View allAll Photos Tagged obsequios
Camara y Pelicula Obsequio de Ricardo Ruiz de Porrás (www.flickr.com/photos/gone_pixin/)
San Juan, Puerto Rico
Mi Galeria en B&N www.flickr.com/photos/samycollazo
Mi Nueva galeria www.flickr.com/photos/scollazo/
Fuji Superia 200
Yashica Electro 35 GSN
Yashinon Color DX F:1.7
Lightroom 3
Color Efex 4
Camara y Pelicula Obsequio de Ricardo Ruiz de Porrás (www.flickr.com/photos/gone_pixin/)
San Juan, Puerto Rico
Mi Galeria en B&N www.flickr.com/photos/samycollazo
Mi Nueva galeria www.flickr.com/photos/scollazo/
Fuji Superia 200
Yashica Electro 35 GSN
Yashinon Color DX F:1.7
Lightroom 3
Color Efex 4
Operador: Azul Conecta
Local: Aeroporto Internacional Santa Genoveva Goiânia - SBGO
©2020 Icaro Roberto | All Rights Reserved | Please do not use this image without my written permission
©2020 Icaro Roberto | Todos os Direitos Reservados | Obséquio não usar esta imagem sem permissão.
Contato: icarorfalves@gmail.com
© 2016 Marcio Souza Photography | All Rights Reserved | Please do not use this image without my written permission ©2016 Marcio Souza Photography | Todos os Direitos Reservados | Obséquio não usar esta imagem sem permissão.
©2014 Marcio Souza Photography | All Rights Reserved | Please do not use this image without my written permission ©2014 Marcio Souza Photography | Todos os Direitos Reservados | Obséquio não usar esta imagem sem permissão.
Operador: LATAM Airlines
Local: Aeroporto Internacional Santa Genoveva Goiânia - SBGO
©2019 Icaro Roberto | All Rights Reserved | Please do not use this image without my written permission
©2019 Icaro Roberto | Todos os Direitos Reservados | Obséquio não usar esta imagem sem permissão.
Contato: icarorfalves@gmail.com
Esta Brownie fue un obsequio de Jose www.flickr.com/photos/joseangomez/
San Juan, Puerto Rico
Mi galeria en Color www.flickr.com/photos/samycolor
Mi Galeria en B&N www.flickr.com/photos/samycollazo
Kodak Trix 400 6x6
Kodak D-76 1:2
Kodak Brownie Hawkeye
Kodak 80mm F:16
Lightroom 3
Silver Efex Pro
© 2016 Marcio Souza Photography | All Rights Reserved | Please do not use this image without my written permission ©2016 Marcio Souza Photography | Todos os Direitos Reservados | Obséquio não usar esta imagem sem permissão.
Se puede visitar el recinto pasando en primer lugar por la almazara, modernizada, ya que data del año 1934. Continúa el recorrido por la sala de mapas del Archiduque, donde además de la cartografía encontraremos fotografías y grabados de interés. Pasamos al jardín, dentro del cual destaca el fragmento del claustro procedente del convento gótico de Santa Margalida de Palma (desamortizado en el siglo XIX) formado por diecisiete arcos góticos trifoliados, sostenidos por diecinueve columnas cuadrilobuladas, con capiteles con ornamentación vegetal. El Archiduque en el Die Balearen nos habla de él diciendo: "Espléndido era el antiguo claustro del convento, que fue derribado durante la primera mitad del año 1866; tres partes de este patio provenían de siglos posteriores al XIII; una parte antigua, del siglo XIII, fue conservada por don Pere de Alcàntara Penya y ahora está colocada en Miramar".
En la entrada de la fachada del noreste, se encuentran las columnas medievales de la época de Ramón Llull (1276) y el portal de medio punto. La fachada presenta un bello esgrafiado de la época del Archiduque, imitando el modelo de una casa de Establiments. Ya en el interior, encontramos el vestíbulo, la antigua entrada con obras de Bugia, la cocina de los monjes y fragmentos auténticos del barco del Archiduque, el Nixe II. A la derecha de la entrada se encuentra la sala que acoge el cenotafio de Vivorny, primer secretario del Archiduque. Es una escultura romántica de medida natural, hecha de mármol, que data del año 1879, obrada por el escultor milanés Antonio Tantardini.
La sala del beato Ramón Llull, fundador de Miramar, muestra diversas figuras representativas de su trayectoria. La fachada suroeste presenta un espléndido esgrafiado, además del portal de arco de medio punto y la torre de defensa, de sección cuadrada, a la izquierda. Diversas lápidas recuerdan la existencia de la primera imprenta en Mallorca.
A la salida de la casa, nos dirigimos por el paseo de poniente hasta el mirador, con bellas vistas al mar, y al jardín de la Torre del Moro, con el estanque italiano del Archiduque (1872), con hidrias de mármol, y el portalillo gótico procedente de Can Burguès, de Palma. En el margen inferior, podemos observar dos arriates que dibujan sendas estrellas de nueve puntas, las cuales recuerdan las figuras del ars combinandi luliano. El jardín está limitado por muros coronados por almenas. Desde aquí, obtendremos una de las visitas más encantadoras de la capilla del Beato Ramón Llull, inaugurada en 1877; lamentablemente, desde el año 1975 está en ruinas, por el efecto de un rayo.
Desde el jardín de la Torre del Moro volvemos a subir hasta las casas, al norte de las cuales se encuentra el Jardín de los Cipreses, donde se encuentran unos bancos en forma de cruz lobulada, lugar ocupado antiguamente por la capilla del siglo XIII. Finalmente acabaremos la visita en la capilla, reconstruida por Bartomeu Ferrà a partir de los restos de una de las capillas laterales de la primitiva iglesia del colegio luliano. Fue bendecida el 29 de junio de 1873. Destaca el retablo, en forma de tríptico, presidido por la Santísima Trinidad, flanqueado por Ramón Llull, a la izquierda, y santa Catalina Tomàs, a la derecha. La pintura central es antigua, del siglo XVI, mientras que los laterales son del maestro alemán Steille. A la izquierda del retablo, se encuentra el tabernáculo neogótico, diseñado por F. Waschmann y obrado en piedra de Felanitx por el escultor Antoni Vaquer. En el interior acogía una Virgen de plata, regalada por el Papa Pío IX al Archiduque. Encontramos también un relicario en forma de cruz de madera negra donde van encastadas las reliquias.
A la derecha del retablo encontramos la imagen de la Virgen denominada "Notre Dame de la Garde", obsequio de la emperatriz Sisí de Austria al Archiduque tras sus visitas a Miramar de diciembre de 1892 y febrero de 1893. También hay un relicario en forma de arca, decorada con pinturas de Maixner, que contenía, además de las reliquias, unas figuras de los evangelistas y una carta de santa Teresa de Jesús. Son finalmente destacables las estaciones del viacrucis colgadas a media altura por las paredes de la capilla, hechas en París por Pousielgue Rusand.
Un poco de historia sobre esta possessió
El origen de las casas de Miramar debe situarse durante la época pre-catalana, ya que se tiene constancia de que en la época musulmana fue una alquería llamada Alcorayola. En el año 1276 Ramón Llull fundó en Miramar un colegio de lenguas orientales, en el cual trece frailes franciscanos se preparaban para predicar el evangelio y el arte luliano a los musulmanes. Desaparecida la institución, arraigó en Miramar el espíritu ermitaño. En 1485 actúa en Miramar la primera imprenta de Mallorca, regentada por Nicolau Calafat.
En 1685 la finca pasó a manos del obispo de Oropí, Ramón Sureda, quien la legó a su sobrina, Magdalena Sureda, y ésta a su hijo, Marc Antoni Cotoner i Sureda, marqués de Ariany, quien poseía Miramar en 1745. Por decreto de las Cortes de Cádiz, en 1812, la posesión fue subastada y la compró Gabriel Amengual, el cual traspasó la propiedad al médico Marià Morell, hacia 1836. Éste, derrumbó en buena parte el edificio del Colegio y la iglesia medievales, que se encontraban en ruinas. Después, la finca pasó a Joan Serra, de sa Pobla. En 1872, el Archiduque Luís Salvador de Habsburg-Lorena, adquirió la finca y la reformó. A la muerte del Archiduque (1915) la finca pasó al que fue su secretario, Antoni Vives, que no la retuvo demasiado tiempo, ya que murió en 1918. Entonces, la propiedad recayó en su hija, Lluïsa Vives Ripoll, esposa del pintor Antoni Ribas Prats. Actualmente, la posesión pertenece a Silvia Vives, hija del pintor y de Lluïsa Vives.
(Wikipedia)
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El pasado 25 de mayo fue mi cumpleaños y recibí este modesto obsequio jeje =)
¡¡ Gracias mamá !!
On May 25 was my birthday and I got this humble gift. Thanks Mom !!!
MacBook Pro 15" 2.4 GHz - MacTilda
© 2016 Marcio Souza Photography | All Rights Reserved | Please do not use this image without my written permission ©2016 Marcio Souza Photography | Todos os Direitos Reservados | Obséquio não usar esta imagem sem permissão.
Twitter: @brobphoto
Cuantas más veces visito Valparaiso, más me gusta. No conseguía entender como una ciudad que recibe al visitante con suciedad y deterioro podía ser considerada Patrimonio Histórico de la Humanidad, pero cada rincón pintoresco que descubro, cada nuevo lugar visitado empiezo a comprender.
Hoy descubrí en la avenida Brasil, esta reducida réplica del Arco del Triunfo parisino. No he conseguido mucha información sobre éste más de lo que indican sus inscripciones, "obsequio de la colonia británica en el 425 aniversario del descubrimiento de Valparaiso" y el nombre de su arquitecto, Alfredo Azancot. Espero que algún amante porteño, pueda arrojar un poco de luz y nos dé un poco más de información.
The more times I visit Valparaiso, more I like it. I was not understanding how a city that receives the visitor with dirt and deterioration could be considered Historical Patrimony of the Humanity, but every picturesque corner I discover, every new visited place, I start realising.
Today I discovered, at Brazil Avenue, this small reply of the Parisian Triumph Arch. I did not find a lot of information about it, more than it's indicated on itself, "From British colony in 425th anniversary of Valparaiso discovery" and the name of its architect, Alfredo Azancot. I hope some Valparaiso lover, could throw some light giving us a bit more of information.
