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Nice housing by the harbour at Strangford. The name has Viking connotations. A ferry plies between Strangford and Portaferry.
Sérguiev Posad (Rusia) - Sergiyev Posad (Russia) - Се́ргиев Поса́д (Россия)
Sérguiev Posad (en ruso: Се́ргиев Поса́д), entre 1930 y 1991 llamada Zagorsk, es una ciudad rusa, al nordeste de Moscú. Contaba con 109.252 habitantes en el censo de 2008. Posee un importante conjunto monumental, el monasterio de la Trinidad y de San Sergio (siglos XV-XVIII), declarado Patrimonio de la Humanidad por la UNESCO.
es.wikipedia.org/wiki/Sérguiev_Posad
es.wikipedia.org/wiki/Anillo_de_Oro_de_Rusia
Sergiyev Posad (Russian: Се́ргиев Поса́д) is a city and the administrative center of Sergiyevo-Posadsky District in Moscow Oblast, Russia. Population: 111,179 (2010 Census); 113,581 (2002 Census); 114,696 (1989 Census).
It was previously known as Sergiyev Posad (until 1919), Sergiyev (until 1930), Zagorsk (until 1991).
Sergiyev Posad grew in the 15th century around one of the greatest of Russian monasteries, the Trinity Lavra established by St. Sergius of Radonezh, still (as of 2015) one of the largest monasteries in Russia. Town status was granted to Sergiyev Posad in 1742. The town's name, alluding to St. Sergius, has strong religious connotations. Soviet authorities changed it first to just Sergiyev in 1919, and then to Zagorsk in 1930, in memory of the revolutionary Vladimir Mikhailovich Zagorsky
The original name was restored in 1991.
Within the framework of administrative divisions, Sergiyev Posad serves as the administrative center of Sergiyevo-Posadsky District. As an administrative division, it is, together with twenty-six rural localities, incorporated within Sergiyevo-Posadsky District as the City of Sergiyev Posad. As a municipal division, the City of Sergiyev Posad is incorporated within Sergiyevo-Posadsky Municipal District as Sergiyev Posad Urban Settlement.
Tourism associated with the Golden Ring plays a role in the regional economy. There is also an important toy factory.
The Moscow–Yaroslavl railway and highway pass through the town. Sergiyev Posad Bus Terminal is located in the city.
en.wikipedia.org/wiki/Sergiyev_Posad
en.wikipedia.org/wiki/Golden_Ring_of_Russia
El monasterio de la Trinidad y San Sergio (en ruso Тро́ице-Се́ргиева Ла́вра; o Tróitse-Sérguieva Lavra) en la ciudad de Sérguiev Posad (antiguo Zagorsk) es un importante monasterio ruso y centro espiritual de la iglesia ortodoxa rusa. Sérguiev Posad se encuentra a unos 70 kilómetros al noreste de Moscú en la carretera que va a Yaroslavl. Actualmente alberga a unos 300 monjes. Según la Unesco, que lo declaró Patrimonio de la Humanidad en 1993, se trata de «un buen ejemplo de monasterio ortodoxo en funcionamiento, con rasgos militares típicos de los siglos XV al XVIII, período durante el que se desarrolló.»
La iglesia principal de la Laura (monasterio), la catedral de la Asunción, recuerda la homónima catedral del Kremlin y alberga las tumbas de los Godunov.
Siendo monje de la Laura, Andréi Rubliov pintó, para el iconostasio de la catedral, su más célebre icono La Trinidad que actualmente se expone en la Galería Tretiakov de Moscú.
es.wikipedia.org/wiki/Laura_de_la_Trinidad_y_San_Sergio
The Trinity Lavra of St. Sergius (Russian: Тро́ице-Се́ргиева Ла́вра) is the most important Russian monastery and the spiritual centre of the Russian Orthodox Church. The monastery is situated in the town of Sergiyev Posad, about 70 km to the north-east from Moscow by the road leading to Yaroslavl, and currently is home to over 300 monks.
The monastery was founded in 1337 by one of the most venerated Russian saints, Sergius of Radonezh, who built a wooden church in honour of the Holy Trinity on Makovets Hill. Early development of the monastic community is well documented in contemporary lives of Sergius and his disciples.
In 1355, Sergius introduced a charter which required the construction of auxiliary buildings, such as refectory, kitchen, and bakery. This charter was a model for Sergius' numerous followers who founded more than 400 cloisters all over Russia, including the celebrated Solovetsky, Kirillov, and Simonov monasteries.
St. Sergius supported Dmitri Donskoi in his struggle against the Tatars and sent two of his monks, Peresvet and Oslyabya, to participate in the Battle of Kulikovo (1380). At the outbreak of the battle, Peresvet died in a single combat against a Tatar bogatyr. The monastery was devastated by fire, when a Tatar unit raided the area in 1408.
St. Sergius was declared patron saint of the Russian state in 1422. The same year the first stone cathedral was built by a team of Serbian monks who had found refuge in the monastery after the Battle of Kosovo. The relics of St. Sergius still may be seen in this cathedral, dedicated to the Holy Trinity. The greatest icon painters of medieval Russia, Andrei Rublev and Daniil Chyorny, were summoned to decorate the cathedral with frescoes. Traditionally, Muscovite royals were baptized in this cathedral and held thanksgiving services here.
In 1476, Ivan III invited several Pskovian masters to build the church of the Holy Spirit. This graceful structure is one of the few remaining examples of a Russian church topped with a belltower. The interior contains the earliest specimens of the use of glazed tiles for decoration. In the early 16th century, Vasily III added the Nikon annex and the Serapion tent, where several of Sergius' disciples were interred.
It took 26 years to construct the six-pillared Assumption Cathedral, which was commissioned by Ivan the Terrible in 1559. The cathedral is much larger than its model and namesake in the Moscow Kremlin. The magnificent iconostasis of the 16th–18th centuries features Simon Ushakov's masterpiece, the icon of Last Supper. Interior walls were painted with violet and blue frescoes by a team of Yaroslavl masters in 1684. The vault contains burials of Boris Godunov, his family and several 20th-century patriarchs.
As the monastery grew into one of the wealthiest landowners in Russia, the woods where it had stood were cleared and a village (or posad) sprang up near the monastery walls. It gradually developed into the modern town of Sergiyev Posad. The cloister itself was a notable centre of chronicle-writing and icon painting. Just opposite the monastery walls St. Paraskeva's Convent was established, among whose buildings St. Paraskeva's Church (1547), Introduction Church (1547), and a 17th-century chapel over St. Paraskeva's well are still visible.
In 1550s, a wooden palisade surrounding the cloister was replaced with 1.5 km-long stone walls, featuring twelve towers, which helped the monastery to withstand a celebrated 16-month Polish-Lithuanian siege in 1608–1610. A shell-hole in the cathedral gates is preserved as a reminder of Wladyslaw IV's abortive siege in 1618.
By the end of the 17th century, when young Peter I twice found refuge within the monastery from his enemies, numerous buildings had been added. These include a small baroque palace of the patriarchs, noted for its luxurious interiors, and a royal palace, with its facades painted in checkerboard design. The refectory of St. Sergius, covering 510 square meters and also painted in dazzling checkerboard design, used to be the largest hall in Russia. The five-domed Church of John the Baptist's Nativity (1693–1699) was commissioned by the Stroganovs and built over one of the gates. Other 17th-century structures include the monks' cells, a hospital topped with a tented church, and a chapel built over a holy well discovered in 1644.
In 1744, Empress Elizabeth conferred on the cloister the dignity of a Lavra. The metropolitan of Moscow was henceforth also the Archimandrite of the Lavra. Elizabeth particularly favoured the Trinity and annually proceeded afoot from Moscow to the cloister. Her secret spouse Alexey Razumovsky accompanied her on such journeys and commissioned a baroque church to the Virgin of Smolensk, the last major shrine to be erected in the Lavra. Another pledge of Elizabeth's affection for the monastery is a white-and-blue baroque belltower, which, at 88 meters, was one of the tallest structures built in Russia up to that date. Its architects were Ivan Michurin and Dmitry Ukhtomsky.
Throughout the 19th century, the Lavra maintained its status as the richest Russian monastery. A seminary founded in 1742 was replaced by an ecclesiastical academy in 1814. The monastery boasted a supreme collection of manuscripts and books. Medieval collections of the Lavra sacristy attracted thousands of visitors. In Sergiyev Posad, the monastery maintained several sketes, one of which is a place of burial for the conservative philosophers Konstantin Leontiev and Vasily Rozanov.
After the Russian Revolution of 1917, the Soviet government closed the lavra in 1920. Its buildings were assigned to different civic institutions or declared museums. In 1930, monastery bells, including the Tsar-Bell of 65 tons, were destroyed. Pavel Florensky and his followers prevented the authorities from stealing and selling the sacristy collection but overall many valuables were lost or transferred to other collections.
In 1945, following Joseph Stalin's temporary tolerance of the church during World War II, the Lavra was returned to the Russian Orthodox Church. On April 16, 1946 divine service was renewed at the Assumption Cathedral. The lavra continued as the seat of the Moscow Patriarchate until 1983, when the patriarch was allowed to settle at the Danilov Monastery in Moscow. After that, the monastery continued as a prime centre of religious education. Important restoration works were conducted in the 1960s and 1970s. In 1993, the Trinity Lavra was inscribed on the UN World Heritage List.
The Lavra has a number of representative churches (podvorie or metochia) in its vicinity and throughout Russia. The Lavra's hieromonks have manned a number of sketes at remote locations (such as the Anzer Island in the Solovki Archipelago in the White Sea), as well as the Trinity Church on the King George Island in the Antarctic.
From the description:
Cornelia Parker RA.
8.2 x 9.4 x 7.2m
Courtesty the artist &
Frith Street Gallery, London.
Originally commissioned in 2016 by the Metropolitan Museum of Art for its roof garden, this work was first seen against New York's iconic skyline. Presented here in the Royal Academy's Annenberg Courtyard the structure is every bit as compeling & unsettling.
For Parker, the found object is key. Here she dismantled a traditional red barn & appropriated its components: the planks of the long sidings became the house's walls & its corrugated roof provided material for the roof tiles. The design is based on the house in Alfred Hithcocks's 1960 film Psycho, which in turn was modelled on a painting by Edward Hopper, House by the Railroad (1925). Hopper's painting was also a reference point for Parker who was drawn to its pared-back presentation & sense of eerie isolation.
Like Hitchcock's stage set, Parker's PsychoBarn is a facade, with the supporting framework left deliberately visible. The structures also share a slightly reduced scale & both these characteristics add to the illusionary effect. The combination of the red barn's symbolism, with all its connotations of rural idyll & wholesomeness, with the sinister psychological complexity of Hitchcock's house presents a series of deliberate paradoxes. The work's title references a term from developmental pschology - the "transitional object" - which refers to something which brings comfort, while being a substitute for reality.
Commisions for the Iris & Gerald B Cantor Roof Garden at The Metropolitan Museum of Art.
Nikon F4. AF Nikkor 14mm F.8D lens. CineStill bwXX 35mm B&W film.
Pieter Bruegel der Ältere -
Zwei angekettete Affen [1562] -
Berlin, Gemälde-Galerie - wm
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Wislawa Szymborska
Two Monkeys by Brueghel
(trans. from the Polish by Magnus Kryski)
I keep dreaming of my graduation exam:
in a window sit two chained monkeys,
beyond the window floats the sky,
and the sea splashes.
I am taking an exam on the history of mankind:
I stammer and flounder.
One monkey, eyes fixed upon me, listens ironically,
the other seems to be dozing--
and when silence follows a question,
he prompts me
with a soft jingling of the chain.
english.emory.edu/classes/paintings&poems/szymborska....
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By Marleen Stoessel - Updated 30.06.2023-17:30
From Breughel to Kafka: an early poem by the Polish Nobel laureate who was born a hundred years ago.
The painting to which this poem refers hangs in the Berlin Gemäldegalerie. Two monkeys crouched chained in a kind of embrasure, with a view of the water and sailing ships deep below them; birds crossing the vast sky bounded only by the round arch of the window, the suggestion of a city far off in the right-hand background of the picture. But none of the monkeys is looking out. The one in front crouches with its back to the lookout, staring impassively in the direction of the viewer. The second one crouches to the side, as if dozing. A picture from 1562 that has been interpreted in numerous ways and, almost 400 years later, becomes the dream image of a young Polish poetess who, at that time, in the thaw period a few years after Stalin's death, frees herself from the ideological clutches, i.e. chains, of socialist realism. An image that, like any true work of art, music or literature, reveals new layers, aspects and perspectives in every era, recreating itself with every viewer, listener or reader, with everyone who responds to it in their own time, in their own individual reading.
1957, when this poem was written, was the year in which the poetry of Wisława Szymborska, who was thirty-four years old at the time, underwent a decisive turn and transformation, a turn towards the simplicity, light-footedness and laconicism that are her trademarks - an attitude gained from paradoxical experience of the world, with which she observes the objects of the small everyday world and the big world and seasons them with subtle, often cheerful irony. Small things become big, but the big ones shrink as if casually to their proper size - all of them overshadowed by an indulgently humorous smile with which the poet seems to wink at herself again and again.
The quiet clanking of chains
It is impossible to exhaust the manifold connotations, associations and references that open up in this poem: the paradoxical reversal of the situation that the dream image, overwriting its model as it were, undertakes, in which man is tested by the ape for his "maturity", in human history of all things. Is evolution testing itself backwards here, so to speak? Is man maturing into an ape as his more human counterpart? And yet fails at the same time "stuttering" and "faltering", deeply ashamed?
"Ich schäme mich sehr, ich - Menschenaffe" ("I am very ashamed, I - ape") is the title of another poem from that time, expressing the shame of the spectator in the face of the bullied and whipped circus animals (the title of the 1952 poem). The shame here appears more planar, in simple reflection, while the later dream image shows the chains in multiple reflections, onsets and offsets. They are the examination material before which the examinee fails. And all the required correct answer is contained in the "quiet clanking of the chains", in an answer that also has to be recited. It doesn't get more mocking than this, and more devastating for the dreaming human ego can't be the ape-like contempt. "Failed" would be the verdict of this maturity test, to which a notation from Walter Benjamin's passages seems to correspond: "In every century, humanity must be detained", according to the sober insight of the historical-philosophical thinker, equally illusionless, ironic and bitter.
All the art of paradox, which Szymborska, who died in 2012, developed in her later work with inimitable fine irony, as generously indulgent as she was laconically sober and always with a light hand, is contained in this early poem. Indulgent, however, towards herself, insofar as one wants to relate the aforementioned shame to her earlier ideological aberrations. It is expressed only indirectly, in stuttering and faltering, and its tragedy is reminiscent of and touches on the shame that the ape in Kafka's "Report for an Academy" inflicts on us when, with the awakening consciousness of himself to which, of all things, imprisonment has freed him, he becomes aware of the ape-like nature of his "half-dressed" companion: "she has," we are told towards the end of the text, "the madness of the confused trained animal in her gaze; only I recognise this, and I cannot bear it. "
It is the abyss of shame that opens up in all these paradoxical references - and becoming aware of it is at the same time the only chance of our being human and being human.All of this, shame and opportunity, resonates in the "quiet clanking of the chains" from which the poetic I also frees itself.For as if the poet, who received the Nobel Prize in 1996, had made a virtue out of the faltering need for examination, she will elevate the sober statement "I don't know" to her poetological motto and source of inspiration in her Stockholm speech.Three words, "small, but with strong wings", she says. Chains to wings, then, as only art or a poem can do. Tomorrow, Sunday, (2nd of July 2023) Wisława Szymborska will be one hundred years old.
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Source:
ww.faz.net/aktuell/feuilleton/buecher/frankfurter-anthologie/frankfurter-anthologie-wis-awa-szymborska-die-zwei-affen-von-breughel-19002140.html
Today the We're Here! gang is visiting the Isolation group.
This is Triple Island, in Hecate Strait, near Prince Rupert, B.C., Canada. In 1944, my mother, at 17 years old, married the light keeper, and spent the next 10 years on this isolated rock.
In rough seas, the waves would crash right over the building. If the monthly supply boat couldn't land, it would go on to the next station and try again next month, so mom had to learn how to do without, and how to order groceries for several months at a time.
She became an expert. At running a household, sewing, mending, crocheting, baking, cooking, stretching supplies, identifying birds, sending and receiving Morse code, soldering, really you name it, she could do it.
Isolation had no negative connotation to my parents. They loved it up there. In fact, these were the best years of their lives.
Sous un ciel méridional, une forme aux lignes coulantes, peut-être inspirée des reliefs de Jean Arp ou des architectures organiques d’Antoni Gaudí, sert de décor à d'obscures interactions. L'élément qui tel un ange des ténèbres descend sur la scène comporte les célèbres cyprès du peintre Arnold Böcklin et un meuble dont les tiroirs ouverts symbolisent l'échappée des désirs. Son bras vient déposer une baguette de pain sur la tête de l'homme androgyne. Chez Dalí, le pain est un élément fétiche à forte connotation phallique, mais son placement évoque encore une autre de ses obsessions : la légende de Guillaume Tell en qui il voyait l'archétype de l’assaut paternel. Le père de Dalí n'admettait pas sa liaison avec Gala, de dix ans son aînée. Celle-ci pourrait être incarnée par la femme à la tête fleurie.
Under a southern sky, a form with flowing lines, perhaps inspired by the reliefs of Jean Arp or the organic architectures of Antoni Gaudí, serves as a backdrop for obscure interactions. The element which, like an angel of darkness, descends on the scene includes the famous cypresses of the painter Arnold Böcklin and a piece of furniture whose open drawers symbolize the escape of desires. His arm places a baguette on the head of the androgynous man. For Dalí, bread is a fetish element with a strong phallic connotation, but its placement evokes yet another of his obsessions: the legend of William Tell in whom he saw the archetype of the paternal assault. Dalí's father did not admit his affair with Gala, ten years older. This could be embodied by the woman with the flowered head.
'Chashitsu' are Japanese Tea Houses'...small structures where tea ceremonies ((chanoyu) are performed. Their design is influenced by the Zen principles of simplicity and plainness. Teahouses, like this one, are usually tucked away in a quiet spot in the garden and offer a place for deep reflection and contemplation.
The walls of this chashitsu are adorned with beautiful purple Wisteria vines. Known as "fuji", wisteria has been cherished in Japan for centuries. In Japan, it is thought to represent good luck, kindness and longevity thanks to its long vines. The beautiful blooms are also believed to have romantic connotations.
This chashitsu, with exquisite wisteria on its sidewalls, was seen and photographed at the Japanese Gardens in Central Park, San Mateo, California.
_________________________________________
This photographic image was artistically enhanced using an
application called "Prisma". Prisma transforms normal photos into amazing images that attempt to replicate the human artistic touch. This phone-based app turns photographs into digital art in the style of drawings, watercolors, and paintings.
In October 1981, flying tiger ancient human remains from Guizhou Provincial Museum trial excavation, the accumulation of complex, broadly divided into early and late phases. Early formation of yellow or grayish yellow, unearthed panda, Stegodon fossils, stone products are made for the late Paleolithic culture era. Advanced formation is black, black, unearthed animal genetic pulp for extant species, and human mandibular and chipped stone, grinding stone, grinding bone, pottery and other large, geological time for the Holocene, culture in the age of the Neolithic age, that about 4000 years ago to 6000 years.
Unearthed stone products made a total of 532 pieces of raw materials, mainly to flint stone, there is, nuclear, stone etc.. The stone to stone, with the forward direction of processing processing, types of hit device, a scraper, tip like device and dolabriform etc.. The scraper accounted for 76%, tip like device is small but fine processing. The axe is a symbol of the transformation of Neolithic culture. 27 pieces of polished stone, delicate process, a stone axe, stone adzes, stone spinning wheels, stone scraper, stone arrow head, small stones (spear) 8. The number of stone adzes, regular shape, with long oblique cutting tool representative. 79 pieces of bone, in addition to the 1 pieces of grinding residual bone scraper, are making bone, bone and bone shovel cone. The three notches in the teeth may be scratching the porcupine symbol. In addition to pottery and ball spinning round round cake 1, the rest are all pieces of artifacts. 1494 tablets. The uneven thickness, thickness of 1.2 cm, thickness of only 0.2 cm, high temperature, hard texture. About 70% of sand pottery, pottery sand shale pottery class accounted for 30%, very little. Sand and sand are mainly sand. Pottery ornamentation is complicated, there are thick rope lines and Fang Gewen cone, tattoo, carved lines and lines and other additional cone. There are 3 pieces of pottery pottery, which has 1 pieces of orange powder is subjected to pottery coating inside and outside the grey clay, on the exterior is painted with two parallel red bands. This is the first time in Guizhou, Guizhou is also the earliest pottery record.
The site has a new and old stone formation, and the cultural connotation is rich. Pottery appear more attractive, but considerable differences in advanced culture. These have great significance to the study of the relationship between the new and the old stone culture in Guizhou and the time continuity of the times.
In February 23, 1982, the Guizhou Provincial People's Government approved the publication of the provincial cultural relics protection units. 1981年10月，飞虎山古人类遗址由贵州省博物馆试掘，洞内堆积复杂，大致分早、晚两期。早期地层呈黄色或灰黄色，出土大熊猫、剑齿象等化石，石制品均为打制，文化时代为旧石器时代晚期。晚期地层呈黑色、灰黑色，出土动物遗髓为现生属种，并出人类下颌件和打制石器、磨制石器、磨制骨器、大量的陶片等，地质时代为全新世，文化时代属新石器时代，推测距今约4000年至6000年。
遗址出土打制的石制品共532件，原料以燧石为主，有是核、石片、石器等。石器以石片为主，加工方向以正向加工为主，类型有砸器、刮削器、尖状器和斧形器等。其中刮削器占76%，尖状器虽少但加工精细。斧形器似为向新石器文化转化的象征。磨制石器27件，加工精致，有石斧、石锛、石纺轮、石刮刀、石箭(矛)头、小石块等8种。石锛数量多，形制规整，以长形斜刃具代表性。骨器79件，除1件残的磨制骨刮刀外，均为打制骨器，有骨锥和骨铲。其中豪猪牙上的三道刻痕可能是刻划符。陶器除圆饼式及圆珠纺轮各1件外，其余全是器物碎片。计1494片。其厚度不匀，厚者达1.2厘米，薄者仅0.2厘米，火候高，质地坚硬。夹砂灰陶约占70%，夹砂黑陶占30%，泥质类陶极少。夹砂陶以夹细砂为主。陶片纹饰复杂多样，有粗细绳纹、方格纹、锥刺纹、刻划纹和附加锥纹等。陶片中有3片彩陶，其中有1片是在泥质灰陶的内外施以粉澄色陶衣，再于外表绘有两条平行的红色条带。这是贵州首次发现，也是贵州迄今最早的彩陶记录。
遗址具有新、旧石器地层叠压，文化内涵丰富。彩陶的出现更引人瞩目，但中、晚期文化差异颇大。这些对研究贵州新、旧石器文化的相互关系和时代延续问题具有重要的意义。
1982年2月23日，经贵州省人民政府批准公布为省级文物保护单位。
The figure in black there is Baron Riga, with his loyal assistants and unarmed navigation robot.
The Kandoans are often mistaken to have nefarious intentions because of the traditional connotations of their heraldic color scheme.
Sérguiev Posad (Rusia) - Sergiyev Posad (Russia) - Се́ргиев Поса́д (Россия)
Sérguiev Posad (en ruso: Се́ргиев Поса́д), entre 1930 y 1991 llamada Zagorsk, es una ciudad rusa, al nordeste de Moscú. Contaba con 109.252 habitantes en el censo de 2008. Posee un importante conjunto monumental, el monasterio de la Trinidad y de San Sergio (siglos XV-XVIII), declarado Patrimonio de la Humanidad por la UNESCO.
es.wikipedia.org/wiki/Sérguiev_Posad
es.wikipedia.org/wiki/Anillo_de_Oro_de_Rusia
Sergiyev Posad (Russian: Се́ргиев Поса́д) is a city and the administrative center of Sergiyevo-Posadsky District in Moscow Oblast, Russia. Population: 111,179 (2010 Census); 113,581 (2002 Census); 114,696 (1989 Census).
It was previously known as Sergiyev Posad (until 1919), Sergiyev (until 1930), Zagorsk (until 1991).
