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The Western Wall, also known as the "Wailing Wall" or the "Kotel," is one of the most significant religious and historical sites in Jerusalem, Israel. It holds deep spiritual and emotional importance for Jews worldwide, and it has also become a symbol of the complex and often contentious nature of the Israeli-Palestinian conflict.
The Western Wall is a remnant of the ancient retaining wall that once surrounded the Second Temple, which was destroyed by the Romans in 70 CE. After the temple's destruction, the Western Wall became the closest accessible site for Jewish prayer and pilgrimage. For centuries, Jews from around the world have come to this sacred site to pray, lament the destruction of the temple, and express their connection to Jewish heritage.
The name "Wailing Wall" originates from the 19th and early 20th centuries when Jews would gather at the site to mourn the destruction of the temple and express their sorrow through prayers and tears. The term "Kotel" means "wall" in Hebrew and has become a popular and endearing name for the site.
Over time, the Western Wall has evolved into a focal point of religious and nationalist tensions between Israelis and Palestinians. The site is located in the Old City of Jerusalem, which is also part of the contested area between Israel and Palestine. Its significance to both Jewish and Muslim communities has led to disputes and occasional clashes.
The Western Wall plaza is divided into two sections: one for men and the other for women, following Orthodox Jewish tradition. The prayers and rituals conducted here are a mix of individual devotion, communal worship, and celebrations during religious holidays.
In addition to its religious importance, the Western Wall draws millions of tourists and visitors from various backgrounds each year, offering them a glimpse into the rich history and cultural diversity of Jerusalem.
Despite the ongoing complexities surrounding the Western Wall and its geopolitical context, it remains an essential and cherished place for Jewish people, symbolizing resilience, faith, and the connection to their shared heritage.
The only Moai(s) facing the ocean at Ahu Akivi:
Contrary to popular belief, the moai(s) of Easter Island don’t stare out to sea, but rather look inland. While there’s many different conspiracy theories about this, the truth is that they were built to look back at the villages they represented.
The only exception to this is Ahu Akivi, which does stare out at the ocean. This is because the village was built on the edge of the sea, and with no room to place the ahu (platform) in their standard place, the villagers placed it behind.
It’s a gorgeous spot as well, and as it is completely unique it’s well worth visiting.
The restoration that boosted Rapa Nui:
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My Tips:
- Catch the moai as part of a trip on the northwest side of the island, as it is a bit out of the way.
- Find a tree to chain the bike to climb the Terekava Volcano. They rent the bike without a lock and chain. They didn't have it/them, thankfully I took it from Brazil.
An accurate astronomical observatory.
Like other platforms on the island, including the lone moai of the Ahu Huri a Urenga, the Ahu Akivi was built following a precise astronomical orientation. In this way they controlled the change of seasons and the most appropriate times for agricultural tasks.
In Akivi the axis of the platform was oriented from north to south, getting the faces of the moai look exactly at the point where the sun sets during the equinox of the austral spring (September 21st) and their backs face the sun of the dawn during the autumn equinox (March 21st).
Ahu Akivi and the stars:
The Ahu Akivi has a special connection to the stars. Its construction was carried out following a unique orientation that allows it to connect with the stars and thus obtain data from different times of the year.
Its orientation (from north to south) allowed the natives to know the changes of seasons and based on these data, to have clarity of the most suitable moments for the harvests.
How did they identify the stations?
During the spring equinox (on September 21), the face of the moai points directly towards the place where the sun sets. If the sun hid where the Ahu Akivi giants looked, the natives knew that spring was beginning.
Now, for the fall equinox (on March 21), the sun changes position and begins to hide just behind the moais. When this happened, the natives knew that there was a new change of season.
As a last piece of information I tell you that the best time to go to see this area is during the afternoon, when the sun is setting. If you follow my advice, you will have a beautiful and unique panoramic view of the sun saying goodbye to the day, just in front of the 7 moai statues and illuminating the stone giants with its last rays.
Some of the moai found around the island have these large, red pieces on their heads. Despite what they look like, these aren’t hats, but are rather the hair styles (top knots) of those particular people represented by the statues.
