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Ι.Μ.Παναγίας Πελεκητής H.M.Virgin Mary Rusticated
on my blog ΛΟΓΕΙΚΩΝ Logikon
Παναγία Πελεκητή: Η «βασίλισσα» των Αγράφων
Είναι ένα από τα μοναστήρια που ξεχωρίζουν. Το τοπίο, η αρχιτεκτονική του, η ιστορία του καθιστούν την Ιερά Μονή της Παναγίας Πελεκητής προσκυνηματικό κέντρο. Βρίσκεται κτισμένη πάνω από την τεχνητή λίμνη Πλαστήρα στην Καρδίτσα και υπάγεται διοικητικά στη Μητρόπολη Φαναριοφερσάλων. Σύμφωνα με τα τελευταία ιστορικά στοιχεία, κτίστηκε πριν από περίπου πέντε αιώνες σε μια απόκρημνη, βραχώδη πλαγιά των Αγράφων, σε υψόμετρο 1.400 μέτρων, βορειοδυτικά του χωριού Καρίτσα.
Η ιστορία της Ιεράς Μονής Παναγίας Πελεκητής έχει συνδεθεί με την πορεία της περιοχής, η οποία συμμετείχε σε όλους τους αγώνες του Έθνους. Κατά την επανάσταση του 1821 η Καρίτσα καταστράφηκε από τους Τούρκους, ενώ το 1943 από τους Γερμανούς. Οι μοναχοί της μονής ήταν εκ των πρωταγωνιστών κατά την απελευθέρωση της Καρίτσας από τους Τούρκους, δημιουργώντας μια διαφορετική σχέση με τους κατοίκους.
Από την ίδρυσή της η μονή δέσποζε στα εκκλησιαστικά πράγματα της περιοχής αφού είχε αναγνωριστεί ως σταυροπηγιακή το 1606 από τον Οικουμενικό Πατριάρχη Ραφαήλ Β΄.
Πελεκητή ονομάστηκε καθώς τα κελιά της δημιουργήθηκαν μέσα στους βράχους σε τέσσερα επίπεδα, όπου οι μοναχοί ζούσαν και λειτουργούσαν το μοναστήρι, ενώ υπήρχε ακόμη και κρυφό σχολειό.
Ο Πορφύριος
Όπως αναφέρει ο Φώτης Κερασιώτης, που έχει ασχοληθεί με την ιστορία της μονής, η ίδρυσή της άρχισε πιθανότατα στα τέλη του 15ου αιώνα από τον Πνευματικό Πορφύριο και ολοκληρώθηκε το 1529 στη σημερινή της μορφή από τον νέο Οσιομάρτυρα Δαμιανό, ο οποίος ιστορείται ως «κτήτωρ» σε δύο τοιχογραφίες της. Το μοναστήρι αγιογραφήθηκε στα μέσα του 17ου αιώνα και έχει δύο ναούς, τον Ναό της Αναλήψεως του Χριστού και τον Ναό της Παναγιάς Φανερωμένης (το Καθολικό).
Το Καθολικό είναι ο κεντρικός και αρχαιότερος ναός, αφιερωμένος στην Ανάληψη του Κυρίου. Είναι μονόκλιτη βασιλική με νάρθηκα, στεγασμένη με κυλινδρική καμάρα, με ενισχυτικό τόξο στο μέσο. Σύμφωνα με σχετική επιγραφή που υπάρχει εντός του ναού, αγιογραφήθηκε το 1654 από τους αγιογράφους Ιωάννη, Νικόλαο Ιερέα και Ιάκωβο Ιερομόναχο.
Ο δεύτερος ναός είναι αφιερωμένος στην Παναγία Φανερωμένη. Είναι αθωνικού ρυθμού, με τρούλο και πλευρικούς χορούς, χωρίς εσωτερικούς κίονες. Οι τοιχογραφίες, όπως προκύπτει από σχετική επιγραφή που υπάρχει επάνω από τη θύρα εισόδου, ιστορήθηκαν το 1666. Ανιστορήθηκαν το 1674 από τον αγιογράφο Ιάκωβο και τον γιο του Δημήτριο.
Γνωστή είναι η μικρή αλλά θαυματουργή εικόνα της Παναγίας Πελεκητής, στην οποία έχει ζωγραφιστεί η Παναγία με τον Χριστό στην αγκαλιά της. Η εικόνα δυστυχώς εκλάπη και αναζητείται για να επιστραφεί στη φυσική της θέση, το μοναστήρι. Ο Ευρυτάνας ιστορικός Πάνος Βασιλείου το 1929 έγραψε τα εξής: «Εκτός της αρίστης Βυζαντινής τέχνης σε τοιχογραφίες, υπάρχει εδώ μια εικόνα (ελαιογραφία 0,04Χ0,03) της Παναγίας με τον Χριστό στην αγκαλιά της, έργο Ραφαηλικής τέχνης. Δεν εξηγείται πώς η μικροσκοπική αυτή εικονίτσα, που θεωρείται και σαν παλαιότερη, αλλά θαυματουργός, βρέθηκε εδώ πάνω. Φέρει χρονολογία 1654.
