise, closer to reason and understanding than the overly detailed narratives of which the Muslim tradition abounds. Like Al Ghazali, Mohamed Abdou also reminds us of this hadith, which presents paradise as belonging to the domain of the indescribable and the inexpressible. Sufism, on the other hand, provides an original vision of paradise and the relationship that Muslims must establish with the afterlife. For the masters of Muslim mysticism, God must be worshipped for himself and not out of fear of his hell or the desire to reach his paradise. Rabia Al Adaouia expresses this vision best when she explained to one of her visitors:"I did not worship God, like the evil slave, out of fear of his hell or desire for his paradise, but I loved him out of love for him and by inclination towards him". Rabia Al Adaouia did not dispute the existence of paradise and its nature, but felt that all these pleasures are incomparable with God's closeness and contemplation. As Orientalist Louis Massignon notes, the Iraqi mystic was looking for the neighbour (God) first, rather than the dwelling place (the paradise). Other mystics, such as Al Halaj or Al Nifari, considered paradise as a veil stretched to hide the essential. The pleasures of paradise are displayed as a kind of divine ruse that places the chosen ones in waiting, like the beloved one making his lover languish, before appearing and revealing himself to him.
www.thoughtco.com/doors-of-jannah-2004342
Taken, with thanks to Brother Dara, from the Untiredwithloving website.
Avec Atom - Can 2 - Refa - Nadia - Bandi - Agana - Waf - Serty - Sun c - Risc - Jazy - Décor code couleur - Pest - Kwim / Kraco / Veans / Twe Crew - Da Cruz -
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Sick's leaving do at Trellick.
The 45 degree corner makes the letters look squashed, but they were all painted the same size.
Big up Refa, Theam, Odisy, Sick1, Met, Catch, Owed, Merc, Corze, Funk, Chang etc etc.
Happy Holidays to all my flickr friends just in case i get bogged down and forget to say it. Its been a great first year for me hear on flickr. Ive met some pretty cool people here. Looking forward to the new year and the all the new oppurtunities to meet new people and do new things. Have a great one. Here we come 2010!!!!
The Al-Rifa'i Mosque (Arabic: مسجد الرفاعى, transliterated also as Al-Rifai, Al-Refai, Al-Refa'i, and named in English the Royal Mosque), is located in Cairo, Egypt, in Midan al-Qal'a, adjacent to the Cairo Citadel. The building is located opposite the Madrassa of Sultan Hassan, which dates from around 1361, and was architecturally conceived as a complement to the older structure. This was part of a vast campaign by the 19th century rulers of Egypt to both associate themselves with the perceived glory of earlier periods in Egypt's Islamic history and modernize the city. The mosque was constructed next to two large public squares and off of several European style boulevards constructed around the same time.
The Al-Rifa'i Mosque was constructed in two phases over the period between 1869 and 1912, when it was finally completed. It was originally commissioned by Khushyar Hanim, the mother of the 19th century Khedive Isma'il Pasha to expand and replace the preexisting zawiya (shrine) of the medieval era Islamic saint Ahmad al-Rifa'i. The zawiya was a pilgrimage site for locals who believed that the tomb had mystical healing properties. Khushayer envisioned a dual purpose for the new structure as a house for sufi relics and a mausoleum for the royal family of Egypt. Over the course of its construction the architect, design, and purpose were changed.
The original architect was Husayn Fahmi Pasha al-Mi'mar, a distant cousin in the dynasty founded by Muhammad Ali in 1803. He died during the first phase of construction, and work was halted after Khedive Isma'il Pasha abdicated in 1880. Khushayar Hanim herself died in 1885, and work was not resumed until 1905 when the Khedive Abbas Hilmi II ordered its completion. Work was supervised by the Austrian architect Max Herz, head of the Committee for the Conservation of Arab Monuments in Cairo.