Esta Brownie fue un obsequio de Jose www.flickr.com/photos/joseangomez/
San Juan, Puerto Rico
Mi galeria en Color www.flickr.com/photos/samycolor
Mi Galeria en B&N www.flickr.com/photos/samycollazo
Kodak Trix 400 6x6
Kodak D-76 1:2
Kodak Brownie Hawkeye
Kodak 80mm F:16
Lightroom 3
Silver Efex Pro
©2016 Marcio Souza Photography | All Rights Reserved | Please do not use this image without my written permission ©2016 Marcio Souza Photography | Todos os Direitos Reservados | Obséquio não usar esta imagem sem permissão.
San'en-zan Zōjō-ji (三縁山増上寺) is a Jōdo-shū Buddhist temple in Tokyo, Japan. It is the main temple of the Jōdo-shū ("Pure Land") Chinzei sect of Buddhism in the Kantō region,.
Zōjō-ji is notable for its relationship with the Tokugawa clan, the rulers of Japan during the Edo period, with six of the Tokugawa shōguns being buried in the Taitoku-in Mausoleum in the temple grounds. Also, the temple's Sangadetsumon (main gate) is the oldest wooden building in Tokyo, dating from 1622. The original buildings, temples, mausoleums and the cathedral were destroyed by fire, natural disasters or air raids during World War II.
It is located in the Shiba neighborhood of Minato. The Shiba Park is built around the temple, with the Tokyo Tower standing beside it. In 2015 a Treasure Gallery was opened on the underground level of the Daiden (great hall), and it currently houses paintings of Kanō Kazunobu and a model of the Taitoku-in Mausoleum.
Sentai Kosodate Jizō (Unborn Children Garden)
In one particular garden at the cemetery, rows of stone statues of children represent unborn children, including miscarried, aborted, and stillborn children. Parents can choose a statue in the garden and decorate it with small clothing and toys. Usually the statues are accompanied by a small gift for Jizō, the guardian of unborn children, to ensure that they are brought to the afterlife. Occasionally stones are piled by the statue; this is meant to ease the journey to the afterlife.
There is no admission fee for visitors to enter the temple complex. For the Treasure Gallery museum the access fee is (as of 2017, 700 yen).
The entrance is at a 10-minute walk from Hamamatsucho Station on the JR Yamanote and Keihin-Tōhoku Lines, a 6-minute walk from Daimon Station on the Toei Asakusa and Toei Oedo Lines, a 3-minute walk from Onarimon and Shibakoen Stations on the Toei Mita Line, and about 500 meters from the Shibakoen exit of the Shuto Expressway.
While not immediately obvious, the temple grounds are somewhat wheelchair accessible if entering from the side street instead of the main gate.
en.wikipedia.org/wiki/Z%C5%8Dj%C5%8D-ji
San'en-zan Zōjō-ji (三 縁 山 増 上 寺) es un templo budista Jōdo-shū en Tokio, Japón. Es el templo principal de la secta del budismo Jōdo-shū ("Tierra pura") Chinzei en la región de Kantō,
Zōjō-ji es notable por su relación con el clan Tokugawa, los gobernantes de Japón durante el período Edo, con seis de los shōguns Tokugawa enterrados en el Mausoleo Taitoku-in en los terrenos del templo. Además, el Sangadetsumon (puerta principal) del templo es el edificio de madera más antiguo de Tokio, que data de 1622. Los edificios originales, templos, mausoleos y la catedral fueron destruidos por incendios, desastres naturales o ataques aéreos durante la Segunda Guerra Mundial.
Está ubicado en el barrio Shiba de Minato. El Parque Shiba está construido alrededor del templo, con la Torre de Tokio al lado. En 2015 se abrió una Galería del Tesoro en el nivel subterráneo del Daiden (gran salón), y actualmente alberga pinturas de Kanō Kazunobu y un modelo del Mausoleo Taitoku-in.
Sentai Kosodate Jizō (Jardín de niños por nacer)
En un jardín en particular en el cementerio, filas de estatuas de piedra de niños representan a los niños por nacer, incluidos los niños abortados, abortados y nacidos muertos. Los padres pueden elegir una estatua en el jardín y decorarla con ropa y juguetes pequeños. Por lo general, las estatuas van acompañadas de un pequeño obsequio para Jizō, el guardián de los niños por nacer, para asegurarse de que sean llevados al más allá. Ocasionalmente, la estatua amontona piedras; esto está destinado a facilitar el viaje a la otra vida.
No hay tarifa de admisión para que los visitantes ingresen al complejo del templo. Para el museo Treasure Gallery, la tarifa de acceso es (a partir de 2017, 700 yenes).
La entrada se encuentra a 10 minutos a pie de la estación Hamamatsucho de las líneas JR Yamanote y Keihin-Tōhoku, a 6 minutos a pie de la estación Daimon de las líneas Toei Asakusa y Toei Oedo, a 3 minutos a pie de las estaciones Onarimon y Shibakoen en la línea Toei Mita, ya unos 500 metros de la salida Shibakoen de la autopista Shuto.
Si bien no es obvio de inmediato, los terrenos del templo son accesibles para sillas de ruedas si se ingresa desde la calle lateral en lugar de la puerta principal.
Mi querido Homero, poniendo cara tierna para que santa le traiga obsequios- Mi dear Homero with pretty face, waiting Santan Clause
Un huevo de Fabergé es una de las sesenta y nueve joyas creadas por Carl Fabergé y sus artesanos de la empresa Fabergé para los zares de Rusia, así como para algunos miembros de la nobleza y la burguesía industrial y financiera, entre los años 1885 y 1917. Los huevos se consideran obras maestras de la joyería.
La fiesta más importante del calendario de la Iglesia ortodoxa rusa es la Pascua. Se celebra con tres besos y el intercambio de huevos de Pascua. Por lo que respecta a los huevos imperiales de Fabergé, estos comenzaron a fabricarse en 1885 cuando el zar Alejandro III encargó un huevo de Pascua para su esposa, la emperatriz María Fiódorovna. El huevo recordaba a la patria de la emperatriz, Dinamarca, ya que el joyero se había inspirado en un huevo de pascua que se encontraba en las colecciones reales danesas y tanto agradó a la zarina que el zar ordenó que Peter Carl Gustávovich Fabergé fabricara un huevo de Pascua cada año para la zarina, estipulando solamente que el huevo fuese único y que encerrase una sorpresa.
También en 1885 Fabergé fue nombrado proveedor oficial de la corte imperial rusa. El joyero y su equipo de orfebres y artesanos, entre ellos maestros joyeros como el ruso Michael Perkhin y los finlandeses Henrik Wigström y Erik August Kollin, diseñaron y confeccionaron huevos de Pascua durante once años más para Alejandro III de Rusia hasta que este falleció, continuando su hijo y sucesor Nicolás II con la tradición. Estos proyectos se convirtieron en prioridad absoluta de la compañía y fueron planeados y trabajados con un año o más de antelación: la sorpresa que contenía el huevo se mantenía siempre en secreto.
Para el diseño de los huevos imperiales Fabergé se inspiró en distintos estilos artísticos europeos, como el Barroco, el Rococó, el Neoclásico o el Modernista, así como en obras de arte que contempló durante sus estancias y viajes por Europa. Había huevos creados para conmemorar acontecimientos tales como la coronación del zar Nicolás II, la terminación del ferrocarril Transiberiano, así como para celebrar aniversarios importantes. Otros huevos guardaban en su interior el yate imperial Standart, la catedral de Uspensky, el palacio de Gátchina o el palacio Alejandro, por citar unos ejemplos.
De los 69 huevos que hizo en total la Casa Fabergé para los zares, la aristocracia y la élite industrial y financiera, se conservan 61. Se conocen cincuenta y dos huevos imperiales, cuarenta y cuatro de los cuales se han localizado hoy, entre ellos los dos últimos de 1917 que nunca fueron entregados ni terminados a causa de la Revolución rusa, destacando el huevo de la constelación del Zarévich. Los restantes 8 huevos imperiales se consideran perdidos o desaparecidos (Stalin ordenó venderlos para recaudar fondos1); dos se conocen solamente por haber sido fotografiados en primer plano, otros tres se han descubierto en 2007, dos de ellos en una foto tomada a una vitrina de la zarina María Fiódorovna, donde aparece el tercer huevo imperial (este huevo fue recientemente descubierto y será rematado)2 y el huevo con querubín y carruaje, este último quedó reflejado en el cristal de la misma, en cuanto al huevo del neceser figura en una fotografía de la joyería Wartski, Londres, en la parte inferior de una vitrina. No se tiene ningún documento visual de los otros tres.
Otros siete huevos de Pascua fueron encargados por Alejandro Ferdinándovich Kelch, dueño de minas de oro en Siberia, para su esposa Bárbara. Asimismo personajes de la época como Alfred Nobel, el Príncipe Yusúpov, los duques de Marlborough entre otras personas de categoría no imperial encargaron los suyos, sumando un total de ocho huevos. Sin embargo, la colección imperial de huevos de Pascua encargada por los dos últimos zares rusos es la más famosa.
Entre los materiales usados por Fabergé figuran metales como el oro, platino, plata, cobre, níquel, paladio y acero, los cuales fueron combinados en distintas proporciones con el fin de conseguir diferentes colores para la "cáscara" del huevo.
Otra técnica usada por Fabergé fue la conocida como guilloché, un tratamiento de grabado superficial sobre metal que consiste en hacer ondas, estrías o cualquier otro dibujo, de un modo repetitivo y simétrico, que se podía realizar a máquina o a mano. Fabergé se mostraba orgulloso de que todas las materias primas que se empleaban en su taller provenían de distintas partes de Rusia. Muchos huevos incluían minerales como el jaspe, la malaquita, la rodonita, el cristal de roca, el ágata, la aventurina, el lapislázuli y el jade (nefrita sobre todo, aunque usaba a veces la jadeíta). El huevo de 1917, destinado a la zarina María Fyodorevna, estaba realizado en madera de abedul de Karelia.