Η τεχνοτροπία της θυμίζει τον Χριστό του Πρωτάτου του Αγίου Όρους, το γνωστό έργο του Πανσέληνου. Μάλιστα ήταν η εικονίτσα τούτη στολισμένη με 20 πολύτιμες πέτρες από τις οποίες οι 16 αφαιρέθηκαν από… αγνώστους, χωρίς φυσικά τούτου να σημειωθεί σε κανένα, ως τα σήμερα, αστυνομικό δελτίο. Μένουν ακόμα, ευτυχώς, 4 ερυθρόχρωμες πετρούλες στο επαργυρωμένο περίβλημά της που έχει μέγεθος 0,21Χ0,23 μ. και που φέρει επάνω του σκαλισμένα αγγελούδια. Μια απέραντη καλοσύνη ζωγραφίζεται στο χαμογελαστό πρόσωπο της Παναγίας, της οποίας το παιδάκι παρουσιάζει κάτι το αληθινά Θείο και αξιοθαύμαστο για τη χαρούμενη εκφραστικότητά του. Η θαυμάσια αυτή εικόνα της Παναγίας της Πελεκητής θυμίζει Αναγέννηση».
Το μοναστήρι λόγω της περίτεχνης κατασκευής του και της ένδοξης ιστορίας του έχει ανακηρυχθεί «Ιστορικό Διατηρητέο Μνημείο». Δυστυχώς, όμως, από τον πλούτο των εκκλησιαστικών κειμηλίων και της σπάνιας βιβλιοθήκης του ελάχιστα, σήμερα, διασώζονται.
Το μοναστήρι πανηγυρίζει στις 15 Αυγούστου, της Κοιμήσεως της Θεοτόκου. Τα τελευταία χρόνια, ύστερα από σημαντικές πρωτοβουλίες των τοπικών φορέων και άλλων παραγόντων, εξευρέθηκαν τα απαραίτητα χρηματικά ποσά και το μοναστήρι έχει ανακαινισθεί και αξιοποιηθεί, συγκεντρώνοντας πλήθος προσκυνητών από ολόκληρη την ελληνική επικράτεια.
Όταν οι μοναχοί μετακίνησαν τα σύνορα το 1831
Εντύπωση προκαλεί και το εξής περιστατικό: Μετά τη δημιουργία του ελληνικού Κράτους, το 1831, η Καρύτσα (είναι το χωριό κάτω από το μοναστήρι) και ο Μπελεκομύτης βρέθηκαν εκτός ελληνικών συνόρων γιατί καθορίστηκαν επί του Καρυτσιώτη ποταμού, ενώ αυτά τα δύο χωριά βρίσκονται μετά τον ποταμό. Τότε οι μοναχοί μαζί με τους κατοίκους των δύο χωριών μετακίνησαν αυθαίρετα τα σύνορα και τα τοποθέτησαν μετά το μοναστήρι, στο οροπέδιο του Καραμανώλη.
Panagia Pelekiti(rusticated): The "Queen" of Agrafa
It is one of the monasteries that stand out. The landscape, architecture, history make the Holy Monastery of Panayia Pelekiti a pilgrimage center. It is built above the artificial lake Plastira in Karditsa and is administratively subordinated to the Cathedral of Fanariers. According to the latest historical data, it was built about five centuries ago on a steep rocky slope of Agrafa, at an altitude of 1,400 meters, northwest of Karitsa village.
The history of the Holy Monastery of Panagia Pelekiti has been linked to the course of the region, which participated in all the struggles of the Nation. During the revolution of 1821 Karitsa was destroyed by the Turks, while in 1943 by the Germans. The monks of the monastery were among the protagonists in the liberation of Karitsa from the Turks, creating a different relationship with the inhabitants.
Since its founding, the monastery has dominated the ecclesiastical things of the region since it was recognized as a cruciform in 1606 by the Ecumenical Patriarch Raffael II.
Pelekiti was named as its cells were created in the rocks on four levels, where the monks lived and functioned the monastery, while there was even a hidden school.