The building itself is a melange of styles taken primarily from the Mamluk period of Egyptian history, including its dome and minaret. The building contains a large prayer hall as well as the shrines of al-Rifa'i and two other local saints, Ali Abi-Shubbak and Yahya al-Ansari.
The mosque is the resting place of Khushyar Hanim and her son Isma'il Pasha, as well as numerous other members of Egypt's royal family, including King Farouk, Egypt's last reigning king, whose body was interred here after his death in Rome in 1965. The mosque served briefly as the resting place of Reza Shah Pahlavi of Iran, who died in exile in South Africa in 1944, and was returned to Iran after World War II. Part of the burial chamber is currently occupied by Reza Shah's son Mohammed Reza Pahlavi, who died in Cairo in 1980. I actually have photo's of these tombs so i will be posting them shortly.
first of 2013..a good day out with corze,merc,hozae,hora and refa...
thanks to alex ellison for the photo...
Prop de Sant Cugat del Vallés, hi ha aquest immens pi. Uns troncs immensos i unes cordes, vigilen per la seva salut. Va ser objecte d'una bretolada que va estar a punt de derribar-lo. Els van parar a temps. Ara fa anys que es refà del dany patit i queda com a mostra de la vergonya aliena que hem de sentir davant alguns dels nostres congèneres.
Cerca de Sant Cugat del Vallés encontramos este pino inmenso. Unos gruesos troncos y fuertes cuerdas vigilan su salud. Fue objeto de una gamberrada que estuvo a punto de derribarlo. Los detuvieron a tiempo. Hace años que está convaleciente del daño sufrido y queda como muestra de la vergüenza ajena que hemos de sentir ante algunos de nuestros congéneres.
Cambrils, 26 d'abril de 2018 Si et resisteixes, et maten
Si no ho fas, no et creuen i et qüestionen
Si refàs la teva vida, 'tampoc devia ser per tant'
No és abús, és VIOLACIÓ.
#LaManadaSomNosaltres
#noésno
The Sultan Hassan Mosque is considered stylistically the most compact and unified of all Cairo monuments. It is one of the masterpieces of Mamluk architecture. The building was commissioned by Sultan Hassan bin Al-Nasir Muhammad bin Qalawun in 1356 AD as a mosque and religious school for all four juristic branches of Sunni Islam. It was designed so that each of the four schools of thought - Shafi, Maliki, Hanafi and Hanbali - has its own area while sharing the mosque.[1].
Source. en.wikipedia.org/wiki/Mosque-Madrassa_of_Sultan_Hassan
The Al-Rifa'i Mosque (Arabic: مسجد الرفاعى, transliterated also as Al-Rifai, Al-Refai, Al-Refa'i, and named in English the Royal Mosque), is located in Cairo, Egypt, in Midan al-Qal'a, adjacent to the Cairo Citadel. The building is located opposite the Madrassa of Sultan Hassan, which dates from around 1361, and was architecturally conceived as a complement to the older structure. This was part of a vast campaign by the 19th century rulers of Egypt to both associate themselves with the perceived glory of earlier periods in Egypt's Islamic history and modernize the city. The mosque was constructed next to two large public squares and off of several European style boulevards constructed around the same time.
Source . en.wikipedia.org/wiki/Al-Rifa'i_Mosque
More .. archnet.org/library/sites/one-site.jsp?site_id=3476
The Saladin Citadel of Cairo (Arabic: قلعة صلاح الدين Qalaʿat Salāḥ ad-Dīn) is a fortification in Cairo, Egypt.
The location, part of the Muqattam hill near the center of Cairo, was once famous for its fresh breeze and grand views of the city, and was fortified by the Ayyubid ruler Salah al-Din (Saladin) between 1176 and 1183 AD, to protect it from the Crusaders[1].