Called ‘pukaos’, these large rocks were carved at the Puna Pau quarry out of red scoria, and are different to the rest of the stone you can find around the island.
A trip to Puna Pau allowed me to look into the quarry, as well as saw a number of pukao that never made it to their final destination.
The statues on the island invariably faced the village as a protective mana, but in the case of the Ahu Akivi statues they face towards the sea. There is a legend narrated for this positioning of the seven statues. It is conjectured that the Rapanui people did it to propitiate the sea to help the navigators. However, according to an oral tradition, Hotu Matu’s priest had a dream in which the King's soul flew across the ocean when the Rapa Nui island was seen by him.
He then sent scouts navigating across the sea to locate the island and to find people to settle there. Seven of these scouts stayed back on the island waiting for the king to arrive. These seven are represented by the seven stone statues erected in their honour.
Pukao, the headdresses of the moai.
The pukao were large cylinders made of volcanic red slag that adorned the heads of the Easter Island statues.
The pukao is an ornament, made with red scum from the Puna Pau crater, which was placed on the head of the statues of the most important ceremonial platforms on Easter Island.
Several archaeological studies indicate that the manufacture of the pukao occurred in times after the elaboration of the great statues, some even suggest that the extraction works in Puna Pau began when the quarries of Rano Raraku had already been abandoned.
In comparison with the almost 1,000 statues recorded, only about 100 pukao have been located, 70 of them demolished in the vicinity of the ahu and another 30 that still lie in the Puna Pau quarry. It is possible that there are more pieces buried in the paths or incorporated as recycled construction material into the ceremonial platforms themselves, making it difficult to define the total number of pukao that were carved.
This mismatch between the number of pukao and statues is explained because the pukao were added only to the moai that stood on certain selected ceremonial altars. In fact, these places already stood out from the rest for a very elaborate architecture, such as can still be seen in the Ahu Nau Nau on Anakena beach, the Ahu Hanga Te'e in Vaihu, the Ahu Akahanga or the impressive Ahu Tongariki .
With their incorporation into these ceremonial centers, the pukao further enhanced the images of the ancestors, as they gained height and were more imposing. This increase in monumentality is consistent with the hypothesis that the development of the pukao would be associated with the growing competition between tribal groups, who manifested their rivalry, making bigger and bigger moai on more elaborate altars.
Bethlehem's Basilica of the Nativity is one of the most significant religious and historical sites in the world. Located in Bethlehem, a town in the West Bank, it is widely regarded as the birthplace of Jesus Christ. The basilica holds immense religious importance for Christians and attracts pilgrims and tourists from all over the globe.
The Basilica of the Nativity was originally commissioned by Emperor Constantine the Great in the 4th century AD. It was built over the site believed to be the birthplace of Jesus, as identified by early Christian tradition. The basilica's architecture reflects a blend of Roman, Byzantine, and Crusader influences, making it a unique and historically rich structure.
The church's interior features a combination of ornate decorations, mosaics, and religious artifacts, preserving the essence of its ancient origins. One of its most iconic elements is the Grotto of the Nativity, a small underground cave within the basilica, traditionally recognized as the exact spot where Jesus was born. Pilgrims often gather around this revered site to pay their respects and offer prayers.
Throughout its long history, the Basilica of the Nativity has faced various challenges, including damage from earthquakes and periods of conflict. However, it has been meticulously restored and remains a symbol of enduring faith and spiritual devotion.
Due to its profound historical and religious significance, the Basilica of the Nativity has been designated as a UNESCO World Heritage Site, further cementing its importance as a place of cultural and religious heritage for people worldwide. Visiting this holy site offers a powerful and humbling experience, allowing individuals to connect with centuries of Christian tradition and reverence for the birth of Jesus Christ.
After a short night on the top of the of mount Emei (Emeishan) one of the four Buddhist sacred mountains of China we went up to watch the sunrise. The mist that had settled in during the night was slowly lifting making this temple to become visible. I loved how it seemed to float in the clouds. As most of the landscape was clouds I took this one with a long-lens.
Santuari de Sameiro, Braga, Portugal
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(¸.•´ (¸.•` Moltes gràcies per la visita - Thanks for your visit !!!