Sergiyev Posad grew in the 15th century around one of the greatest of Russian monasteries, the Trinity Lavra established by St. Sergius of Radonezh, still (as of 2015) one of the largest monasteries in Russia. Town status was granted to Sergiyev Posad in 1742. The town's name, alluding to St. Sergius, has strong religious connotations. Soviet authorities changed it first to just Sergiyev in 1919, and then to Zagorsk in 1930, in memory of the revolutionary Vladimir Mikhailovich Zagorsky
The original name was restored in 1991.
Within the framework of administrative divisions, Sergiyev Posad serves as the administrative center of Sergiyevo-Posadsky District. As an administrative division, it is, together with twenty-six rural localities, incorporated within Sergiyevo-Posadsky District as the City of Sergiyev Posad. As a municipal division, the City of Sergiyev Posad is incorporated within Sergiyevo-Posadsky Municipal District as Sergiyev Posad Urban Settlement.
Tourism associated with the Golden Ring plays a role in the regional economy. There is also an important toy factory.
The Moscow–Yaroslavl railway and highway pass through the town. Sergiyev Posad Bus Terminal is located in the city.
en.wikipedia.org/wiki/Sergiyev_Posad
en.wikipedia.org/wiki/Golden_Ring_of_Russia
El monasterio de la Trinidad y San Sergio (en ruso Тро́ице-Се́ргиева Ла́вра; o Tróitse-Sérguieva Lavra) en la ciudad de Sérguiev Posad (antiguo Zagorsk) es un importante monasterio ruso y centro espiritual de la iglesia ortodoxa rusa. Sérguiev Posad se encuentra a unos 70 kilómetros al noreste de Moscú en la carretera que va a Yaroslavl. Actualmente alberga a unos 300 monjes. Según la Unesco, que lo declaró Patrimonio de la Humanidad en 1993, se trata de «un buen ejemplo de monasterio ortodoxo en funcionamiento, con rasgos militares típicos de los siglos XV al XVIII, período durante el que se desarrolló.»
La iglesia principal de la Laura (monasterio), la catedral de la Asunción, recuerda la homónima catedral del Kremlin y alberga las tumbas de los Godunov.
Siendo monje de la Laura, Andréi Rubliov pintó, para el iconostasio de la catedral, su más célebre icono La Trinidad que actualmente se expone en la Galería Tretiakov de Moscú.
es.wikipedia.org/wiki/Laura_de_la_Trinidad_y_San_Sergio
The Trinity Lavra of St. Sergius (Russian: Тро́ице-Се́ргиева Ла́вра) is the most important Russian monastery and the spiritual centre of the Russian Orthodox Church. The monastery is situated in the town of Sergiyev Posad, about 70 km to the north-east from Moscow by the road leading to Yaroslavl, and currently is home to over 300 monks.
The monastery was founded in 1337 by one of the most venerated Russian saints, Sergius of Radonezh, who built a wooden church in honour of the Holy Trinity on Makovets Hill. Early development of the monastic community is well documented in contemporary lives of Sergius and his disciples.
In 1355, Sergius introduced a charter which required the construction of auxiliary buildings, such as refectory, kitchen, and bakery. This charter was a model for Sergius' numerous followers who founded more than 400 cloisters all over Russia, including the celebrated Solovetsky, Kirillov, and Simonov monasteries.
St. Sergius supported Dmitri Donskoi in his struggle against the Tatars and sent two of his monks, Peresvet and Oslyabya, to participate in the Battle of Kulikovo (1380). At the outbreak of the battle, Peresvet died in a single combat against a Tatar bogatyr. The monastery was devastated by fire, when a Tatar unit raided the area in 1408.
St. Sergius was declared patron saint of the Russian state in 1422. The same year the first stone cathedral was built by a team of Serbian monks who had found refuge in the monastery after the Battle of Kosovo. The relics of St. Sergius still may be seen in this cathedral, dedicated to the Holy Trinity. The greatest icon painters of medieval Russia, Andrei Rublev and Daniil Chyorny, were summoned to decorate the cathedral with frescoes. Traditionally, Muscovite royals were baptized in this cathedral and held thanksgiving services here.
In 1476, Ivan III invited several Pskovian masters to build the church of the Holy Spirit. This graceful structure is one of the few remaining examples of a Russian church topped with a belltower. The interior contains the earliest specimens of the use of glazed tiles for decoration. In the early 16th century, Vasily III added the Nikon annex and the Serapion tent, where several of Sergius' disciples were interred.
It took 26 years to construct the six-pillared Assumption Cathedral, which was commissioned by Ivan the Terrible in 1559. The cathedral is much larger than its model and namesake in the Moscow Kremlin. The magnificent iconostasis of the 16th–18th centuries features Simon Ushakov's masterpiece, the icon of Last Supper. Interior walls were painted with violet and blue frescoes by a team of Yaroslavl masters in 1684. The vault contains burials of Boris Godunov, his family and several 20th-century patriarchs.
As the monastery grew into one of the wealthiest landowners in Russia, the woods where it had stood were cleared and a village (or posad) sprang up near the monastery walls. It gradually developed into the modern town of Sergiyev Posad. The cloister itself was a notable centre of chronicle-writing and icon painting. Just opposite the monastery walls St. Paraskeva's Convent was established, among whose buildings St. Paraskeva's Church (1547), Introduction Church (1547), and a 17th-century chapel over St. Paraskeva's well are still visible.
In 1550s, a wooden palisade surrounding the cloister was replaced with 1.5 km-long stone walls, featuring twelve towers, which helped the monastery to withstand a celebrated 16-month Polish-Lithuanian siege in 1608–1610. A shell-hole in the cathedral gates is preserved as a reminder of Wladyslaw IV's abortive siege in 1618.
By the end of the 17th century, when young Peter I twice found refuge within the monastery from his enemies, numerous buildings had been added. These include a small baroque palace of the patriarchs, noted for its luxurious interiors, and a royal palace, with its facades painted in checkerboard design. The refectory of St. Sergius, covering 510 square meters and also painted in dazzling checkerboard design, used to be the largest hall in Russia. The five-domed Church of John the Baptist's Nativity (1693–1699) was commissioned by the Stroganovs and built over one of the gates. Other 17th-century structures include the monks' cells, a hospital topped with a tented church, and a chapel built over a holy well discovered in 1644.
In 1744, Empress Elizabeth conferred on the cloister the dignity of a Lavra. The metropolitan of Moscow was henceforth also the Archimandrite of the Lavra. Elizabeth particularly favoured the Trinity and annually proceeded afoot from Moscow to the cloister. Her secret spouse Alexey Razumovsky accompanied her on such journeys and commissioned a baroque church to the Virgin of Smolensk, the last major shrine to be erected in the Lavra. Another pledge of Elizabeth's affection for the monastery is a white-and-blue baroque belltower, which, at 88 meters, was one of the tallest structures built in Russia up to that date. Its architects were Ivan Michurin and Dmitry Ukhtomsky.
Throughout the 19th century, the Lavra maintained its status as the richest Russian monastery. A seminary founded in 1742 was replaced by an ecclesiastical academy in 1814. The monastery boasted a supreme collection of manuscripts and books. Medieval collections of the Lavra sacristy attracted thousands of visitors. In Sergiyev Posad, the monastery maintained several sketes, one of which is a place of burial for the conservative philosophers Konstantin Leontiev and Vasily Rozanov.
After the Russian Revolution of 1917, the Soviet government closed the lavra in 1920. Its buildings were assigned to different civic institutions or declared museums. In 1930, monastery bells, including the Tsar-Bell of 65 tons, were destroyed. Pavel Florensky and his followers prevented the authorities from stealing and selling the sacristy collection but overall many valuables were lost or transferred to other collections.
In 1945, following Joseph Stalin's temporary tolerance of the church during World War II, the Lavra was returned to the Russian Orthodox Church. On April 16, 1946 divine service was renewed at the Assumption Cathedral. The lavra continued as the seat of the Moscow Patriarchate until 1983, when the patriarch was allowed to settle at the Danilov Monastery in Moscow. After that, the monastery continued as a prime centre of religious education. Important restoration works were conducted in the 1960s and 1970s. In 1993, the Trinity Lavra was inscribed on the UN World Heritage List.
The Lavra has a number of representative churches (podvorie or metochia) in its vicinity and throughout Russia. The Lavra's hieromonks have manned a number of sketes at remote locations (such as the Anzer Island in the Solovki Archipelago in the White Sea), as well as the Trinity Church on the King George Island in the Antarctic.
Photographed at a USO show, Leeds Armouries June 2010.
en.wikipedia.org/wiki/Sideburns
Sideburns, sideboards, or side whiskers are patches of facial hair grown on the sides of the face, extending from the hairline to below the ears. The term sideburns is a 19th-century corruption of the original burnsides, named after American Civil War general Ambrose Burnside, a man known for his unusual facial hairstyle that connected thick sideburns by way of a moustache, but left the chin clean-shaven.
Sideburns can be worn and grown in combination with other styles of facial hair, such as the moustache or goatee, but once they extend from ear to ear via the chin they cease to be sideburns and become a beard, chinstrap beard, or chin curtain. Indigenous men of Mexico, who shaved their heads and wore their sideburns long, as well as Colombians, who wear their sideburns long and typically do not have any other facial hair, are said to be wearing "balcarrotas", rarely seen in modern times, but prized in the sixteenth century as a mark of virile vanity and banned by the colonial authorities in New Spain, occasioning rioting in 1692.
The character Wolverine is usually depicted and portrayed with large sideburns, adding to his tough and aggressive persona. Sideburns gained new connotations in 1960s hippie subculture: the struggle of a New Jersey youth to wear sideburns to his public high school graduation made a newspaper article in 1967 and in the late 1960s and early 1970s among youth subcultures such as hippies and skinheads (usually to the jawline or shorter in the late 1960s). Sideburns also became a symbol of the gay club scenes of San Francisco and Sydney, primarily Lambchops. Because of their multifarious history, sideburns may be seen as stuffily Victorian and ultra-conservative, a sign of rebelliousness, or merely an artifact of current fashion.
Please don't use this image on websites, blogs or other media without my explicit permission... © All rights reserved...
DSC_2740
Sérguiev Posad (Rusia) - Sergiyev Posad (Russia) - Се́ргиев Поса́д (Россия)
Sérguiev Posad (en ruso: Се́ргиев Поса́д), entre 1930 y 1991 llamada Zagorsk, es una ciudad rusa, al nordeste de Moscú. Contaba con 109.252 habitantes en el censo de 2008. Posee un importante conjunto monumental, el monasterio de la Trinidad y de San Sergio (siglos XV-XVIII), declarado Patrimonio de la Humanidad por la UNESCO.
es.wikipedia.org/wiki/Sérguiev_Posad
es.wikipedia.org/wiki/Anillo_de_Oro_de_Rusia
Sergiyev Posad (Russian: Се́ргиев Поса́д) is a city and the administrative center of Sergiyevo-Posadsky District in Moscow Oblast, Russia. Population: 111,179 (2010 Census); 113,581 (2002 Census); 114,696 (1989 Census).
It was previously known as Sergiyev Posad (until 1919), Sergiyev (until 1930), Zagorsk (until 1991).
Sergiyev Posad grew in the 15th century around one of the greatest of Russian monasteries, the Trinity Lavra established by St. Sergius of Radonezh, still (as of 2015) one of the largest monasteries in Russia. Town status was granted to Sergiyev Posad in 1742. The town's name, alluding to St. Sergius, has strong religious connotations. Soviet authorities changed it first to just Sergiyev in 1919, and then to Zagorsk in 1930, in memory of the revolutionary Vladimir Mikhailovich Zagorsky
The original name was restored in 1991.
Within the framework of administrative divisions, Sergiyev Posad serves as the administrative center of Sergiyevo-Posadsky District. As an administrative division, it is, together with twenty-six rural localities, incorporated within Sergiyevo-Posadsky District as the City of Sergiyev Posad. As a municipal division, the City of Sergiyev Posad is incorporated within Sergiyevo-Posadsky Municipal District as Sergiyev Posad Urban Settlement.
Tourism associated with the Golden Ring plays a role in the regional economy. There is also an important toy factory.
The Moscow–Yaroslavl railway and highway pass through the town. Sergiyev Posad Bus Terminal is located in the city.
en.wikipedia.org/wiki/Sergiyev_Posad
en.wikipedia.org/wiki/Golden_Ring_of_Russia
El monasterio de la Trinidad y San Sergio (en ruso Тро́ице-Се́ргиева Ла́вра; o Tróitse-Sérguieva Lavra) en la ciudad de Sérguiev Posad (antiguo Zagorsk) es un importante monasterio ruso y centro espiritual de la iglesia ortodoxa rusa. Sérguiev Posad se encuentra a unos 70 kilómetros al noreste de Moscú en la carretera que va a Yaroslavl. Actualmente alberga a unos 300 monjes. Según la Unesco, que lo declaró Patrimonio de la Humanidad en 1993, se trata de «un buen ejemplo de monasterio ortodoxo en funcionamiento, con rasgos militares típicos de los siglos XV al XVIII, período durante el que se desarrolló.»
La iglesia principal de la Laura (monasterio), la catedral de la Asunción, recuerda la homónima catedral del Kremlin y alberga las tumbas de los Godunov.
Siendo monje de la Laura, Andréi Rubliov pintó, para el iconostasio de la catedral, su más célebre icono La Trinidad que actualmente se expone en la Galería Tretiakov de Moscú.
es.wikipedia.org/wiki/Laura_de_la_Trinidad_y_San_Sergio
The Trinity Lavra of St. Sergius (Russian: Тро́ице-Се́ргиева Ла́вра) is the most important Russian monastery and the spiritual centre of the Russian Orthodox Church. The monastery is situated in the town of Sergiyev Posad, about 70 km to the north-east from Moscow by the road leading to Yaroslavl, and currently is home to over 300 monks.
The monastery was founded in 1337 by one of the most venerated Russian saints, Sergius of Radonezh, who built a wooden church in honour of the Holy Trinity on Makovets Hill. Early development of the monastic community is well documented in contemporary lives of Sergius and his disciples.
In 1355, Sergius introduced a charter which required the construction of auxiliary buildings, such as refectory, kitchen, and bakery. This charter was a model for Sergius' numerous followers who founded more than 400 cloisters all over Russia, including the celebrated Solovetsky, Kirillov, and Simonov monasteries.
St. Sergius supported Dmitri Donskoi in his struggle against the Tatars and sent two of his monks, Peresvet and Oslyabya, to participate in the Battle of Kulikovo (1380). At the outbreak of the battle, Peresvet died in a single combat against a Tatar bogatyr. The monastery was devastated by fire, when a Tatar unit raided the area in 1408.
St. Sergius was declared patron saint of the Russian state in 1422. The same year the first stone cathedral was built by a team of Serbian monks who had found refuge in the monastery after the Battle of Kosovo. The relics of St. Sergius still may be seen in this cathedral, dedicated to the Holy Trinity. The greatest icon painters of medieval Russia, Andrei Rublev and Daniil Chyorny, were summoned to decorate the cathedral with frescoes. Traditionally, Muscovite royals were baptized in this cathedral and held thanksgiving services here.
In 1476, Ivan III invited several Pskovian masters to build the church of the Holy Spirit. This graceful structure is one of the few remaining examples of a Russian church topped with a belltower. The interior contains the earliest specimens of the use of glazed tiles for decoration. In the early 16th century, Vasily III added the Nikon annex and the Serapion tent, where several of Sergius' disciples were interred.
It took 26 years to construct the six-pillared Assumption Cathedral, which was commissioned by Ivan the Terrible in 1559. The cathedral is much larger than its model and namesake in the Moscow Kremlin. The magnificent iconostasis of the 16th–18th centuries features Simon Ushakov's masterpiece, the icon of Last Supper. Interior walls were painted with violet and blue frescoes by a team of Yaroslavl masters in 1684. The vault contains burials of Boris Godunov, his family and several 20th-century patriarchs.
As the monastery grew into one of the wealthiest landowners in Russia, the woods where it had stood were cleared and a village (or posad) sprang up near the monastery walls. It gradually developed into the modern town of Sergiyev Posad. The cloister itself was a notable centre of chronicle-writing and icon painting. Just opposite the monastery walls St. Paraskeva's Convent was established, among whose buildings St. Paraskeva's Church (1547), Introduction Church (1547), and a 17th-century chapel over St. Paraskeva's well are still visible.
In 1550s, a wooden palisade surrounding the cloister was replaced with 1.5 km-long stone walls, featuring twelve towers, which helped the monastery to withstand a celebrated 16-month Polish-Lithuanian siege in 1608–1610. A shell-hole in the cathedral gates is preserved as a reminder of Wladyslaw IV's abortive siege in 1618.
By the end of the 17th century, when young Peter I twice found refuge within the monastery from his enemies, numerous buildings had been added. These include a small baroque palace of the patriarchs, noted for its luxurious interiors, and a royal palace, with its facades painted in checkerboard design. The refectory of St. Sergius, covering 510 square meters and also painted in dazzling checkerboard design, used to be the largest hall in Russia. The five-domed Church of John the Baptist's Nativity (1693–1699) was commissioned by the Stroganovs and built over one of the gates. Other 17th-century structures include the monks' cells, a hospital topped with a tented church, and a chapel built over a holy well discovered in 1644.
In 1744, Empress Elizabeth conferred on the cloister the dignity of a Lavra. The metropolitan of Moscow was henceforth also the Archimandrite of the Lavra. Elizabeth particularly favoured the Trinity and annually proceeded afoot from Moscow to the cloister. Her secret spouse Alexey Razumovsky accompanied her on such journeys and commissioned a baroque church to the Virgin of Smolensk, the last major shrine to be erected in the Lavra. Another pledge of Elizabeth's affection for the monastery is a white-and-blue baroque belltower, which, at 88 meters, was one of the tallest structures built in Russia up to that date. Its architects were Ivan Michurin and Dmitry Ukhtomsky.
Throughout the 19th century, the Lavra maintained its status as the richest Russian monastery. A seminary founded in 1742 was replaced by an ecclesiastical academy in 1814. The monastery boasted a supreme collection of manuscripts and books. Medieval collections of the Lavra sacristy attracted thousands of visitors. In Sergiyev Posad, the monastery maintained several sketes, one of which is a place of burial for the conservative philosophers Konstantin Leontiev and Vasily Rozanov.
After the Russian Revolution of 1917, the Soviet government closed the lavra in 1920. Its buildings were assigned to different civic institutions or declared museums. In 1930, monastery bells, including the Tsar-Bell of 65 tons, were destroyed. Pavel Florensky and his followers prevented the authorities from stealing and selling the sacristy collection but overall many valuables were lost or transferred to other collections.
In 1945, following Joseph Stalin's temporary tolerance of the church during World War II, the Lavra was returned to the Russian Orthodox Church. On April 16, 1946 divine service was renewed at the Assumption Cathedral. The lavra continued as the seat of the Moscow Patriarchate until 1983, when the patriarch was allowed to settle at the Danilov Monastery in Moscow. After that, the monastery continued as a prime centre of religious education. Important restoration works were conducted in the 1960s and 1970s. In 1993, the Trinity Lavra was inscribed on the UN World Heritage List.
The Lavra has a number of representative churches (podvorie or metochia) in its vicinity and throughout Russia. The Lavra's hieromonks have manned a number of sketes at remote locations (such as the Anzer Island in the Solovki Archipelago in the White Sea), as well as the Trinity Church on the King George Island in the Antarctic.
Sunny Bay is an MTR station in Yam O (陰澳). It is between Tung Chung and Tsing Yi stations. The station is an interchange station between the Tung Chung Line and the Disneyland Resort Line to Hong Kong Disneyland. The station was originally to be named Yam O (陰澳). Yam O was not used probably because of its ominous connotations (Cantonese Yam is more commonly known to English speakers as Mandarin yin, which means darkness or a negative quality).(en.wikipedia.org/wiki/Sunny_Bay_Station)
Trata-se de uma galeria subterrânea em espiral, de 27 metros, por onde se descem nove patamares até às profundezas da terra. Este é o caminho por onde se desce à terra, ou num percurso contrário, se sobe ao céu, consoante a natureza do percurso iniciático escolhido. Os nove patamares lembram os nove círculos do Inferno, as nove secções do Purgatório e os nove céus do Paraíso, segundo a Divina Comédia de Dante. A principal ideia por detrás deste poço é a de morrer e voltar a nascer num rito de iniciação ligado à terra, uma vez que esta é o útero materno de onde provem a vida, mas também a sepultura para onde voltará.
No fundo está gravada uma cruz templária sobreposta a uma estrela de oito pontas, o símbolo heráldico de Carvalho Monteiro e símbolo da harmonia e também da Cavalaria Espiritual na Maçonaria escocesa. atracoessintra.no.sapo.pt/partesquinta.htm
This is a fabulous assemblage of styles and constructions ( gardens, wells, towers, statues, mysterious grottoes, etc.), which Manini succeeded in imbuing with exceptional characteristics. Albeit having a semblance of a scene from opera, the Quinta da Regaleira has alchemical and sacred connotations.
The origins of this Quinta (palace and estate) which is currently known as the Quinta da Regaleira date back to 1697 when José Leite purchased a huge tract of land at one end of the Old Quarter of Sintra.
The property was bought at a public auction in 1715 by Francisco Alberto Guimarães de Castro who diverted water from the mountain to supply a fountain on the property. In the possession of João António Lopes Fernandes in 1800 it appears some thirty years later in the possession of Manuel Bernardo from whence it derived its current name, having formerly been known as the Quinta da Torre or the Quinta do Castro. It was then purchased by the daughter of Allen in 1840 (a wealthy trader from Oporto) who was later given the title of the Baroness of Regaleira.
At the beginning of this century, however, the Quinta da Regaleira was purchased by the capitalist António Augusto de Carvalho Monteiro, a man of enormous culture with a degree in Law from the University of Coimbra who had amassed a fortune in Brazil. Carvalho Monteiro, who was profoundly inspired by the glorious national epic poem, whose expression at the time was found in the "revivalist" taste of neo manueline architecture, took inspiration for the construction of the manor house and its respective chapel both from the structural and decorative eclecticism of the Pena Palace and the neo-manueline style of the Hotel Palácio do Buçaco, designed by Luigi Manini. It was Carvalho Monteiro who invited Manini to design and build the house at Regaleira . The project was completed in 1910.
This is a fabulous assemblage of styles and constructions (gardens, wells, towers, statues, mysterious grottoes, etc.), which Manini succeeded in imbuing with exceptional characteristics. Albeit having a semblance of a scene from opera, the Quinta da Regaleira has alchemical and sacred connotations.
The Quinta da Regaleira, which was purchased in March 1997 by the Sintra Town Council is currently used as the head office of the CulturSintra Foundation which is undertaking a vast conservation and rehabilitation programme for promoting the palace in tourist terms. It is also organising a series of cultural events. www.cm-sintra.pt/Artigo.aspx?ID=3168
Uno dei luoghi simbolo di Catania è il mercato del pesce che i catanesi indicano in maniera univoca e veloce "a Piscaria".
Tripudio di colori, odori, "voci", dove il pesce in bella vista aspetta di essere scelto.
Immersa nel barocco catanese, a ridosso di quel "salotto" che è piazza Duomo, vi si accede in maniera quasi teatrale costeggiando la sontuosa fontane dell'Amenano, qualche gradino e si fa parte dello spettacolo, si diventa attori in un palcoscenico en plain air dove gli acquisti si concludono dopo lunghe contrattazioni e dopo averlo girato in lungo ed in largo.
Il blu del cielo si riflette per le basole in pietra lavica bagnate e si sposa con il rosso sangue dei contenitori del pesce, quasi a ricordare che i colori simbolo della città sono proprio il rosso e l'azzurro e ciò anche al di là delle connotazioni calcisiche.
Uno spettacolo imperdibile.
Se volete visitare Catania, non perdetevi la "piscaria"
One of Catania's most important places is the fish market that the Catanians show in a unique and fast way to "Piscaria".
Color, smells, "voices," where the fish in the beautiful view is waiting to be picked.
Immersed in the Baroque Catania, close to that "living room", which is Piazza Duomo, is accessed almost theatrical by the lavish fountains of the Amanano, a few steps and is part of the show, it becomes actors in a stage en plain air where the purchases end after long bargaining and after shooting it long and wide.