S'anomena Cinque Terre (en català: Cinc terres) una part de la costa italiana del mar de Ligúria, a la província de La Spezia d'una gran bellesa. Les Cinque Terre van des de punta Mesca fins a punta di Montenero, i comprèn els pobles de Monterosso, Vernazza, Corniglia, Manarola i Riomaggiore. El 1997, a instàncies de la província de La Spezia, les Cinque Terre, juntament amb Porto Venere i les illes de Palmaria, Tino i Tinetto, van ser declarades Patrimoni de la Humanitat de la UNESCO. Les Cinque Terre i Portovenere està recollides amb el codi 826-001. El 1999 es va crear també el Parco Nazionale delle Cinque Terre ('Parc nacional de les Cinc Terres').
El seu origen és un context orogràfic molt particular, que dona origen a un paisatge muntanyós constituït per diferents estrats o "terrasses" que descendeixen cap al mar amb un fort pendent. La mà humana, al llarg dels segles, ha modelat el terreny sense alterar el delicat equilibri ecològic, utilitzant aquestes terrasses en declivi per a desenvolupar una particular tècnica agrícola destinada a aprofitar tot el possible la disposició del terreny.
Riomaggiore és la més oriental de les Cinque Terre. El centre històric, el nucli originari, data del segle XIII; se situa a la vall del riu Maggiore, l'antic rivus Major del qual pren el nom el poble. Les cases es distribueixen en diferents nivells paral·lels que segueixen el recorregut abrupte del riu. El nou barri de la Stazione, anomenat així per haver-se desenvolupat en el segle XIX després de l'arribada de la línia fèrria, se situa en canvi en la vall formada pel riu Finale (Rufinàu), així anomenat per assenyalar, en una època, els límits de les terres de Riomaggiore i les de Manarola.
L'església de San Giovanni Battista data de 1340 i es troba a la part alta del centre històric de Riomaggiore. De l'estructura original, encara avui es poden veure, al costat dret de l'església, els finestrals d'un sol forat i dos portals d' estil gòtic, decorats amb elements zoomòrfics i antropomòrfics d'època romànica i propers a la cultura Antelami. Entre els anys 1870 i 1871 es va fer una important i significativa revisió de tot l'edifici, a causa d'un enfonsament, amb l'allargament del conjunt i la refa de la façana a l'estilneogòtic, conservant, però, la rosassa del segle XIV en marbre blanc de Carrara.
L'interior està dividit en tres naus, de planta basilical, i amb arcs apuntats. Entre les obres d'art conservadeshi ha, a la nau dreta, un quadre que representa la Predicació de Joan Baptista, obra del pintor sarzanès Domenico Fiasella, un tríptic atribuït al Mestre de les Cinque Terre, un crucifix de fusta de Anton Maria Maragliano i el púlpit de marbre de 1663 que porta un relleu de 1530 amb sant Martí i el pobre, entre els sants Anna i Joaquim.
El presbiteri i les dues capelles extremes, tancades totes per una balustrada amb estàtues, tenen un aspecte barroc tardà. Darrere de l'altar major, també adornat amb dues estàtues del segle XVIII, hi ha el preciós cor de fusta del segle XVIII. Als laterals hi ha altres dos altars de marbre, el de la dreta acull un grup escultòric amb la Mare de Déu i el Nen.
The Al-Rifa'i Mosque (Arabic: مسجد الرفاعى, transliterated also as Al-Rifai, Al-Refai, Al-Refa'i, and named in English the Royal Mosque), is located in Cairo, Egypt, in Midan al-Qal'a, adjacent to the Cairo Citadel. The building is located opposite the Madrassa of Sultan Hassan, which dates from around 1361, and was architecturally conceived as a complement to the older structure. This was part of a vast campaign by the 19th century rulers of Egypt to both associate themselves with the perceived glory of earlier periods in Egypt's Islamic history and modernize the city. The mosque was constructed next to two large public squares and off of several European style boulevards constructed around the same time.
Atom - Can 2 - Refa - Nadia - Bandi - Agana - Waf - Serty - Sun c - Risc - Jazy - Décor - Pest - Kwim - Kraco - Veans - Twe Crew - Da Cruz - Collectif Renart…
Malheureusement une balade en bateau ne suffit pas pour tout voir...il faut revenir à pied !