Las piedras preciosas, incluyendo los zafiros, los rubíes y las esmeraldas, fueron utilizadas para la decoración de los huevos y/o la sorpresa que contenían. Cuando se usaban era en la talla conocida como cabujón (corte redondo). En cuanto al tipo de talla empleada para los diamantes, era la típica talla rosa. Por otra parte también se emplearon piedras semipreciosas como las piedras de luna, los granates, los olivinos y las piedras de Mecca, usadas más a menudo en la talla cabujón.
La fuente primaria de inspiración de Fabergé venía de los trabajos de siglos anteriores. El esmalte translúcido era una técnica muy valorada en el siglo XIX, que requería de varias capas de esmalte que se secaban en un horno después de aplicar cada capa. Sin embargo, durante el siglo XIX se disponía solamente de una limitada gama de colores, de modo que Fabergé experimentó y pronto aumentó su paleta de colores hasta lograr más de 140 tonalidades diferentes. El más apreciado fue el esmalte de ostra, el cual variaba de color dependiendo de la luz.
La Casa Fabergé fabricó, entre otros tantos objetos decorativos, accesorios para escritorio y joyas y muchos más huevos de Pascua, pero los más célebres son los que a continuación se detallan.
es.wikipedia.org/wiki/Huevo_de_Fabergé
www.san-petersburgo.net/museo-faberge/
A Fabergé egg (Russian: Яйца Фаберже́, yaytsa faberzhe) is a jewelled egg (possibly numbering as many as 69, of which 57 survive today) created by the House of Fabergé, in St. Petersburg, Imperial Russia. Virtually all were manufactured under the supervision of Peter Carl Fabergé between 1885 and 1917, the most famous being the 52 "Imperial" eggs, 44 of which survive, made for the Russian Tsars Alexander III and Nicholas II as Easter gifts for their wives and mothers.
The first Fabergé egg was crafted for Tsar Alexander III, who had decided to give his wife, the Empress Maria Feodorovna, an Easter egg in 1885, possibly to celebrate the 20th anniversary of their betrothal. Although there is no official record of the Tsar's inspiration for it, many believe that he was moved by an egg owned by the Empress's aunt, Princess Vilhelmine Marie of Denmark, which had captivated Maria's imagination in her childhood and of which the Tsar was well aware. Known as the Hen Egg, the very first Fabergé egg is crafted from a foundation of gold. Its opaque white enameled "shell" opens to reveal a matte yellow-gold yolk. This in turn opens to reveal a multicolored gold hen that also opens. The hen contained a minute diamond replica of the imperial crown from which a small ruby pendant was suspended, but these last two elements have been lost.
Maria was so delighted by the gift that Alexander appointed Fabergé a "goldsmith by special appointment to the Imperial Crown" and commissioned another egg the next year. After that, Peter Carl Fabergé was apparently given complete freedom for the design of future imperial Easter eggs, and their designs became more elaborate. According to Fabergé family lore, not even the Tsar knew what form they would take—the only requirements were that each contain a surprise, and that each be unique. Once Fabergé had approved an initial design, the work was carried out by a team of craftsmen, among them Michael Perkhin, Henrik Wigström and Erik August Kollin.
After Alexander III's death on 1 November 1894, his son, Nicholas II, presented a Fabergé egg to both his wife, Alexandra Fedorovna, and his mother, the Dowager Empress Maria Fedorovna. Records have shown that of the 50 imperial Easter eggs, 20 were given to the former and 30 to the latter. Eggs were made each year except 1904 and 1905, during the Russo-Japanese War.
The imperial eggs enjoyed great fame, and Fabergé was commissioned to make similar eggs for a few private clients, including the Duchess of Marlborough, the Rothschild family and the Yusupovs. Fabergé was also commissioned to make twelve eggs for the industrialist Alexander Kelch, though only seven appear to have been completed.
Following the revolution and the nationalization of the Fabergé workshop in St. Petersburg by the bolsheviks in 1918, the Fabergé family left Russia. The Fabergé trademark has since been sold several times and several companies have retailed egg-related merchandise using the Fabergé name. The Victor Mayer jewelry company produced limited edition heirloom quality Fabergé eggs authorized under Unilever's license from 1998 to 2009. The trademark is now owned by Fabergé Limited, which makes egg-themed jewellery.
In 2015 the owners of this trademark announced the creation of a new "Fabergé" egg, one styled by them as belonging to the "Imperial Class" of eggs and therefore the first Imperial-Class egg in 100 years: the Fabergé Pearl egg is to be sold in Qatar following a five-day exhibition some time in 2017. A spokesperson for the brand said it expected the egg to fetch at least two million US dollars, possibly much more. Despite its designation as "Imperial", it has no connection to Imperial Russia and instead has become closely tied to wealthy Arab ruling families of various Gulf Nations.[4] Its motif has been described as "scalloped", but the patterns of its curves and lines are also clearly derived from the girih and arabesque of Islamic interlace patterns, and each of its six vertical segments includes a stylized pointed dome and associated pendentives reminiscent of the onion dome and ceiling of an Arabic mosque.
en.wikipedia.org/wiki/Fabergé_egg
Peter Carl Fabergé, conocido también como Karl Gustavovich Fabergé (en ruso, Карл Густавович Фаберже) (30 de mayo de 1846, San Petersburgo, Rusia – 24 de septiembre de 1920, Lausana, Suiza), fue un joyero ruso. Es considerado uno de los orfebres más destacados del mundo, que realizó 69 huevos de Pascua entre los años 1885 a 1917, 61 de ellos se conservan.
En 1870 pasa a ser el responsable de la empresa familiar de joyería en San Petersburgo. Con una excelente reputación como diseñador, trabaja con piedras preciosas y metales, y realiza diseños de diferentes estilos como ruso antiguo, griego, renacentista, barroco, Art Nouveau, naturalista y caricaturesco.
Sus obras fueron expuestas en la Exposición Panrusa de Moscú de 1882 y recibieron la medalla de oro. Recibió el nombramiento de orfebre y joyero de la Corte Imperial Rusa y de otras muchas monarquías europeas. Fabricó joyas con forma de huevos de Pascua de oro y esmalte, animales en miniatura, cálices, bomboneras y otros objetos
Para la Pascua de 1885, el zar Alejandro III le encargó al orfebre Peter Carl Fabergé la construcción de un huevo para regalarle a su mujer, la zarina María. El regalo consistió en un huevo con cáscara de platino que contenía dentro uno más pequeño de oro. Al abrirse este último, se encontraba una gallina de oro en miniatura que tenía sobre su cabeza una réplica de la corona imperial rusa. Este particular Huevo de Pascua le gustó tanto a la emperatriz que el zar le ordenó a Fabergé que realizara uno nuevo para cada Pascua.
Once fueron en total los huevos que Alejandro III le regaló a su mujer. Luego, su hijo Nicolás II continuó con esta tradición y mandó realizar otros para regalarle a su mujer y a su madre. Los 57 huevos que confeccionó la casa Fabergé tenían en su interior algún obsequio, réplica en miniatura de una de las pertenencias de los zares.
La Revolución rusa acabó con la firma.
Desde la Segunda Guerra Mundial han salido a subasta seis de estas obras de arte. En noviembre de 1994 el Winter Egg (creado en 1913, y que se creía perdido hasta 1984) alcanzó los 5.600.000 dólares.
Recientemente (28 de noviembre de 2007) un huevo fabricado por Fabergé para la familia de banqueros Rothschild, alcanzó en subasta el precio récord de 18 millones de dólares.
es.wikipedia.org/wiki/Peter_Carl_Fabergé
www.san-petersburgo.net/museo-faberge/
Peter Carl Fabergé, also known as Karl Gustavovich Fabergé (Russian: Карл Гу́ставович Фаберже́, Karl Gustavovich Faberzhe; 30 May 1846 – 24 September 1920), was a Russian jeweller best known for the famous Fabergé eggs made in the style of genuine Easter eggs, but using precious metals and gemstones rather than more mundane materials. He was the founder of the famous jewelry legacy House of Fabergé.
Peter Carl Faberge was born in Saint Petersburg, Russia, to the Baltic German jeweller Gustav Fabergé and his Danish wife Charlotte Jungstedt. Gustav Fabergé's paternal ancestors were Huguenots, originally from La Bouteille, Picardy, who fled from France after the revocation of the Edict of Nantes, first to Germany near Berlin, then in 1800 to the Pernau (today Pärnu)[2] Baltic province of Livonia, then part of Russia, now Estonia.
Until he was 14 years old he went to the German St Anne School in Saint Petersburg, Russia.[citation needed] In 1860 his father retired from his jewelry business and moved with his family to Germany. He left the House of Fabergé in Saint Petersburg in the hands of his business partner. Carl Fabergé undertook a course at the Dresden Arts and Crafts School. In 1862 Agathon Fabergé, the Fabergés' second son, was born in Dresden, Germany, where he went to school as well.
In 1864, Peter Carl Fabergé embarked upon a Grand Tour of Europe. He received tuition from respected goldsmiths in Germany, France and England, attended a course at Schloss's Commercial College in Paris, and viewed the objects in the galleries of Europe's leading museums.
His travel and study continued until 1872, when at the age of 26 he returned to St. Petersburg and married Augusta Julia Jacobs. 1874 saw the arrival of his first child, Eugene Fabergé and two years later, Agathon Fabergé was born; Alexander Fabergé and Nicholas Fabergé followed in 1877 and 1884 respectively. For the following 10 years, his father's trusted workmaster Hiskias Pendin acted as his mentor and tutor. The company was also involved with cataloguing, repairing, and restoring objects in the Hermitage during the 1870s. In 1881 the business moved to larger street-level premises at 16/18 Bolshaya Morskaya.
Upon the death of Hiskias Pendin in 1882, Carl Fabergé took sole responsibility for running the company. Carl was awarded the title Master Goldsmith, which permitted him to use his own hallmark in addition to that of the firm. In 1885 his brother Agathon Fabergé joined the firm and became Carl Faberge's main assistant in the designing of jewelry.[3]
Carl and Agathon Fabergé Sr. were a sensation at the Pan-Russian Exhibition held in Moscow in 1882. Carl was awarded a gold medal and the St. Stanisias Medal. One of the Fabergé pieces displayed was a replica of a 4th-century BC gold bangle from the Scythian Treasure in the Hermitage. The Tsar, Alexander III, "Emperor and Autocrat of all the Russians", declared that he could not distinguish the Fabergé's work from the original and ordered that objects by the House of Fabergé should be displayed in the Hermitage as examples of superb contemporary Russian craftsmanship. The House of Fabergé with its range of jewels was now within the focus of Russia's Imperial Court.