The sky blue reflects on baskets in wet lava stone and blends with the red blood of the fish containers, almost to remember that the city's symbol colors are just red and blue and this also beyond the connotations calcisiche.
A must-see show.
If you want to visit Catania, do not miss the "piscaria"
I went to check out the giant inflatable duck art installation currently on view at Harbour City to see what the fuss is all about. And there it is, floating on water.
This gigantic rubber duck which measures 14 x 15 x 16.5 meters was created as a statement for peace. In the Dutch artist Florentijn Hofman’s own words, “the Rubber Duck knows no frontiers, it doesn't discriminate people and doesn't have a political connotation. The friendly, floating Rubber Duck has healing properties: it can relieve mondial tensions as well as define them. The rubber duck is soft, friendly and suitable for all ages!” [1]
As with all things crazy in Hong Kong, what was most spectacular is not really the duck, but how many it has appeared on the media as well as how many people were seen photographing the duck on the docks.
On the evening news in Hong Kong, it was reported that some photographers were pushing each other just to get a space to photograph this floating duck. Oh humans.
The best place to photograph this is on the roof of Ocean Terminal where the car park is. There are much less people there and you get to see the duck well. I am claustrophobic so this is obviously where I photographed it.
# Notes
1. Florentijn Hofman: Projects: Rubber Duck: Hong Kong 2013 www.florentijnhofman.nl/dev/project.php?id=192
# SML Data
+ Date: 2013-05-08T16:07:39+0800
+ Dimensions: 5118 x 3412
+ Exposure: 1/40 sec at f/8.0
+ Focal Length: 32 mm
+ ISO: 200
+ Flash: DId not fire
+ Camera: Canon EOS 6D
+ Lens: Canon EF 17-40 f/4L USM
+ GPS: 22°17'42" N 114°10'4" E
+ Location: 中國香港九龍尖沙咀海港城 Harbour City, Tsim Sha Tsui, Kowloon, Hong Kong, China
+ Workflow: Lightroom 4
+ Serial: SML.20130508.6D.05448
+ Series: Photojournalism, Crazyisgood, SML Fine Art
# Media Licensing
Creative Commons (CCBY) See-ming Lee 李思明 / SML Photography / SML Universe Limited
“Florentijn Hofman: Rubber Duck: Hong Kong 2013” / Crazyisgood Art Installation / SML.20130508.6D.05448
/ #Photojournalism #CreativeCommons #CCBY #SMLPhotography #SMLUniverse #SMLFineArt #Crazyisgood #SMLProjects
/ #中國 #中国 #China #香港 #HongKong #攝影 #摄影 #photography #FlorentijnHofman #RubberDuck #ducks #yellow #WTF #LOL #people #crazy #installation #art #fineart
Being 'all washed up' has a negative connotation to us, but the ocean can yield some artful compositions in it's ebb and flow...
i want to free my mind
hop onto a bike
cycle on and on
following the red bricks
along the pavements of denmark
such a familiar connotation found
in an unknown town
doesn't our mind attempt to associate new surroundings
with what we are used to
to make us feel home away from home?
(uploaded in early march, 2014)
The copywriter indulged in some prose that has different connotations today in this mid-1950s TWA travel poster.
The iconic Palace of Culture and Science in Warsaw.
Constructed in 1955, the Palace of Culture and Science (Polish: Pałac Kultury i Nauki; abbreviated PKiN) is a notable high-rise building in Warsaw, Poland. It is the center for various companies, public institutions and cultural activities such as concerts, cinemas, theaters, libraries, sports clubs, universities, scientific institutions and authorities of the Polish Academy of Sciences. Motivated by Polish historicism and American art deco high-rise buildings, the PKiN was designed by Soviet architect Lev Rudnev in "Seven Sisters" style and is informally referred to as the Eighth Sister.
The Palace of Culture and Science is the tallest building in Poland, the eighth tallest building in the European Union and one of the tallest on the European continent. It is 237 metres (778 ft) tall, including the structural 43-metre high spire.
The building was originally known as the Joseph Stalin Palace of Culture and Science (Pałac Kultury i Nauki imienia Józefa Stalina), but in the wake of destalinization the dedication to Stalin was revoked. Stalin's name was removed from the colonnade, interior lobby and one of the building's sculptures.
Construction
Construction started in 1952 and lasted until 1955. A gift from the Soviet Union to the people of Poland, the tower was constructed, using Soviet plans, by 3500-5000 Russian workers and 4000 Polish workers. 16 workers died in accidents during the construction. The Russian builders were housed at a new suburban complex built at Poland's expense, with its own cinema, food court, community centre and swimming pool, called Osiedle "Przyjaźń" (Neighborhood of Friendship). The architecture of the building is closely related to several similar skyscrapers built in the Soviet Union of the same era, most notably the Main building of Moscow State University. However, the main architect Lev Rudnev incorporated some Polish architectural details into the project after traveling around Poland and seeing the architecture. The monumental walls are headed with pieces of masonry copied from Renaissance houses and palaces of Kraków and Zamość
Four 6.3-metre clock faces were added to the top of the building ahead of the millennium celebrations in 2000.
Present day
As the city's most visible landmark, the building was controversial from its inception. Many Poles initially hated the building because they considered it to be a symbol of Soviet domination, and at least some of that negative feeling persists today. Some have also argued that, regardless of its political connotations, the building destroyed the aesthetic balance of the old city and imposed dissonance with other buildings. This contrast has been lessened somewhat over the years with the construction of several skyscrapers in the vicinity. Despite the controversies, the Palace became an internationally recognized symbol of Warsaw.
The building currently serves as an exhibition center and office complex.
de/from Wikipedia
--------------------------
La Gran Sinagoga de Budapest, conocida también como la Sinagoga de la Calle Dohány es la mayor sinagoga en Eurasia y la segunda más grande del mundo, después de la Congregación Emanu-El de Nueva York.
Se levanta en el distrito de Erzsébetváros en Budapest.
La casa natal de Theodor Herzl se alzaba al lado de esta sinagoga. En su lugar se levanta el Museo Judío que
aloja la Colección Judaica Histórica y Religiosa; se levantó en 1930 en un estilo arquitectónico acorde con el de la sinagoga, en 1931 se anexó al edificio principal.
La calle Dohány tiene fuertes connotaciones relativas al Holocausto, puesto que constituía el límite del
gueto de Budapest.
Construida entre 1854-1859 por la comunidad neológica de Pest según los planos de Ludwig Förster, la
monumental sinagoga tiene capacidad para 2,964 asientos (1,492 para hombres y 1,472 en las galerías
femeninas) convirtiéndola en la más grande de Europa y la segunda del mundo.
La consagración de la sinagoga se realizó el 6 de Septiembre de 1859.
El edificio tiene una longitud de más de 53 metros y 26,5 metros de ancho. Es de estilo arábe pero su diseño
muestra una mezcla de estilos bizantino, romanico y gótico. Cuenta con dos cúpulas situadas cada una sobre
las dos torres octogonales de 43 metros de altura, además de una vidriera en forma de rosetón situada sobre la entrada principal
Museo Judío[editar]
El Museo Judío está construido sobre la parcela en la que se encontraba la casa de dos pisos de estilo lasicista donde nació Theodor Herzl, situada de forma adyacente a la Gran sinagoga.7 El museo, construido entre 1930-1931 contiene una colección de reliquias religiosas, propiedad de la Pest Hevrah Kaddishah (Sociedad de enterramientos judíos); objetos rituales usados durante el Shabbat y salas dedicadas a las grandes fiestas judías y al Holocausto.
Templo de los Héroes[editar]
La galería y Templo de los Héroes, con capacidad para 250 personas, es usada para los servicios religiosos
los fines de semana y durante el invierno. Fue diseñado por Lázlo Vágó y Ferenc Faragó, y se añadió al complejo de la Gran Sinagoga en 1931.Es utilizado como Memorial de todos aquellos judíos húngaros que
perdieron la vida durante la Primera Guerra Mundial.
Cementerio Judío[editar]
El cementerio se localiza en el jardín trasero del Templo de los Héroes, entre el Museo Judío y la Gran Sinagoga. De acuerdo con las tradiciones judías, los cementerios no pueden estar en las instalaciones de las sinagogas, pero debido a que la sinagoga era parte del gueto judio, el complejo tuvo que dar refugio a parte de la comunidad judía que no tenía hogar en el interior del gueto, esto implicó que durante la hambruna de invierno de 1944-1945, que junto con el frío extremo asoló el gueto, más de 2000 personas tuvieran que ser enterradas en las instalaciones de la sinagoga, pese a que esto va contra las tradiciones del pueblo judío.
Memorial a los mártires judíos húngaros
Parque memorial del Holocausto Raoul Wallenberg
El Raoul Wallenberg Emlékpark (parque memorial), en el patio trasero, contiene el Memorial a los mártires judíos húngaros — al menos 400.000 judíos húngaros fueron asesinados por los nazis.8 Construido por Imre Varga, se asemeja a un sauce llorón cuyas hojas llevan inscripciones con los nombres de las víctimas. Hay
además un memorial dedicado a Wallenberg y otros Justos entre las Naciones, entre ellos: el vice-cónsul suizo Carl Lutz; Giorgio Perlasca, un italiano que se hizo pasar por cónsul español, y continuando la obra de Ángel
Sanz Briz, entregó pasaportes españoles a los judíos, haciéndolos pasar por sefardíes, aunque su origen fuera
de otro tipo, consiguió salvar a 5.000 judíos de Budapest; Monseñor Angelo Rotta, un obispo italiano y Nuncio
Apostólico del Vaticano en Budapest, que emitió Documentos que alegaban que estaban bautizados, para así salvarles de los trabajos forzados, así como Pasaportes vaticanos junto con su secretario Monseñor Gennaro Verolino durante la Segunda Guerra Mundial, misiones que consiguieron salvar a más de 15.000 judíos húngaros.
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The Dohány Street Synagogue also known as The Great Synagogue or Tabakgasse Synagogue, is a historical
building in Erzsébetváros, the 7th district of Budapest, Hungary. It is the largest synagogue in Europe and one of the largest in the world.
The Dohány Street Synagogue complex consists of the Great Synagogue, the Heroes' Temple, the graveyard, the Memorial and the Jewish Museum, which was built on the site on which Theodore Herzl's house of birth stood.
Dohány Street itself, a leafy street in the city center, carries strong Holocaust connotations as it constituted the border of the Budapest Ghetto.
Built in a residential area between 1854-1859 by the Jewish community of Pest according to the plans of
Ludwig Förster, the monumental synagogue has a capacity of 2,964 seats (1,492 for men and 1,472 in the
women's galleries) making it the largest in Europe and one of the largest working synagogues in the world
(after the Beit Midrash of Ger in Jerusalem, the Belz Great Synagogue and Temple Emanu-el in New York City)
The consecration of the synagogue took place on 6 September 1859.
The building is 75 metres (246 ft) long and 27 metres (89 ft) wide.[5] The style of the Dohány Street Synagogue is Moorish but its design also features a mixture of Byzantine, Romantic and Gothic elements. Two
onion-shaped domes sit on the twin octagonal towers at 43 metres (141 ft) height. A rose stained-glass window
sits over the main entrance.
Similarly to basilicas, the building consists of three spacious richly decorated aisles, two balconies and,
unusually, an organ. Its ark contains various torah scrolls taken from other synagogues destroyed during the
Holocaust.
The torah-ark and the internal frescoes made of colored and golden geometric shapes are the works of the
famous Hungarian romantic architect Frigyes Feszl. A single-span cast iron supports the 12-metre-wide (39 ft)
nave. The seats on the ground-floor are for men, while the upper gallery, supported by steel ornamented
poles, has seats for women.
Franz Liszt and Camille Saint-Saëns played the original 5,000 pipe organ built in 1859.[7] A new mechanical
organ with 63 voices and 4 manuals was built in 1996 by the German firm Jehmlich Orgelbau Dresden GmbH.
One of the important concerts in the Synagogue's history was in 2002, played by the organ virtuoso Xaver
Varnus. Four hours before the concert even standing places could hardly be found in the Synagogue, and 7,200[citation needed] people were sitting and standing to listen to the improvisor’s virtuosity.
Synagogue complex
Jewish Museum]
Aerial view of the Dohány Street Synagogue complex
The Jewish Museum was constructed on the plot where Theodor Herzl's two-story Classicist style house used to
stand, adjoining the Dohány synagogue. The Jewish Museum was built in 1930 in accordance with the
synagogue's architectural style and attached in 1931 to the main building. It holds the Jewish Religious and
Historical Collection, a collection of religious relics of the Pest Hevrah Kaddishah (Jewish Burial Society),
ritual objects of Shabbat and the High Holidays and a Holocaust room.
Heroes' Temple[edit]
The arcade and the Heroes' Temple, which seats 250 people and is used for religious services on weekdays and during the winter time, was added the Dohány Street Synagogue complex in 1931. The Heroes' Temple was
designed by Lázlo Vágó and Ferenc Faragó and serves as a memorial to Hungarian Jews who gave their lives
during World War I.
Jewish Cemetery
Dohány Street Synagogue, Budapest, Hungary
In 1944, the Dohány Street Synagogue was part of the Jewish Ghetto for the city Jews and served as shelter
for a lot of people. Over two thousand of those who died in the ghetto from hunger and cold during the winter
1944-1945 are buried in the courtyard of the synagogue.
It is not customary to have a cemetery next to a synagogue, the establishment of the 3000 m2 cemetery was the result of historical circumstances. In 1944, as a part of the Eichmann-plan, 70.000 Jews were relocated to the Ghetto of Pest. Until January 18, 1945, when the Russians liberated the ghetto, around 8-10.000 people
had died, although, one part of the deceased were transferred to the Kozma Street Cemetery, but 2.000 people were buried in the makeshift cemetery. In memory of those who had died, there is a memorial by the culptor,
Imre Varga, depicting a weeping willow with the names and tattoo numbers of the dead and disappeared just
behind the Synagogue, in the Raoul Wallenberg Holocaust Memorial Park.
Raoul Wallenberg Holocaust Memorial Park
The Raoul Wallenberg Emlékpark (memory park) in the rear courtyard holds the Memorial of the Hungarian Jewish Martyrs — at least 400,000 Hungarian Jews were murdered by the Nazis.[14] Made by Imre Varga, it resembles a weeping willow whose leaves bear inscriptions with the names of victims. There is also a memorial to Wallenberg and other Righteous Among the Nations, among them: Swiss Vice-consul Carl Lutz; Giorgio Perlasca, an Italian man who, with a strategic escamotage, declared himself the Spanish consul, releasing documents of protection and current passports to Jews in Budapest without distinction (he saved five thousand); Mons.
Angelo Rotta, an Italian Prelate Bishop and Apostolic Nuncio of the State of Vatican City in Budapest, which
issued protective sheets, misrepresentations of baptism (to save them from forced labor) and Vatican
passports to Jews, without distinction of any kind present in Budapest (saving fifteen thousand), who saved,
with his secretary Mons. Gennaro Verolino tens of thousands of Hungarian Jews during World War II. Carlos de Liz-Texeira Branquinho a Portuguese diplomat, serving as Portugal’s Chargé d'Affaires in Budapest in 1944, issued protective Passports to hundreds of Jewish families, altogether about 1,000 lives were saved due to
his actions.[15] Carlos Sampaio Garrido the Portuguese Ambassador who resisted the Hungarian political police
when the police raided his home arresting his guests.
The Ambassador physically resisted the police and was
also arrested but managed to have his guests released by invoking the extraterritorial legal rights of
diplomatic legations; five of the guests were members from the famous Gabor family.
Stones placed in a memorial behind the Dohány Street Synagogue in Budapest, Hungary.
Trivia
Dohány means tobacco in Hungarian, a loan word from Ottoman Turkish دخان (duhân), itself borrowed from Arabic
دخان (duḫḫān). A similar Turkish loanword for tobacco is used throughout the Balkans (e.g. duhan in Bosnian).
Theodor Herzl in his speeches[16] and the Jewish Encyclopedia referred to the Dohány Street Synagogue as the Tabakgasse Synagogue. The Dohány Street Synagogue is also known under the name of the Tabak-Shul, the Yiddish translation of Dohány Synagogue.
Anti-Semitic attacks
On October 23, 2012, an Israeli flag was burned in front of a Budapest synagogue, reportedly by members of
Jobbik, an ultranationalist Hungarian political party.
In the Middle Ages, the Fool is traditionnally represented holding a stone (which he thinks to be a loaf of bread) and a stick. At Rouen, the Fool is represented as a hybrid monster (which insists on and increases his negative connotations).
In October 1981, flying tiger ancient human remains from Guizhou Provincial Museum trial excavation, the accumulation of complex, broadly divided into early and late phases. Early formation of yellow or grayish yellow, unearthed panda, Stegodon fossils, stone products are made for the late Paleolithic culture era. Advanced formation is black, black, unearthed animal genetic pulp for extant species, and human mandibular and chipped stone, grinding stone, grinding bone, pottery and other large, geological time for the Holocene, culture in the age of the Neolithic age, that about 4000 years ago to 6000 years.
Unearthed stone products made a total of 532 pieces of raw materials, mainly to flint stone, there is, nuclear, stone etc.. The stone to stone, with the forward direction of processing processing, types of hit device, a scraper, tip like device and dolabriform etc.. The scraper accounted for 76%, tip like device is small but fine processing. The axe is a symbol of the transformation of Neolithic culture. 27 pieces of polished stone, delicate process, a stone axe, stone adzes, stone spinning wheels, stone scraper, stone arrow head, small stones (spear) 8. The number of stone adzes, regular shape, with long oblique cutting tool representative. 79 pieces of bone, in addition to the 1 pieces of grinding residual bone scraper, are making bone, bone and bone shovel cone. The three notches in the teeth may be scratching the porcupine symbol. In addition to pottery and ball spinning round round cake 1, the rest are all pieces of artifacts. 1494 tablets. The uneven thickness, thickness of 1.2 cm, thickness of only 0.2 cm, high temperature, hard texture. About 70% of sand pottery, pottery sand shale pottery class accounted for 30%, very little. Sand and sand are mainly sand. Pottery ornamentation is complicated, there are thick rope lines and Fang Gewen cone, tattoo, carved lines and lines and other additional cone. There are 3 pieces of pottery pottery, which has 1 pieces of orange powder is subjected to pottery coating inside and outside the grey clay, on the exterior is painted with two parallel red bands. This is the first time in Guizhou, Guizhou is also the earliest pottery record.
The site has a new and old stone formation, and the cultural connotation is rich. Pottery appear more attractive, but considerable differences in advanced culture. These have great significance to the study of the relationship between the new and the old stone culture in Guizhou and the time continuity of the times.
In February 23, 1982, the Guizhou Provincial People's Government approved the publication of the provincial cultural relics protection units. 1981年10月，飞虎山古人类遗址由贵州省博物馆试掘，洞内堆积复杂，大致分早、晚两期。早期地层呈黄色或灰黄色，出土大熊猫、剑齿象等化石，石制品均为打制，文化时代为旧石器时代晚期。晚期地层呈黑色、灰黑色，出土动物遗髓为现生属种，并出人类下颌件和打制石器、磨制石器、磨制骨器、大量的陶片等，地质时代为全新世，文化时代属新石器时代，推测距今约4000年至6000年。
遗址出土打制的石制品共532件，原料以燧石为主，有是核、石片、石器等。石器以石片为主，加工方向以正向加工为主，类型有砸器、刮削器、尖状器和斧形器等。其中刮削器占76%，尖状器虽少但加工精细。斧形器似为向新石器文化转化的象征。磨制石器27件，加工精致，有石斧、石锛、石纺轮、石刮刀、石箭(矛)头、小石块等8种。石锛数量多，形制规整，以长形斜刃具代表性。骨器79件，除1件残的磨制骨刮刀外，均为打制骨器，有骨锥和骨铲。其中豪猪牙上的三道刻痕可能是刻划符。陶器除圆饼式及圆珠纺轮各1件外，其余全是器物碎片。计1494片。其厚度不匀，厚者达1.2厘米，薄者仅0.2厘米，火候高，质地坚硬。夹砂灰陶约占70%，夹砂黑陶占30%，泥质类陶极少。夹砂陶以夹细砂为主。陶片纹饰复杂多样，有粗细绳纹、方格纹、锥刺纹、刻划纹和附加锥纹等。陶片中有3片彩陶，其中有1片是在泥质灰陶的内外施以粉澄色陶衣，再于外表绘有两条平行的红色条带。这是贵州首次发现，也是贵州迄今最早的彩陶记录。
遗址具有新、旧石器地层叠压，文化内涵丰富。彩陶的出现更引人瞩目，但中、晚期文化差异颇大。这些对研究贵州新、旧石器文化的相互关系和时代延续问题具有重要的意义。
1982年2月23日，经贵州省人民政府批准公布为省级文物保护单位。
☆nagai yoru - natten är lång 情報☆
この度 アムステルダム ハイブリッドカルチャーズにて
ルーカス・ゴースマンさんとの二人展を
開催させていただく運びとなりました。
ご案内・ご報告申し上げます。
ルーカスとわたしは、共に The Act Of Painting に所属し
2013年からいくつものTAOPのグループ展でご一緒しています。
今回の展覧会は TAOPの主催である
レイモンド・ケホパースのアトリエの一部を
ギャラリーとし、1ヶ月ほど開催します。
今回は、文字をキーワードとし
二人の異なる絵画言語で語られる
物語をテーマとします。
眞弥子は初日とその週末は近くにおりますので
もしもお越しいただける方は
お声をかけていただけましたら幸いです。
どうぞよろしくお願いいたします。
FB page
www.facebook.com/events/687598379825503/?ref=newsfeed
・・・・・
nagai yoru - natten är lång
Mayako Nakamura + Lukas Göthman
March 17th - April 8th **opening Friday March 17th 3pm**
HYBRID CULTURES open Saturday 11 am - 6 pm and by appointment
Donker Curtiusstraat 25 B, 1051 JM, Amsterdam, 0031614672978, www.hybridcultures.org
・・・・・
Hybrid Cultures emphasizes the importance of the personal story, in this duo show by Japanese artist Mayako Nakamura, based in Tokyo and Swedish artist Lukas Göhman who lives and works in Stockholm. Both tell their stories in divergent painterly languages.
In her Calligraphic Landscape series Mayako Nakamura employs traditional Chinese characters as a point of departure for intuitive abstract landscapes on scrolls and screens. Mayako worked on this series while taking care of her gravely ill father. The works can be read as a diary incorporating the narrative of her daily life into the abstraction. In her latest works Mayako comes to grips with the spiritual inheritance of her family. Both her parents quite recently passed away and their spirits are captured in these gestural works. As Mayako states: “My mother passed away a year ago. My father passed away a month ago. I often feel their spirits come and go- riding the winds, or scent of spring. I feel the elemental particles of my parents often dancing in the courtyard..
Whoever came to exist on this earth must pass away.
Using water and ink on paper, I am trying to paint the impermanence - the very moment I am here - over and over again.”
Lukas Göhman tells his story by painting texts. Each text fluid and painted in thick and colorful layers of high viscosity oil, can be interpreted as a fragment of an ongoing story; a journey of self experienced realities and auto-ficticious, poetic narratives, meanwhile exploring the painterly abstract composition on the canvas. A series of paintings by Lukas Göthman can be read as pages from a diary, sometimes fictionalized, sometimes merely abstract, but always telling the story of the life Lukas is leading or is aiming to lead, with all the joy, fear, desire, dreams, love, lust, anger and grief a husband, father of two sons and owner of a dog can embody. The travels Lukas makes and the resonating lines of texts in his works are a commemoration to Scandinavian life. So too the title of this show, The Night is Long, which can refer to the long and dark winter in the North but also relates to a dark and difficult period in life. And yet there is another more enticing connotation: the longing for a long night with loved ones. Lukas captures the essence of his art practice as follows: “All my art starts from a sort of existential journey in which places and memories are important to me.”
Sérguiev Posad (Rusia) - Sergiyev Posad (Russia) - Се́ргиев Поса́д (Россия)
Sérguiev Posad (en ruso: Се́ргиев Поса́д), entre 1930 y 1991 llamada Zagorsk, es una ciudad rusa, al nordeste de Moscú. Contaba con 109.252 habitantes en el censo de 2008. Posee un importante conjunto monumental, el monasterio de la Trinidad y de San Sergio (siglos XV-XVIII), declarado Patrimonio de la Humanidad por la UNESCO.
es.wikipedia.org/wiki/Sérguiev_Posad
es.wikipedia.org/wiki/Anillo_de_Oro_de_Rusia
Sergiyev Posad (Russian: Се́ргиев Поса́д) is a city and the administrative center of Sergiyevo-Posadsky District in Moscow Oblast, Russia. Population: 111,179 (2010 Census); 113,581 (2002 Census); 114,696 (1989 Census).