Porphyrios
According to Fotis Kerassiotis, who has dealt with the history of the monastery, it was probably founded at the end of the 15th century by the Spiritual Porphyry and was completed in 1529 in its present form by the new Omar Martyr Damianos, who is described as a "builder" In two frescoes. The monastery was hagiographed in the middle of the 17th century and has two temples, the Church of the Ascension of Christ and the Church of Panagia Faneromeni (the Catholic).
The Katholikon is the central and most ancient temple, devoted to Ascension of the Lord. It is a one-aisled basilica with a narthex, sheltered by a cylindrical arch, with a reinforcement bow in the middle. According to a relevant inscription inside the temple, it was painted in 1654 by hagiographers Ioannis, Nicholas Priest and Iacob Ieromonas.
The second temple is dedicated to Panagia Faneromeni. It is of the Athonian style, with dome and side dances, without internal columns. The frescoes, as indicated by a relevant inscription above the entrance door, were discovered in 1666. They were painted in 1674 by the icon-painter Iakovos and his son Dimitrios.
Known is the small but miraculous icon of Panagia Pelekiti, in which the Virgin Mary is painted with Christ in her arms. The picture is unfortunately stolen and sought to be returned to its natural place, the monastery. Evrytanas historian Panos Vassiliou wrote in 1929: "In addition to the excellent Byzantine art in frescoes, there is an icon (oil painting 0,04x0,03) of the Virgin Mary with Christ in her arms, a work of Raphael art. It is not explained how this tiny icon, which is considered as an old but miraculous icon, was found here. It dates back to 1654.
The style reminiscent of the Christ of the Protaton of Mount Athos, the well-known work of the Full Moon. In fact, this icon was embellished with 20 precious stones, of which 16 were removed from ... strangers, of course not to mention to anyone, as today, a police record. There are still, fortunately, 4 red-colored petals in its silver-plated casing, which is 0.21 x 0.23 m in size and carved on it with carved angels. An immense kindness is painted on the smiling face of Our Lady, whose child presents something truly divine and admirable for his joyful expressiveness. This magnificent icon of Virgin Mary Pelekite reminds Renaissance. "
The monastery, due to its elaborate construction and its glorious history, has been declared "Historic Preserved Monument". Unfortunately, however, the wealth of ecclesiastical heirlooms and its rare library are scarcely preserved today.
The monastery celebrates on August 15, the Assumption of the Virgin Mary. In recent years, after significant initiatives by local actors and other actors, the necessary money has been found and the monastery has been renovated and exploited, gathering crowds of pilgrims from all over Greece.
When the monks moved the border in 1831
The following incident is also impressed: After the Greek State was founded in 1831, Karytsa (the village under the monastery) and Belekomytis were found outside the Greek border because they were established on the river Karytsiotis, and these two villages are afterwards River. Then the monks, along with the inhabitants of the two villages, arbitrarily moved the borders and placed them after the monastery, on the plateau of Karamanolis.
In order to be irreplaceable, one must always be different.
(Coco Chanel)
Macro MADEMOISELLE - Food
PSP**** Prise SurPrise!! - fruit
7 Days with Flickr - Monday: free theme
(photo by Freya)
The farmer at Catholme has been busy with his plough, and the deep futons provide a perfect lead-in to the presence of the passing GBRf Class 66/7 No. 66704 'Colchester Power Signalbox' heading north with 4M19 1150 Southampton western Docks - East Midlands Gateway on 29th March 2021. Hanson's gravel extraction facility forms the backdrop. Copyright Photograph John Whitehouse - all rights reserved
The Desert Wildflower:
She doesn't question if she "belongs" or "fits in."
She doesn't look around to see who is watching.
She doesn't shrink herself to fit into the mold of the masses.
She just grows.
She shows up anyways.
She does what she knows how to do.
Unapologetically.
And, it is enough.
♡
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Early morning views & Desert 4 O'Clocks (Mirabilis multiflora) at Red Rock Canyon National Conservation Area, NV.
Leading Ivatt ‘2MT’ 2-6-2T no.41241, in original KWVR red livery, Stanier designed '5MT' 4-6-0 no.45407 'The Lancashire Fusilier’ heads through Oakworth station with the returning goods consist. Ex LNER Grafton Cranes of Bedford, built in 1945 for the LNER and operated at Wakefield and York, stand in the sidings.
A different kind of wildlife! The street art in San Nicolas is amazing and makes a visit there a "must see" if in Aruba!!
Santa Cecilia e storie della sua vita è un dipinto a tempera e oro su tavola (85x181 cm) del Maestro della Santa Cecilia, databile a dopo il 1304 e conservato nella Galleria degli Uffizi a Firenze.