All right reserved - Contact: joanotbellver@gmail.com
Església de la Santíssima Trinitat de Castelló de la Plana (Plana Alta) País Valencià ////
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★*´¨)
¸.•´¸.•*´¨) ¸.•*¨)
(¸.•´ (¸.•` Moltes gràcies per la visita - Thanks for your visit !!!
All right reserved - Contact: joanotbellver@gmail.com
Cumulonimbus is a dense, towering, vertical cloud,] typically forming from water vapor condensing in the lower troposphere that builds upward carried by powerful buoyant air currents. Above the lower portions of the cumulonimbus the water vapor becomes ice crystals, such as snow and graupel, the interaction of which can lead to hail and to lightning formation, respectively.
When causing thunderstorms, these clouds may be called thunderheads. Cumulonimbus can form alone, in clusters, or along squall lines. These clouds are capable of producing lightning and other dangerous severe weather, such as tornadoes, hazardous winds, and large hailstones. Cumulonimbus progress from overdeveloped cumulus congestus clouds and may further develop as part of a supercell. Cumulonimbus is abbreviated as Cb.
Notre-Dame des Neiges de Louargat is a church in Louargat, Brittany. It is one of the religious sites in the village, along with other churches and chapels such as the Église Saint-Eloi, chapels of Saint-Jean, Saint-Fiacre and Saint-Paul, and the Sainte-Chapelle Marguerite. Louargat is known for its rich religious heritage. The church is located on Place Roger Madrigou and can be found on Mappy, where you can also find photos, a map, and reviews. Louargat is a charming village in Brittany and, in addition to its religious heritage, also offers opportunities for nature lovers, with the Forêt de Coat An Hay, the menhirs of Pergat, and the An Dossen tumulus.
Had a great time visiting the Amahoro Mountain Gorilla Group in Rwanda two summers ago. This is one of my favourite shots from my time with them.
Feel free to also follow me on Instagram @gregtaylorphotography
Pukao, the headdresses of the moai.
The pukao were large cylinders made of volcanic red slag that adorned the heads of the Easter Island statues.
The pukao is an ornament, made with red scum from the Puna Pau crater, which was placed on the head of the statues of the most important ceremonial platforms on Easter Island.
Several archaeological studies indicate that the manufacture of the pukao occurred in times after the elaboration of the great statues, some even suggest that the extraction works in Puna Pau began when the quarries of Rano Raraku had already been abandoned.
In comparison with the almost 1,000 statues recorded, only about 100 pukao have been located, 70 of them demolished in the vicinity of the ahu and another 30 that still lie in the Puna Pau quarry. It is possible that there are more pieces buried in the paths or incorporated as recycled construction material into the ceremonial platforms themselves, making it difficult to define the total number of pukao that were carved.
This mismatch between the number of pukao and statues is explained because the pukao were added only to the moai that stood on certain selected ceremonial altars. In fact, these places already stood out from the rest for a very elaborate architecture, such as can still be seen in
* the Ahu Nau Nau on Anakena beach, flic.kr/p/t7Ueut
* the Ahu Hanga Te'e in Vaihu, flic.kr/p/tsFLyb
* the Ahu Akahanga flic.kr/p/2jDdHM6 or
* the impressive Ahu Tongariki. flic.kr/p/2jxPtKY
With their incorporation into these ceremonial centers, the pukao further enhanced the images of the ancestors, as they gained height and were more imposing. This increase in monumentality is consistent with the hypothesis that the development of the pukao would be associated with the growing competition between tribal groups, who manifested their rivalry, making bigger and bigger moai on more elaborate altars.
Ahu Akivi is a particular sacred place in Rapa Nui (or Easter Island) in the Valparaíso Region of Chile, looking out towards the Pacific Ocean. The site has seven moai, all of equal shape and size, and is also known as a celestial observatory that was set up around the 16th century. The site is located inland, rather than along the coast. Moai statues were considered by the early people of Rapa Nui as their ancestors or Tupuna that were believed to be the reincarnation of important kings or leaders of their clans. The Moai were erected to protect and bring prosperity to their clan and village.