When Peter Carl took over the House, there was a move from producing jewellery in the then-fashionable French 18th century style to becoming artist-jewellers. Fabergé's production of the very first so-called Fabergé egg, the Hen Egg, given as a gift from the Tsar to his wife Maria Fyodorovna on Orthodox Easter (24 March) of 1885 so delighted her that on 1 May the Emperor assigned Fabergé the title Goldsmith by special appointment to the Imperial Crown of that year. This meant that Fabergé now had full personal access to the important Hermitage Collection, where he was able to study and find inspiration for developing his unique personal style. Influenced by the jewelled bouquets created by the eighteenth century goldsmiths Jean-Jacques Duval and Jérémie Pauzié, Fabergé re-worked their ideas combining them with his accurate observations and his fascination for Japanese art. This resulted in a revival of the lost art of enameling and a focus on the setting of every single gemstone in a piece to its best visual advantage. Indeed, it was not unusual for Agathon to make ten or more wax models so that all possibilities could be exhausted before deciding on a final design. Shortly after Agathon joined the firm, the House introduced objects deluxe: gold bejewelled items embellished with enamel ranging from electric bell pushes to cigarette cases and including objects de fantaisie.
In light of the Empress' response to receiving one of Fabergé's eggs on Easter, the Tsar soon commissioned the company to make an Easter egg as a gift for her every year thereafter. The Tsar placed an order for another egg the following year. Beginning in 1887, the Tsar apparently gave Carl Fabergé complete freedom with regard to egg designs, which then became more and more elaborate. According to Fabergé Family tradition, not even the Tsar knew what form they would take— the only stipulation was that each one should be unique and each should contain a surprise. Upon the death of Alexander III, his son, the next Tsar, Nicholas II, followed this tradition and expanded it by requesting that there be two eggs each year, one for his mother (who was eventually given a total of 30 such eggs) and one for his wife, Alexandra (who received another 20). These Easter gift eggs are today distinguished from the other jeweled eggs Fabergé ended up producing by their designation as "Imperial Easter eggs" or "Tsar Imperial Easter eggs". The tradition continued until the October Revolution when the entire Romanov dynasty was executed and the eggs and many other treasures were confiscated by the interim government. The two final eggs were never delivered nor paid for.
Although today the House of Fabergé is famed for its Imperial Easter eggs, it made many more objects ranging from silver tableware to fine jewelry which were also of exceptional quality and beauty, and until its departure from Russia during the revolution, Fabergé's company became the largest jewelry business in the country. In addition to its Saint Petersburg headquarters, it had branches in Moscow, Odessa, Kiev and London. It produced some 150,000 to 200,000 objects from 1882 until 1917.
In 1900, Fabergé's work represented Russia at the 1900 World's Fair in Paris. As Carl Fabergé was a member of the jury, the House of Fabergé exhibited hors concours (without competing). Nevertheless, the House was awarded a gold medal and the city's jewelers recognized Carl Fabergé as a maître. Additionally, France recognized Carl Fabergé with one of the most prestigious of French awards, appointing him a knight of the Legion of Honour. Two of Carl's sons and his head workmaster were also honored. Commercially, the exposition was a great success and the firm acquired a great many orders and clients.
In 1916, the House of Fabergé became a joint-stock company with a capital of 3-million rubles.
The following year upon the outbreak of the October Revolution, the business was taken over by a 'Committee of the Employees of the Company K Fabergé. In 1918 The House of Fabergé was nationalised by the Bolsheviks. In early October the stock was confiscated. The House of Fabergé was no more.]
After the nationalisation of the business, Carl Fabergé left St. Petersburg on the last diplomatic train for Riga. In mid-November, the Revolution having reached Latvia, he fled to Germany and first settled in Bad Homburg and then in Wiesbaden. Eugène, the Fabergés' eldest, travelled with his mother in darkness by sleigh and on foot through snow-covered woods and reached Finland in December 1918. During June 1920, Eugène reached Wiesbaden and accompanied his father to Switzerland where other members of the family had taken refuge at the Bellevue Hotel in Pully, near Lausanne.
Peter Carl Fabergé never recovered from the shock of the Russian Revolution. He died in Switzerland on September 24, 1920. His family believed he died of a broken heart. His wife, Augusta, died in 1925. The two were reunited in 1929 when Eugène Fabergé took his father's ashes from Lausanne and buried them in his mother's grave at the Cimetière du Grand Jas in Cannes, France.
Fabergé had four sons: Eugène (1874–1960), Agathon (1876–1951), Alexander (1877–1952) and Nicholas (1884–1939). Descendants of Peter Carl Fabergé live in mainland Europe, Scandinavia and South America.
Henry Bainbridge, a manager of the London branch of the House of Fabergé, recorded recollections of his meetings with his employer in both his autobiography and the book he wrote about Fabergé. We are also given an insight into the man from the recollections of François Birbaum, Fabergé's senior master craftsman from 1893 until the House's demise.
From Bainbridge we know that while punctilious with his dress, Fabergé "rarely if ever wore black but favoured well-cut tweeds". He added "There was an air of the country gentleman about him, at times he reminded one of an immaculate gamekeeper with large pockets." He was a very focused individual with no wasted actions or speech. He did not like small talk. On one occasion during dinner Bainbridge, feeling out of the conversation said, "I see Lord Swaythingly is dead". Fabergé asked who he was and upon being told responded cuttingly, "And what can I do with a dead banker?"
When taking orders from customers he was always in a hurry and would soon forget the fine detail. He would then interrogate the staff so as to find any who had been standing near him and may have overheard. His great-granddaughter Tatiana Fabergé notes that he usually had a knotted handkerchief in his breast pocket.
When Carl noticed an unsuccessfully wrought item, he would call for his senior master craftsman and make endless derisory and ironic remarks. On occasions when Birbaum realized Fabergé was the designer, he would show him his sketch. Fabergé would then smile guiltily and say, "Since there is nobody to scold me, I have had to do it myself".
From Birbaum we also know that Carl was famous for his wit and was quite merciless to fops, whom he hated. A certain prince who fell into this category boasted to Fabergé about his latest honour from the Tsar, adding that he had no idea as to why the award was made. The prince expected the jeweler to shower him with congratulations. Instead, Fabergé simply replied, "Indeed, your Highness, I too have no idea what for".
Carl never traveled with luggage—he bought all his requisites at his destination. On one occasion, when he arrived at the Negresco Hotel in Nice the doorman barred him from entering because of the amount of luggage he carried. Thankfully one of the grand dukes who was in residence called out a greeting and Carl Fabergé was promptly ushered apologetically into the establishment.
Bainbridge concludes, "Taking him all in all, Fabergé came as near to a complete understanding of human nature as it is possible for a man to come, with one word only inscribed on his banner, and that word – tolerance. There is no doubt whatsoever that this consideration for the worth of others was the foundation for his success."
Today (17-11-2014) is my birthday and they have a gift for me hahaha ^^ // Hoy es mi cumpleaños y mis Danbos tienen un obsequio para mí jajaja! ^^
El botafumeiro (literalmente 'echador de humo', en gallego) es uno de los símbolos más conocidos y populares de la catedral de Santiago de Compostela, Galicia (España). Es un enorme incensario bañado en plata que pesa 62 kilogramos vacío y mide 1,49 metros de altura. El botafumeiro anterior pesaba 53 kg, pero en el año 2006, durante las labores de restauración dirigidas por Luis Molina Acedo, se le añadió un baño de plata que incrementó su peso hasta los 62 kg de la actualidad. La cuerda que lo sostiene, atada al crucero de la catedral, es, en la actualidad, de un material sintético, tiene una longitud de 65 m, 5 centímetros de diámetro y pesa 90 kg. Anteriormente las cuerdas estaban hechas de cáñamo o esparto.
El botafumeiro se llena con unos 400 gr de carbón e incienso, después se ata con fuertes nudos a una larga cuerda que va hasta el techo del edificio, y se desplaza, mediante un mecanismo de tornos, por la nave transversal (transepto) de la catedral; para conseguirlo, un grupo de ocho hombres, que reciben el nombre de tiraboleiros, lo empujan primero para ponerlo en movimiento, y después tiran cada uno de un cabo de la cuerda para ir consiguiendo velocidad. Antiguamente el impulso y la parada del mismo se llevaba a cabo por el tiraboleiro mayor, que además era el que marcaba el ritmo del impulso. En la actualidad esta figura ya no existe.
El movimiento del botafumeiro puede alcanzar una velocidad de 68 km/h durante su desplazamiento por el crucero de la catedral, desde la puerta de la Azabachería a la puerta de las Platerías, describiendo un arco de 65 m y una altura máxima de 21 m (un ángulo de 82°). Para llegar a esta altura máxima se necesitan 17 recorridos completos. Debido a la velocidad y el peso puede adquirir una enorme energía. A causa de ello, en épocas pasadas hubo desprendimientos de la cuerda. En 1499 se desprendió el botafumeiro y salió por la Puerta de Platerías, en presencia de Catalina de Aragón, que estaba de visita en Santiago. Similares situaciones ocurrieron en 1622 y 1937. En ninguna ocasión hubo víctimas por el desprendimiento. En la actualidad se mantiene despejado parte del presbiterio en el crucero de la catedral durante el vuelo del botafumeiro para que los feligreses y visitantes accedan hasta un lugar seguro y puedan contemplar la maniobra.
El botafumeiro más antiguo se utiliza en las misas solemnes. Cuando el original está siendo restaurado se usa una réplica de plata obsequio de los Alféreces Provisionales a la Catedral en 1971. El resto de los días queda expuesto un peso, realizado en alpaca, que se conoce con el nombre de la alcachofa.