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L'abadia de Sant Hilari (en francès Abbaye de Saint-Hilaire) és una antiga abadia benedictina fortificada situada a Saint-Hilaire (en occità Sant Ilari, en francès Saint-Hilaire), en el departament francès de l'Aude.
Fundada a finals del segle VIII, en el X i per voluntat dels comtes de Carcassona, l'abadia fou dedicada a Saint Hilaire (San Hilario), primer bisbe de Carcassona. El monestir fou pròsper fins el segle XIII, però les devastacions a causa de la guerra dels Cent Anys, la pesta negra i els períodes de fam afectaren negativament en ell i van causar el seu declivi. No obstant, la producció tradicional vinícola de la regió i de l'abadia derivà en que, el 1531, els monjos de Saint-Hilaire descobrissin el primer vi efervescent del món: el Blanquette de Limoux.
En el segle VII, sobre una capella construïda en el segle anterior per ordre de Sant Hilari, primer bisbe de Carcassona, que evangelitzà la regió del Carcassès, s'edifica una església, primer pas del que seria posteriorment l'abadia, que es menciona per primer cop a l'any 825 sota l'advocació de Sant Serni, primer bisbe de Tolosa.
Un segle més tard, concretament el 22 de febrer de 970, s'hi descobreixen les restes del primer bisbe de Carcassona i constructor de la primera capella. Els comtes de Carcassona, Roger I i la seva esposa Adelaida de Gavaldà, sol·liciten a l'orde de Sant Benet que es converteixin en els seus benefactors, i una carta de Lluís I el Pietós autoritza als monjos a escollir el seu abat, al mateix temps que passa a l'advocació de Sant Hilari.
Fins el segle XII, l'abadia es beneficia de la protecció dels comtes de Carcassona i nombrosos membres de la família Trencavell hi són enterrats. Paral·lelament, adquireix gran importància en tota la regió multiplicant-se les donacions. Durant la croada contra els albigesos, els monjos són acusats d'heretgia i entregats als dominics. El monestir és devastat i donat, juntament amb les seves terres, a la comunitat de germans predicadors del monestir de Prouille fins l'any 1246, que el rei de França Lluís IX intervé demanant al senescal de Carcassona tornar les terras a l'abat de Sant Hilari. L'abadia pateix les conseqüències de la devastació anterior i s'esfondra part del creuer, que es refà entre 1237 i 1260.
En la primera meitat del segle XIV s'edifica el claustre, però immediatament comença a patir etapes de dificultats econòmiques al no ser suficients els ingressos per a mantenir als 29 monjos que hi havia, que es va reduir a l'any 1344 per ordre del bisbat de Carcassona. La guerra dels Cent Anys i la pesta negra agreujaren aquests problemes, ja que es va haver de fortificar el monestir, generant més despeses. És en aquesta època que els monjos de Sant Hilari creen el Blanquette de Limoux, l'any 1531, als cellers adjunts de l'abadia.
En el segle XVI el monestir es sotmet al in commendam, traspassant els seus béns a particulars, però la decadència econòmica segueix i, l'any 1758, el bisbe de Carcassona dicta un decret suprimint els oficis claustrals i places monacals, convertint-se en església parroquial. A finals del segle XVIII l'abadia és venuda.
L'església abacial fou edificada en el segle XII tot i que no va ser acabada, bastint un mur de pedra com a façana occidental. Consta d'un absis semicircular on hi ha tres vitralls, possiblement del segle XIX. La nau està constituïda per tres voltes ogivals del segle XIII. Conté la joia artística de l'abadia, l'anomenat sarcòfag de Sant Serni, atribuït al Mestre de Cabestany. És una carcassa tallada en un sol bloc de marbre blanc del Pirineu, que explica, de dreta a esquerra, la vida de Sant Serni, el primer bisbe de Tolosa, al segle III, i s'atribueix al Mestre de Cabestany.