A particular feature of the seven identical moai statues is that they exactly face sunset during the Spring Equinox and have their backs to the sunrise during the Autumn Equinox. Such an astronomically precise feature is seen only at this location and the Ahu Huri a Ureŋa on the island.
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I was here yesterday afternoon to see the beautiful sunset.
The trail to Terevaka volcano starts on the right side of the ahu.
Left the bike here.
The more recent moai had pukao on their heads, which represent the topknot of the chieftains. According to local tradition, the mana was preserved in the hair. The pukao were carved out of red scoria, a very light rock from a quarry at Puna Pau.
Red itself is considered a sacred color in Polynesia.
The added pukao suggest a further status to the moai.
An accurate astronomical observatory.
Like other platforms on the island, including the lone moai of the Ahu Huri a Urenga, the Ahu Akivi was built following a precise astronomical orientation. In this way they controlled the change of seasons and the most appropriate times for agricultural tasks.
In Akivi the axis of the platform was oriented from north to south, getting the faces of the moai look exactly at the point where the sun sets during the equinox of the austral spring (September 21st) and their backs face the sun of the dawn during the autumn equinox (March 21st).
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The best time to visit and take pictures is at sunset, which is when the setting sun illuminates the seven statues and highlights their features.
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The legend of the seven explorers:
In the recent literature on Akivi, the seven statues of the platform are related with the seven young people who were sent to explore the island before its first colonization by King Hotu Matu’a.
A legend says that Hau Maka, the priest of Hotu Matu’a had a dream in which his soul flew across the ocean when he sighted the island. Next, he sent seven explorers sailing through the sea to locate the island, study its conditions and the best area to disembark.
Although the idea that the legend was remembered in stone is attractive, it seems that it can not be true. The moai statues belong to a quite late sculptural period, after the year 1440 AD and historians consider the hypothesis that the first settlers arrived on the island towards the fifth century, so they rule out a possible relationship between both facts.
The restoration that boosted Rapa Nui:
Ahu Akivi was the first ahu to be restored after a small group of islanders, at the request of Thor Heyerdahl, erected the statue of the Ahu Ature Huki on the beach of Anakena in 1956. As a member of that Norwegian expedition was the American anthropologist William Mulloy, who from then on would devote a large part of his life to studying the mysteries of Easter Island.
The reconstruction work in Ahu Akivi began in March 1960 and continued until October of that year. William Mulloy and his Chilean colleague Gonzalo Figueroa worked with an archeologic team of 25 Rapanui people in various phases of excavation and reconstruction. This was the first serious archaeological excavation and the first complete restoration of a ceremonial site in Rapa Nui.
The works were done with hardly any material means, they only used wooden poles, stones and a pair of oxen. But with perseverance, ingenuity and effort they achieved their goal. To raise and place the first moai, they used a stone ramp and two large wooden levers. This operation took a month. However, after perfecting the technique and with the experience gained, it took less than a week to raise the seventh statue.
When the work was finished, Father Sebastian Englert himself gave the blessing at a very emotional opening ceremony. After 150 years the islanders could observe again several moai standing on an ahu.
The restoration of Ahu Akivi is considered a turning point in Rapa Nui. From that moment, other works of restoration of more platforms began. The Ahu Akivi was followed by the ahu of Hanga Kio’e, Tahai, Anakena and Tongariki. The ancient platforms regained their former glory and the small and remote Easter Island attracted the attention of other researchers and travelers. And what is more important, it unleashed a true cultural renaissance, an economic development and a renewed sense of pride in being Rapanui.
photo rights reserved by Ben
In the heart of Skopje, near the Old Bazaar, lies the Church of the Ascension of Jesus Voznesenie Hristovo. From the outside, the church appears simple, almost hidden behind walls and trees. Yet once inside, you step into another world: a place of silence, devotion, and overwhelming art. The church was built in the 16th century and has been restored several times over the centuries after earthquakes and fires. The most impressive feature is undoubtedly the monumental iconostasis. This masterpiece of local Orthodox woodcarvers dates back to the 19th century and is entirely covered with richly carved ornaments and icons. The paintings depict Christ, Mary, and the apostles, surrounded by colorful scenes from the New Testament. Above the iconostasis rises a gilded cross, flanked by angels and saints, further enhancing the heavenly atmosphere. The ceiling, with its deep blue background and frescoes of angels, adds to the mystical aura of the space. The church holds not only religious significance but also a national one: in its garden rests the national hero Goce Delčev, a symbol of the Macedonian struggle for independence. His grave makes this place an important site of memory and identity for the people. In the photo, this unique atmosphere comes to life. The iconostasis shines in warm wood and vibrant colors, while the golden details and icons tell a story of faith, art, and history. The contrast between the modest exterior and the rich interior makes the Church of the Ascension of Jesus a hidden jewel in the heart of Skopje.