Historia
Moneda de 5 pesetas (1993), con un grabado del incensario compostelano
Según la tradición, el uso del incensario en la catedral de Santiago comenzó en el siglo XI, con la idea de perfumar el templo y eliminar el mal olor que dejaban los peregrinos, cansados, sudorosos y desaseados y muchos de ellos enfermos. En el año 1200 se cambió el sistema inicial de poleas por un sistema de rodaduras que permitía el desplazamiento lateral, con lo cual podía recorrer unos 150 cm, que era la distancia que permitía la cuerda. El rey Luis XI de Francia donó a la catedral en 1400 una suma de dinero para reemplazar el incensario medieval, que no se realizó hasta 1554. El mecanismo de rodadura actual del Botafumeiro se instaló en 1604. El nuevo incensario fue realizado completamente en plata, pero fue robado por las tropas de Napoleón en abril de 1809 durante la Guerra de la Independencia, siendo reemplazado por el actual, que fue fabricado por el orfebre José Losada en 1851, en latón bañado en plata, y otro botafumeiro de plata, de 54 kilogramos, regalado a la Catedral de Santiago por la Hermandad de Alféreces Provisionales en 1971 y que se expone en la biblioteca del museo catedralicio. Ambos son réplicas del desaparecido durante la invasión napoleónica.
Una indicación de la importancia simbólica del botafumeiro en España es el diseño de las monedas de 5 pesetas del año 1993, con un grabado del incensario compostelano.
Al igual que otros incensarios de las iglesias, tiene un origen litúrgico. Sin embargo, éste es especialmente grande debido a la gran cantidad de peregrinos que llegan a Santiago.
Hay que pensar que la catedral de Santiago, como todas las de peregrinación, permitía a los peregrinos dormir en el interior, lo que provocaba un olor muy desagradable. De ahí la necesidad de tener un incensario /“ambientador”/ tan grande. (Wikipedia)
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In one particular garden at the cemetery, rows of stone statues of children represent unborn children, including miscarried, aborted, and stillborn children. Parents can choose a statue in the garden and decorate it with small clothing and toys. Usually the statues are accompanied by a small gift for Jizō, the guardian of unborn children, to ensure that they are brought to the afterlife. Occasionally stones are piled by the statue; this is meant to ease the journey to the afterlife.
en.wikipedia.org/wiki/Z%C5%8Dj%C5%8D-ji
En un jardín en particular en el cementerio, filas de estatuas de piedra de niños representan a los niños por nacer, incluidos los niños abortados, abortados y nacidos muertos. Los padres pueden elegir una estatua en el jardín y decorarla con ropa y juguetes pequeños. Por lo general, las estatuas van acompañadas de un pequeño obsequio para Jizō, el guardián de los niños por nacer, para asegurarse de que sean llevados al más allá. Ocasionalmente, la estatua amontona piedras; esto está destinado a facilitar el viaje a la otra vida.
Mizuko kuyo (水子供養 Mizuko kuyō, "servicio memorial para un feto abortado") es una ceremonia japonesa para las mujeres que han sufrido un aborto espontáneo, aborto inducido o mortinato. Esta práctica es más evidente desde la creación de santuarios en la década de 1970 para tal ritual, con el fin de la tranquilidad de la gestante, descanso del alma del feto y evitar la venganza del espíritu del bebé. Originalmente el mizuko kuyo fue usado para ofrendar a Jizo (Ksitigarbha), un Bodhisattva supuesto protector de los niños. Durante el Período Edo, cuando una embarazada era empujada a cometer aborto o infanticidio por su pobreza, la práctica era adaptada para satisfacer la situación. Hoy día, la práctica del mizuko kuyo continúa en Japón, aunque no es claro su autenticidad histórica en las prácticas del budismo en Japón. La ceremonia varía entre templos, escuelas e individuos. Es común que en los templos budistas se ofrezcan estatuillas de Jizo vestidas a lo largo de los pasillos para este propósito. Algunos de estos servicios han sido criticados por aprovecharse y abusar de las creencias que los japoneses tienen acerca de la posible venganza de los espíritus de los bebés abortados.
es.wikipedia.org/wiki/Mizuko_kuy%C5%8D
Mizuko kuyō (水子供養) meaning "water child memorial service", is a Japanese ceremony for those who have had a miscarriage, stillbirth, or abortion. This practice has become particularly visible since the 1970s with the creation of shrines devoted solely to this ritual. Reasons for the performance of these rites can include parental grief, desire to comfort the soul of the fetus, guilt for an abortion, or even fear of retribution from a vengeful ghost.
Mizuko (水子), literally "water child", is a Japanese term for an aborted, stillborn or miscarried baby, and archaically for a dead baby or infant. Kuyō (供養) refers to a memorial service. Previously read suiji, the Sino-Japanese on'yomi reading of the same characters, the term was originally a kaimyō or dharma name given after death.The mizuko kuyō, typically performed by Buddhist priests, was used to make offerings to Jizō, a bodhisattva who is believed to protect children. In the Edo period, when famine sometimes led the poverty-stricken to infanticide and abortion, the practice was adapted to cover these situations as well.
Today, the practice of mizuko kuyō continues in Japan, although it is unclear whether it is a historically authentic Buddhist practice. Specific elements of the ceremony vary from temple to temple, school to school, and individual to individual. It is common for temples to offer Jizō statues for a fee, which are then dressed in red bibs and caps, and displayed in the temple yard. Though the practice has been performed since the 1970s, there are still doubts surrounding the ritual. Some view the memorial service as the temples' way of benefiting from the misfortune of women who have miscarried or had to abort a pregnancy. American religious scholars have criticized the temples for allegedly abusing the Japanese belief that the spirits of the dead retaliate for their mistreatment, but other scholars believe the temples are only answering the needs of the people.
The ceremony is attended by both parents or by one, not necessarily the mother. The service can vary from a single event to one that repeats monthly or annually. Though the service varies, common aspects resemble the ceremony for the recent dead, the senzo kuyō (先祖供養). The priest faces the altar and evokes the names of various Buddhas and bodhisattvas. Mantras, often the Heart Sutra and the 25th chapter of the Lotus Sutra, known as the "Avalokiteśvara Sutra", are performed, as are calls of praise to Jizō. Gifts are offered to the Buddha on behalf of the mourned, typically food, drink, incense or flowers. A kaimyō is given to the deceased, and a statue of Jizō is often placed on temple grounds upon completion of the ceremony.
en.wikipedia.org/wiki/Mizuko_kuy%C5%8D
Los seis Jizō es una antigua leyenda japonesa perteneciente al budismo, cuyo protagonista es el bodhisattva Jizō (地蔵) o Ksitigarbha (地蔵菩薩), tal como se le conoce en Japón. Jizō es el encargado de proteger las almas de los bebés que no han nacido y de los niños que han muerto siendo muy pequeños, a los que se les llama mizuko (水子) o niños del agua. Jizō es el protector de las mujeres embarazadas y de los niños, así como también de los bomberos y viajeros.
De acuerdo con la leyenda, una pareja de ancianos vivía en un hogar humilde y pasaban por muchas necesidades. Se ganaban la vida vendiendo sombreros de paja que fabricaban con sus propias manos. Sin embargo, eran tan pobres que al llegar el día de Fin de Año no tenían dinero para comprar algo especial para cenar y celebrar dicha fecha. El anciano entonces le prometió a su esposa que iría al pueblo, vendería los sombreros y le compraría algo para cenar. El anciano había llevado consigo cinco sombreros de paja, pero al no conseguir venderlos se propuso a regresar a su hogar. Una gran nevada le sorprendió durante el camino de vuelta y divisó a lo lejos seis estatuas de Jizō, de las cuales sintió pena al estar cubiertas de nieve. El anciano quitó la nieve de las estatuas y les ofreció los sombreros que venía cargando con él. A ver que faltaba un sombrero para una de las estatuas, el anciano se quitó su propio sombrero y se lo colocó al sexto Jizō. Más tarde esa noche, la pareja oyó ruidos fuera de su casa y al salir se encontraron con arroz, mochi, pescado y monedas de oro en su puerta. Posteriormente vieron a las estatuas de Jizō con los sombreros en sus cabezas, quienes agradecieron a la pareja por su bondad.
es.wikipedia.org/wiki/Los_seis_Jiz%C5%8D
Kasa Jizō (笠地蔵) is a Japanese folk tale about an old couple whose generosity is rewarded by the bodhisattva Kṣitigarbha, whose name is Jizō in Japanese. The story is commonly handed down by parents to their children in order to instill moral values, as it is grounded in Buddhist thought. An alternative title, Kasako Jizō can be found in Iwate and Fukushima Prefectures. Its origins belong in the Tōhoku and Niigata regions, with the oldest dispensations coming from Hokuriku, as well as areas of Western Japan such as Hiroshima and Kumamoto Prefectures. Its precise origin, however, remains unknown.
One day in the snowy country there lived an incredibly impoverished elderly couple. On New Year's Day, the couple realized that they were unable to afford mochi (a staple form of rice eaten during the New Year). The old man decided to go into town to sell his home-made kasa, but his endeavors proved unsuccessful. Due to the horrible weather conditions, the old man gave up the task and made his trek back home. In the blizzard, the old man came across a line of Jizō statues, to whom he decided to give his kasa as an offering, as well to keep their heads clear of snow. However, he only had enough kasa on hand to give to all but one statue. He gave the remaining statue his tenugui and went on his way. Upon returning home, he relayed the scenario to his wife, who praised him for his virtuous deed, without criticizing his inability to purchase any New Year mochi. That evening, while the couple was asleep, there came a heavy thumping sound from outside the house. They opened the door to find a great pile of treasures, consisting of such goods as rice, vegetables, gold coins, and mochi. The old couple watched on as the Jizō statues marched off into the snowy distance. Having repaid the old man for his selflessness, the couple was able to celebrate the New Year.
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San'en-zan Zōjō-ji (三縁山増上寺) is a Jōdo-shū Buddhist temple in Tokyo, Japan. It is the main temple of the Jōdo-shū ("Pure Land") Chinzei sect of Buddhism in the Kantō region,.
