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Le palais de l'Aljaferia (en arabe : قصر الجعفرية, Qasr Aljafariya ; en espagnol : Palacio de la Aljafería) est un palais fortifié construit durant la seconde moitié du XIe siècle, à l'époque d'Al-Muqtadir, à Saragosse, en tant que résidence des rois Banu Hud. Il reflète la splendeur de la taïfa de Saragosse au moment de son apogée politique et culturel.
Son importance réside en ce qu'il est l'unique témoignage conservé d'un grand édifice de l'architecture islamique en Espagne à l'époque des Taïfas. Avec la mosquée de Cordoue (Xe siècle) et le chant du cygne de la culture islamique que fut l'Alhambra de Grenade (XIVe siècle), nous devons inclure dans la triade de l'architecture hispano-musulmane l'Aljaferia de Saragosse comme parfait exemple de réalisation de l'art taïfa de la période intermédiaire des royaumes indépendants antérieurs à l'avènement des Almoravides.
Après la reconquête de Saragosse en 1118 par Alphonse Ier le Batailleur, le palais servit de résidence aux rois catholiques d'Aragon, dont l'Aljaferia devint le principal élément de diffusion de l'art mudéjar aragonais. Il devint la résidence royale de Pierre IV le Cérémonieux. Postérieurement, en 1492 fut menée la reconversion des appartements de l'étage principal en palais des rois catholiques.
En 1593 fut mise en chantier une autre reconversion qui en fit une forteresse militaire, dans un style Renaissance (que l'on peut observer dans l'environnement, les fossés et les jardins), et plus tard encore, une caserne. Le palais eut encore à subir d'autres transformations et déprédations, en particulier durant le siège de Saragosse de la guerre d'Indépendance, jusqu'à sa restauration dans la seconde moitié du XXe siècle. Le palais est actuellement le siège des Cortes d'Aragon.
La Aljafería es un palacio fortificado construido en Zaragoza en la segunda mitad del siglo XI por iniciativa de Al-Muqtadir como residencia de los reyes hudíes de Saraqusta. Este palacio de recreo (llamado entonces «Qasr al-Surur» o Palacio de la Alegría) refleja el esplendor alcanzado por el reino taifa en el periodo de su máximo apogeo político y cultural.
Su importancia radica en que es el único testimonio conservado de un gran edificio de la arquitectura islámica hispana de la época de las Taifas. De modo que, si se conserva un magnífico ejemplo del Califato de Córdoba, su Mezquita (siglo X), y otro del canto de cisne de la cultura islámica en Al-Ándalus, del siglo XIV, La Alhambra de Granada, se debe incluir en la tríada de la arquitectura hispano-musulmana La Aljafería de Zaragoza (siglo XI) como muestra de las realizaciones del arte taifa, época intermedia de reinos independientes anterior a la llegada de los almorávides. Los restos mudéjares del palacio de la Aljafería fueron declarados Patrimonio de la Humanidad por la Unesco en 2001 como parte del conjunto «Arquitectura mudéjar de Aragón».1
Las soluciones adoptadas en la ornamentación de la Aljafería, como la utilización de arcos mixtilíneos y de los salmeres en «S», la extensión del ataurique calado en grandes superficies o la esquematización y abstracción progresiva de las yeserías de carácter vegetal, influyeron decisivamente en el arte almorávide y almohade tanto del Magreb como de la península ibérica. Asimismo, la transición de la decoración hacia motivos más geométricos está en la base del arte nazarí.
Tras la reconquista de Zaragoza en 1118 por Alfonso I el Batallador pasó a ser residencia de los reyes cristianos de Aragón, con lo que la Aljafería se convirtió en el principal foco difusor del mudéjar aragonés. Fue utilizada como residencia regia por Pedro IV el Ceremonioso y posteriormente, en la planta principal, se llevó a cabo la reforma que convirtió estas estancias en palacio de los Reyes Católicos en 1492. En 1593 experimentó otra reforma que la convertiría en fortaleza militar, primero según diseños renacentistas (que hoy se pueden observar en su entorno, foso y jardines) y más tarde como acuartelamiento de regimientos militares. Sufrió reformas continuas y grandes desperfectos, sobre todo con los Sitios de Zaragoza de la Guerra de la Independencia hasta que finalmente fue restaurada en la segunda mitad del siglo XX y actualmente acoge las Cortes de Aragón.