El claustre, en forma de trapezi irregular, data del segle XIV. Els capitells, de pedra sorrenca procedent de les pedreres de Razès, estan decorats amb fullatge, rostres humans o animals. En un dels seus laterals, sota una arcada, té un tauler d'escacs esculpit. És centrat per un font del segle XVI.
La sala de l'abat, contigua a la sala capitular, es va reservar per a l'abat, com a menjador privat o dormitori i té una decoració molt ben conservada. A les pintures de les bigues del sostre, que daten de finals del segle XV, s'hi representen formes geomètriques, d'animals i representacions humanes, algunes d'elles pujades de to.
A la part sud de la galeria del claustre hi havia el refectoris, un per als monjos i una altre per les visites. Els dos refectoris estan separats per una paret gruixuda que conté un púlpit incrustat de volta de creueria que data del segle XIV.
A la part sud-oest roman el que ha arribat als nostres dies de la part fortificada.
Des de 1840 està inscrit com a Monument Històric francès.
La batalla de Lauquet i la llegenda de Sant Hilaire
L'origen de la protecció de l'abadia de Saint-Hilaire pels comtes de Carcassona es deu probablement a la batalla de Lauquet, a finals del segle X. Aquesta batalla entre Roger I, comte de Carcassona, i Oliba Cabreta, comte de Cerdanya que va arribar a envair la regió, originà la llegenda.
De fet, es diu que les tropes de Roger I, inferiors en nombre i menys preparades per al combat, estaven a punt de perdre la baralla i fugir o ser massacrats. Llavors, el comte de Carcassona, al veure's perdut, es va agenollar i va començar a resar a Déu, invocant fins i tot a Sant Hilari demanant-li que l'ajudés a protegir el poble dels invasors. I va ser llavors quan es va produir el miracle: Sant Hilari, amb un vestit brillant, va aparèixer al cap d'un exèrcit que va repel·lir i va destruir les tropes d'Oliba.
Per agrair al sant la seva intervenció miraculosa, Roger I es comprometia vers els monjos a fer donacions regulars a l'abadia, a banda de triar el monestir com a lloc d'enterrament.
Aquesta foto ha jugat a Quel est ce lieu?.
The Al-Rifa'i Mosque (Arabic: مسجد الرفاعى, transliterated also as Al-Rifai, Al-Refai, Al-Refa'i, and named in English the Royal Mosque), is located in Cairo, Egypt, in Midan al-Qal'a, adjacent to the Cairo Citadel. The building is located opposite the Madrassa of Sultan Hassan, which dates from around 1361, and was architecturally conceived as a complement to the older structure. This was part of a vast campaign by the 19th century rulers of Egypt to both associate themselves with the perceived glory of earlier periods in Egypt's Islamic history and modernize the city. The mosque was constructed next to two large public squares and off of several European style boulevards constructed around the same time.
S'anomena Cinque Terre (en català: Cinc terres) una part de la costa italiana del mar de Ligúria, a la província de La Spezia d'una gran bellesa. Les Cinque Terre van des de punta Mesca fins a punta di Montenero, i comprèn els pobles de Monterosso, Vernazza, Corniglia, Manarola i Riomaggiore. El 1997, a instàncies de la província de La Spezia, les Cinque Terre, juntament amb Porto Venere i les illes de Palmaria, Tino i Tinetto, van ser declarades Patrimoni de la Humanitat de la UNESCO. Les Cinque Terre i Portovenere està recollides amb el codi 826-001. El 1999 es va crear també el Parco Nazionale delle Cinque Terre ('Parc nacional de les Cinc Terres').