It was previously known as Sergiyev Posad (until 1919), Sergiyev (until 1930), Zagorsk (until 1991).
Sergiyev Posad grew in the 15th century around one of the greatest of Russian monasteries, the Trinity Lavra established by St. Sergius of Radonezh, still (as of 2015) one of the largest monasteries in Russia. Town status was granted to Sergiyev Posad in 1742. The town's name, alluding to St. Sergius, has strong religious connotations. Soviet authorities changed it first to just Sergiyev in 1919, and then to Zagorsk in 1930, in memory of the revolutionary Vladimir Mikhailovich Zagorsky
The original name was restored in 1991.
Within the framework of administrative divisions, Sergiyev Posad serves as the administrative center of Sergiyevo-Posadsky District. As an administrative division, it is, together with twenty-six rural localities, incorporated within Sergiyevo-Posadsky District as the City of Sergiyev Posad. As a municipal division, the City of Sergiyev Posad is incorporated within Sergiyevo-Posadsky Municipal District as Sergiyev Posad Urban Settlement.
Tourism associated with the Golden Ring plays a role in the regional economy. There is also an important toy factory.
The Moscow–Yaroslavl railway and highway pass through the town. Sergiyev Posad Bus Terminal is located in the city.
en.wikipedia.org/wiki/Sergiyev_Posad
en.wikipedia.org/wiki/Golden_Ring_of_Russia
El monasterio de la Trinidad y San Sergio (en ruso Тро́ице-Се́ргиева Ла́вра; o Tróitse-Sérguieva Lavra) en la ciudad de Sérguiev Posad (antiguo Zagorsk) es un importante monasterio ruso y centro espiritual de la iglesia ortodoxa rusa. Sérguiev Posad se encuentra a unos 70 kilómetros al noreste de Moscú en la carretera que va a Yaroslavl. Actualmente alberga a unos 300 monjes. Según la Unesco, que lo declaró Patrimonio de la Humanidad en 1993, se trata de «un buen ejemplo de monasterio ortodoxo en funcionamiento, con rasgos militares típicos de los siglos XV al XVIII, período durante el que se desarrolló.»
La iglesia principal de la Laura (monasterio), la catedral de la Asunción, recuerda la homónima catedral del Kremlin y alberga las tumbas de los Godunov.
Siendo monje de la Laura, Andréi Rubliov pintó, para el iconostasio de la catedral, su más célebre icono La Trinidad que actualmente se expone en la Galería Tretiakov de Moscú.
es.wikipedia.org/wiki/Laura_de_la_Trinidad_y_San_Sergio
The Trinity Lavra of St. Sergius (Russian: Тро́ице-Се́ргиева Ла́вра) is the most important Russian monastery and the spiritual centre of the Russian Orthodox Church. The monastery is situated in the town of Sergiyev Posad, about 70 km to the north-east from Moscow by the road leading to Yaroslavl, and currently is home to over 300 monks.
The monastery was founded in 1337 by one of the most venerated Russian saints, Sergius of Radonezh, who built a wooden church in honour of the Holy Trinity on Makovets Hill. Early development of the monastic community is well documented in contemporary lives of Sergius and his disciples.
In 1355, Sergius introduced a charter which required the construction of auxiliary buildings, such as refectory, kitchen, and bakery. This charter was a model for Sergius' numerous followers who founded more than 400 cloisters all over Russia, including the celebrated Solovetsky, Kirillov, and Simonov monasteries.
St. Sergius supported Dmitri Donskoi in his struggle against the Tatars and sent two of his monks, Peresvet and Oslyabya, to participate in the Battle of Kulikovo (1380). At the outbreak of the battle, Peresvet died in a single combat against a Tatar bogatyr. The monastery was devastated by fire, when a Tatar unit raided the area in 1408.
St. Sergius was declared patron saint of the Russian state in 1422. The same year the first stone cathedral was built by a team of Serbian monks who had found refuge in the monastery after the Battle of Kosovo. The relics of St. Sergius still may be seen in this cathedral, dedicated to the Holy Trinity. The greatest icon painters of medieval Russia, Andrei Rublev and Daniil Chyorny, were summoned to decorate the cathedral with frescoes. Traditionally, Muscovite royals were baptized in this cathedral and held thanksgiving services here.
In 1476, Ivan III invited several Pskovian masters to build the church of the Holy Spirit. This graceful structure is one of the few remaining examples of a Russian church topped with a belltower. The interior contains the earliest specimens of the use of glazed tiles for decoration. In the early 16th century, Vasily III added the Nikon annex and the Serapion tent, where several of Sergius' disciples were interred.
It took 26 years to construct the six-pillared Assumption Cathedral, which was commissioned by Ivan the Terrible in 1559. The cathedral is much larger than its model and namesake in the Moscow Kremlin. The magnificent iconostasis of the 16th–18th centuries features Simon Ushakov's masterpiece, the icon of Last Supper. Interior walls were painted with violet and blue frescoes by a team of Yaroslavl masters in 1684. The vault contains burials of Boris Godunov, his family and several 20th-century patriarchs.
As the monastery grew into one of the wealthiest landowners in Russia, the woods where it had stood were cleared and a village (or posad) sprang up near the monastery walls. It gradually developed into the modern town of Sergiyev Posad. The cloister itself was a notable centre of chronicle-writing and icon painting. Just opposite the monastery walls St. Paraskeva's Convent was established, among whose buildings St. Paraskeva's Church (1547), Introduction Church (1547), and a 17th-century chapel over St. Paraskeva's well are still visible.
In 1550s, a wooden palisade surrounding the cloister was replaced with 1.5 km-long stone walls, featuring twelve towers, which helped the monastery to withstand a celebrated 16-month Polish-Lithuanian siege in 1608–1610. A shell-hole in the cathedral gates is preserved as a reminder of Wladyslaw IV's abortive siege in 1618.
By the end of the 17th century, when young Peter I twice found refuge within the monastery from his enemies, numerous buildings had been added. These include a small baroque palace of the patriarchs, noted for its luxurious interiors, and a royal palace, with its facades painted in checkerboard design. The refectory of St. Sergius, covering 510 square meters and also painted in dazzling checkerboard design, used to be the largest hall in Russia. The five-domed Church of John the Baptist's Nativity (1693–1699) was commissioned by the Stroganovs and built over one of the gates. Other 17th-century structures include the monks' cells, a hospital topped with a tented church, and a chapel built over a holy well discovered in 1644.
In 1744, Empress Elizabeth conferred on the cloister the dignity of a Lavra. The metropolitan of Moscow was henceforth also the Archimandrite of the Lavra. Elizabeth particularly favoured the Trinity and annually proceeded afoot from Moscow to the cloister. Her secret spouse Alexey Razumovsky accompanied her on such journeys and commissioned a baroque church to the Virgin of Smolensk, the last major shrine to be erected in the Lavra. Another pledge of Elizabeth's affection for the monastery is a white-and-blue baroque belltower, which, at 88 meters, was one of the tallest structures built in Russia up to that date. Its architects were Ivan Michurin and Dmitry Ukhtomsky.
Throughout the 19th century, the Lavra maintained its status as the richest Russian monastery. A seminary founded in 1742 was replaced by an ecclesiastical academy in 1814. The monastery boasted a supreme collection of manuscripts and books. Medieval collections of the Lavra sacristy attracted thousands of visitors. In Sergiyev Posad, the monastery maintained several sketes, one of which is a place of burial for the conservative philosophers Konstantin Leontiev and Vasily Rozanov.
After the Russian Revolution of 1917, the Soviet government closed the lavra in 1920. Its buildings were assigned to different civic institutions or declared museums. In 1930, monastery bells, including the Tsar-Bell of 65 tons, were destroyed. Pavel Florensky and his followers prevented the authorities from stealing and selling the sacristy collection but overall many valuables were lost or transferred to other collections.
In 1945, following Joseph Stalin's temporary tolerance of the church during World War II, the Lavra was returned to the Russian Orthodox Church. On April 16, 1946 divine service was renewed at the Assumption Cathedral. The lavra continued as the seat of the Moscow Patriarchate until 1983, when the patriarch was allowed to settle at the Danilov Monastery in Moscow. After that, the monastery continued as a prime centre of religious education. Important restoration works were conducted in the 1960s and 1970s. In 1993, the Trinity Lavra was inscribed on the UN World Heritage List.
The Lavra has a number of representative churches (podvorie or metochia) in its vicinity and throughout Russia. The Lavra's hieromonks have manned a number of sketes at remote locations (such as the Anzer Island in the Solovki Archipelago in the White Sea), as well as the Trinity Church on the King George Island in the Antarctic.
In October 1981, flying tiger ancient human remains from Guizhou Provincial Museum trial excavation, the accumulation of complex, broadly divided into early and late phases. Early formation of yellow or grayish yellow, unearthed panda, Stegodon fossils, stone products are made for the late Paleolithic culture era. Advanced formation is black, black, unearthed animal genetic pulp for extant species, and human mandibular and chipped stone, grinding stone, grinding bone, pottery and other large, geological time for the Holocene, culture in the age of the Neolithic age, that about 4000 years ago to 6000 years.
Unearthed stone products made a total of 532 pieces of raw materials, mainly to flint stone, there is, nuclear, stone etc.. The stone to stone, with the forward direction of processing processing, types of hit device, a scraper, tip like device and dolabriform etc.. The scraper accounted for 76%, tip like device is small but fine processing. The axe is a symbol of the transformation of Neolithic culture. 27 pieces of polished stone, delicate process, a stone axe, stone adzes, stone spinning wheels, stone scraper, stone arrow head, small stones (spear) 8. The number of stone adzes, regular shape, with long oblique cutting tool representative. 79 pieces of bone, in addition to the 1 pieces of grinding residual bone scraper, are making bone, bone and bone shovel cone. The three notches in the teeth may be scratching the porcupine symbol. In addition to pottery and ball spinning round round cake 1, the rest are all pieces of artifacts. 1494 tablets. The uneven thickness, thickness of 1.2 cm, thickness of only 0.2 cm, high temperature, hard texture. About 70% of sand pottery, pottery sand shale pottery class accounted for 30%, very little. Sand and sand are mainly sand. Pottery ornamentation is complicated, there are thick rope lines and Fang Gewen cone, tattoo, carved lines and lines and other additional cone. There are 3 pieces of pottery pottery, which has 1 pieces of orange powder is subjected to pottery coating inside and outside the grey clay, on the exterior is painted with two parallel red bands. This is the first time in Guizhou, Guizhou is also the earliest pottery record.
The site has a new and old stone formation, and the cultural connotation is rich. Pottery appear more attractive, but considerable differences in advanced culture. These have great significance to the study of the relationship between the new and the old stone culture in Guizhou and the time continuity of the times.
In February 23, 1982, the Guizhou Provincial People's Government approved the publication of the provincial cultural relics protection units. 1981年10月，飞虎山古人类遗址由贵州省博物馆试掘，洞内堆积复杂，大致分早、晚两期。早期地层呈黄色或灰黄色，出土大熊猫、剑齿象等化石，石制品均为打制，文化时代为旧石器时代晚期。晚期地层呈黑色、灰黑色，出土动物遗髓为现生属种，并出人类下颌件和打制石器、磨制石器、磨制骨器、大量的陶片等，地质时代为全新世，文化时代属新石器时代，推测距今约4000年至6000年。
遗址出土打制的石制品共532件，原料以燧石为主，有是核、石片、石器等。石器以石片为主，加工方向以正向加工为主，类型有砸器、刮削器、尖状器和斧形器等。其中刮削器占76%，尖状器虽少但加工精细。斧形器似为向新石器文化转化的象征。磨制石器27件，加工精致，有石斧、石锛、石纺轮、石刮刀、石箭(矛)头、小石块等8种。石锛数量多，形制规整，以长形斜刃具代表性。骨器79件，除1件残的磨制骨刮刀外，均为打制骨器，有骨锥和骨铲。其中豪猪牙上的三道刻痕可能是刻划符。陶器除圆饼式及圆珠纺轮各1件外，其余全是器物碎片。计1494片。其厚度不匀，厚者达1.2厘米，薄者仅0.2厘米，火候高，质地坚硬。夹砂灰陶约占70%，夹砂黑陶占30%，泥质类陶极少。夹砂陶以夹细砂为主。陶片纹饰复杂多样，有粗细绳纹、方格纹、锥刺纹、刻划纹和附加锥纹等。陶片中有3片彩陶，其中有1片是在泥质灰陶的内外施以粉澄色陶衣，再于外表绘有两条平行的红色条带。这是贵州首次发现，也是贵州迄今最早的彩陶记录。
遗址具有新、旧石器地层叠压，文化内涵丰富。彩陶的出现更引人瞩目，但中、晚期文化差异颇大。这些对研究贵州新、旧石器文化的相互关系和时代延续问题具有重要的意义。
1982年2月23日，经贵州省人民政府批准公布为省级文物保护单位。
Good morning everybody!
communicate with color
There's a saying in photography: " If you can't make it good, make it big -- and if you can't make it big. make it red." Tongue in check, sure, but it points to the truth: Color matters. From energetic red to calming blue. Each color carries its own visual connotations and emotional impact. Also consider tone (the degree of darkness or lightness of a colors). Then you can choose to shoot colors that speak to you, and adjust their subtlety or boldness to fther suite your vision.
It was one of the long expousre study at the sunrise time. I still have lots to learn how to take a better shot next time :) Thanks!!!
Sérguiev Posad (Rusia) - Sergiyev Posad (Russia) - Се́ргиев Поса́д (Россия)
Sérguiev Posad (en ruso: Се́ргиев Поса́д), entre 1930 y 1991 llamada Zagorsk, es una ciudad rusa, al nordeste de Moscú. Contaba con 109.252 habitantes en el censo de 2008. Posee un importante conjunto monumental, el monasterio de la Trinidad y de San Sergio (siglos XV-XVIII), declarado Patrimonio de la Humanidad por la UNESCO.
es.wikipedia.org/wiki/Sérguiev_Posad
es.wikipedia.org/wiki/Anillo_de_Oro_de_Rusia
Sergiyev Posad (Russian: Се́ргиев Поса́д) is a city and the administrative center of Sergiyevo-Posadsky District in Moscow Oblast, Russia. Population: 111,179 (2010 Census); 113,581 (2002 Census); 114,696 (1989 Census).
It was previously known as Sergiyev Posad (until 1919), Sergiyev (until 1930), Zagorsk (until 1991).
Sergiyev Posad grew in the 15th century around one of the greatest of Russian monasteries, the Trinity Lavra established by St. Sergius of Radonezh, still (as of 2015) one of the largest monasteries in Russia. Town status was granted to Sergiyev Posad in 1742. The town's name, alluding to St. Sergius, has strong religious connotations. Soviet authorities changed it first to just Sergiyev in 1919, and then to Zagorsk in 1930, in memory of the revolutionary Vladimir Mikhailovich Zagorsky
The original name was restored in 1991.
Within the framework of administrative divisions, Sergiyev Posad serves as the administrative center of Sergiyevo-Posadsky District. As an administrative division, it is, together with twenty-six rural localities, incorporated within Sergiyevo-Posadsky District as the City of Sergiyev Posad. As a municipal division, the City of Sergiyev Posad is incorporated within Sergiyevo-Posadsky Municipal District as Sergiyev Posad Urban Settlement.
Tourism associated with the Golden Ring plays a role in the regional economy. There is also an important toy factory.
The Moscow–Yaroslavl railway and highway pass through the town. Sergiyev Posad Bus Terminal is located in the city.
en.wikipedia.org/wiki/Sergiyev_Posad
en.wikipedia.org/wiki/Golden_Ring_of_Russia
El monasterio de la Trinidad y San Sergio (en ruso Тро́ице-Се́ргиева Ла́вра; o Tróitse-Sérguieva Lavra) en la ciudad de Sérguiev Posad (antiguo Zagorsk) es un importante monasterio ruso y centro espiritual de la iglesia ortodoxa rusa. Sérguiev Posad se encuentra a unos 70 kilómetros al noreste de Moscú en la carretera que va a Yaroslavl. Actualmente alberga a unos 300 monjes. Según la Unesco, que lo declaró Patrimonio de la Humanidad en 1993, se trata de «un buen ejemplo de monasterio ortodoxo en funcionamiento, con rasgos militares típicos de los siglos XV al XVIII, período durante el que se desarrolló.»
La iglesia principal de la Laura (monasterio), la catedral de la Asunción, recuerda la homónima catedral del Kremlin y alberga las tumbas de los Godunov.
Siendo monje de la Laura, Andréi Rubliov pintó, para el iconostasio de la catedral, su más célebre icono La Trinidad que actualmente se expone en la Galería Tretiakov de Moscú.
es.wikipedia.org/wiki/Laura_de_la_Trinidad_y_San_Sergio
The Trinity Lavra of St. Sergius (Russian: Тро́ице-Се́ргиева Ла́вра) is the most important Russian monastery and the spiritual centre of the Russian Orthodox Church. The monastery is situated in the town of Sergiyev Posad, about 70 km to the north-east from Moscow by the road leading to Yaroslavl, and currently is home to over 300 monks.
The monastery was founded in 1337 by one of the most venerated Russian saints, Sergius of Radonezh, who built a wooden church in honour of the Holy Trinity on Makovets Hill. Early development of the monastic community is well documented in contemporary lives of Sergius and his disciples.
In 1355, Sergius introduced a charter which required the construction of auxiliary buildings, such as refectory, kitchen, and bakery. This charter was a model for Sergius' numerous followers who founded more than 400 cloisters all over Russia, including the celebrated Solovetsky, Kirillov, and Simonov monasteries.
St. Sergius supported Dmitri Donskoi in his struggle against the Tatars and sent two of his monks, Peresvet and Oslyabya, to participate in the Battle of Kulikovo (1380). At the outbreak of the battle, Peresvet died in a single combat against a Tatar bogatyr. The monastery was devastated by fire, when a Tatar unit raided the area in 1408.
St. Sergius was declared patron saint of the Russian state in 1422. The same year the first stone cathedral was built by a team of Serbian monks who had found refuge in the monastery after the Battle of Kosovo. The relics of St. Sergius still may be seen in this cathedral, dedicated to the Holy Trinity. The greatest icon painters of medieval Russia, Andrei Rublev and Daniil Chyorny, were summoned to decorate the cathedral with frescoes. Traditionally, Muscovite royals were baptized in this cathedral and held thanksgiving services here.
In 1476, Ivan III invited several Pskovian masters to build the church of the Holy Spirit. This graceful structure is one of the few remaining examples of a Russian church topped with a belltower. The interior contains the earliest specimens of the use of glazed tiles for decoration. In the early 16th century, Vasily III added the Nikon annex and the Serapion tent, where several of Sergius' disciples were interred.
It took 26 years to construct the six-pillared Assumption Cathedral, which was commissioned by Ivan the Terrible in 1559. The cathedral is much larger than its model and namesake in the Moscow Kremlin. The magnificent iconostasis of the 16th–18th centuries features Simon Ushakov's masterpiece, the icon of Last Supper. Interior walls were painted with violet and blue frescoes by a team of Yaroslavl masters in 1684. The vault contains burials of Boris Godunov, his family and several 20th-century patriarchs.
As the monastery grew into one of the wealthiest landowners in Russia, the woods where it had stood were cleared and a village (or posad) sprang up near the monastery walls. It gradually developed into the modern town of Sergiyev Posad. The cloister itself was a notable centre of chronicle-writing and icon painting. Just opposite the monastery walls St. Paraskeva's Convent was established, among whose buildings St. Paraskeva's Church (1547), Introduction Church (1547), and a 17th-century chapel over St. Paraskeva's well are still visible.
In 1550s, a wooden palisade surrounding the cloister was replaced with 1.5 km-long stone walls, featuring twelve towers, which helped the monastery to withstand a celebrated 16-month Polish-Lithuanian siege in 1608–1610. A shell-hole in the cathedral gates is preserved as a reminder of Wladyslaw IV's abortive siege in 1618.
By the end of the 17th century, when young Peter I twice found refuge within the monastery from his enemies, numerous buildings had been added. These include a small baroque palace of the patriarchs, noted for its luxurious interiors, and a royal palace, with its facades painted in checkerboard design. The refectory of St. Sergius, covering 510 square meters and also painted in dazzling checkerboard design, used to be the largest hall in Russia. The five-domed Church of John the Baptist's Nativity (1693–1699) was commissioned by the Stroganovs and built over one of the gates. Other 17th-century structures include the monks' cells, a hospital topped with a tented church, and a chapel built over a holy well discovered in 1644.
In 1744, Empress Elizabeth conferred on the cloister the dignity of a Lavra. The metropolitan of Moscow was henceforth also the Archimandrite of the Lavra. Elizabeth particularly favoured the Trinity and annually proceeded afoot from Moscow to the cloister. Her secret spouse Alexey Razumovsky accompanied her on such journeys and commissioned a baroque church to the Virgin of Smolensk, the last major shrine to be erected in the Lavra. Another pledge of Elizabeth's affection for the monastery is a white-and-blue baroque belltower, which, at 88 meters, was one of the tallest structures built in Russia up to that date. Its architects were Ivan Michurin and Dmitry Ukhtomsky.
Throughout the 19th century, the Lavra maintained its status as the richest Russian monastery. A seminary founded in 1742 was replaced by an ecclesiastical academy in 1814. The monastery boasted a supreme collection of manuscripts and books. Medieval collections of the Lavra sacristy attracted thousands of visitors. In Sergiyev Posad, the monastery maintained several sketes, one of which is a place of burial for the conservative philosophers Konstantin Leontiev and Vasily Rozanov.
After the Russian Revolution of 1917, the Soviet government closed the lavra in 1920. Its buildings were assigned to different civic institutions or declared museums. In 1930, monastery bells, including the Tsar-Bell of 65 tons, were destroyed. Pavel Florensky and his followers prevented the authorities from stealing and selling the sacristy collection but overall many valuables were lost or transferred to other collections.
In 1945, following Joseph Stalin's temporary tolerance of the church during World War II, the Lavra was returned to the Russian Orthodox Church. On April 16, 1946 divine service was renewed at the Assumption Cathedral. The lavra continued as the seat of the Moscow Patriarchate until 1983, when the patriarch was allowed to settle at the Danilov Monastery in Moscow. After that, the monastery continued as a prime centre of religious education. Important restoration works were conducted in the 1960s and 1970s. In 1993, the Trinity Lavra was inscribed on the UN World Heritage List.
The Lavra has a number of representative churches (podvorie or metochia) in its vicinity and throughout Russia. The Lavra's hieromonks have manned a number of sketes at remote locations (such as the Anzer Island in the Solovki Archipelago in the White Sea), as well as the Trinity Church on the King George Island in the Antarctic.
Male nudity was far more common across the Roman Empire, as it was necessary for certain religious practices and athletic competitions. Because of this lack of stigma, certain images—like phallic symbols, or images of various sexual acts—were prevalent throughout Pompeii and the Roman world, where even children were exposed to them. But more than that, phallic symbols had different connotations outside of the sexual. They were often a source of humor in images and writings—much like today—but they also could represent luck, protection against the evil eye, fertility, and guidance and so they show up on buildings like this one and in the stones making up the roads.
A shuttlecock is a high-drag projectile used in the sport of badminton. It has an open conical shape: the cone is formed from sixteen overlapping goose feathers embedded into a rounded cork base. The cork is covered with thin leather. The shuttlecock's shape makes it extremely aerodynamically stable. Regardless of initial orientation, it will turn to fly cork first, and remain in the cork-first orientation. The name shuttlecock is frequently shortened to shuttle; a shuttlecock may also be known as a bird or birdie. The abbreviation cock is rarely used except in a jocular sense, due to its vulgar connotations. The "shuttle" part of the name was probably derived from its back-and-forth motion during the game, resembling the shuttle of a loom; the "cock" part of the name was probably derived from the resemblance of the feathers to a bird's crest
Sérguiev Posad (Rusia) - Sergiyev Posad (Russia) - Се́ргиев Поса́д (Россия)
Sérguiev Posad (en ruso: Се́ргиев Поса́д), entre 1930 y 1991 llamada Zagorsk, es una ciudad rusa, al nordeste de Moscú. Contaba con 109.252 habitantes en el censo de 2008. Posee un importante conjunto monumental, el monasterio de la Trinidad y de San Sergio (siglos XV-XVIII), declarado Patrimonio de la Humanidad por la UNESCO.
es.wikipedia.org/wiki/Sérguiev_Posad
es.wikipedia.org/wiki/Anillo_de_Oro_de_Rusia
Sergiyev Posad (Russian: Се́ргиев Поса́д) is a city and the administrative center of Sergiyevo-Posadsky District in Moscow Oblast, Russia. Population: 111,179 (2010 Census); 113,581 (2002 Census); 114,696 (1989 Census).