The Aljafería Palace (Spanish: Palacio de la Aljafería; Arabic: قصر الجعفرية, tr. Qasr al-Jaʿfariya) is a fortified medieval Islamic palace built during the second half of the 11th century in the Taifa of Zaragoza of Al-Andalus, present day Zaragoza, Spain. It was the residence of the Banu Hud dynasty during the era of Abu Jaffar Al-Muqtadir after abolishing Banu Tujibi of Kindah dynasty. The palace reflects the splendor attained by the kingdom of the taifa of Zaragoza at the height of its grandeur. The palace currently contains the Cortes (regional parliament) of the autonomous community of Aragon.
The structure holds unique importance in that it is the only conserved testimony of a large building of Spanish Islamic architecture of the era of the Taifas (independent kingdoms).
Wikipedia
Contemporary Arts Cluster in Singapore housing international art galleries and the Centre for Contemporary Art (CCA). The buildings are conserved colonial barracks from the former British military camp.
Garni (Armenia, 2013)
Fresh fruits in Amenia are delicious, and so are the home-made fruit sweets and conserves being sold almost everywhere.
Each of the letters is constructed of enameled steel. The enamel has worn away on some of the letters' surfaces, as seen here on the bottom of the "S."
Peintes vers 1080-1120, les peintures romanes sont très bien conservées et extrêmement bien réali-sées. Bien que lacunaire, ce programme est riche de plusieurs thèmes iconographiques. Sur le mur est, une frise grecque avec effet de relief et différents oiseaux parcourt tout le baptistère. Entre les deux oculi, un Christ avec un nimbe crucifère se tient en majesté dans sa mandorle avec un livre ouvert où est inscrit EGO [SUM V] I [TA] : Je suis la vie (Jean, XIV, 6). Autour de lui, deux anges épousent parfaitement la forme des fenêtres, tous deux tournés vers les Apôtres désignant le Christ. Ceux-ci ne sont pas reconnaissables individuellement, hormis saint Pierre à la droite du Christ. Ils sont en mouvement et marchent sur des vagues représentants le monde sur lequel répandre la parole divine, avec au dessus d'eux une inscription en latin AS-CENDO AD PA-TREM [MEUM E] T PA-TREM [VES-TRVM, DEVM ET DEVM VES-TRVM]. VI[RI G]A[LIL] EI [QVIS S]TA[TIS AS-PI-CIENT] ES IN CELVM. HIC HIESVS QVI ASVMTVS EST A VOBIS : Je monte vers mon Père et votre Père, mon Dieu et votre Dieu. Galilée qui lève les yeux au ciel. C'est Jésus qui vous a été enlevé.
Sous le Christ la main de Dieu représentée dans un médaillon. Sur l’arc en plein cintre, un Agnus Dei et deux anges thuriféraires, avec sous cet arc des personnages non identifiables dans des médaillons. Enfin, sur le dernier registre du mur, deux cavaliers sont situés de part et d’autre, le premier complètement effacé dont ne reste que la tête du cheval. A droite, le cavalier Constantin tenant un sceptre et un orbe, et marchant dans la direction du Christ, est le seul des quatre dont l’identité nous soit parvenue. Sur cette partie du mur se superposent le cavalier roman et les dernières scènes du cycle de la vie de saint Jean-Baptiste, datant du XIIIe siècle.
Sur le mur Nord, de gauche à droite, se situent une figure profane, un paon sous chaque oculi et sous l’arc en mitre un saint anonyme, avec à droite du mur deux apôtres. Sur le mur Ouest, les peintures sont très endommagées, un paon est tou-jours visible bien que pâle, un vase ocre s'y distingue aussi (vase de vie ou pour utiliser le chrême en vue d'oindre les catéchumènes. Un deuxième paon devait se trouver à côté avec, plus bas, deux autres cavaliers dont l’un est complet, couronné et tenant un sceptre. Le quatrième et dernier cavalier est lui aussi endommagé, seul le haut de son corps étant visible tenant les rênes de son cheval.
Sur le mur Sud, deux apôtres, non complets avec sous l’oculus un paon et sous l’arc en mitre, saint Maurice d’Agaune, désigné ici par MAVRICIVS en habit de légionnaire, ses reliques étant conservées dans la cathédrale primitive. Sous le second oculus, un dragon fait face à un homme brandissant une épée, symbole du combat entre le bien et le mal. Entre ces deux figures, une inscription CIL CRIA MARCI ET VRNA : il demanda grâce et s’enfuit (plus vieille inscription connue en langue vernaculaire) (cf. fra.archinform.net).