In the heart of Skopje, near the Old Bazaar, stands the Church of the Ascension of Jesus. Its modest exterior hides a breathtaking interior with a 19th-century iconostasis, richly carved and adorned with icons. In the garden lies national hero Goce Delčev, making this sacred site both a place of faith and a hidden jewel of Macedonian history.
In het hart van Skopje, vlak bij de oude bazaar, ligt de Church of the Ascension of Jesus Voznesenie Hristovo. Van buiten oogt de kerk eenvoudig, bijna verscholen achter muren en bomen. Maar wie binnenstapt, komt in een andere wereld: een plek van stilte, devotie en overweldigende kunst. De kerk werd in de 16e eeuw gebouwd en door de eeuwen heen meerdere keren hersteld na aardbevingen en branden. Het meest indrukwekkende element is zonder twijfel de monumentale iconostase. Dit meesterwerk van lokale orthodoxe houtsnijwerkers dateert uit de 19e eeuw en is volledig bedekt met rijk gesneden ornamenten en iconen. De schilderingen tonen Christus, Maria en de apostelen, omringd door kleurrijke taferelen uit het Nieuwe Testament. Boven de iconostase prijkt een verguld kruis, geflankeerd door engelen en heiligen, die de hemelse sfeer nog versterken. Het plafond met zijn diepblauwe achtergrond en fresco’s van engelen draagt bij aan de mystieke uitstraling van de ruimte. De kerk heeft niet alleen religieuze betekenis, maar ook een nationale: in de tuin rust de nationale held Goce Delčev, symbool van de Macedonische onafhankelijkheidsstrijd. Zijn graf maakt de plek tot een belangrijke plaats van herinnering en identiteit voor de bevolking. Op de foto komt deze unieke sfeer prachtig naar voren. De iconostase schittert in warm hout en levendige kleuren, terwijl de gouden details en iconen een verhaal vertellen van geloof, kunst en geschiedenis. Het contrast tussen de sobere buitenkant en de rijke binnenkant maakt de Church of the Ascension of Jesus tot een verborgen juweel in het hart van Skopje.
To Navajo people, entering Antelope Canyon is like entering a cathedral. They pause before entering to be in the right frame of mind and as a sign of respect. This also allows them to leave feeling uplifted by what Mother Nature has to offer, and to be in harmony with something greater than themselves. It was, and is, a spiritual experience.
-- from the web.
Remains from the Ancient Thracian city of Perperikon situated at Eastern Rhodopi Mountain, Bulgaria.
Infestation Festival
Since ancient times, it is thought that the plague will spread as the flowers fall, and the "Infestation Festival" has been held to calm the flowers.
古来、花の散るのに伴って疫病が蔓延すると考えられ、鎮めるために行われてきた祭りが「鎮花祭」です
Tucked between the dense green breath of the forest and the rhythmic whispers of the sea, a solitary red shrine stands still—weathered by salt, wind, and time.
Here, silence speaks.
The waves arrive like pilgrims, the breeze carries forgotten prayers, and the land holds its secrets in roots and stone.