It was previously known as Sergiyev Posad (until 1919), Sergiyev (until 1930), Zagorsk (until 1991).
Sergiyev Posad grew in the 15th century around one of the greatest of Russian monasteries, the Trinity Lavra established by St. Sergius of Radonezh, still (as of 2015) one of the largest monasteries in Russia. Town status was granted to Sergiyev Posad in 1742. The town's name, alluding to St. Sergius, has strong religious connotations. Soviet authorities changed it first to just Sergiyev in 1919, and then to Zagorsk in 1930, in memory of the revolutionary Vladimir Mikhailovich Zagorsky
The original name was restored in 1991.
Within the framework of administrative divisions, Sergiyev Posad serves as the administrative center of Sergiyevo-Posadsky District. As an administrative division, it is, together with twenty-six rural localities, incorporated within Sergiyevo-Posadsky District as the City of Sergiyev Posad. As a municipal division, the City of Sergiyev Posad is incorporated within Sergiyevo-Posadsky Municipal District as Sergiyev Posad Urban Settlement.
Tourism associated with the Golden Ring plays a role in the regional economy. There is also an important toy factory.
The Moscow–Yaroslavl railway and highway pass through the town. Sergiyev Posad Bus Terminal is located in the city.
en.wikipedia.org/wiki/Sergiyev_Posad
en.wikipedia.org/wiki/Golden_Ring_of_Russia
El monasterio de la Trinidad y San Sergio (en ruso Тро́ице-Се́ргиева Ла́вра; o Tróitse-Sérguieva Lavra) en la ciudad de Sérguiev Posad (antiguo Zagorsk) es un importante monasterio ruso y centro espiritual de la iglesia ortodoxa rusa. Sérguiev Posad se encuentra a unos 70 kilómetros al noreste de Moscú en la carretera que va a Yaroslavl. Actualmente alberga a unos 300 monjes. Según la Unesco, que lo declaró Patrimonio de la Humanidad en 1993, se trata de «un buen ejemplo de monasterio ortodoxo en funcionamiento, con rasgos militares típicos de los siglos XV al XVIII, período durante el que se desarrolló.»
La iglesia principal de la Laura (monasterio), la catedral de la Asunción, recuerda la homónima catedral del Kremlin y alberga las tumbas de los Godunov.
Siendo monje de la Laura, Andréi Rubliov pintó, para el iconostasio de la catedral, su más célebre icono La Trinidad que actualmente se expone en la Galería Tretiakov de Moscú.
es.wikipedia.org/wiki/Laura_de_la_Trinidad_y_San_Sergio
The Trinity Lavra of St. Sergius (Russian: Тро́ице-Се́ргиева Ла́вра) is the most important Russian monastery and the spiritual centre of the Russian Orthodox Church. The monastery is situated in the town of Sergiyev Posad, about 70 km to the north-east from Moscow by the road leading to Yaroslavl, and currently is home to over 300 monks.
The monastery was founded in 1337 by one of the most venerated Russian saints, Sergius of Radonezh, who built a wooden church in honour of the Holy Trinity on Makovets Hill. Early development of the monastic community is well documented in contemporary lives of Sergius and his disciples.
In 1355, Sergius introduced a charter which required the construction of auxiliary buildings, such as refectory, kitchen, and bakery. This charter was a model for Sergius' numerous followers who founded more than 400 cloisters all over Russia, including the celebrated Solovetsky, Kirillov, and Simonov monasteries.
St. Sergius supported Dmitri Donskoi in his struggle against the Tatars and sent two of his monks, Peresvet and Oslyabya, to participate in the Battle of Kulikovo (1380). At the outbreak of the battle, Peresvet died in a single combat against a Tatar bogatyr. The monastery was devastated by fire, when a Tatar unit raided the area in 1408.
St. Sergius was declared patron saint of the Russian state in 1422. The same year the first stone cathedral was built by a team of Serbian monks who had found refuge in the monastery after the Battle of Kosovo. The relics of St. Sergius still may be seen in this cathedral, dedicated to the Holy Trinity. The greatest icon painters of medieval Russia, Andrei Rublev and Daniil Chyorny, were summoned to decorate the cathedral with frescoes. Traditionally, Muscovite royals were baptized in this cathedral and held thanksgiving services here.
In 1476, Ivan III invited several Pskovian masters to build the church of the Holy Spirit. This graceful structure is one of the few remaining examples of a Russian church topped with a belltower. The interior contains the earliest specimens of the use of glazed tiles for decoration. In the early 16th century, Vasily III added the Nikon annex and the Serapion tent, where several of Sergius' disciples were interred.
It took 26 years to construct the six-pillared Assumption Cathedral, which was commissioned by Ivan the Terrible in 1559. The cathedral is much larger than its model and namesake in the Moscow Kremlin. The magnificent iconostasis of the 16th–18th centuries features Simon Ushakov's masterpiece, the icon of Last Supper. Interior walls were painted with violet and blue frescoes by a team of Yaroslavl masters in 1684. The vault contains burials of Boris Godunov, his family and several 20th-century patriarchs.
As the monastery grew into one of the wealthiest landowners in Russia, the woods where it had stood were cleared and a village (or posad) sprang up near the monastery walls. It gradually developed into the modern town of Sergiyev Posad. The cloister itself was a notable centre of chronicle-writing and icon painting. Just opposite the monastery walls St. Paraskeva's Convent was established, among whose buildings St. Paraskeva's Church (1547), Introduction Church (1547), and a 17th-century chapel over St. Paraskeva's well are still visible.
In 1550s, a wooden palisade surrounding the cloister was replaced with 1.5 km-long stone walls, featuring twelve towers, which helped the monastery to withstand a celebrated 16-month Polish-Lithuanian siege in 1608–1610. A shell-hole in the cathedral gates is preserved as a reminder of Wladyslaw IV's abortive siege in 1618.
By the end of the 17th century, when young Peter I twice found refuge within the monastery from his enemies, numerous buildings had been added. These include a small baroque palace of the patriarchs, noted for its luxurious interiors, and a royal palace, with its facades painted in checkerboard design. The refectory of St. Sergius, covering 510 square meters and also painted in dazzling checkerboard design, used to be the largest hall in Russia. The five-domed Church of John the Baptist's Nativity (1693–1699) was commissioned by the Stroganovs and built over one of the gates. Other 17th-century structures include the monks' cells, a hospital topped with a tented church, and a chapel built over a holy well discovered in 1644.
In 1744, Empress Elizabeth conferred on the cloister the dignity of a Lavra. The metropolitan of Moscow was henceforth also the Archimandrite of the Lavra. Elizabeth particularly favoured the Trinity and annually proceeded afoot from Moscow to the cloister. Her secret spouse Alexey Razumovsky accompanied her on such journeys and commissioned a baroque church to the Virgin of Smolensk, the last major shrine to be erected in the Lavra. Another pledge of Elizabeth's affection for the monastery is a white-and-blue baroque belltower, which, at 88 meters, was one of the tallest structures built in Russia up to that date. Its architects were Ivan Michurin and Dmitry Ukhtomsky.
Throughout the 19th century, the Lavra maintained its status as the richest Russian monastery. A seminary founded in 1742 was replaced by an ecclesiastical academy in 1814. The monastery boasted a supreme collection of manuscripts and books. Medieval collections of the Lavra sacristy attracted thousands of visitors. In Sergiyev Posad, the monastery maintained several sketes, one of which is a place of burial for the conservative philosophers Konstantin Leontiev and Vasily Rozanov.
After the Russian Revolution of 1917, the Soviet government closed the lavra in 1920. Its buildings were assigned to different civic institutions or declared museums. In 1930, monastery bells, including the Tsar-Bell of 65 tons, were destroyed. Pavel Florensky and his followers prevented the authorities from stealing and selling the sacristy collection but overall many valuables were lost or transferred to other collections.
In 1945, following Joseph Stalin's temporary tolerance of the church during World War II, the Lavra was returned to the Russian Orthodox Church. On April 16, 1946 divine service was renewed at the Assumption Cathedral. The lavra continued as the seat of the Moscow Patriarchate until 1983, when the patriarch was allowed to settle at the Danilov Monastery in Moscow. After that, the monastery continued as a prime centre of religious education. Important restoration works were conducted in the 1960s and 1970s. In 1993, the Trinity Lavra was inscribed on the UN World Heritage List.
The Lavra has a number of representative churches (podvorie or metochia) in its vicinity and throughout Russia. The Lavra's hieromonks have manned a number of sketes at remote locations (such as the Anzer Island in the Solovki Archipelago in the White Sea), as well as the Trinity Church on the King George Island in the Antarctic.
We are all voyeurs and exhibitionists here. Some more one than the other, of course.
I'm sorry that both terms have sexual connotations. But, in English at least, we seem to have difficulty expressing the concept of pleasure without some link or reference to the carnal.
I've always been more of a voyeur myself. I love taking walks at dusk... when so many people have their lights on but haven't yet closed their blinds or curtains. You get - quite literally - a glimpse of other lives; random small domestic scenes; humanoid tableaux; a look at others' wallpaper, paint, plants, furniture. It's fasincating. And as in the sexual arena, all the more so beceause you only see a tiny bit. Just a wee hint of what might be happening beyond that yellow bit of light by the window.
It's for the same reason that I love abandoned buildings. They provide so much to fuel the imagination. Once, long ago, I had the privilege of walking through a village on the west coast of Ireland... deserted now... built away back in the 1700s. There were 70-some buildings... most of them houses... and all built of dry stone... no mortar whatsoever. Their thatched roofs had long since gone but so much remained... windows, shelves, sleeping lofts... and metal rings set into the floors, so cows could be tethered there at night to protect both themselves and their human families from the cold damp winds off the Atlantic.
All the houses faced the same way, with their windowless backs to the wind and their fronts leading into gardens... potato patches... places for livestock. Standing there inside them... completely alone... the quiet broken only by the calls of birds and insects... I let myself absorb what was still very palpably there... the past, the memories, the generations born and died, the village life... man, I really can't do it justice. It was a kind of ecstasy... a kind of altered state... that continued through the rest of my stay, and beyond.
The strength of that experience was matched only once... when I visited my sister in Hamilton, Ontario. As soon as I walked into her then-apartment building, I was overcome by the presence of the past. We walked up the stairs and I froze on a landing. The sense of pain and suffering and sadness there was... I dunno... heavy and enveloping; I couldn't move; I cried. My sister didn't feel it (and she thinks I'm a weirdo anyway). But I couldn't let it go. I'd never had such a strong reaction to a building... and I had to know more about its past, and past inhabitants.
The next day I went to the library, armed with the few facts I had about the building's history. It turned out (and... gawd... I almost cry about it even now) that, back in the 1800s, the building had been known as "The Home of the Friendless." It variously served as a home for unwed mothers, and an orphanage, and somewhere where "unwanted" children were deposited by parents who could not afford to keep them.
No... I'm not claiming that I have, like, powers, or anything like that. Just a keen imagination. And a great susceptiblility to... hmmm... I'm not sure what. But I know there are many other people out there who share my passion for the empty... the deserted... the long-ago lost and forgotten and abandoned.
Just a glimpse. A suggestion. That's all we need. Our imaginations do the rest.
Chiesa di San Pietro a Gemonio (sec. X-XI)
La Chiesa di San Pietro a Gemonio, nata probabilmente come cappella in epoca carolingia (VIII sec.) subì varie fasi di rifacimento e ampliamento nel corso del X-XI secolo, fino a raggiungere nel XVI secolo l'attuale connotazione.
L'esterno presenta una facciata romanica, con tetto a capanna, affiancata da un imponente campanile romanico a cinque ordini.
L'interno è a tre navate asimmetriche, divise tra loro da archi di dimensioni e stili diversi, con relative absidi interamente affrescate.
Nell'abside centrale, antico altare (X sec.) in muratura intonacata e decorata da disegni e simboli non ancora decifrati.
Alle pareti affreschi del XIV-XVI sec. di varia fattura e di autori ignoti ma verosimilmente di scuola lombarda.
The Church of San Pietro in Gemonio, most likely originally built as a chapel in the Carolingian period (VIII sec.), has undergone various phases of renovation and expansion during the X-XI century, until reaching the current connotation in the sixteenth century,
The exterior features a Romanesque façade, with a gabled roof, flanked by an imposing Romanesque bell tower of five orders.
The interior has three asymmetric naves, divided by arches of different sizes and styles, with their frescoed apses.
In the main aspe,an ancient altar (X sec.) with plastered masonry decorated with drawings and symbols still to be deciphered.
Various unknown artists, presumably of the Lombard school, painted the XIV-XVI century frescoes.
Stranger 100/100 - Imani
“Give back to the community… go out and help other people.”
Meet Imani.
What advice would you give to your younger self? “Don’t drink so much… stay away from that. Really just focus more instead of going out so often, partying, and just be a little more determined. I’m a pretty determined person, hard worker, but just being consistent and not becoming complacent and stagnant… I would definitely give myself that advice.”
What are you focusing on now? “On my career. Honestly, my freshman year of school… I just came back...”
From where? “ECU… it was a party school. I removed myself from the party life, the situation, and I came back home. I started working for a consulting firm, and it’s been up from there.”
Tell me about your career… “So, I’m in school for criminal justice minoring in business marketing. I’m actually married, and my husband and I we’re opening up an enterprise together with four different companies umbrellaed underneath. I’m also getting into trading stocks. I’m doing a day-trading academy right now.”
It’s an interesting time to be trading since the markets have been up for so long… “It is, but it’s a perfect time to strengthen my strategies and the different markets that I’m trading in. Maybe in the futures market it’s not that great of a time to trade, but, if you’re doing day-trading, it’s different.”
What is your biggest challenge right now? “My biggest challenge would definitely be the separation between my husband and I. So, it’s been a difficult time.”
What is the biggest misconception people have about you? “A lot of people don’t like to talk to me because they think that I’m stuck up at first… or that I’m just a partier. I have that connotation because I worked at clubs and bars for so long, but that’s definitely not me at all.”
If you could put a billboard up in Charlotte, what would it say? “It’s just a very selfish society that we live in nowadays, and I would definitely say to give back to the community and to go out and help other people.”
Technical Notes: We were in the shade of a building, and I used a small reflector to even the light on Imani’s face.
This picture is #100 in my 100 strangers project. Find out more about the project and see pictures taken by other photographers at the 100 Strangers Flickr Group page
This photo also appears in The Human Family Page
"Amaryllis belladonna was introduced into cultivation at the beginning of the eighteenth century. It reproduces slowly by either bulb division or seeds and has gradually naturalized from plantings in urban and suburban areas throughout the lower elevations and coastal areas in much of the West Coast of the US since these environments mimic their native South African habitat. Hardiness zones 6–8. It is also naturalized in Australia."
"There is an Amaryllis belladonna hybrid which was bred in the 1800s in Australia. No one knows the exact species it was crossed with to produce color variations of white, cream, peach, magenta and nearly red hues. The hybrids were crossed back onto the original Amaryllis belladonna and with each other to produce naturally seed-bearing crosses that come in a very wide range of flower sizes, shapes, stem heights and intensities of pink. Pure white varieties with bright green stems were bred as well. The hybrids are quite distinct in that the many shades of pink also have stripes, veining, darkened edges, white centers and light-yellow centers, also setting them apart from the original light pink. In addition, the hybrids often produce flowers in a fuller circle rather than the "side-facing" habit of the "old-fashioned" pink. The hybrids are able to adapt to year-round watering and fertilization but can also tolerate completely dry summer conditions if need be."
"A. belladonna has gained the Royal Horticultural Society's Award of Garden Merit." (Wikipedia)
Red Amarillis Flower, the Meaning, Symbolism, & Spiritual Significance. (Written by Foliage Friend)
"Some of the content shared in this post is derived from myth, folklore, ancient traditions & legends. The information here should not be considered life or medical advice. Do not consume, expose animals or handle any flowers or plants based on the content of this post."
“The red amaryllis flower is a stunningly beautiful flower that has a rich and complex symbolism and spiritual significance. In this article, we will dive deep into the spiritual meaning of these flowers, their symbolism in literature and art, what they represent in dreams, and the legends, folklore, and mythology associated with them. We will also explore how seeing red amaryllis flowers can impact you spiritually, what they mean in numerology and astrology, and whether they are considered lucky.”
“The red amaryllis flower holds a powerful spiritual meaning. It is associated with love, passion, and creativity. The deep red color of these flowers symbolizes the intensity of emotions and the fire of the spirit. They are also a potent symbol of transformation, growth, and renewal, and are often used in spiritual rituals and ceremonies to invoke these energies.”
“In addition to their spiritual symbolism, red amaryllis flowers have a rich cultural history. In Greek mythology, the amaryllis flower was said to have sprung from the blood of a love-struck shepherd who pierced his heart with an arrow. This legend has contributed to the flower’s association with love and passion.”
“Red amaryllis flowers are also popular in the world of gardening and horticulture. They are known for their striking beauty and are often used in floral arrangements and as decorative plants. In fact, the amaryllis is one of the most popular flowers grown indoors during the winter months, as it can bloom for several weeks and add a touch of color to any space.”
“In literature and art, red amaryllis flowers are often used to symbolize beauty, strength, and elegance. They are a common motif in poetry, where they are used to evoke powerful emotions and a sense of longing. In paintings, they are often depicted as a dramatic and breathtaking centerpiece, symbolizing the radiance and beauty of nature.”
“According to Greek mythology, the amaryllis flower is said to have originated from a love story between a shepherd and a nymph. The shepherd, named Amaryllis, was deeply in love with the nymph, but she did not return his affections. In an attempt to win her over, he pierced his heart with a golden arrow and then walked to her doorstep every day for a month, leaving a trail of blood behind him. On the thirtieth day, a beautiful red flower bloomed where his blood had fallen, and he presented it to the nymph as a symbol of his undying love. Thus, the red amaryllis flower also represents passionate love and devotion.”
“When you dream of red amaryllis flowers, they may represent your deepest desires and passions. They are also a symbol of transformation, growth, and creative energy. Seeing these flowers in your dreams may be a sign that you are ready to embark on a new journey or pursue a new project or passion.”
“Furthermore, red amaryllis flowers are often associated with love and romance. If you dream of these flowers, it may be a sign that you are ready to open your heart to new possibilities in your love life. Alternatively, it could also mean that you are experiencing a deep connection with someone special in your life.”
“These flowers have a long and rich history in legends, folklore, and mythology. In Greek mythology, the amaryllis flower is said to have sprung from the blood of Adonis, the lover of Aphrodite. In Christian tradition, these flowers symbolize the strength and beauty of the Virgin Mary. In Celtic mythology, the amaryllis flower represents the fiery energy of the sun.”
“In addition to these myths and legends, red amaryllis flowers have also been associated with love and passion. In Victorian times, giving someone a red amaryllis was seen as a declaration of love. The flower’s bold and striking appearance was thought to represent the intensity of the giver’s feelings.”
“Red amaryllis flowers are also known for their medicinal properties. In traditional Chinese medicine, the bulbs of the amaryllis plant are used to treat respiratory problems, such as coughs and bronchitis. The plant is also believed to have anti-inflammatory and anti-tumor properties.”
“Seeing red amaryllis flowers can have a powerful impact on you spiritually. They are a potent symbol of love, passion, and creative energy and can help you connect with these energies on a deep level. They can also help you tap into your own inner strength and beauty, helping you to grow and transform on a spiritual level.”
“Red amaryllis flowers are also associated with the root chakra, which is located at the base of the spine and represents our foundation and sense of security. By meditating on or simply admiring these flowers, you can activate and balance your root chakra, promoting feelings of stability and grounding. This can be especially beneficial during times of stress or uncertainty.”
“In numerology, red amaryllis flowers are associated with the number 6. This number is considered to be a symbol of harmony, balance, and energy. It represents the creative energy of the universe and the power of manifestation. It is also associated with the heart chakra, which is the center of love and compassion.”
“The number 6 is also believed to bring a sense of stability and responsibility. It is often associated with family, home, and community. Red amaryllis flowers can be used to enhance these aspects of life and bring a sense of grounding and connection to those around you.”
“Additionally, the color red is often associated with passion and desire, making red amaryllis flowers a great gift for a romantic partner or to enhance feelings of love and intimacy in a relationship.”
“In astrology, red amaryllis flowers are associated with the sign of Aries. This sign is known for its fiery and passionate energy, and its ability to bring about change and transformation. The red amaryllis flower is a symbol of these qualities and can help you connect with the powerful energies of this sign.”
“They are often used in love spells, rituals and are believed to enhance passion and desire or can be used to attract a new lover or strengthen an existing relationship.”
“In some cultures, red amaryllis flowers are also associated with Christmas and the holiday season. They are often used in festive decorations and symbolize love, beauty, and prosperity.”
“Yes, in many cultures, the red amaryllis flower is considered to be a lucky flower. It is said to bring good luck and prosperity and is often used in rituals and ceremonies to invite these energies into one’s life. It is also a popular gift during the holiday season, as it symbolizes love, warmth, and friendship.”
“Aside from its lucky connotations, the red amaryllis flower is also known for its medicinal properties. It contains a compound called lycorine, which has been found to have anti-cancer and anti-inflammatory effects. Additionally, the flower has been used in traditional medicine to treat respiratory illnesses and skin conditions.”
“In conclusion, the red amaryllis flower holds a rich and complex symbolism and spiritual significance. These flowers represent love, passion, creativity, transformation, growth, and renewal. They are a powerful symbol of connection to the universe and can help you tap into your own inner strength and beauty. Whether you see them in your dreams, in literature and art, or in nature, the red amaryllis flower is a potent reminder of the power of the spirit.”
Sérguiev Posad (Rusia) - Sergiyev Posad (Russia) - Се́ргиев Поса́д (Россия)
Sérguiev Posad (en ruso: Се́ргиев Поса́д), entre 1930 y 1991 llamada Zagorsk, es una ciudad rusa, al nordeste de Moscú. Contaba con 109.252 habitantes en el censo de 2008. Posee un importante conjunto monumental, el monasterio de la Trinidad y de San Sergio (siglos XV-XVIII), declarado Patrimonio de la Humanidad por la UNESCO.
es.wikipedia.org/wiki/Sérguiev_Posad
es.wikipedia.org/wiki/Anillo_de_Oro_de_Rusia
Sergiyev Posad (Russian: Се́ргиев Поса́д) is a city and the administrative center of Sergiyevo-Posadsky District in Moscow Oblast, Russia. Population: 111,179 (2010 Census); 113,581 (2002 Census); 114,696 (1989 Census).
It was previously known as Sergiyev Posad (until 1919), Sergiyev (until 1930), Zagorsk (until 1991).
Sergiyev Posad grew in the 15th century around one of the greatest of Russian monasteries, the Trinity Lavra established by St. Sergius of Radonezh, still (as of 2015) one of the largest monasteries in Russia. Town status was granted to Sergiyev Posad in 1742. The town's name, alluding to St. Sergius, has strong religious connotations. Soviet authorities changed it first to just Sergiyev in 1919, and then to Zagorsk in 1930, in memory of the revolutionary Vladimir Mikhailovich Zagorsky
The original name was restored in 1991.
Within the framework of administrative divisions, Sergiyev Posad serves as the administrative center of Sergiyevo-Posadsky District. As an administrative division, it is, together with twenty-six rural localities, incorporated within Sergiyevo-Posadsky District as the City of Sergiyev Posad. As a municipal division, the City of Sergiyev Posad is incorporated within Sergiyevo-Posadsky Municipal District as Sergiyev Posad Urban Settlement.
Tourism associated with the Golden Ring plays a role in the regional economy. There is also an important toy factory.