Zōjō-ji is notable for its relationship with the Tokugawa clan, the rulers of Japan during the Edo period, with six of the Tokugawa shōguns being buried in the Taitoku-in Mausoleum in the temple grounds. Also, the temple's Sangadetsumon (main gate) is the oldest wooden building in Tokyo, dating from 1622. The original buildings, temples, mausoleums and the cathedral were destroyed by fire, natural disasters or air raids during World War II.
It is located in the Shiba neighborhood of Minato. The Shiba Park is built around the temple, with the Tokyo Tower standing beside it. In 2015 a Treasure Gallery was opened on the underground level of the Daiden (great hall), and it currently houses paintings of Kanō Kazunobu and a model of the Taitoku-in Mausoleum.
Sentai Kosodate Jizō (Unborn Children Garden)
In one particular garden at the cemetery, rows of stone statues of children represent unborn children, including miscarried, aborted, and stillborn children. Parents can choose a statue in the garden and decorate it with small clothing and toys. Usually the statues are accompanied by a small gift for Jizō, the guardian of unborn children, to ensure that they are brought to the afterlife. Occasionally stones are piled by the statue; this is meant to ease the journey to the afterlife.
There is no admission fee for visitors to enter the temple complex. For the Treasure Gallery museum the access fee is (as of 2017, 700 yen).
The entrance is at a 10-minute walk from Hamamatsucho Station on the JR Yamanote and Keihin-Tōhoku Lines, a 6-minute walk from Daimon Station on the Toei Asakusa and Toei Oedo Lines, a 3-minute walk from Onarimon and Shibakoen Stations on the Toei Mita Line, and about 500 meters from the Shibakoen exit of the Shuto Expressway.
While not immediately obvious, the temple grounds are somewhat wheelchair accessible if entering from the side street instead of the main gate.
en.wikipedia.org/wiki/Z%C5%8Dj%C5%8D-ji
San'en-zan Zōjō-ji (三 縁 山 増 上 寺) es un templo budista Jōdo-shū en Tokio, Japón. Es el templo principal de la secta del budismo Jōdo-shū ("Tierra pura") Chinzei en la región de Kantō,
Zōjō-ji es notable por su relación con el clan Tokugawa, los gobernantes de Japón durante el período Edo, con seis de los shōguns Tokugawa enterrados en el Mausoleo Taitoku-in en los terrenos del templo. Además, el Sangadetsumon (puerta principal) del templo es el edificio de madera más antiguo de Tokio, que data de 1622. Los edificios originales, templos, mausoleos y la catedral fueron destruidos por incendios, desastres naturales o ataques aéreos durante la Segunda Guerra Mundial.
Está ubicado en el barrio Shiba de Minato. El Parque Shiba está construido alrededor del templo, con la Torre de Tokio al lado. En 2015 se abrió una Galería del Tesoro en el nivel subterráneo del Daiden (gran salón), y actualmente alberga pinturas de Kanō Kazunobu y un modelo del Mausoleo Taitoku-in.
Sentai Kosodate Jizō (Jardín de niños por nacer)
En un jardín en particular en el cementerio, filas de estatuas de piedra de niños representan a los niños por nacer, incluidos los niños abortados, abortados y nacidos muertos. Los padres pueden elegir una estatua en el jardín y decorarla con ropa y juguetes pequeños. Por lo general, las estatuas van acompañadas de un pequeño obsequio para Jizō, el guardián de los niños por nacer, para asegurarse de que sean llevados al más allá. Ocasionalmente, la estatua amontona piedras; esto está destinado a facilitar el viaje a la otra vida.
No hay tarifa de admisión para que los visitantes ingresen al complejo del templo. Para el museo Treasure Gallery, la tarifa de acceso es (a partir de 2017, 700 yenes).
La entrada se encuentra a 10 minutos a pie de la estación Hamamatsucho de las líneas JR Yamanote y Keihin-Tōhoku, a 6 minutos a pie de la estación Daimon de las líneas Toei Asakusa y Toei Oedo, a 3 minutos a pie de las estaciones Onarimon y Shibakoen en la línea Toei Mita, ya unos 500 metros de la salida Shibakoen de la autopista Shuto.
Si bien no es obvio de inmediato, los terrenos del templo son accesibles para sillas de ruedas si se ingresa desde la calle lateral en lugar de la puerta principal.
Un huevo de Fabergé es una de las sesenta y nueve joyas creadas por Carl Fabergé y sus artesanos de la empresa Fabergé para los zares de Rusia, así como para algunos miembros de la nobleza y la burguesía industrial y financiera, entre los años 1885 y 1917. Los huevos se consideran obras maestras de la joyería.
La fiesta más importante del calendario de la Iglesia ortodoxa rusa es la Pascua. Se celebra con tres besos y el intercambio de huevos de Pascua. Por lo que respecta a los huevos imperiales de Fabergé, estos comenzaron a fabricarse en 1885 cuando el zar Alejandro III encargó un huevo de Pascua para su esposa, la emperatriz María Fiódorovna. El huevo recordaba a la patria de la emperatriz, Dinamarca, ya que el joyero se había inspirado en un huevo de pascua que se encontraba en las colecciones reales danesas y tanto agradó a la zarina que el zar ordenó que Peter Carl Gustávovich Fabergé fabricara un huevo de Pascua cada año para la zarina, estipulando solamente que el huevo fuese único y que encerrase una sorpresa.
También en 1885 Fabergé fue nombrado proveedor oficial de la corte imperial rusa. El joyero y su equipo de orfebres y artesanos, entre ellos maestros joyeros como el ruso Michael Perkhin y los finlandeses Henrik Wigström y Erik August Kollin, diseñaron y confeccionaron huevos de Pascua durante once años más para Alejandro III de Rusia hasta que este falleció, continuando su hijo y sucesor Nicolás II con la tradición. Estos proyectos se convirtieron en prioridad absoluta de la compañía y fueron planeados y trabajados con un año o más de antelación: la sorpresa que contenía el huevo se mantenía siempre en secreto.
Para el diseño de los huevos imperiales Fabergé se inspiró en distintos estilos artísticos europeos, como el Barroco, el Rococó, el Neoclásico o el Modernista, así como en obras de arte que contempló durante sus estancias y viajes por Europa. Había huevos creados para conmemorar acontecimientos tales como la coronación del zar Nicolás II, la terminación del ferrocarril Transiberiano, así como para celebrar aniversarios importantes. Otros huevos guardaban en su interior el yate imperial Standart, la catedral de Uspensky, el palacio de Gátchina o el palacio Alejandro, por citar unos ejemplos.
De los 69 huevos que hizo en total la Casa Fabergé para los zares, la aristocracia y la élite industrial y financiera, se conservan 61. Se conocen cincuenta y dos huevos imperiales, cuarenta y cuatro de los cuales se han localizado hoy, entre ellos los dos últimos de 1917 que nunca fueron entregados ni terminados a causa de la Revolución rusa, destacando el huevo de la constelación del Zarévich. Los restantes 8 huevos imperiales se consideran perdidos o desaparecidos (Stalin ordenó venderlos para recaudar fondos1); dos se conocen solamente por haber sido fotografiados en primer plano, otros tres se han descubierto en 2007, dos de ellos en una foto tomada a una vitrina de la zarina María Fiódorovna, donde aparece el tercer huevo imperial (este huevo fue recientemente descubierto y será rematado)2 y el huevo con querubín y carruaje, este último quedó reflejado en el cristal de la misma, en cuanto al huevo del neceser figura en una fotografía de la joyería Wartski, Londres, en la parte inferior de una vitrina. No se tiene ningún documento visual de los otros tres.
Otros siete huevos de Pascua fueron encargados por Alejandro Ferdinándovich Kelch, dueño de minas de oro en Siberia, para su esposa Bárbara. Asimismo personajes de la época como Alfred Nobel, el Príncipe Yusúpov, los duques de Marlborough entre otras personas de categoría no imperial encargaron los suyos, sumando un total de ocho huevos. Sin embargo, la colección imperial de huevos de Pascua encargada por los dos últimos zares rusos es la más famosa.
Entre los materiales usados por Fabergé figuran metales como el oro, platino, plata, cobre, níquel, paladio y acero, los cuales fueron combinados en distintas proporciones con el fin de conseguir diferentes colores para la "cáscara" del huevo.
Otra técnica usada por Fabergé fue la conocida como guilloché, un tratamiento de grabado superficial sobre metal que consiste en hacer ondas, estrías o cualquier otro dibujo, de un modo repetitivo y simétrico, que se podía realizar a máquina o a mano. Fabergé se mostraba orgulloso de que todas las materias primas que se empleaban en su taller provenían de distintas partes de Rusia. Muchos huevos incluían minerales como el jaspe, la malaquita, la rodonita, el cristal de roca, el ágata, la aventurina, el lapislázuli y el jade (nefrita sobre todo, aunque usaba a veces la jadeíta). El huevo de 1917, destinado a la zarina María Fyodorevna, estaba realizado en madera de abedul de Karelia.
Las piedras preciosas, incluyendo los zafiros, los rubíes y las esmeraldas, fueron utilizadas para la decoración de los huevos y/o la sorpresa que contenían. Cuando se usaban era en la talla conocida como cabujón (corte redondo). En cuanto al tipo de talla empleada para los diamantes, era la típica talla rosa. Por otra parte también se emplearon piedras semipreciosas como las piedras de luna, los granates, los olivinos y las piedras de Mecca, usadas más a menudo en la talla cabujón.
La fuente primaria de inspiración de Fabergé venía de los trabajos de siglos anteriores. El esmalte translúcido era una técnica muy valorada en el siglo XIX, que requería de varias capas de esmalte que se secaban en un horno después de aplicar cada capa. Sin embargo, durante el siglo XIX se disponía solamente de una limitada gama de colores, de modo que Fabergé experimentó y pronto aumentó su paleta de colores hasta lograr más de 140 tonalidades diferentes. El más apreciado fue el esmalte de ostra, el cual variaba de color dependiendo de la luz.