El seu origen és un context orogràfic molt particular, que dona origen a un paisatge muntanyós constituït per diferents estrats o "terrasses" que descendeixen cap al mar amb un fort pendent. La mà humana, al llarg dels segles, ha modelat el terreny sense alterar el delicat equilibri ecològic, utilitzant aquestes terrasses en declivi per a desenvolupar una particular tècnica agrícola destinada a aprofitar tot el possible la disposició del terreny.
Riomaggiore és la més oriental de les Cinque Terre. El centre històric, el nucli originari, data del segle XIII; se situa a la vall del riu Maggiore, l'antic rivus Major del qual pren el nom el poble. Les cases es distribueixen en diferents nivells paral·lels que segueixen el recorregut abrupte del riu. El nou barri de la Stazione, anomenat així per haver-se desenvolupat en el segle XIX després de l'arribada de la línia fèrria, se situa en canvi en la vall formada pel riu Finale (Rufinàu), així anomenat per assenyalar, en una època, els límits de les terres de Riomaggiore i les de Manarola.
L'església de San Giovanni Battista data de 1340 i es troba a la part alta del centre històric de Riomaggiore. De l'estructura original, encara avui es poden veure, al costat dret de l'església, els finestrals d'un sol forat i dos portals d' estil gòtic, decorats amb elements zoomòrfics i antropomòrfics d'època romànica i propers a la cultura Antelami. Entre els anys 1870 i 1871 es va fer una important i significativa revisió de tot l'edifici, a causa d'un enfonsament, amb l'allargament del conjunt i la refa de la façana a l'estil neogòtic, conservant, però, la rosassa del segle XIV en marbre blanc de Carrara.
L'interior està dividit en tres naus, de planta basilical, i amb arcs apuntats. Entre les obres d'art conservadeshi ha, a la nau dreta, un quadre que representa la Predicació de Joan Baptista, obra del pintor sarzanès Domenico Fiasella, un tríptic atribuït al Mestre de les Cinque Terre, un crucifix de fusta de Anton Maria Maragliano i el púlpit de marbre de 1663 que porta un relleu de 1530 amb sant Martí i el pobre, entre els sants Anna i Joaquim.
El presbiteri i les dues capelles extremes, tancades totes per una balustrada amb estàtues, tenen un aspecte barroc tardà. Darrere de l'altar major, també adornat amb dues estàtues del segle XVIII, hi ha el preciós cor de fusta del segle XVIII. Als laterals hi ha altres dos altars de marbre, el de la dreta acull un grup escultòric amb la Mare de Déu i el Nen.
- In the photo we can See the dome of the Masjed, Madrasah, Kottab and sabeel of Sultan al Ashraf Qayt Bey.
- The dome is considered the diamond of the mamluki architecture. It was built on the ground then de-assembled and reassembled Again on the top of the building.
we can also see the citadel of salah el din al Ayubi, Mohammed Ali's masjed, Sultan Hassan's school and Masjed Al Refa'ee at the middle.
on the right of the citadel we see the mosque of Sultan hassan and el Refaai mosque.
the the right of the photo we can see the Pyramids of Giza
La capella de Santa Maria del Villar és un petit edifici religiós de Riells del Fai de nau rectangular, orientat de ponent a llevant, amb un absis semicircular i volta de quadrant d'esfera. Presenta una finestra doble esqueixada a l'absis, amb pedra regular i coronada per un arc de mig punt. A l'interior, a la banda esquerra, hi ha una absidiola semicircular empotrada en el mur, coronada per un arc adovellat, que serveix de fornícula per a la imatge de la Verge de la Llet. La volta original es refà en forma de volta d'aresta barroca el 1779. De la mateixa època són el campanar d'espadanya i el portal d'entrada amb l'ull de bou. La coberta és a dues aigües, amb teula àrab. L'aparell permet distingir les diferents etapes de construcció, sense presentar cap tipus de decoració. La imatge de la Verge és de terra cuita, i data del segle XVIII. A la llinda de la porta s'hi pot llegir la inscripció: "Renovada per Vicens de Montagut y Villar. Any 1799. Ave Maria".