A lone figure wanders the water’s edge, not lost—but searching,
for something only the shore can answer.
photo rights reserved by Ben
High on the rocky slopes of the Georgian-Azerbaijan border lies the remote Natlismtsemeli Monastery – a spiritual place that seems to have emerged from the landscape itself. A narrow path winds up between weathered boulders, leading to a sanctuary where time seems to stand still. The monastery buildings are partly carved into the mountainside and partly built of rough natural stone. In the middle of them stands a small church with a striking blue-green dome, dedicated to John the Baptist – Natlismtsemeli in Georgian. At the edge of the plateau stands a sturdy, square gateway that once served as the official entrance to the monastery. The passage literally led pilgrims into another world: from the silence of the earth to a life of prayer and seclusion. Today, that silence is still palpable. The photo shows Kanitha sitting on a bench in the shade of a tree, overlooking the valley where silence and wind reign. She has already entered the gate, the church door on the right is open – an entrance to the inner space of faith, hollowed out of the rock itself. Meanwhile, a cat walks along the path, as if she too is part of this ancient rhythm. The entrance gate still stands proudly, weathered by the wind and the dust of centuries. The rough stones bear faint traces of workmanship, and the small upper floor may once have served as a waiting room or shelter. It is a simple construction, but full of meaning – a symbol of the transition from the outside world to inner stillness. For centuries, monks lived here in silence and seclusion. Their cells were simple cave niches in the rock, without luxury or comfort. Today, someone still lives here: a monk who keeps the spirit of Natlismtsemeli alive, with a view of an endless, empty valley.
In Natlismtsemeli there are no bells, no hurry, no frills – only stone, faith and silence. The monastery is still alive, shrouded in simplicity and carried by tradition. And whoever steps through the gate enters not only another place, but also another time.
Hoog tegen de rotsachtige hellingen van het grensgebied tussen Georgië en Azerbeidzjan ligt het afgelegen Natlismtsemeli-klooster – een spirituele plek die lijkt te zijn voortgekomen uit het landschap zelf. Een smal pad slingert tussen verweerde rotsblokken omhoog, en leidt naar een heiligdom waar de tijd stil lijkt te staan. De gebouwen van het klooster zijn deels uitgehouwen in de bergwand, deels opgetrokken uit ruw natuursteen. Te midden daarvan staat een kleine kerk met een opvallend blauwgroen koepeltje, gewijd aan Johannes de Doper – Natlismtsemeli in het Georgisch. Aan de rand van het plateau staat een robuuste, vierkante toegangspoort die ooit diende als officiële entree tot het klooster. De doorgang leidde pelgrims letterlijk een andere wereld binnen: van de aardse stilte naar een leven van gebed en afzondering. Vandaag de dag is die stilte nog altijd tastbaar. Op de foto is te zien hoe Kanitha op een bank zit, in de schaduw van een boom, met uitzicht over de vallei waar stilte en wind regeren. Ze is al door de poort getreden, de kerkdeur rechts is open – een toegang tot de binnenste ruimte van geloof, uitgehold uit de rots zelf. Ondertussen wandelt een kat over het pad, alsof ook zij deel uitmaakt van dit eeuwenoude ritme. De toegangspoort staat nog altijd fier overeind, verweerd door de wind en het stof van de eeuwen. De ruwe stenen dragen vage sporen van bewerking, en de kleine bovenverdieping kan ooit dienst hebben gedaan als wachtruimte of schuilplek. Het is een eenvoudige constructie, maar vol betekenis – een symbool van de overgang van buitenwereld naar innerlijke verstilling. Eeuwenlang leefden hier monniken in stilte en afzondering. Hun cellen waren eenvoudige grotnissen in het gesteente, zonder luxe of comfort. Vandaag woont hier nog steeds iemand: een monnik die de geest van Natlismtsemeli levend houdt, met uitzicht op een eindeloze, lege vallei. In Natlismtsemeli zijn geen klokken, geen haast, geen opsmuk – alleen steen, geloof en stilte. Het klooster leeft nog, gehuld in eenvoud en gedragen door traditie. En wie door de poort stapt, betreedt niet alleen een andere plek, maar ook een andere tijd.
Towers above the city rooftops.
York Minster, formally the "Cathedral and Metropolitical Church of Saint Peter in York", is an Anglican cathedral in the city of York, North Yorkshire, England. The minster is the seat of the archbishop of York, the third-highest office of the Church of England, and is the mother church for the diocese of York and the province of York It is administered by its dean and chapter. The minster is a Grade I listed building and a scheduled monument.