L'opera, un dossale d'altare tra i più significativi della scuola fiorentina del Trecento, proviene dalla distrutta chiesa di Santa Cecilia a Firenze. Giovanni Villani ricorda come l'edificio fu ricostruito dopo un disastroso incendio nel 1304, e l'opera deve risalire a un periodo immediatamente successivo, quando Giotto era ancora in vita e quello che è stato indicato come "Maestro della Santa Cecilia" proprio a partire da questa tavola (Cavalcaselle e Frey), era uno dei suoi più stretti collaboratori, autore anche di alcune delle Storie di san Francesco ad Assisi. In Santa Cecilia l'opera venne vista dal Vasari, che la attribuì a Cimabue.
La pala mostra al centro, in tutta la sua figura, Santa Cecilia in trono. Evidenti sono i rimandi in questa rappresentazione alle coeve novità di Cimabue e Giotto, infatti il trono è già in prospettiva intuitiva, e ha un traforo sui lati, a mo' di ciborio, come compare poi, anni dopo, anche nella Maestà di Ognissanti di Giotto. Essa tiene in mano la palma del martirio e un libro ed ha un'espressione sorridente. La sua figura, a differenza dei personaggi stilizzati nell Storie, è plastica e massiccia, quasi dilatata come nelle migliori opere giottesche.
Ai lati si trovano, in due gruppi simmetrici, otto storie della sua vita, secondo uno schema che affonda le radici nell'arte duecentesca. Si leggono da sinistra a destra, dall'alto in basso, prima nella metà sinistra e poi in quella destra:
Banchetto di nozze di santa Cecilia e san Valeriano
Santa Cecilia converte san Valeriano
San Valeriano incoronato da un angelo
Santa Cecilia predica a san Valeriano e san Tiburzio
Battesimo di san Tiburzio
Santa Cecilia che predica pubblicamente
Santa Cecilia davanti al prefetto
Martirio di santa Cecilia
Le storie ricordano il casto matrimonio tra Cecilia e Valeriano, la loro partecipazione attiva al Cristianesimo e l'arresto e martirio della santa. Mancano attributi che rimandino al patronaggio della musica da parte della santa, poiché legati a un culto che si diffuse solo nel XVI secolo.
Le scene sono caratterizzate da un realismo minuto, con un'attenzione preponderante ai fondali architettomnici e alla collocazione delle figure nello spazio, come in una riduzione in scala degli affreschi di Assisi. L'intuitività della prospettiva è testimoniata ad esempio nella scena del Banchetto, in cui il tavolo è scorciato in maniera diversa dalla stanza. Le figurette invece appaiono ancora legate alla scuola bizantina, con proporzioni allungate e atteggiamenti convenzionali, nonostante una certa vivacità in alcune scene.
Smile on Saturday theme: Crazy Couples
Goats in an ethnographical homestead of the fisherman near the Klaipeda seaport
A different view on the bridge here.
Many thanks to my friend grantthai for bringing me to very interesting locations around Bangkok (despite of all the chaotic traffic jams!). We had a great photo shooting day!
Please have a look at the whole Thailand Set.
Always looking for a different spin on classic photo locations. This is the Yasaka Shrine in Kyoto Japan. Popular spot for night photography, for obvious reasons. Very hard to do anything original. I found this single lantern hanging at the corner of another structure nearby. I knew I could line up the small lantern, the cool old fence, and the shrine, it was just a matter of finding the right lens a zoom combo to make it work. The Bonus was that you are not supposed to use a tripod at Yasaka, but where this was shot was far enough form the shrine that a tripod was back on the table.
Let me know what you think.
I had something different in mind for this shoot, but between the weather yesterday and certain issues it turned into this! I still like this different outcome, though :) And you probably can't tell, but it was one of the most painful shoots I've done yet, haha.
In three days I'll be flying out to be reunited with my bestie and I couldn't be any more excited! Look forward to a bunch of photos from that trip! :)
Also, I forgot to mention in the last description that there's a new blog post up, check it out! :)
Hope you're all having a wonderful day, love you guys!! *huug*
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I'm standing
on the edge of a precipice and
the ground under my feet
is burning
your steps
and my cheeks
are burning
and then you touch
my arms
are burning
and you kiss again
my lips
are burning until red-hot
after that you touch
differently
and I'm burning
wholly
some day
I know
I won't rise from the ashes
Decided to dust off the Lensbaby Velvet 56. for something a bit different. Actually had this in a little pot still flowering after all the snow and frost but protected.
Différente,
Solitaire,
Le nez au vent
Tu n’as que faire
De la foule
Et de ses manières,
De qui dit quoi
Sur cette terre,
Où chacun court
A ses affaires,
Indifférent
Et solitaire….
Aimer,
Voilà ce qu’il faut faire !