El lloc "Villars" es documenta el 1007, però l'església apareix el 1195, encara que pot ser anterior. La família Villar ha estat patrona de la capella, promovent la restauració del 1779. Des d'aleshores, es coneix també com a la Capella de la Verge de la Llet, que es venerava en una estatueta en la fornícula esquerra de l'absis.
A la Guerra Civil fou profanada i torna al culte el 1940. S'hi celebra un aplec els dilluns després de la Primera Pasqua.
The Al-Rifa'i Mosque (Arabic: مسجد الرفاعى, transliterated also as Al-Rifai, Al-Refai, Al-Refa'i, and named in English the Royal Mosque), is located in Cairo, Egypt, in Midan al-Qal'a, adjacent to the Cairo Citadel. The building is located opposite the Madrassa of Sultan Hassan, which dates from around 1361, and was architecturally conceived as a complement to the older structure. This was part of a vast campaign by the 19th century rulers of Egypt to both associate themselves with the perceived glory of earlier periods in Egypt's Islamic history and modernize the city. The mosque was constructed next to two large public squares and off of several European style boulevards constructed around the same time.
The Al-Rifa'i Mosque (Arabic: مسجد الرفاعى, Written also as Al-Rifai, Al-Refai, Al-Refa'i, and named in English the Royal Mosque), is located in Cairo, Egypt, in Midan al-Qal'a, adjacent to the Cairo Citadel. The building is located opposite the Mosque-Madrassa of Sultan Hassan, which dates from around 1361, and was architecturally conceived as a complement to the older structure.
The building itself is a melange of styles taken primarily from the Mamluk period of Egyptian history, including its dome and minaret. The building contains a large prayer hall as well as the shrines of al-Rifa'i and two other local saints, Ali Abi-Shubbak and Yahya al-Ansari.
An oldie but a goodie. Minneapolis Wall of Fame in 1994. Most likely a Sketch. Messing with some different styles. At this time I would say my style was very West Coast with a New York influence but I had just come back from a trip to Chicago and saw some things that had crept into my style and had come out in this piece. Not normally an influence but I always had Love for the writers in Chicago. Refa and Zore and Casper, Tsel and Design, Este (East), these guys were doing it and doing it real big at the time. Pieces were a little bit longer then what I was used to seeing and had good, solid letter structure to them and the colors were always on point. I also had just recently learned about Home-made Skinny caps and wanted to show some of the skills I had picked up in the fill of this piece. I think with some minor updates to the letters in this piece, this piece could probably still rock today.
gros big up/ batsh angie. yo diem ,da cruz, smash, TWE, pest-p19, cantwo, atome, bandi, agana, le collectif renart, nadia, waf, refa, swig, serty, et tout les autre ! merci pour l’accueille! bondy juillet 2014
qwikLoadr™ Vimeo™ Videos...
Norah Jones | Love Me Tender Nigani!
Elvis Presley | Love Me Tender Viva Elvis!
Top one was linked to for years, and then that new one came along, with a cameo from Elvis too. see comment.
Mayor Menino | Boston's Mayor REFA! • Vimeo™
Deanna!! on the bus first thing. I often get an empty bus that starts at the stop I'm at. When they come from the route,they re usually pretty full already. Today it came with just a few people. Deanna and Keri, plus a person behind them. Deanna had a note pad that she showed Keri a few times.. They got off and Deanna Flashed the striped bag!!! The only time I saw ittoo, for the entire way to work...all the way to work. They kicked out the homeless at Haymarket again....which is so cruel. There is a reason they are at Haymarket, its because of the heat. There are vents outside from the subway station and it makes it the warmest place around, by far. But the empty Kitchen made them leave.and bought flowers an decorations instead. How is that place Public?
Mayor Menino look-alike at the Kitchen, and Venus [with guardian (special hat)] with luggage....Red Black and White. like Keri. And the Whoosh! vehicle at the Holocaust Memorial! all of them.