The conservator also cleaned the inside of my TVs with a fancy conservation vacuum that is very gentle. It tickled!
Cacaxtla conserves the oldest mural painting featuring a human figure and symbols from other cultures (Teotihuacan, Maya, Mixtec and Totonaca). These paintings portray the bird man and the feline man, possibly ruler - priests of the Olmecs Xicalancas who inhabited Cacaxtla between the years 600 and 900 AD. The bird man is associated with Quetzalcoatl, the generous deity who taught people the arts and agriculture. The feline man is associated with the rains that fertilize the earth.
This image forms part of the digitised photographs of the Ross and Pat Craig Collection. Ross Craig (1926-2012) was a local historian born in Stockton and dedicated much of his life promoting and conserving the history of Stockton, NSW. He possessed a wealth of knowledge about the suburb and was a founding member of the Stockton Historical Society and co-editor of its magazine. Pat Craig supported her husbandâs passion for history, and together they made a great contribution to the Stockton and Newcastle communities. We thank the Craig Family and Stockton Historical Society who have kindly given Cultural Collections at the University of Newcastle, NSW, Australia, access to the collection and allowed us to publish the images. Thanks also to Vera Deacon for her liaison in attaining this important collection.
Please contact Cultural Collections at the University of Newcastle, NSW, Australia, if you are the subject of the image, or know the subject of the image, and have cultural or other reservations about the image being displayed on this website and would like to discuss this with us.
Some of the images were scanned from original photographs in the collection held at Cultural Collections, other images were already digitised with no provenance recorded.
You are welcome to freely use the images for study and personal research purposes. Please acknowledge as âCourtesy of the Ross and Pat Craig Collection, University of Newcastle (Australia)" For commercial requests please consider making a donation to the Vera Deacon Regional History Fund.
These images are provided free of charge to the global community thanks to the generosity of the Vera Deacon Regional History Fund. If you wish to donate to the Vera Deacon Fund please download a form here: uoncc.wordpress.com/vera-deacon-fund/
If you have any further information on the photographs, please leave a comment
There are over 200 million refrigerators in the US. These refrigerators use more electricity than any other appliance in a household. Combined with inexpensive chest freezer this temperature controller can outperform any energy star refrigerator by a factor of 2.
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Jill Plitnikas, Artefact Conservator at National Museums Scotland, works on conserving the 3,000-year-old coffin base of Iufenamun, a priest in the Temple of Karnak.
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You can find out more about Iufenamun on our website.
Now Kandy International Information Center.
Side facade undergoing restoration work.
Conserved heritage building.
The more citizens conserved, the cheaper it would be for the government to use those materials for war.
Earth Day 2013 at One and Two Century was an exceptionally great success this year! An E-Waste recycling event was in place all week and many computers, monitors, VCR’s, copiers and other electronic devices were saved from being put into landfills. The property collected more than last year’s total of 1,475 pounds of e-waste during the drive. Waste Management, the property’s e-waste recycling partner, offered a great deal with a price cap for unlimited waste and pickups.
Additionally, they held a cell phone collection for Secure the Call. The drive gives new life to these devices while giving much needed emergency phones for the elderly and victims of domestic violence.
PACE Transportation promoted the use of public transportation in the Chicago area. They presented transit system maps and information on how using the transportation system helps the environment, saves money and cuts down on traffic.
Tenants received an energy saving CFL light bulb, mixed wildflower seed packets and an Earth-decorated sugar cookie.
The property team keeps the Earth Day celebration well-rounded by not only being planet-friendly, but also by giving back to the community with the cell phone drive.
La lanterne des morts de Fenioux, exceptionnellement bien conservée, fut construite au XIIe siècle sur un site qui faisait déjà l'objet de rites païens au VIe siècle : des fouilles y ont en effet mis au jour des pierres celtes et les vestiges d'un autel druidique.
Elle est constituée de onze colonnes, avec un escalier intérieur de 38 marches qui mènent au sommet et un lanternon surmonté d'une croix. Un caveau voûte est adossé à la lanterne.
Hard to capture the deep ruby color of this pretty conserve in the morning light, but oh my does it look delicious in those jars. :)
This was part of my project yesterday to use up the half-bushel of peaches we got from our co-op, while teaching my mom to can. I had some leftover cherries from our co-op basket last week and used them in this as well, for a tasty treat.
2 cups peeled & pitted peaches
2 cups pitted cherries
2 cups water
3 cups sugar
3 Tbs lime juice
* Puree peaches and cherries together
* Bring pureed fruit & water to a boil. Cover and simmer 15 minutes.