The Moscow–Yaroslavl railway and highway pass through the town. Sergiyev Posad Bus Terminal is located in the city.
en.wikipedia.org/wiki/Sergiyev_Posad
en.wikipedia.org/wiki/Golden_Ring_of_Russia
El monasterio de la Trinidad y San Sergio (en ruso Тро́ице-Се́ргиева Ла́вра; o Tróitse-Sérguieva Lavra) en la ciudad de Sérguiev Posad (antiguo Zagorsk) es un importante monasterio ruso y centro espiritual de la iglesia ortodoxa rusa. Sérguiev Posad se encuentra a unos 70 kilómetros al noreste de Moscú en la carretera que va a Yaroslavl. Actualmente alberga a unos 300 monjes. Según la Unesco, que lo declaró Patrimonio de la Humanidad en 1993, se trata de «un buen ejemplo de monasterio ortodoxo en funcionamiento, con rasgos militares típicos de los siglos XV al XVIII, período durante el que se desarrolló.»
La iglesia principal de la Laura (monasterio), la catedral de la Asunción, recuerda la homónima catedral del Kremlin y alberga las tumbas de los Godunov.
Siendo monje de la Laura, Andréi Rubliov pintó, para el iconostasio de la catedral, su más célebre icono La Trinidad que actualmente se expone en la Galería Tretiakov de Moscú.
es.wikipedia.org/wiki/Laura_de_la_Trinidad_y_San_Sergio
The Trinity Lavra of St. Sergius (Russian: Тро́ице-Се́ргиева Ла́вра) is the most important Russian monastery and the spiritual centre of the Russian Orthodox Church. The monastery is situated in the town of Sergiyev Posad, about 70 km to the north-east from Moscow by the road leading to Yaroslavl, and currently is home to over 300 monks.
The monastery was founded in 1337 by one of the most venerated Russian saints, Sergius of Radonezh, who built a wooden church in honour of the Holy Trinity on Makovets Hill. Early development of the monastic community is well documented in contemporary lives of Sergius and his disciples.
In 1355, Sergius introduced a charter which required the construction of auxiliary buildings, such as refectory, kitchen, and bakery. This charter was a model for Sergius' numerous followers who founded more than 400 cloisters all over Russia, including the celebrated Solovetsky, Kirillov, and Simonov monasteries.
St. Sergius supported Dmitri Donskoi in his struggle against the Tatars and sent two of his monks, Peresvet and Oslyabya, to participate in the Battle of Kulikovo (1380). At the outbreak of the battle, Peresvet died in a single combat against a Tatar bogatyr. The monastery was devastated by fire, when a Tatar unit raided the area in 1408.
St. Sergius was declared patron saint of the Russian state in 1422. The same year the first stone cathedral was built by a team of Serbian monks who had found refuge in the monastery after the Battle of Kosovo. The relics of St. Sergius still may be seen in this cathedral, dedicated to the Holy Trinity. The greatest icon painters of medieval Russia, Andrei Rublev and Daniil Chyorny, were summoned to decorate the cathedral with frescoes. Traditionally, Muscovite royals were baptized in this cathedral and held thanksgiving services here.
In 1476, Ivan III invited several Pskovian masters to build the church of the Holy Spirit. This graceful structure is one of the few remaining examples of a Russian church topped with a belltower. The interior contains the earliest specimens of the use of glazed tiles for decoration. In the early 16th century, Vasily III added the Nikon annex and the Serapion tent, where several of Sergius' disciples were interred.
It took 26 years to construct the six-pillared Assumption Cathedral, which was commissioned by Ivan the Terrible in 1559. The cathedral is much larger than its model and namesake in the Moscow Kremlin. The magnificent iconostasis of the 16th–18th centuries features Simon Ushakov's masterpiece, the icon of Last Supper. Interior walls were painted with violet and blue frescoes by a team of Yaroslavl masters in 1684. The vault contains burials of Boris Godunov, his family and several 20th-century patriarchs.
As the monastery grew into one of the wealthiest landowners in Russia, the woods where it had stood were cleared and a village (or posad) sprang up near the monastery walls. It gradually developed into the modern town of Sergiyev Posad. The cloister itself was a notable centre of chronicle-writing and icon painting. Just opposite the monastery walls St. Paraskeva's Convent was established, among whose buildings St. Paraskeva's Church (1547), Introduction Church (1547), and a 17th-century chapel over St. Paraskeva's well are still visible.
In 1550s, a wooden palisade surrounding the cloister was replaced with 1.5 km-long stone walls, featuring twelve towers, which helped the monastery to withstand a celebrated 16-month Polish-Lithuanian siege in 1608–1610. A shell-hole in the cathedral gates is preserved as a reminder of Wladyslaw IV's abortive siege in 1618.
By the end of the 17th century, when young Peter I twice found refuge within the monastery from his enemies, numerous buildings had been added. These include a small baroque palace of the patriarchs, noted for its luxurious interiors, and a royal palace, with its facades painted in checkerboard design. The refectory of St. Sergius, covering 510 square meters and also painted in dazzling checkerboard design, used to be the largest hall in Russia. The five-domed Church of John the Baptist's Nativity (1693–1699) was commissioned by the Stroganovs and built over one of the gates. Other 17th-century structures include the monks' cells, a hospital topped with a tented church, and a chapel built over a holy well discovered in 1644.
In 1744, Empress Elizabeth conferred on the cloister the dignity of a Lavra. The metropolitan of Moscow was henceforth also the Archimandrite of the Lavra. Elizabeth particularly favoured the Trinity and annually proceeded afoot from Moscow to the cloister. Her secret spouse Alexey Razumovsky accompanied her on such journeys and commissioned a baroque church to the Virgin of Smolensk, the last major shrine to be erected in the Lavra. Another pledge of Elizabeth's affection for the monastery is a white-and-blue baroque belltower, which, at 88 meters, was one of the tallest structures built in Russia up to that date. Its architects were Ivan Michurin and Dmitry Ukhtomsky.
Throughout the 19th century, the Lavra maintained its status as the richest Russian monastery. A seminary founded in 1742 was replaced by an ecclesiastical academy in 1814. The monastery boasted a supreme collection of manuscripts and books. Medieval collections of the Lavra sacristy attracted thousands of visitors. In Sergiyev Posad, the monastery maintained several sketes, one of which is a place of burial for the conservative philosophers Konstantin Leontiev and Vasily Rozanov.
After the Russian Revolution of 1917, the Soviet government closed the lavra in 1920. Its buildings were assigned to different civic institutions or declared museums. In 1930, monastery bells, including the Tsar-Bell of 65 tons, were destroyed. Pavel Florensky and his followers prevented the authorities from stealing and selling the sacristy collection but overall many valuables were lost or transferred to other collections.
In 1945, following Joseph Stalin's temporary tolerance of the church during World War II, the Lavra was returned to the Russian Orthodox Church. On April 16, 1946 divine service was renewed at the Assumption Cathedral. The lavra continued as the seat of the Moscow Patriarchate until 1983, when the patriarch was allowed to settle at the Danilov Monastery in Moscow. After that, the monastery continued as a prime centre of religious education. Important restoration works were conducted in the 1960s and 1970s. In 1993, the Trinity Lavra was inscribed on the UN World Heritage List.
The Lavra has a number of representative churches (podvorie or metochia) in its vicinity and throughout Russia. The Lavra's hieromonks have manned a number of sketes at remote locations (such as the Anzer Island in the Solovki Archipelago in the White Sea), as well as the Trinity Church on the King George Island in the Antarctic.
The layout of the Toraja adat houses is imbued with symbolic meaning. The orientation of the tongkonans has cosmological connotations, and the design of the carved decorations on the front has symbolic significance since it contains a variety of messages about social hierarchy and structure, and the relations to the world of the spirits.
As described above, the creator Puang Matua is associated with the North, and therefore the tongkonan must also face North. The South of the house is associated with the afterworld (heaven, or Puya) and the ancestors. The West and the East are associated with the left and right hands of the human body, but also with the world of the gods (East) and the ancestors in their deified form (West).
The chicken (Gallus gallus domesticus), a subspecies of the red junglefowl, is a type of domesticated fowl, originally from Asia. Rooster or cock is a term for an adult male bird. A younger male may be called a cockerel; a male that has been castrated is a capon. The adult female bird is called a hen. "Chicken" was originally a term only for an immature, or at least young, bird, but thanks to its usage on restaurant menus has now become the most common term for the subspecies in general, especially in American English. In older sources common fowl or domestic fowl were typically used for this.
Originally raised for cockfighting or for special ceremonies, chickens were not kept for food until the Hellenistic period (4th–2nd centuries BCE). Humans now keep chickens primarily as a source of food (consuming both their meat and eggs) and as pets.
Chickens are one of the most common and widespread domestic animals, with a total population of 23.7 billion as of 2018, up from more than 19 billion in 2011. There are more chickens in the world than any other bird. There are numerous cultural references to chickens – in myth, folklore and religion, and in language and literature.
Genetic studies have pointed to multiple maternal origins in South Asia, Southeast Asia, and East Asia,[5] but the clade found in the Americas, Europe, the Middle East and Africa originated from the Indian subcontinent. From ancient India, the chicken spread to Lydia in western Asia Minor, and to Greece by the 5th century BCE. Fowl have been known in Egypt since the mid-15th century BCE, with the "bird that gives birth every day" having come from the land between Syria and Shinar, Babylonia, according to the annals of Thutmose III
Etymology
According to Merriam-Webster, the term "rooster" (i.e. a roosting bird) originated in the mid- or late 18th century as a euphemism to avoid the sexual connotation of the original English "cock", and is widely used throughout North America. "Roosting" is the action of perching aloft to sleep at night, which is done by both sexes.
General biology and habitat
Chickens are omnivores. In the wild, they often scratch at the soil to search for seeds, insects and even animals as large as lizards, small snakes, or young mice.
The average chicken may live for five to ten years, depending on the breed. The world's oldest known chicken was a hen which died of heart failure at the age of 16 years according to the Guinness World Records.
Roosters can usually be differentiated from hens by their striking plumage of long flowing tails and shiny, pointed feathers on their necks (hackles) and backs (saddle), which are typically of brighter, bolder colours than those of females of the same breed. However, in some breeds, such as the Sebright chicken, the rooster has only slightly pointed neck feathers, the same colour as the hen's. The identification can be made by looking at the comb, or eventually from the development of spurs on the male's legs (in a few breeds and in certain hybrids, the male and female chicks may be differentiated by colour). Adult chickens have a fleshy crest on their heads called a comb, or cockscomb, and hanging flaps of skin either side under their beaks called wattles. Collectively, these and other fleshy protuberances on the head and throat are called caruncles. Both the adult male and female have wattles and combs, but in most breeds these are more prominent in males. A muff or beard is a mutation found in several chicken breeds which causes extra feathering under the chicken's face, giving the appearance of a beard. Domestic chickens are not capable of long-distance flight, although lighter chickens are generally capable of flying for short distances, such as over fences or into trees (where they would naturally roost). Chickens may occasionally fly briefly to explore their surroundings, but generally do so only to flee perceived danger.
Behavior
Social behaviour
Chickens are gregarious birds and live together in flocks. They have a communal approach to the incubation of eggs and raising of young. Individual chickens in a flock will dominate others, establishing a "pecking order", with dominant individuals having priority for food access and nesting locations. Removing hens or roosters from a flock causes a temporary disruption to this social order until a new pecking order is established. Adding hens, especially younger birds, to an existing flock can lead to fighting and injury. When a rooster finds food, he may call other chickens to eat first. He does this by clucking in a high pitch as well as picking up and dropping the food. This behaviour may also be observed in mother hens to call their chicks and encourage them to eat.
A rooster's crowing is a loud and sometimes shrill call and sends a territorial signal to other roosters. However, roosters may also crow in response to sudden disturbances within their surroundings. Hens cluck loudly after laying an egg, and also to call their chicks. Chickens also give different warning calls when they sense a predator approaching from the air or on the ground.
Crowing
Roosters almost always start crowing before four months of age. Although it is possible for a hen to crow as well, crowing (together with hackles development) is one of the clearest signs of being a rooster.
Rooster crowing contests
Rooster crowing contests are a traditional sport in several countries, such as Germany, the Netherlands, Belgium, the United States, Indonesia and Japan. The oldest contests are held with longcrowers. Depending on the breed, either the duration of the crowing or the times the rooster crows within a certain time is measured.
Courtship
To initiate courting, some roosters may dance in a circle around or near a hen ("a circle dance"), often lowering the wing which is closest to the hen. The dance triggers a response in the hen and when she responds to his "call", the rooster may mount the hen and proceed with the mating.
More specifically, mating typically involves the following sequence: 1. Male approaching the hen. 2. Male pre-copulatory waltzing. 3. Male waltzing. 4. Female crouching (receptive posture) or stepping aside or running away (if unwilling to copulate). 5. Male mounting. 6. Male treading with both feet on hen's back. 7. Male tail bending (following successful copulation).
Nesting and laying behaviour
Hens will often try to lay in nests that already contain eggs and have been known to move eggs from neighbouring nests into their own. The result of this behaviour is that a flock will use only a few preferred locations, rather than having a different nest for every bird. Hens will often express a preference to lay in the same location. It is not unknown for two (or more) hens to try to share the same nest at the same time. If the nest is small, or one of the hens is particularly determined, this may result in chickens trying to lay on top of each other. There is evidence that individual hens prefer to be either solitary or gregarious nesters.
Broodiness
Under natural conditions, most birds lay only until a clutch is complete, and they will then incubate all the eggs. Hens are then said to "go broody". The broody hen will stop laying and instead will focus on the incubation of the eggs (a full clutch is usually about 12 eggs). She will "sit" or "set" on the nest, protesting or pecking in defense if disturbed or removed, and she will rarely leave the nest to eat, drink, or dust-bathe. While brooding, the hen maintains the nest at a constant temperature and humidity, as well as turning the eggs regularly during the first part of the incubation. To stimulate broodiness, owners may place several artificial eggs in the nest. To discourage it, they may place the hen in an elevated cage with an open wire floor.
Breeds artificially developed for egg production rarely go broody, and those that do often stop part-way through the incubation. However, other breeds, such as the Cochin, Cornish and Silkie, do regularly go broody, and they make excellent mothers, not only for chicken eggs but also for those of other species — even those with much smaller or larger eggs and different incubation periods, such as quail, pheasants, ducks, turkeys, or geese.
Hatching and early life
Fertile chicken eggs hatch at the end of the incubation period, about 21 days. Development of the chick starts only when incubation begins, so all chicks hatch within a day or two of each other, despite perhaps being laid over a period of two weeks or so. Before hatching, the hen can hear the chicks peeping inside the eggs, and will gently cluck to stimulate them to break out of their shells. The chick begins by "pipping"; pecking a breathing hole with its egg tooth towards the blunt end of the egg, usually on the upper side. The chick then rests for some hours, absorbing the remaining egg yolk and withdrawing the blood supply from the membrane beneath the shell (used earlier for breathing through the shell). The chick then enlarges the hole, gradually turning round as it goes, and eventually severing the blunt end of the shell completely to make a lid. The chick crawls out of the remaining shell, and the wet down dries out in the warmth of the nest.
Hens usually remain on the nest for about two days after the first chick hatches, and during this time the newly hatched chicks feed by absorbing the internal yolk sac. Some breeds sometimes start eating cracked eggs, which can become habitual. Hens fiercely guard their chicks, and brood them when necessary to keep them warm, at first often returning to the nest at night. She leads them to food and water and will call them toward edible items, but seldom feeds them directly. She continues to care for them until they are several weeks old.
Defensive behaviour
Chickens may occasionally gang up on a weak or inexperienced predator. At least one credible report exists of a young fox killed by hens. A group of hens have been recorded in attacking a hawk that had entered their coop.
Reproduction
Sperm transfer occurs by cloacal contact between the male and female, in a maneuver known as the "cloacal kiss".
Embryology
Chicken embryos have long been used as model systems to study developing embryos. Large numbers of embryos can be provided by commercial chicken farmers who sell fertilized eggs which can be easily opened and used to observe the developing embryo. Equally important, embryologists can carry out experiments on such embryos, close the egg again and study the effect later on. For instance, many important discoveries in the area of limb development have been made using chicken embryos, such as the discovery of the apical ectodermal ridge (AER) and the zone of polarizing activity (ZPA) by John W. Saunders.
In 2006, scientists researching the ancestry of birds "turned on" a chicken recessive gene, talpid2, and found that the embryo jaws initiated formation of teeth, like those found in ancient bird fossils. John Fallon, the overseer of the project, stated that chickens have "...retained the ability to make teeth, under certain conditions... ."
Genetics and genomics
Given its eminent role in farming, meat production, but also research, the house chicken was the first bird genome to be sequenced. At 1.21 Gb, the chicken genome is considerably smaller than other vertebrate genomes, such as the human genome (3 Gb). The final gene set contained 26,640 genes (including noncoding genes and pseudogenes), with a total of 19,119 protein-coding genes in annotation release 103 (2017), a similar number of protein-coding genes as in the human genome.
Physiology
Populations of chickens from high altitude regions like Tibet have special physiological adaptations that result in a higher hatching rate in low oxygen environments. When eggs are placed in a hypoxic environment, chicken embryos from these populations express much more hemoglobin than embryos from other chicken populations. This hemoglobin also has a greater affinity for oxygen, allowing hemoglobin to bind to oxygen more readily.
Breeding
Origins
Galliformes, the order of bird that chickens belong to, is directly linked to the survival of birds when all other dinosaurs went extinct. Water or ground-dwelling fowl, similar to modern partridges, survived the Cretaceous–Paleogene extinction event that killed all tree-dwelling birds and dinosaurs. Some of these evolved into the modern galliformes, of which domesticated chickens are a main model. They are descended primarily from the red junglefowl (Gallus gallus) and are scientifically classified as the same species. As such, domesticated chickens can and do freely interbreed with populations of red junglefowl. Subsequent hybridization of the domestic chicken with grey junglefowl, Sri Lankan junglefowl and green junglefowl occurred; a gene for yellow skin, for instance, was incorporated into domestic birds through hybridization with the grey junglefowl (G. sonneratii). In a study published in 2020, it was found that chickens shared between 71% - 79% of their genome with red junglefowl, with the period of domestication dated to 8,000 years ago.
The traditional view is that chickens were first domesticated for cockfighting in Asia, Africa, and Europe. In the last decade, there have been a number of genetic studies to clarify the origins. According to one early study, a single domestication event which took place in what now is the country of Thailand gave rise to the modern chicken with minor transitions separating the modern breeds. However, that study was later found to be based on incomplete data, and recent studies point to multiple maternal origins, with the clade found in the Americas, Europe, Middle East, and Africa, originating from the Indian subcontinent, where a large number of unique haplotypes occur. The red junglefowl, known as the bamboo fowl in many Southeast Asian languages, is well adapted to take advantage of the vast quantities of seed produced during the end of the multi-decade bamboo seeding cycle, to boost its own reproduction. In domesticating the chicken, humans took advantage of this predisposition for prolific reproduction of the red junglefowl when exposed to large amounts of food.
Several controversies still surround the time the chicken was domesticated. Recent molecular evidence obtained from a whole-genome study published in 2020 reveals that the chicken was domesticated 8,000 years ago. Though, it was previously thought to have been domesticated in Southern China in 6000 BC based on paleoclimatic assumptions which has now raised doubts from another study that question whether those birds were the ancestors of chickens today. The majority of the world's domestic chickens may be traced to the Harappan culture of the Indus Valley. Eventually, the chicken moved to the Tarim basin of central Asia. It reached Europe (present-day Romania, Turkey, Greece, Ukraine) about 3000 BC. Introduction into Western Europe came far later, about the 1st millennium BC. Phoenicians spread chickens along the Mediterranean coasts as far as Iberia. Breeding increased under the Roman Empire, and was reduced in the Middle Ages. Genetic sequencing of chicken bones from archaeological sites in Europe revealed that in the High Middle Ages chickens became less aggressive and began to lay eggs earlier in the breeding season.
Middle Eastern chicken remains go back to a little earlier than 2000 BC, in Syria; chickens went southward only in the 1st millennium BC. They reached Egypt for purposes of cockfighting about 1400 BC, and became widely bred only in Ptolemaic Egypt (about 300 BC). Little is known about the chicken's introduction into Africa. It was during the Hellenistic period (4th-2nd centuries BC), in the Southern Levant, that chickens began widely to be widely domesticated for food. This change occurred at least 100 years before domestication of chickens spread to Europe.
Three possible routes of introduction into Africa around the early first millennium AD could have been through the Egyptian Nile Valley, the East Africa Roman-Greek or Indian trade, or from Carthage and the Berbers, across the Sahara. The earliest known remains are from Mali, Nubia, East Coast, and South Africa and date back to the middle of the first millennium AD.
Domestic chicken in the Americas before Western contact is still an ongoing discussion, but blue-egged chickens, found only in the Americas and Asia, suggest an Asian origin for early American chickens.
A lack of data from Thailand, Russia, the Indian subcontinent, Southeast Asia and Sub-Saharan Africa makes it difficult to lay out a clear map of the spread of chickens in these areas; better description and genetic analysis of local breeds threatened by extinction may also help with research into this area.
South America
An unusual variety of chicken that has its origins in South America is the Araucana, bred in southern Chile by the Mapuche people. Araucanas, some of which are tailless and some of which have tufts of feathers around their ears, lay blue-green eggs. It has long been suggested that they pre-date the arrival of European chickens brought by the Spanish and are evidence of pre-Columbian trans-Pacific contacts between Asian or Pacific Oceanic peoples, particularly the Polynesians, and South America. In 2007, an international team of researchers reported the results of analysis of chicken bones found on the Arauco Peninsula in south-central Chile. Radiocarbon dating suggested that the chickens were Pre-Columbian, and DNA analysis showed that they were related to prehistoric populations of chickens in Polynesia. These results appeared to confirm that the chickens came from Polynesia and that there were transpacific contacts between Polynesia and South America before Columbus's arrival in the Americas.
However, a later report looking at the same specimens concluded:
A published, apparently pre-Columbian, Chilean specimen and six pre-European Polynesian specimens also cluster with the same European/Indian subcontinental/Southeast Asian sequences, providing no support for a Polynesian introduction of chickens to South America. In contrast, sequences from two archaeological sites on Easter Island group with an uncommon haplogroup from Indonesia, Japan, and China and may represent a genetic signature of an early Polynesian dispersal. Modeling of the potential marine carbon contribution to the Chilean archaeological specimen casts further doubt on claims for pre-Columbian chickens, and definitive proof will require further analyses of ancient DNA sequences and radiocarbon and stable isotope data from archaeological excavations within both Chile and Polynesia.
The debate for and against a Polynesian origin for South American chickens continued with this 2014 paper and subsequent responses in PNAS.
Use by humans
Farming
Main articles: Poultry farming and Chicken as food
More than 50 billion chickens are reared annually as a source of meat and eggs. In the United States alone, more than 8 billion chickens are slaughtered each year for meat, and more than 300 million chickens are reared for egg production.
The vast majority of poultry are raised in factory farms. According to the Worldwatch Institute, 74 percent of the world's poultry meat and 68 percent of eggs are produced this way. An alternative to intensive poultry farming is free-range farming.
Friction between these two main methods has led to long-term issues of ethical consumerism. Opponents of intensive farming argue that it harms the environment, creates human health risks and is inhumane. Advocates of intensive farming say that their highly efficient systems save land and food resources owing to increased productivity, and that the animals are looked after in state-of-the-art environmentally controlled facilities.
Reared for meat
Main article: Broiler
Chickens farmed for meat are called broilers. Chickens will naturally live for six or more years, but broiler breeds typically take less than six weeks to reach slaughter size. A free range or organic broiler will usually be slaughtered at about 14 weeks of age.
Reared for eggs
Main article: Egg as food
Chickens farmed primarily for eggs are called layer hens. In total, the UK alone consumes more than 34 million eggs per day. Some hen breeds can produce over 300 eggs per year, with "the highest authenticated rate of egg laying being 371 eggs in 364 days". After 12 months of laying, the commercial hen's egg-laying ability starts to decline to the point where the flock is commercially unviable. Hens, particularly from battery cage systems, are sometimes infirm or have lost a significant amount of their feathers, and their life expectancy has been reduced from around seven years to less than two years. In the UK and Europe, laying hens are then slaughtered and used in processed foods or sold as "soup hens". In some other countries, flocks are sometimes force moulted, rather than being slaughtered, to re-invigorate egg-laying. This involves complete withdrawal of food (and sometimes water) for 7–14 days or sufficiently long to cause a body weight loss of 25 to 35%, or up to 28 days under experimental conditions. This stimulates the hen to lose her feathers, but also re-invigorates egg-production. Some flocks may be force-moulted several times. In 2003, more than 75% of all flocks were moulted in the US.