It was in 1212 AD that the Kēpina monastery was built in Epirus, Greece. It was nested within the yawning cave of a craggy, vertical cliff (gorge of the river Kalarrytikos or Calarrhyticus).
The monastery is dedicated to the Assumption (of Virgin Mary). The Kēpina name derives from the word for gardens (kēpoe in Greek).
photo rights reserved by Ben
The David Gareja Monastery complex lies in a remote and isolated part of the rugged, semi-desert landscape of eastern Georgia, near the border with Azerbaijan. The surroundings are marked by dry hills, barren plains, and steep rock formations — far removed from any village or town. This very secluded location enhances the spiritual atmosphere of the site, which has served for centuries as a retreat for monks seeking to withdraw from the world. The monastery was founded in the 6th century by the Syrian monk David Garejeli and is partially carved into the soft sandstone cliffs. On the left side of the photo, you can see the dramatic, sloping rock wall with carved cells, chapels, and caves that once served as living and prayer quarters for the monks. Some of them are still adorned with delicate, centuries-old frescoes. On the right, the fortified walls and round watchtowers can be seen — silent witnesses to the monastery’s defensive function throughout history. In the center, a green, open courtyard connects nature and architecture in a harmonious way. Beyond its historical and architectural value, David Gareja is still a living religious site. Today, it is home to Georgian Orthodox monks who lead a modest, secluded life devoted to prayer, study, and the maintenance of the monastery. Their presence reminds us that David Gareja is not merely a ruin, but an active spiritual community. Their daily routines continue almost undisturbed — in silence, in stone, and in harmony with the land. During our visit, we were the only visitors, allowing us to explore the entire site in complete peace. From the monastery, there is a breathtaking view over the silent, endless semi-desert plains — a place of stillness, reflection, and mysticism.
Hidden in Georgia’s remote semi-desert near the Azerbaijani border, the David Gareja Monastery is a centuries-old complex carved into sandstone cliffs. Still home to Orthodox monks, it blends ancient history with quiet spiritual life. Surrounded by stark, rugged landscapes, the site offers solitude, breathtaking views, and a deep sense of timelessness.
Het David Gareja-kloostercomplex ligt afgelegen en geïsoleerd in het ruige, halfwoestijnachtige landschap van Oost-Georgië, vlak bij de grens met Azerbeidzjan. De omgeving wordt gekenmerkt door droge heuvels, kale vlaktes en steile rotspartijen — ver verwijderd van dorpen of steden. Juist deze verlaten ligging versterkt de spirituele sfeer van de plek, die eeuwenlang een toevluchtsoord is geweest voor monniken die zich wilden terugtrekken uit de wereld. Het klooster werd in de 6e eeuw gesticht door de Syrische monnik David Garejeli en is deels uitgehouwen in de zachte zandsteenrotsen. Links op de foto zie je de spectaculaire, schuin oplopende rotswand, vol uitgehouwen cellen, kapellen en grotten die ooit dienden als woon- en gebedsruimten voor monniken. Sommige zijn nog versierd met verfijnde, eeuwenoude fresco’s. Rechts zijn de versterkte muren en ronde wachttorens zichtbaar — stille getuigen van de verdedigingsfunctie die het complex door de eeuwen heen ook heeft vervuld. In het midden ligt een groen, open binnenplein dat op harmonieuze wijze natuur en architectuur met elkaar verbindt. Naast zijn historische en architectonische waarde is David Gareja nog altijd een levendige religieuze plek. Er wonen vandaag de dag nog steeds Georgisch-Orthodoxe monniken, die er een teruggetrokken en sober leven leiden, toegewijd aan gebed, studie en het onderhoud van het klooster. Hun aanwezigheid onderstreept dat David Gareja geen verlaten ruïne is, maar een actieve spirituele gemeenschap. Hun dagelijkse rituelen gaan haast ongestoord verder — in stilte, in steen, en in verbondenheid met de natuur. Tijdens ons bezoek waren we de enige bezoekers, wat het mogelijk maakte het hele terrein in volledige rust te verkennen. Vanaf het klooster strekt zich een adembenemend uitzicht uit over de stille, eindeloze semi-woestijnvlakten — een plek van verstilling, bezinning en mystiek.