La Casa Fabergé fabricó, entre otros tantos objetos decorativos, accesorios para escritorio y joyas y muchos más huevos de Pascua, pero los más célebres son los que a continuación se detallan.
es.wikipedia.org/wiki/Huevo_de_Fabergé
www.san-petersburgo.net/museo-faberge/
A Fabergé egg (Russian: Яйца Фаберже́, yaytsa faberzhe) is a jewelled egg (possibly numbering as many as 69, of which 57 survive today) created by the House of Fabergé, in St. Petersburg, Imperial Russia. Virtually all were manufactured under the supervision of Peter Carl Fabergé between 1885 and 1917, the most famous being the 52 "Imperial" eggs, 44 of which survive, made for the Russian Tsars Alexander III and Nicholas II as Easter gifts for their wives and mothers.
The first Fabergé egg was crafted for Tsar Alexander III, who had decided to give his wife, the Empress Maria Feodorovna, an Easter egg in 1885, possibly to celebrate the 20th anniversary of their betrothal. Although there is no official record of the Tsar's inspiration for it, many believe that he was moved by an egg owned by the Empress's aunt, Princess Vilhelmine Marie of Denmark, which had captivated Maria's imagination in her childhood and of which the Tsar was well aware. Known as the Hen Egg, the very first Fabergé egg is crafted from a foundation of gold. Its opaque white enameled "shell" opens to reveal a matte yellow-gold yolk. This in turn opens to reveal a multicolored gold hen that also opens. The hen contained a minute diamond replica of the imperial crown from which a small ruby pendant was suspended, but these last two elements have been lost.
Maria was so delighted by the gift that Alexander appointed Fabergé a "goldsmith by special appointment to the Imperial Crown" and commissioned another egg the next year. After that, Peter Carl Fabergé was apparently given complete freedom for the design of future imperial Easter eggs, and their designs became more elaborate. According to Fabergé family lore, not even the Tsar knew what form they would take—the only requirements were that each contain a surprise, and that each be unique. Once Fabergé had approved an initial design, the work was carried out by a team of craftsmen, among them Michael Perkhin, Henrik Wigström and Erik August Kollin.
After Alexander III's death on 1 November 1894, his son, Nicholas II, presented a Fabergé egg to both his wife, Alexandra Fedorovna, and his mother, the Dowager Empress Maria Fedorovna. Records have shown that of the 50 imperial Easter eggs, 20 were given to the former and 30 to the latter. Eggs were made each year except 1904 and 1905, during the Russo-Japanese War.
The imperial eggs enjoyed great fame, and Fabergé was commissioned to make similar eggs for a few private clients, including the Duchess of Marlborough, the Rothschild family and the Yusupovs. Fabergé was also commissioned to make twelve eggs for the industrialist Alexander Kelch, though only seven appear to have been completed.
Following the revolution and the nationalization of the Fabergé workshop in St. Petersburg by the bolsheviks in 1918, the Fabergé family left Russia. The Fabergé trademark has since been sold several times and several companies have retailed egg-related merchandise using the Fabergé name. The Victor Mayer jewelry company produced limited edition heirloom quality Fabergé eggs authorized under Unilever's license from 1998 to 2009. The trademark is now owned by Fabergé Limited, which makes egg-themed jewellery.
In 2015 the owners of this trademark announced the creation of a new "Fabergé" egg, one styled by them as belonging to the "Imperial Class" of eggs and therefore the first Imperial-Class egg in 100 years: the Fabergé Pearl egg is to be sold in Qatar following a five-day exhibition some time in 2017. A spokesperson for the brand said it expected the egg to fetch at least two million US dollars, possibly much more. Despite its designation as "Imperial", it has no connection to Imperial Russia and instead has become closely tied to wealthy Arab ruling families of various Gulf Nations.[4] Its motif has been described as "scalloped", but the patterns of its curves and lines are also clearly derived from the girih and arabesque of Islamic interlace patterns, and each of its six vertical segments includes a stylized pointed dome and associated pendentives reminiscent of the onion dome and ceiling of an Arabic mosque.
en.wikipedia.org/wiki/Fabergé_egg
Peter Carl Fabergé, conocido también como Karl Gustavovich Fabergé (en ruso, Карл Густавович Фаберже) (30 de mayo de 1846, San Petersburgo, Rusia – 24 de septiembre de 1920, Lausana, Suiza), fue un joyero ruso. Es considerado uno de los orfebres más destacados del mundo, que realizó 69 huevos de Pascua entre los años 1885 a 1917, 61 de ellos se conservan.
En 1870 pasa a ser el responsable de la empresa familiar de joyería en San Petersburgo. Con una excelente reputación como diseñador, trabaja con piedras preciosas y metales, y realiza diseños de diferentes estilos como ruso antiguo, griego, renacentista, barroco, Art Nouveau, naturalista y caricaturesco.
Sus obras fueron expuestas en la Exposición Panrusa de Moscú de 1882 y recibieron la medalla de oro. Recibió el nombramiento de orfebre y joyero de la Corte Imperial Rusa y de otras muchas monarquías europeas. Fabricó joyas con forma de huevos de Pascua de oro y esmalte, animales en miniatura, cálices, bomboneras y otros objetos
Para la Pascua de 1885, el zar Alejandro III le encargó al orfebre Peter Carl Fabergé la construcción de un huevo para regalarle a su mujer, la zarina María. El regalo consistió en un huevo con cáscara de platino que contenía dentro uno más pequeño de oro. Al abrirse este último, se encontraba una gallina de oro en miniatura que tenía sobre su cabeza una réplica de la corona imperial rusa. Este particular Huevo de Pascua le gustó tanto a la emperatriz que el zar le ordenó a Fabergé que realizara uno nuevo para cada Pascua.
Once fueron en total los huevos que Alejandro III le regaló a su mujer. Luego, su hijo Nicolás II continuó con esta tradición y mandó realizar otros para regalarle a su mujer y a su madre. Los 57 huevos que confeccionó la casa Fabergé tenían en su interior algún obsequio, réplica en miniatura de una de las pertenencias de los zares.
La Revolución rusa acabó con la firma.
Desde la Segunda Guerra Mundial han salido a subasta seis de estas obras de arte. En noviembre de 1994 el Winter Egg (creado en 1913, y que se creía perdido hasta 1984) alcanzó los 5.600.000 dólares.
Recientemente (28 de noviembre de 2007) un huevo fabricado por Fabergé para la familia de banqueros Rothschild, alcanzó en subasta el precio récord de 18 millones de dólares.
es.wikipedia.org/wiki/Peter_Carl_Fabergé
www.san-petersburgo.net/museo-faberge/
Peter Carl Fabergé, also known as Karl Gustavovich Fabergé (Russian: Карл Гу́ставович Фаберже́, Karl Gustavovich Faberzhe; 30 May 1846 – 24 September 1920), was a Russian jeweller best known for the famous Fabergé eggs made in the style of genuine Easter eggs, but using precious metals and gemstones rather than more mundane materials. He was the founder of the famous jewelry legacy House of Fabergé.
Peter Carl Faberge was born in Saint Petersburg, Russia, to the Baltic German jeweller Gustav Fabergé and his Danish wife Charlotte Jungstedt. Gustav Fabergé's paternal ancestors were Huguenots, originally from La Bouteille, Picardy, who fled from France after the revocation of the Edict of Nantes, first to Germany near Berlin, then in 1800 to the Pernau (today Pärnu)[2] Baltic province of Livonia, then part of Russia, now Estonia.
Until he was 14 years old he went to the German St Anne School in Saint Petersburg, Russia.[citation needed] In 1860 his father retired from his jewelry business and moved with his family to Germany. He left the House of Fabergé in Saint Petersburg in the hands of his business partner. Carl Fabergé undertook a course at the Dresden Arts and Crafts School. In 1862 Agathon Fabergé, the Fabergés' second son, was born in Dresden, Germany, where he went to school as well.
In 1864, Peter Carl Fabergé embarked upon a Grand Tour of Europe. He received tuition from respected goldsmiths in Germany, France and England, attended a course at Schloss's Commercial College in Paris, and viewed the objects in the galleries of Europe's leading museums.
His travel and study continued until 1872, when at the age of 26 he returned to St. Petersburg and married Augusta Julia Jacobs. 1874 saw the arrival of his first child, Eugene Fabergé and two years later, Agathon Fabergé was born; Alexander Fabergé and Nicholas Fabergé followed in 1877 and 1884 respectively. For the following 10 years, his father's trusted workmaster Hiskias Pendin acted as his mentor and tutor. The company was also involved with cataloguing, repairing, and restoring objects in the Hermitage during the 1870s. In 1881 the business moved to larger street-level premises at 16/18 Bolshaya Morskaya.
Upon the death of Hiskias Pendin in 1882, Carl Fabergé took sole responsibility for running the company. Carl was awarded the title Master Goldsmith, which permitted him to use his own hallmark in addition to that of the firm. In 1885 his brother Agathon Fabergé joined the firm and became Carl Faberge's main assistant in the designing of jewelry.[3]
Carl and Agathon Fabergé Sr. were a sensation at the Pan-Russian Exhibition held in Moscow in 1882. Carl was awarded a gold medal and the St. Stanisias Medal. One of the Fabergé pieces displayed was a replica of a 4th-century BC gold bangle from the Scythian Treasure in the Hermitage. The Tsar, Alexander III, "Emperor and Autocrat of all the Russians", declared that he could not distinguish the Fabergé's work from the original and ordered that objects by the House of Fabergé should be displayed in the Hermitage as examples of superb contemporary Russian craftsmanship. The House of Fabergé with its range of jewels was now within the focus of Russia's Imperial Court.
When Peter Carl took over the House, there was a move from producing jewellery in the then-fashionable French 18th century style to becoming artist-jewellers. Fabergé's production of the very first so-called Fabergé egg, the Hen Egg, given as a gift from the Tsar to his wife Maria Fyodorovna on Orthodox Easter (24 March) of 1885 so delighted her that on 1 May the Emperor assigned Fabergé the title Goldsmith by special appointment to the Imperial Crown of that year. This meant that Fabergé now had full personal access to the important Hermitage Collection, where he was able to study and find inspiration for developing his unique personal style. Influenced by the jewelled bouquets created by the eighteenth century goldsmiths Jean-Jacques Duval and Jérémie Pauzié, Fabergé re-worked their ideas combining them with his accurate observations and his fascination for Japanese art. This resulted in a revival of the lost art of enameling and a focus on the setting of every single gemstone in a piece to its best visual advantage. Indeed, it was not unusual for Agathon to make ten or more wax models so that all possibilities could be exhausted before deciding on a final design. Shortly after Agathon joined the firm, the House introduced objects deluxe: gold bejewelled items embellished with enamel ranging from electric bell pushes to cigarette cases and including objects de fantaisie.