As pets
Keeping chickens as pets became increasingly popular in the 2000s among urban and suburban residents. Many people obtain chickens for their egg production but often name them and treat them as any other pet. Chickens are just like any other pet in that they provide companionship and have individual personalities. While many do not cuddle much, they will eat from one's hand, respond to and follow their handlers, as well as show affection.
Chickens are social, inquisitive, intelligent[84] birds, and many find their behaviour entertaining. Certain breeds, such as Silkies and many bantam varieties, are generally docile and are often recommended as good pets around children with disabilities. Many people feed chickens in part with kitchen food scraps.
Chickens can carry and transmit salmonella in their dander and feces. In the United States, the Centers for Disease Control and Prevention advise against bringing them indoors or letting small children handle them.
Cockfighting
A cockfight is a contest held in a ring called a cockpit between two cocks known as gamecocks. This term, denoting a cock kept for game, sport, pastime or entertainment, appears in 1646, after "cock of the game" used by George Wilson in the earliest known book on the secular sport, The Commendation of Cocks and Cock Fighting of 1607. Gamecocks are not typical farm chickens. The cocks are specially bred and trained for increased stamina and strength. The comb and wattle are removed from a young gamecock because, if left intact, they would be a disadvantage during a match. This process is called dubbing. Sometimes the cocks are given drugs to increase their stamina or thicken their blood, which increases their chances of winning. Cockfighting is considered a traditional sporting event by some, and an example of animal cruelty by others and is therefore outlawed in most countries. Usually wagers are made on the outcome of the match, with the survivor or last bird standing declared winner.
Chickens were originally used for cockfighting, a sport where 2 male chickens or "cocks" fight each other until one dies or becomes badly injured. Cocks possess congenital aggression toward all other cocks to contest with females. Studies suggest that cockfights have existed even up to the Indus Valley Civilisation as a pastime. Today it is commonly associated with religious worship, pastime, and gambling in Asian and some South American countries. While not all fights are to the death, most use metal spurs as a "weapon" attached above or below the chicken's own spur and with this typically results in death in one or both cocks. If chickens are in practice owners place gloves on the spurs to prevent injuries. It has been banned it most western countries and debated by animal rights activist for its brutality.
Artificial incubation
Incubation can successfully occur artificially in machines that provide the correct, controlled environment for the developing chick. The average incubation period for chickens is 21 days but may depend on the temperature and humidity in the incubator. Temperature regulation is the most critical factor for a successful hatch. Variations of more than 1 °C (34 °F) from the optimum temperature of 37.5 °C (99.5 °F) will reduce hatch rates. Humidity is also important because the rate at which eggs lose water by evaporation depends on the ambient relative humidity. Evaporation can be assessed by candling, to view the size of the air sac, or by measuring weight loss. Relative humidity should be increased to around 70% in the last three days of incubation to keep the membrane around the hatching chick from drying out after the chick cracks the shell. Lower humidity is usual in the first 18 days to ensure adequate evaporation. The position of the eggs in the incubator can also influence hatch rates. For best results, eggs should be placed with the pointed ends down and turned regularly (at least three times per day) until one to three days before hatching. If the eggs aren't turned, the embryo inside may stick to the shell and may hatch with physical defects. Adequate ventilation is necessary to provide the embryo with oxygen. Older eggs require increased ventilation.
Many commercial incubators are industrial-sized with shelves holding tens of thousands of eggs at a time, with rotation of the eggs a fully automated process. Home incubators are boxes holding from 6 to 75 eggs; they are usually electrically powered, but in the past some were heated with an oil or paraffin lamp.
Diseases and ailments
See also: Poultry disease
Chickens are susceptible to several parasites, including lice, mites, ticks, fleas, and intestinal worms, as well as other diseases. Despite the name, they are not affected by chickenpox, which is generally restricted to humans.
History
An early domestication of chickens in Southeast Asia is probable, since the word for domestic chicken (*manuk) is part of the reconstructed Proto-Austronesian language (see Austronesian languages). Chickens, together with dogs and pigs, were the domestic animals of the Lapita culture, the first Neolithic culture of Oceania.
The first pictures of chickens in Europe are found on Corinthian pottery of the 7th century BC.
Chickens were spread by Polynesian seafarers and reached Easter Island in the 12th century AD, where they were the only domestic animal, with the possible exception of the Polynesian rat (Rattus exulans). They were housed in extremely solid chicken coops built from stone, which was first reported as such to Linton Palmer in 1868, who also "expressed his doubts about this".
[Credit: en.wikipedia.org]
St. Petersburg, Russia, 1992. Monolta X-500, Tokina 80-200 mm, Fuji slide, digitized with Nikon Coolscan 5000 ED, questionably enhanced by Snapseed 2014.
Symbolic Representation
something that represents, stands for, or suggests an idea, belief, action, or entity
en.m.wikipedia.org/wiki/Symbolic_representation_(disambiguation)
Hammer and sickle
In 1917 Lenin and Lunacharsky held a competition to create a Soviet emblem. The winning design was a hammer and sickle on top of a globe in rays of the sun, surrounded by a wreath of grain, and under a five-pointed star, with the inscription "proletariats of the world, unite!" in six languages (Russian, Ukrainian, Belarusian, Georgian, Armenian, Azerbaijani). It originally featured a sword, but Lenin strongly objected, disliking the violent connotations. On the 6th July, 1923 the 2nd session of the Central Executive Committee (CIK) adopted this emblem
The Italian city of Venezia
adopted a new flag, a new gonfalon a new coat of arms and a new seal in 1996 and 1997. The new coat of arms and the new gonfalon were adopted with a presidential decret on the 6th November 1996. The new flag and the new seal were adopted with a presidential decret on the 8th January 1997. All the emblems were presented on a ceremony on Friday 22nd May 1998 at 11.am in the Ducal palace in Venezia with people in middle-ages costumes.
One can see all these emblems at .
Follow the link "Il nuovo stemma della Città di Venezia" (The new coat of arms of the city of venezia) or (follow then gonfalone (bottom) and bandiera (bottom) to see their pictures). On these beautiful and interesting (even for non Italian speaking people) pages are to be seen the big images of the coat of arms (stemma), the seal (sigillo), the flag (bandiera), the gonfalon (gonfalone). Follow each times the link. There is a very detailed and legal information concerning the emblems of Venezia through the history.
Other pages shows the coat of arms, the seal, the flag and the gonfalon of the province of Venezia; the image of the different civic crown in use in Italian heraldry (region, province, city, commune, etc...) as well as example of use of these crowns. These pages are really impressive with the information given and the high quality of the images. However if the picture of the flag of Venezia is big, there is a lack of zoom on some parts of it.
Pascal Vagnat 8 November 1998
The city adopted its new symbols with presidential decree in 1996 and 1997. The coat of arms is the same than the former one without any connotation of fascism or bundle of lictors. The gonfalon is red borderd with gold ornament and four armillary azure and gold spheres. The coat of arms appear in the middle with the words "CITTÀ' DI VENEZIA" (city of Venice). There are other precise ornamental details. There is also a seal and a flag. The flag is 100 x 200 cm, res semée with golden flames, bordered red, ornamented with gold, charged with the folloning emblems: the archangel Gabriel,the Holy Dove, the Happy Virgin of the Annonciation, the symbol of the Evangelist Saint Matthew, the Happy Virgin with the Holy son, the symbol of the Evangelist Saint Luke, the symbol of the Evangelist Saint Mark, the symbol of the Evangelsit Saint John (all these pictures in natural colours). The flag is charged with the lion of Saint Mark passant with the Holy Book open and the words (see supra), the earth, the sea, a castle of three towers.The end of the flag has seven tongues red, gold ormamented charged in their centres with azure wheels wharged with armillary golden spheres.
FOR MORE INFORMATIONS, PLEASE, FOLLOW THIS LINK:
In October 1981, flying tiger ancient human remains from Guizhou Provincial Museum trial excavation, the accumulation of complex, broadly divided into early and late phases. Early formation of yellow or grayish yellow, unearthed panda, Stegodon fossils, stone products are made for the late Paleolithic culture era. Advanced formation is black, black, unearthed animal genetic pulp for extant species, and human mandibular and chipped stone, grinding stone, grinding bone, pottery and other large, geological time for the Holocene, culture in the age of the Neolithic age, that about 4000 years ago to 6000 years.
Unearthed stone products made a total of 532 pieces of raw materials, mainly to flint stone, there is, nuclear, stone etc.. The stone to stone, with the forward direction of processing processing, types of hit device, a scraper, tip like device and dolabriform etc.. The scraper accounted for 76%, tip like device is small but fine processing. The axe is a symbol of the transformation of Neolithic culture. 27 pieces of polished stone, delicate process, a stone axe, stone adzes, stone spinning wheels, stone scraper, stone arrow head, small stones (spear) 8. The number of stone adzes, regular shape, with long oblique cutting tool representative. 79 pieces of bone, in addition to the 1 pieces of grinding residual bone scraper, are making bone, bone and bone shovel cone. The three notches in the teeth may be scratching the porcupine symbol. In addition to pottery and ball spinning round round cake 1, the rest are all pieces of artifacts. 1494 tablets. The uneven thickness, thickness of 1.2 cm, thickness of only 0.2 cm, high temperature, hard texture. About 70% of sand pottery, pottery sand shale pottery class accounted for 30%, very little. Sand and sand are mainly sand. Pottery ornamentation is complicated, there are thick rope lines and Fang Gewen cone, tattoo, carved lines and lines and other additional cone. There are 3 pieces of pottery pottery, which has 1 pieces of orange powder is subjected to pottery coating inside and outside the grey clay, on the exterior is painted with two parallel red bands. This is the first time in Guizhou, Guizhou is also the earliest pottery record.
The site has a new and old stone formation, and the cultural connotation is rich. Pottery appear more attractive, but considerable differences in advanced culture. These have great significance to the study of the relationship between the new and the old stone culture in Guizhou and the time continuity of the times.
In February 23, 1982, the Guizhou Provincial People's Government approved the publication of the provincial cultural relics protection units. 1981年10月，飞虎山古人类遗址由贵州省博物馆试掘，洞内堆积复杂，大致分早、晚两期。早期地层呈黄色或灰黄色，出土大熊猫、剑齿象等化石，石制品均为打制，文化时代为旧石器时代晚期。晚期地层呈黑色、灰黑色，出土动物遗髓为现生属种，并出人类下颌件和打制石器、磨制石器、磨制骨器、大量的陶片等，地质时代为全新世，文化时代属新石器时代，推测距今约4000年至6000年。
遗址出土打制的石制品共532件，原料以燧石为主，有是核、石片、石器等。石器以石片为主，加工方向以正向加工为主，类型有砸器、刮削器、尖状器和斧形器等。其中刮削器占76%，尖状器虽少但加工精细。斧形器似为向新石器文化转化的象征。磨制石器27件，加工精致，有石斧、石锛、石纺轮、石刮刀、石箭(矛)头、小石块等8种。石锛数量多，形制规整，以长形斜刃具代表性。骨器79件，除1件残的磨制骨刮刀外，均为打制骨器，有骨锥和骨铲。其中豪猪牙上的三道刻痕可能是刻划符。陶器除圆饼式及圆珠纺轮各1件外，其余全是器物碎片。计1494片。其厚度不匀，厚者达1.2厘米，薄者仅0.2厘米，火候高，质地坚硬。夹砂灰陶约占70%，夹砂黑陶占30%，泥质类陶极少。夹砂陶以夹细砂为主。陶片纹饰复杂多样，有粗细绳纹、方格纹、锥刺纹、刻划纹和附加锥纹等。陶片中有3片彩陶，其中有1片是在泥质灰陶的内外施以粉澄色陶衣，再于外表绘有两条平行的红色条带。这是贵州首次发现，也是贵州迄今最早的彩陶记录。
遗址具有新、旧石器地层叠压，文化内涵丰富。彩陶的出现更引人瞩目，但中、晚期文化差异颇大。这些对研究贵州新、旧石器文化的相互关系和时代延续问题具有重要的意义。
1982年2月23日，经贵州省人民政府批准公布为省级文物保护单位。
In a small town in the North East corner of Iceland ascends the Arctic Henge. The monument consist of four six meter tall gates and one ten meter high column. The gates function as a sundial, as they capture the sunlight and cast shadows on precise locations. They are inspired by the four cardinal dwarves of Norse mythology, Austri, Norðri, Suðri and Vestri, that befittingly face their namesake, east, north, south and west. These four dwarfs are acknowledged in the Prose Edda book, and assigned a role by Odin, the god of wisdom, to hold up the sky. In this piece the dwarfs are assigned an additional role, along with the sixty eight dwarfs mentioned in Völuspá and together they form a calendar. Old and new merges as the dwarfs, who all have rather peculiar names, are aligned together to form a chronological circle. This circle is based on their names which relate to the four seasons. Up until this point, the reason for mentioning these sixty eight dwarves in Völuspá has remained a mystery but their names have a clear connotation to the structure of the year. Theories aside, close to the Arctic Circle, the lighting in this remote part of the country is a natural phenomenon. The arctic henge is still under construction.
The Arctic Henge
Set in Raufarhöfn, one of the most remote and northernmost villages in Iceland where the Arctic Circle lies just off the coast, the Arctic Henge (Heimskautsgerðið) is under construction. Similar to its ancient predecessor, Stonehenge, the Arctic Henge is like a huge sundial, aiming to capture the sunrays, cast shadows in precise locations and capture the light between aligned gateways.
History
Heimskautsgerðið (The Arctic-Henge) has it s roots in the innovators Erlingur Thoroddsen’s speculations about the possibility of making use of the endless expanse with nothing on the horizon and the midnight sun.The idea to use the dwarf names from the eddic poem Völuspá (Prophecy of the Seeress) and modernize some aspects of the old world of the Sagas, soon became a part of these speculations. The first version of the idea is from 1998 but in 2004 it was finalized, with allusions to mythology and folklore, designed to interact with the unique natural light. The artist Haukur Halldórsson worked with Erlingur on the ideas for the Heimskautsgerði and made sketches and models that were useful in the work that followed.
No one has been able to explain the dwarfs in the Völuspá, apart from Austri (East), Vestri (West), Norðri (North) and Suðri (South), who carry the sky. By connecting the names of the dwarfs to the season, as for example Bjartur (Bright) Blíður (Sweet) and Svásuður (Gengle) to the summer, it is possible to fit the names of the dwarfs to a yearly circle of 72 weeks. The year-circle of the dwarfs becomes a kind of almanac, where each dwarf controls a five day period. All the dwarfs have been given a role and they have all have their own personalities. This means that the dwarfs can be connected to birthdays and people can connect to their personal dwarf.
Around this made up world rises the Heimskautsgerði (Arctic-Henge) on the Melrakkaás in Raufarhöfn. The Heimskautsgerði is around 50 meters in diameter, with 6 meter high gates that face the main directions. Between the gates is a high wall with a small opening at the top. Inside the circle stands 10 meter high column on four pillars. The column will be topped with cut prism-glass that splits up the sunlight unto the primary colors. The opening between the pillar look towards the main directions, so example the midnight sun can be seen from the south gate through the middle column and the north gate. The play of light and shadow will follow the time of the day. The openings on the wall will let in the sunrays so when the building is completed a sundial can be set up.
Inside the circle there will be 68 dwarfs who stand around a circular dwarf trail. Inside the trail will also be the polar star pointer, which does exactly what its name says. There you will eventually also be able to find the throne of the sun that is meant to be a place where the traveler can sit down to have his picture taken. Also a hall of rays, which is a sort of sanctuary between high columns, with one seat, where the guest can empty his mind an renew his energy. An altar of fire and water, that reminds us of the power of the elements, where events can be performed, for examples weddings, oath taking and so forth. However, as stated above, the Arctic Henge is still under construction. (arctichenge.is)
Samhain is an ancient pagan festival held each year from October 31st to November 1st, the word Samhain roughly translating as "summer's end", marking the end of the harvest, the lighter half of the year and the beginning of the darker half. A festival with ancient roots in Celtic polytheism, it was linked to festivals held around the same time of year in other Celtic cultures and continued to be widely celebrated until late medieval times. Due to its date, it became associated with the Christian festival of All Saints' Day and greatly influenced the modern celebrations of Halloween & Bonfire Night with its connotations of fire, light and darkness.
This is my entry for the #31 - Halloween category in the 113 in 2013 Group.
Chiesa di San Pietro a Gemonio (sec. X-XI)
La Chiesa di San Pietro a Gemonio, nata probabilmente come cappella in epoca carolingia (VIII sec.) subì varie fasi di rifacimento e ampliamento nel corso del X-XI secolo, fino a raggiungere nel XVI secolo l'attuale connotazione.
L'esterno presenta una facciata romanica, con tetto a capanna, affiancata da un imponente campanile romanico a cinque ordini.
L'interno è a tre navate asimmetriche, divise tra loro da archi di dimensioni e stili diversi, con relative absidi interamente affrescate.
Nell'abside centrale, antico altare (X sec.) in muratura intonacata e decorata da disegni e simboli non ancora decifrati.
Alle pareti affreschi del XIV-XVI sec. di varia fattura e di autori ignoti ma verosimilmente di scuola lombarda.
The Church of San Pietro in Gemonio, most likely originally built as a chapel in the Carolingian period (VIII sec.), has undergone various phases of renovation and expansion during the X-XI century, until reaching the current connotation in the sixteenth century,
The exterior features a Romanesque façade, with a gabled roof, flanked by an imposing Romanesque bell tower of five orders.
The interior has three asymmetric naves, divided by arches of different sizes and styles, with their frescoed apses.
In the main aspe,an ancient altar (X sec.) with plastered masonry decorated with drawings and symbols still to be deciphered.
Various unknown artists, presumably of the Lombard school, painted the XIV-XVI century frescoes.
My mother’s last winter was one that was extra long, extra cold, and had too much snow. She was in a rapid decline after nearly 87 healthy years. The previous summer, she was still able to swim and to drive - freedoms she always appreciated. For more than 30 years, she visited the elderly in several nursing homes. She started out going once a week but as she met more and more people it evolved into several 8-9 hour days each week. She never liked to go empty-handed, she brought home-baked goods for those allowed to have sweets, fruit for those who weren’t. In summer, she brought them flowers from her garden. She had a big basket decorated for the season. Many of the people had terrible dementia and were not able to remember her name so a few started calling her The Banana Lady and it caught on, even with the nurses.
Right after my last year of high school, when I was still living at home, my parents went on a 3 month trip to Alaska. My mother asked me to please go to the nursing home at least once a week and gave me a list of people I needed to visit and try to give them as much time as I could spare. I remember some of the people but only one name. Peggy - she was a woman in her 40s, crippled by MS, unable to walk or talk. She just liked to hear news of the outside world and I could tell her about where my mom was on her extended trip. Others had various interests - one elderly lady liked to talk baseball (of which I knew nothing, I just listened), another who wanted me to read to her from trashy romance novels. Some were fine just sitting in silence and holding my hand. After I made the rounds, I would go downstairs to the common room and play the piano for an hour or two for anyone who wanted to sit and listen. I was never a great pianist, mediocre at best. But I played a variety of classical, jazz and old show tunes. I made mistakes but no one cared. I was glad to do this for both my mother and for those people there but I came home so tired and depressed. I cannot believe she did that for 30 years. Even when my mother traveled, she sent many of those residents postcards along the way with pretty scenery and signed them all “The Banana Lady” except for the people she knew still had good memories and would recognize her name.
I’ve gotten all of course from what I was trying to say, that last winter was hard, not being able to get out on her own. I know she worried about all those people who probably missed her visits. A hospice nurse who was an elderly nun, and nearly as old as my mother, came once a week to make sure she was okay and that her oxygen machine was in order. The nun knew my mother because they often had crossed paths at the various nursing homes. She also knew that my mother was a lifelong atheist and felt the need to apologize if the words “bless you” slipped out or she said anything with religious connotations. My mother laughed at her and said that there was no need to apologize, she didn’t take offense. She said to the nun, “But you must promise that you will never pray for me!” They both had a good laugh over that. Whenever the nun came back again, she told my mother that she had specifically not prayed for her but that she considered her to be more of a Christian than those who claimed the title.
My mother and I spoke once a week on the phone for several hours. I wanted to call more often, especially when I knew she couldn’t get out much but she said to wait until we both had something to say. She did say several times that winter - I just want to see another spring. She did, just barely. She died when the tulips, lilacs, and lily of the valley were in full bloom.
Sérguiev Posad (Rusia) - Sergiyev Posad (Russia) - Се́ргиев Поса́д (Россия)
Sérguiev Posad (en ruso: Се́ргиев Поса́д), entre 1930 y 1991 llamada Zagorsk, es una ciudad rusa, al nordeste de Moscú. Contaba con 109.252 habitantes en el censo de 2008. Posee un importante conjunto monumental, el monasterio de la Trinidad y de San Sergio (siglos XV-XVIII), declarado Patrimonio de la Humanidad por la UNESCO.
es.wikipedia.org/wiki/Sérguiev_Posad
es.wikipedia.org/wiki/Anillo_de_Oro_de_Rusia
Sergiyev Posad (Russian: Се́ргиев Поса́д) is a city and the administrative center of Sergiyevo-Posadsky District in Moscow Oblast, Russia. Population: 111,179 (2010 Census); 113,581 (2002 Census); 114,696 (1989 Census).
It was previously known as Sergiyev Posad (until 1919), Sergiyev (until 1930), Zagorsk (until 1991).
Sergiyev Posad grew in the 15th century around one of the greatest of Russian monasteries, the Trinity Lavra established by St. Sergius of Radonezh, still (as of 2015) one of the largest monasteries in Russia. Town status was granted to Sergiyev Posad in 1742. The town's name, alluding to St. Sergius, has strong religious connotations. Soviet authorities changed it first to just Sergiyev in 1919, and then to Zagorsk in 1930, in memory of the revolutionary Vladimir Mikhailovich Zagorsky
The original name was restored in 1991.
Within the framework of administrative divisions, Sergiyev Posad serves as the administrative center of Sergiyevo-Posadsky District. As an administrative division, it is, together with twenty-six rural localities, incorporated within Sergiyevo-Posadsky District as the City of Sergiyev Posad. As a municipal division, the City of Sergiyev Posad is incorporated within Sergiyevo-Posadsky Municipal District as Sergiyev Posad Urban Settlement.
Tourism associated with the Golden Ring plays a role in the regional economy. There is also an important toy factory.
The Moscow–Yaroslavl railway and highway pass through the town. Sergiyev Posad Bus Terminal is located in the city.
en.wikipedia.org/wiki/Sergiyev_Posad
en.wikipedia.org/wiki/Golden_Ring_of_Russia
El monasterio de la Trinidad y San Sergio (en ruso Тро́ице-Се́ргиева Ла́вра; o Tróitse-Sérguieva Lavra) en la ciudad de Sérguiev Posad (antiguo Zagorsk) es un importante monasterio ruso y centro espiritual de la iglesia ortodoxa rusa. Sérguiev Posad se encuentra a unos 70 kilómetros al noreste de Moscú en la carretera que va a Yaroslavl. Actualmente alberga a unos 300 monjes. Según la Unesco, que lo declaró Patrimonio de la Humanidad en 1993, se trata de «un buen ejemplo de monasterio ortodoxo en funcionamiento, con rasgos militares típicos de los siglos XV al XVIII, período durante el que se desarrolló.»
La iglesia principal de la Laura (monasterio), la catedral de la Asunción, recuerda la homónima catedral del Kremlin y alberga las tumbas de los Godunov.
Siendo monje de la Laura, Andréi Rubliov pintó, para el iconostasio de la catedral, su más célebre icono La Trinidad que actualmente se expone en la Galería Tretiakov de Moscú.
es.wikipedia.org/wiki/Laura_de_la_Trinidad_y_San_Sergio
The Trinity Lavra of St. Sergius (Russian: Тро́ице-Се́ргиева Ла́вра) is the most important Russian monastery and the spiritual centre of the Russian Orthodox Church. The monastery is situated in the town of Sergiyev Posad, about 70 km to the north-east from Moscow by the road leading to Yaroslavl, and currently is home to over 300 monks.