* Add lime juice and sugar and stir well. Simmer uncovered for 30 minutes - 1 hour until it is the consistency you like. Make sure to stir regularly.
* Pour into clean jars
* Process in a pressure canner at 9 lbs pressure for 10 minutes.
Mosaïque avec le portrait de l'empereur byzantin Justinien Ier(IV siècle).Conservée dans la basilique Saint-Vital de Ravenne(Italie).
format: JPG
dimensions: 600 × 813 (566KB)
source: www.clio.fr/BIBLIOTHEQUE/le_siecle_de_justinien.asp
consulté le 09 février 2012
A conserved ruin of a gothical castle, later rebuilt in renaissance style. It is a rare type of a castle/chateau hybrid founded in 1381, with more emphasis on comfort and less on defense. The defense tower was lower than normal, the windows were large, the palace was accesible directly from the first courtyard. The brugrave from Křivoklát Castle built himself a castle which was very progressive and ahead of it´s time. It was devastated in the Thirty Year War, but renewed, and got a new red ceramic roof, due to which it was then also known as Red Castle. A flash started a large fire in 1783, which completely destroyed the castle, and it was not renewed. Conservation work began in 1915, the ruin is very popular by tourists and film makers. The wooden bridge was made after the original one, in medieval style and only with historical carpentry axes, it was laid in the place with a medieval wooden crane made the same way - it was a experiment to test medieval technologies and work processes.
This image forms part of the digitised photographs of the Ross and Pat Craig Collection. Ross Craig (1926-2012) was a local historian born in Stockton and dedicated much of his life promoting and conserving the history of Stockton, NSW. He possessed a wealth of knowledge about the suburb and was a founding member of the Stockton Historical Society and co-editor of its magazine. Pat Craig supported her husband’s passion for history, and together they made a great contribution to the Stockton and Newcastle communities. We thank the Craig Family and Stockton Historical Society who have kindly given Cultural Collections at the University of Newcastle, NSW, Australia, access to the collection and allowed us to publish the images. Thanks also to Vera Deacon for her liaison in attaining this important collection.
Please contact Cultural Collections at the University of Newcastle, NSW, Australia, if you are the subject of the image, or know the subject of the image, and have cultural or other reservations about the image being displayed on this website and would like to discuss this with us.
Some of the images were scanned from original photographs in the collection held at Cultural Collections, other images were already digitised with no provenance recorded.
You are welcome to freely use the images for study and personal research purposes. Please acknowledge as “Courtesy of the Ross and Pat Craig Collection, University of Newcastle (Australia)" For commercial requests please consider making a donation to the Vera Deacon Regional History Fund.
These images are provided free of charge to the global community thanks to the generosity of the Vera Deacon Regional History Fund. If you wish to donate to the Vera Deacon Fund please download a form here: uoncc.wordpress.com/vera-deacon-fund/
If you have any further information on the photographs, please leave a comment.
Conserve Italia has added Yoga AQ Verde to its line-up. It's an antioxidant blend of pineapple, lemon and apple, with vegetable extracts and green tea.
The Mauthausen Oath
Conserve the international solidarity of the camp in our memories and to derive from it the necessary lessons; follow a common path; the one of freedom - indispensable for every population, of reciprocal respect, of collaboration in the great work of constructing a new world that is free and just for all.
Mauthausen Oath, 16 May 1945 - Internationale Befreiungsfeier
The Plaza del Rollo, located behind the Plaza de la Villa, in the heart of Habsburg Madrid, is home to this sculptural ensemble with which Madrid City Council pays tribute to the 449 Madrid Republicans deported after the end of the Spanish Civil War to Mauthausen and other Nazi concentration camps during the Second World War.
Unveiled on 2 March 2023, the monument consists of five pieces: a 5x5-metre gate, three 3-metre vertical structures and a support that includes the Mauthausen Oath, all of which are made of Corten steel by the sculptor José Miguel Utande.
The main sculpture symbolises the Gate of Freedom and expresses the shared dream that encourages those who built this memorial. Alongside it, there are three columns called The Trees of Dreams, symbolising the ordeal, on whose trunks the names of the 449 Madrid Republicans deported to Mauthausen and other concentration camps from 1940 onwards are written.
The ensemble is rounded off with the inscription of the commitment made by the survivors of the camps to tell the world what they experienced in order to prevent its repetition, known as the Mauthausen Oath.