The monastery was founded in 1337 by one of the most venerated Russian saints, Sergius of Radonezh, who built a wooden church in honour of the Holy Trinity on Makovets Hill. Early development of the monastic community is well documented in contemporary lives of Sergius and his disciples.
In 1355, Sergius introduced a charter which required the construction of auxiliary buildings, such as refectory, kitchen, and bakery. This charter was a model for Sergius' numerous followers who founded more than 400 cloisters all over Russia, including the celebrated Solovetsky, Kirillov, and Simonov monasteries.
St. Sergius supported Dmitri Donskoi in his struggle against the Tatars and sent two of his monks, Peresvet and Oslyabya, to participate in the Battle of Kulikovo (1380). At the outbreak of the battle, Peresvet died in a single combat against a Tatar bogatyr. The monastery was devastated by fire, when a Tatar unit raided the area in 1408.
St. Sergius was declared patron saint of the Russian state in 1422. The same year the first stone cathedral was built by a team of Serbian monks who had found refuge in the monastery after the Battle of Kosovo. The relics of St. Sergius still may be seen in this cathedral, dedicated to the Holy Trinity. The greatest icon painters of medieval Russia, Andrei Rublev and Daniil Chyorny, were summoned to decorate the cathedral with frescoes. Traditionally, Muscovite royals were baptized in this cathedral and held thanksgiving services here.
In 1476, Ivan III invited several Pskovian masters to build the church of the Holy Spirit. This graceful structure is one of the few remaining examples of a Russian church topped with a belltower. The interior contains the earliest specimens of the use of glazed tiles for decoration. In the early 16th century, Vasily III added the Nikon annex and the Serapion tent, where several of Sergius' disciples were interred.
It took 26 years to construct the six-pillared Assumption Cathedral, which was commissioned by Ivan the Terrible in 1559. The cathedral is much larger than its model and namesake in the Moscow Kremlin. The magnificent iconostasis of the 16th–18th centuries features Simon Ushakov's masterpiece, the icon of Last Supper. Interior walls were painted with violet and blue frescoes by a team of Yaroslavl masters in 1684. The vault contains burials of Boris Godunov, his family and several 20th-century patriarchs.
As the monastery grew into one of the wealthiest landowners in Russia, the woods where it had stood were cleared and a village (or posad) sprang up near the monastery walls. It gradually developed into the modern town of Sergiyev Posad. The cloister itself was a notable centre of chronicle-writing and icon painting. Just opposite the monastery walls St. Paraskeva's Convent was established, among whose buildings St. Paraskeva's Church (1547), Introduction Church (1547), and a 17th-century chapel over St. Paraskeva's well are still visible.
In 1550s, a wooden palisade surrounding the cloister was replaced with 1.5 km-long stone walls, featuring twelve towers, which helped the monastery to withstand a celebrated 16-month Polish-Lithuanian siege in 1608–1610. A shell-hole in the cathedral gates is preserved as a reminder of Wladyslaw IV's abortive siege in 1618.
By the end of the 17th century, when young Peter I twice found refuge within the monastery from his enemies, numerous buildings had been added. These include a small baroque palace of the patriarchs, noted for its luxurious interiors, and a royal palace, with its facades painted in checkerboard design. The refectory of St. Sergius, covering 510 square meters and also painted in dazzling checkerboard design, used to be the largest hall in Russia. The five-domed Church of John the Baptist's Nativity (1693–1699) was commissioned by the Stroganovs and built over one of the gates. Other 17th-century structures include the monks' cells, a hospital topped with a tented church, and a chapel built over a holy well discovered in 1644.
In 1744, Empress Elizabeth conferred on the cloister the dignity of a Lavra. The metropolitan of Moscow was henceforth also the Archimandrite of the Lavra. Elizabeth particularly favoured the Trinity and annually proceeded afoot from Moscow to the cloister. Her secret spouse Alexey Razumovsky accompanied her on such journeys and commissioned a baroque church to the Virgin of Smolensk, the last major shrine to be erected in the Lavra. Another pledge of Elizabeth's affection for the monastery is a white-and-blue baroque belltower, which, at 88 meters, was one of the tallest structures built in Russia up to that date. Its architects were Ivan Michurin and Dmitry Ukhtomsky.
Throughout the 19th century, the Lavra maintained its status as the richest Russian monastery. A seminary founded in 1742 was replaced by an ecclesiastical academy in 1814. The monastery boasted a supreme collection of manuscripts and books. Medieval collections of the Lavra sacristy attracted thousands of visitors. In Sergiyev Posad, the monastery maintained several sketes, one of which is a place of burial for the conservative philosophers Konstantin Leontiev and Vasily Rozanov.
After the Russian Revolution of 1917, the Soviet government closed the lavra in 1920. Its buildings were assigned to different civic institutions or declared museums. In 1930, monastery bells, including the Tsar-Bell of 65 tons, were destroyed. Pavel Florensky and his followers prevented the authorities from stealing and selling the sacristy collection but overall many valuables were lost or transferred to other collections.
In 1945, following Joseph Stalin's temporary tolerance of the church during World War II, the Lavra was returned to the Russian Orthodox Church. On April 16, 1946 divine service was renewed at the Assumption Cathedral. The lavra continued as the seat of the Moscow Patriarchate until 1983, when the patriarch was allowed to settle at the Danilov Monastery in Moscow. After that, the monastery continued as a prime centre of religious education. Important restoration works were conducted in the 1960s and 1970s. In 1993, the Trinity Lavra was inscribed on the UN World Heritage List.
The Lavra has a number of representative churches (podvorie or metochia) in its vicinity and throughout Russia. The Lavra's hieromonks have manned a number of sketes at remote locations (such as the Anzer Island in the Solovki Archipelago in the White Sea), as well as the Trinity Church on the King George Island in the Antarctic.
Sérguiev Posad (Rusia) - Sergiyev Posad (Russia) - Се́ргиев Поса́д (Россия)
Sérguiev Posad (en ruso: Се́ргиев Поса́д), entre 1930 y 1991 llamada Zagorsk, es una ciudad rusa, al nordeste de Moscú. Contaba con 109.252 habitantes en el censo de 2008. Posee un importante conjunto monumental, el monasterio de la Trinidad y de San Sergio (siglos XV-XVIII), declarado Patrimonio de la Humanidad por la UNESCO.
es.wikipedia.org/wiki/Sérguiev_Posad
es.wikipedia.org/wiki/Anillo_de_Oro_de_Rusia
Sergiyev Posad (Russian: Се́ргиев Поса́д) is a city and the administrative center of Sergiyevo-Posadsky District in Moscow Oblast, Russia. Population: 111,179 (2010 Census); 113,581 (2002 Census); 114,696 (1989 Census).
It was previously known as Sergiyev Posad (until 1919), Sergiyev (until 1930), Zagorsk (until 1991).
Sergiyev Posad grew in the 15th century around one of the greatest of Russian monasteries, the Trinity Lavra established by St. Sergius of Radonezh, still (as of 2015) one of the largest monasteries in Russia. Town status was granted to Sergiyev Posad in 1742. The town's name, alluding to St. Sergius, has strong religious connotations. Soviet authorities changed it first to just Sergiyev in 1919, and then to Zagorsk in 1930, in memory of the revolutionary Vladimir Mikhailovich Zagorsky
The original name was restored in 1991.
Within the framework of administrative divisions, Sergiyev Posad serves as the administrative center of Sergiyevo-Posadsky District. As an administrative division, it is, together with twenty-six rural localities, incorporated within Sergiyevo-Posadsky District as the City of Sergiyev Posad. As a municipal division, the City of Sergiyev Posad is incorporated within Sergiyevo-Posadsky Municipal District as Sergiyev Posad Urban Settlement.
Tourism associated with the Golden Ring plays a role in the regional economy. There is also an important toy factory.
The Moscow–Yaroslavl railway and highway pass through the town. Sergiyev Posad Bus Terminal is located in the city.
en.wikipedia.org/wiki/Sergiyev_Posad
en.wikipedia.org/wiki/Golden_Ring_of_Russia
El monasterio de la Trinidad y San Sergio (en ruso Тро́ице-Се́ргиева Ла́вра; o Tróitse-Sérguieva Lavra) en la ciudad de Sérguiev Posad (antiguo Zagorsk) es un importante monasterio ruso y centro espiritual de la iglesia ortodoxa rusa. Sérguiev Posad se encuentra a unos 70 kilómetros al noreste de Moscú en la carretera que va a Yaroslavl. Actualmente alberga a unos 300 monjes. Según la Unesco, que lo declaró Patrimonio de la Humanidad en 1993, se trata de «un buen ejemplo de monasterio ortodoxo en funcionamiento, con rasgos militares típicos de los siglos XV al XVIII, período durante el que se desarrolló.»
La iglesia principal de la Laura (monasterio), la catedral de la Asunción, recuerda la homónima catedral del Kremlin y alberga las tumbas de los Godunov.
Siendo monje de la Laura, Andréi Rubliov pintó, para el iconostasio de la catedral, su más célebre icono La Trinidad que actualmente se expone en la Galería Tretiakov de Moscú.
es.wikipedia.org/wiki/Laura_de_la_Trinidad_y_San_Sergio
The Trinity Lavra of St. Sergius (Russian: Тро́ице-Се́ргиева Ла́вра) is the most important Russian monastery and the spiritual centre of the Russian Orthodox Church. The monastery is situated in the town of Sergiyev Posad, about 70 km to the north-east from Moscow by the road leading to Yaroslavl, and currently is home to over 300 monks.
The monastery was founded in 1337 by one of the most venerated Russian saints, Sergius of Radonezh, who built a wooden church in honour of the Holy Trinity on Makovets Hill. Early development of the monastic community is well documented in contemporary lives of Sergius and his disciples.
In 1355, Sergius introduced a charter which required the construction of auxiliary buildings, such as refectory, kitchen, and bakery. This charter was a model for Sergius' numerous followers who founded more than 400 cloisters all over Russia, including the celebrated Solovetsky, Kirillov, and Simonov monasteries.
St. Sergius supported Dmitri Donskoi in his struggle against the Tatars and sent two of his monks, Peresvet and Oslyabya, to participate in the Battle of Kulikovo (1380). At the outbreak of the battle, Peresvet died in a single combat against a Tatar bogatyr. The monastery was devastated by fire, when a Tatar unit raided the area in 1408.
St. Sergius was declared patron saint of the Russian state in 1422. The same year the first stone cathedral was built by a team of Serbian monks who had found refuge in the monastery after the Battle of Kosovo. The relics of St. Sergius still may be seen in this cathedral, dedicated to the Holy Trinity. The greatest icon painters of medieval Russia, Andrei Rublev and Daniil Chyorny, were summoned to decorate the cathedral with frescoes. Traditionally, Muscovite royals were baptized in this cathedral and held thanksgiving services here.
In 1476, Ivan III invited several Pskovian masters to build the church of the Holy Spirit. This graceful structure is one of the few remaining examples of a Russian church topped with a belltower. The interior contains the earliest specimens of the use of glazed tiles for decoration. In the early 16th century, Vasily III added the Nikon annex and the Serapion tent, where several of Sergius' disciples were interred.
It took 26 years to construct the six-pillared Assumption Cathedral, which was commissioned by Ivan the Terrible in 1559. The cathedral is much larger than its model and namesake in the Moscow Kremlin. The magnificent iconostasis of the 16th–18th centuries features Simon Ushakov's masterpiece, the icon of Last Supper. Interior walls were painted with violet and blue frescoes by a team of Yaroslavl masters in 1684. The vault contains burials of Boris Godunov, his family and several 20th-century patriarchs.
As the monastery grew into one of the wealthiest landowners in Russia, the woods where it had stood were cleared and a village (or posad) sprang up near the monastery walls. It gradually developed into the modern town of Sergiyev Posad. The cloister itself was a notable centre of chronicle-writing and icon painting. Just opposite the monastery walls St. Paraskeva's Convent was established, among whose buildings St. Paraskeva's Church (1547), Introduction Church (1547), and a 17th-century chapel over St. Paraskeva's well are still visible.
In 1550s, a wooden palisade surrounding the cloister was replaced with 1.5 km-long stone walls, featuring twelve towers, which helped the monastery to withstand a celebrated 16-month Polish-Lithuanian siege in 1608–1610. A shell-hole in the cathedral gates is preserved as a reminder of Wladyslaw IV's abortive siege in 1618.
By the end of the 17th century, when young Peter I twice found refuge within the monastery from his enemies, numerous buildings had been added. These include a small baroque palace of the patriarchs, noted for its luxurious interiors, and a royal palace, with its facades painted in checkerboard design. The refectory of St. Sergius, covering 510 square meters and also painted in dazzling checkerboard design, used to be the largest hall in Russia. The five-domed Church of John the Baptist's Nativity (1693–1699) was commissioned by the Stroganovs and built over one of the gates. Other 17th-century structures include the monks' cells, a hospital topped with a tented church, and a chapel built over a holy well discovered in 1644.
In 1744, Empress Elizabeth conferred on the cloister the dignity of a Lavra. The metropolitan of Moscow was henceforth also the Archimandrite of the Lavra. Elizabeth particularly favoured the Trinity and annually proceeded afoot from Moscow to the cloister. Her secret spouse Alexey Razumovsky accompanied her on such journeys and commissioned a baroque church to the Virgin of Smolensk, the last major shrine to be erected in the Lavra. Another pledge of Elizabeth's affection for the monastery is a white-and-blue baroque belltower, which, at 88 meters, was one of the tallest structures built in Russia up to that date. Its architects were Ivan Michurin and Dmitry Ukhtomsky.
Throughout the 19th century, the Lavra maintained its status as the richest Russian monastery. A seminary founded in 1742 was replaced by an ecclesiastical academy in 1814. The monastery boasted a supreme collection of manuscripts and books. Medieval collections of the Lavra sacristy attracted thousands of visitors. In Sergiyev Posad, the monastery maintained several sketes, one of which is a place of burial for the conservative philosophers Konstantin Leontiev and Vasily Rozanov.
After the Russian Revolution of 1917, the Soviet government closed the lavra in 1920. Its buildings were assigned to different civic institutions or declared museums. In 1930, monastery bells, including the Tsar-Bell of 65 tons, were destroyed. Pavel Florensky and his followers prevented the authorities from stealing and selling the sacristy collection but overall many valuables were lost or transferred to other collections.
In 1945, following Joseph Stalin's temporary tolerance of the church during World War II, the Lavra was returned to the Russian Orthodox Church. On April 16, 1946 divine service was renewed at the Assumption Cathedral. The lavra continued as the seat of the Moscow Patriarchate until 1983, when the patriarch was allowed to settle at the Danilov Monastery in Moscow. After that, the monastery continued as a prime centre of religious education. Important restoration works were conducted in the 1960s and 1970s. In 1993, the Trinity Lavra was inscribed on the UN World Heritage List.
The Lavra has a number of representative churches (podvorie or metochia) in its vicinity and throughout Russia. The Lavra's hieromonks have manned a number of sketes at remote locations (such as the Anzer Island in the Solovki Archipelago in the White Sea), as well as the Trinity Church on the King George Island in the Antarctic.
Jean Louis Mazieres
www.flickr.com/photos/mazanto/18864518524
LE RÉALISME NÉERLANDAIS.
Le réalisme néerlandais, plus exactement flamand et néerlandais, s'enracine dans une culture qui correspond au peuplement germanophone des Pays Bas au sens large (Pays Bas et Belgique actuels).
La partie sud du pays, flamande, se développe beaucoup plus précocement que la partie nord, néerlandaise. Dès le 11è siècle la Flandre est avec la plaine du Pô un des tous premiers moteurs de la Renaissance de l'Europe après les Ages Sombres consécutifs au lent dépérissement de l'Empire Romain et à la série d'invasion germaniques, scandinaves et arabo-berbères qui l'accompagnent et en aggravent encore les conséquences.
En peinture l'école de Bruges, que certains historiens d'art appellent encore "les primitifs flamands", n'a rien de primitif et constitue un excellent témoin du développement économique et politique de la Flandre au 15è siècle et 16è siècle.
L'Europe de l'ouest étant catholique, les oeuvres de ces peintres sont essentiellement orientées par les thèmes religieux. Mais le réalisme naturaliste, l'esprit concret et pragmatique de cette population apparaît déjà très clairement comme en témoignent Jérôme Bosch (1450-1516) et surtout Bruegel Pierre l'Ancien (1525-1569). Ce dernier notamment peint tout aussi souvent des tableaux profanes que des oeuvres sacrées, notamment ses kermesses, danses de mariage, travaux des saisons. Mais en outre ses tableaux religieux relèguent bien souvent le thème spécifiquement sacré en fond de scène, et en fait un prétexte à une restitution très détaillée de la vie quotidienne à son époque.
Cette caractéristique flamande va se développer encore, après la Réforme, aux Pays Bas du Nord dont le démarrage économique plus tardif prend tout son essor au 17è siècle.
La Réforme de tendance calviniste qui triomphe aux Pays Bas est religieusement presque iconoclaste. Le protestantisme néerlandais n'interdit certes pas absolument les représentations imagées religieuses -heureusement pour Rembrandt- mais il les limite considérablement. Les intérieurs des églises sont dépouillés du décor peint ou sculpté des temps catholiques. Les thèmes religieux qui demeurent sont essentiellement tirés de l'Ancien Testament, la Vierge et donc le Christ enfant, les Saints et les Saintes disparaissent. En outre l'Eglise ayant été chassée du pays un mécène essentiel disparaît.
Les artistes des Pays Bas du Nord doivent se reconvertir, ils vont le faire de manière exemplaire, en devenant les inventeurs d'une peinture profane, séculière, tout à fait particulière, qui restera originale en Europe encore jusqu'au 19è siècle.
Les artistes néerlandais n'ont peut être pas, dans l'absolu, créé les genres de la peinture de paysage, de la peinture de nature morte, ou de la peinture de moeurs, mais ils leur ont donné un tel développement, bien avant les autres régions de l'Europe, que cela équivaut à une invention.
Avant les artistes des Pays Bas du Nord le paysage est presque toujours le décor d'une scène historique ou mythologique. C'est aux Néerlandais que l'on doit le développement du paysage sans autre thème que la nature, et les banales et quotidiennes activités humaines contemporaines. Le thème certes déjà connu "des travaux et des jours" se généralise, se sécularise, et sort des livres d'heures.
Les peintres des Pays Bas vont aussi considérablement développer la peinture de moeurs en quittant les milieux aristocratiques pour s'intéresser aux paysans, artisans et bourgeois. Un domaine où leur réalisme et leur sens de l'observation font merveille. Les artistes flamands et néerlandais nous permettent, bien mieux que les peintres baroques ou classiques des écoles de l'Europe du Sud ou de l'Allemagne d'observer les modes de vie de l'époque.
Une vache qui pisse, un cochon qui ronfle, une femme qui boit, qui range son linge dans l'armoire, ou épouille sa fille, des paysans avinés qui se disputent, ou des bourgeois qui patinent sont des thèmes très distinctifs des Pays Bas. Des thèmes qui ne se rencontrent pas, ou très peu, ailleurs en Europe. Ce n'est pas du tout la peinture française de l'époque de Louis XIII et Louis XIV. Même les frères Le Nain sont très loin du réalisme flamand et néerlandais.
Enfin la nature morte, qui peut avoir quelques vagues connotations religieuses avec les "vanités", prend aussi un essor qui est spécifique de cette région de l'Europe.
Dans le domaine du portrait l'Europe catholique avait depuis longtemps ouvert la voie et les Pays Bas sont moins originaux, sauf à privilégier le portrait bourgeois par rapport au portrait aristocratique. Mais quand le milicien bourgeois des "grandes compagnies" porte l'épée on voit bien qu'il n'est pas un aristocrate. De même que les régentes des hopitaux, béguinages, orphelinats et oeuvres charitables diverses ne peuvent pas se confondre avec les grandes dames de la noblesse - et de la religion- française, hispanique ou germanique.
Les artistes des Pays Bas nous restituent ainsi, encore une fois, avec réalisme, le décor humain de leur époque, à un niveau social que les peintres du sud de l'Europe ignorent car leur clientèle est toujours ailleurs: Les Rois, les Princes, l'Aristocratie ou une très grande bourgeoisie assimilée, et bien sûr l'Eglise.
THE NETHERLANDS REALISM.
The Dutch realism, more precisely Flemish and Dutch, is rooted in a culture that corresponds to the German-speaking population of the Netherlands in the broad sense (the Netherlands and Belgium today).
The southern part of the country, Flemish, develops much earlier than the northern part, Dutch. From the 11th century Flanders was, with the plain of the Po and Tuscany, one of the first engines of the Renaissance of Europe after the Dark Ages consecutive to the slow decline of the Roman Empire and to the series of Germanic Scandinavian and Arabic-Berbers invasions that accompany it and further aggravate the consequences.
In painting the school of Bruges, which some art historians still call " the Flemish primitives", is nothing primitive and is an excellent witness to the economic and political development of Flanders in the 15th and 16th centuries.
The Western Europe being Catholic, the works of these painters are essentially oriented by religious themes. But the naturalistic realism, the concrete and pragmatic spirit of this population, already appears very clearly as evidenced by Jerome Bosch (1450-1516) and especially Bruegel Peter the Elder (1525-1569). The latter, in particular, paints profane paintings as often as sacred works, notably his kermesses, wedding dances, works of the seasons. But in addition his religious pictures often relegate the specifically sacred theme to the background, making it a pretext for a very detailed restitution of everyday life in his time.
This Flemish characteristic will continue to develop after the Reformation in the Northern Netherlands, whose later economic growth took off in the 17th century.
The Reformation of Calvinist tendency which triumphs in the Netherlands is religiously almost iconoclastic. Dutch Protestantism does certainly not absolutely forbid religious images - fortunately for Rembrandt- but he limits them considerably. The interiors of the churches are stripped of the painted or carved decoration of Catholic times. The religious themes that remain are essentially drawn from the Old Testament, the Virgin and therefore the Christ Child, the Saints and the Holy Women disappear. In addition the Church having been expelled from the country, an essential patron disappears.
The artists of the Low Countries of the North must reconvert, they will do so in an exemplary way, becoming the inventors of a profane, secular painting, quite particular, which will remain original in Europe until the 19th century.
The Dutch artists may be not have, in absolute terms, created the genres of landscape painting, of still life painting, or painting of manners, but they have given them such a development long before other regions of Europe, that is equivalent to an invention.
Before the artists of the Low Countries of the North the landscape is almost always the decor of a historical or mythological scene. It is the Dutch to development of the landscape with no other theme than nature, and the banal and daily contemporary human activities. The theme already known "works and days" is generalized, secularized, and comes out of the books of hours.
The painters of the Netherlands will also considerably develop the painting of manners by leaving the aristocratic circles, to take an interest in peasants, craftsmen and bourgeois. An area where their realism and their sense of observation are wonderful. Flemish and Dutch artists allow us, far better than the Baroque or classical painters of the schools of Southern Europe or Germany, to observe the ways of life of the time.
A cow that pisses, a pig that snores, a woman who drinks, who puts her clothes in the cupboard, or chases his daughter's lice, drunken peasants who dispute, or bourgeois who skate, are very distinctive themes of the Netherlands . Topics that do not meet, or very little, elsewhere in Europe. This is not at all the French painting of the time of Louis XIII and Louis XIV. Even the Le Nain brothers are far from Flemish and Dutch realism.
Finally, still life, which may have some vague religious connotations with the "vanities", also takes a boom that is specific to this region of Europe.
In the field of portraiture Catholic Europe had long opened the way, and the Netherlands is less original, except to favor the bourgeois portrait in relation to the aristocratic portraiture. But when the bourgeois militiaman of the "big companies" bears the sword, it is clear that he is not an aristocrat. Just as the regentes of hospitals, beguines, orphanages and various charitable works can not be confused with the great ladies of the nobility - and of the French, Hispanic or Germanic religion.
The artists of the Netherlands thus restore to us, once again, with realism, the human decor of their time, on a social level that the painters of southern Europe ignore because their clientele is always elsewhere: The Kings, Princes, The Aristocracy or a very large assimilated bourgeoisie, and of course the Church.