In light of the Empress' response to receiving one of Fabergé's eggs on Easter, the Tsar soon commissioned the company to make an Easter egg as a gift for her every year thereafter. The Tsar placed an order for another egg the following year. Beginning in 1887, the Tsar apparently gave Carl Fabergé complete freedom with regard to egg designs, which then became more and more elaborate. According to Fabergé Family tradition, not even the Tsar knew what form they would take— the only stipulation was that each one should be unique and each should contain a surprise. Upon the death of Alexander III, his son, the next Tsar, Nicholas II, followed this tradition and expanded it by requesting that there be two eggs each year, one for his mother (who was eventually given a total of 30 such eggs) and one for his wife, Alexandra (who received another 20). These Easter gift eggs are today distinguished from the other jeweled eggs Fabergé ended up producing by their designation as "Imperial Easter eggs" or "Tsar Imperial Easter eggs". The tradition continued until the October Revolution when the entire Romanov dynasty was executed and the eggs and many other treasures were confiscated by the interim government. The two final eggs were never delivered nor paid for.
Although today the House of Fabergé is famed for its Imperial Easter eggs, it made many more objects ranging from silver tableware to fine jewelry which were also of exceptional quality and beauty, and until its departure from Russia during the revolution, Fabergé's company became the largest jewelry business in the country. In addition to its Saint Petersburg headquarters, it had branches in Moscow, Odessa, Kiev and London. It produced some 150,000 to 200,000 objects from 1882 until 1917.
In 1900, Fabergé's work represented Russia at the 1900 World's Fair in Paris. As Carl Fabergé was a member of the jury, the House of Fabergé exhibited hors concours (without competing). Nevertheless, the House was awarded a gold medal and the city's jewelers recognized Carl Fabergé as a maître. Additionally, France recognized Carl Fabergé with one of the most prestigious of French awards, appointing him a knight of the Legion of Honour. Two of Carl's sons and his head workmaster were also honored. Commercially, the exposition was a great success and the firm acquired a great many orders and clients.
In 1916, the House of Fabergé became a joint-stock company with a capital of 3-million rubles.
The following year upon the outbreak of the October Revolution, the business was taken over by a 'Committee of the Employees of the Company K Fabergé. In 1918 The House of Fabergé was nationalised by the Bolsheviks. In early October the stock was confiscated. The House of Fabergé was no more.]
After the nationalisation of the business, Carl Fabergé left St. Petersburg on the last diplomatic train for Riga. In mid-November, the Revolution having reached Latvia, he fled to Germany and first settled in Bad Homburg and then in Wiesbaden. Eugène, the Fabergés' eldest, travelled with his mother in darkness by sleigh and on foot through snow-covered woods and reached Finland in December 1918. During June 1920, Eugène reached Wiesbaden and accompanied his father to Switzerland where other members of the family had taken refuge at the Bellevue Hotel in Pully, near Lausanne.
Peter Carl Fabergé never recovered from the shock of the Russian Revolution. He died in Switzerland on September 24, 1920. His family believed he died of a broken heart. His wife, Augusta, died in 1925. The two were reunited in 1929 when Eugène Fabergé took his father's ashes from Lausanne and buried them in his mother's grave at the Cimetière du Grand Jas in Cannes, France.
Fabergé had four sons: Eugène (1874–1960), Agathon (1876–1951), Alexander (1877–1952) and Nicholas (1884–1939). Descendants of Peter Carl Fabergé live in mainland Europe, Scandinavia and South America.
Henry Bainbridge, a manager of the London branch of the House of Fabergé, recorded recollections of his meetings with his employer in both his autobiography and the book he wrote about Fabergé. We are also given an insight into the man from the recollections of François Birbaum, Fabergé's senior master craftsman from 1893 until the House's demise.
From Bainbridge we know that while punctilious with his dress, Fabergé "rarely if ever wore black but favoured well-cut tweeds". He added "There was an air of the country gentleman about him, at times he reminded one of an immaculate gamekeeper with large pockets." He was a very focused individual with no wasted actions or speech. He did not like small talk. On one occasion during dinner Bainbridge, feeling out of the conversation said, "I see Lord Swaythingly is dead". Fabergé asked who he was and upon being told responded cuttingly, "And what can I do with a dead banker?"
When taking orders from customers he was always in a hurry and would soon forget the fine detail. He would then interrogate the staff so as to find any who had been standing near him and may have overheard. His great-granddaughter Tatiana Fabergé notes that he usually had a knotted handkerchief in his breast pocket.
When Carl noticed an unsuccessfully wrought item, he would call for his senior master craftsman and make endless derisory and ironic remarks. On occasions when Birbaum realized Fabergé was the designer, he would show him his sketch. Fabergé would then smile guiltily and say, "Since there is nobody to scold me, I have had to do it myself".
From Birbaum we also know that Carl was famous for his wit and was quite merciless to fops, whom he hated. A certain prince who fell into this category boasted to Fabergé about his latest honour from the Tsar, adding that he had no idea as to why the award was made. The prince expected the jeweler to shower him with congratulations. Instead, Fabergé simply replied, "Indeed, your Highness, I too have no idea what for".
Carl never traveled with luggage—he bought all his requisites at his destination. On one occasion, when he arrived at the Negresco Hotel in Nice the doorman barred him from entering because of the amount of luggage he carried. Thankfully one of the grand dukes who was in residence called out a greeting and Carl Fabergé was promptly ushered apologetically into the establishment.
Bainbridge concludes, "Taking him all in all, Fabergé came as near to a complete understanding of human nature as it is possible for a man to come, with one word only inscribed on his banner, and that word – tolerance. There is no doubt whatsoever that this consideration for the worth of others was the foundation for his success."
También conocida como la Campana de la Paz o de la Libertad, debido a que, en su base figura una inscripción donde se puede leer “Perquè l’ esperit d’Olimpia plani damunt la humanitat, la pau i la llibertat esdevinguin perdurables.”, en castellano, "Para que el espíritu de Olimpia proyecte para siempre sobre la humanidad , la paz y la libertad".
Se trata de una campana de bronce, obsequio de la fundición alemana A.Bachert al arzobispado de Barcelona con motivo de los JJOO de 1992.
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Also known as the Bell of Peace or Bell of Freedom, is posible to read on its base the legend: "That the spirit of Olympia projects forever on humanity, peace and freedom."
It was a gift from the German foundry A.Bachert to the city of Barcelona to celebrate the 1992 Olympics Games.
The bell rings twice a day, at noon and at 7 o'clock in the afternoon
Peter Carl Fabergé, conocido también como Karl Gustavovich Fabergé (en ruso, Карл Густавович Фаберже) (30 de mayo de 1846, San Petersburgo, Rusia – 24 de septiembre de 1920, Lausana, Suiza), fue un joyero ruso. Es considerado uno de los orfebres más destacados del mundo, que realizó 69 huevos de Pascua entre los años 1885 a 1917, 61 de ellos se conservan.
En 1870 pasa a ser el responsable de la empresa familiar de joyería en San Petersburgo. Con una excelente reputación como diseñador, trabaja con piedras preciosas y metales, y realiza diseños de diferentes estilos como ruso antiguo, griego, renacentista, barroco, Art Nouveau, naturalista y caricaturesco.
Sus obras fueron expuestas en la Exposición Panrusa de Moscú de 1882 y recibieron la medalla de oro. Recibió el nombramiento de orfebre y joyero de la Corte Imperial Rusa y de otras muchas monarquías europeas. Fabricó joyas con forma de huevos de Pascua de oro y esmalte, animales en miniatura, cálices, bomboneras y otros objetos
Para la Pascua de 1885, el zar Alejandro III le encargó al orfebre Peter Carl Fabergé la construcción de un huevo para regalarle a su mujer, la zarina María. El regalo consistió en un huevo con cáscara de platino que contenía dentro uno más pequeño de oro. Al abrirse este último, se encontraba una gallina de oro en miniatura que tenía sobre su cabeza una réplica de la corona imperial rusa. Este particular Huevo de Pascua le gustó tanto a la emperatriz que el zar le ordenó a Fabergé que realizara uno nuevo para cada Pascua.
Once fueron en total los huevos que Alejandro III le regaló a su mujer. Luego, su hijo Nicolás II continuó con esta tradición y mandó realizar otros para regalarle a su mujer y a su madre. Los 57 huevos que confeccionó la casa Fabergé tenían en su interior algún obsequio, réplica en miniatura de una de las pertenencias de los zares.
La Revolución rusa acabó con la firma.
Desde la Segunda Guerra Mundial han salido a subasta seis de estas obras de arte. En noviembre de 1994 el Winter Egg (creado en 1913, y que se creía perdido hasta 1984) alcanzó los 5.600.000 dólares.
Recientemente (28 de noviembre de 2007) un huevo fabricado por Fabergé para la familia de banqueros Rothschild, alcanzó en subasta el precio récord de 18 millones de dólares.
es.wikipedia.org/wiki/Peter_Carl_Fabergé
www.san-petersburgo.net/museo-faberge/
Peter Carl Fabergé, also known as Karl Gustavovich Fabergé (Russian: Карл Гу́ставович Фаберже́, Karl Gustavovich Faberzhe; 30 May 1846 – 24 September 1920), was a Russian jeweller best known for the famous Fabergé eggs made in the style of genuine Easter eggs, but using precious metals and gemstones rather than more mundane materials. He was the founder of the famous jewelry legacy House of Fabergé.
Peter Carl Faberge was born in Saint Petersburg, Russia, to the Baltic German jeweller Gustav Fabergé and his Danish wife Charlotte Jungstedt. Gustav Fabergé's paternal ancestors were Huguenots, originally from La Bouteille, Picardy, who fled from France after the revocation of the Edict of Nantes, first to Germany near Berlin, then in 1800 to the Pernau (today Pärnu)[2] Baltic province of Livonia, then part of Russia, now Estonia.
Until he was 14 years old he went to the German St Anne School in Saint Petersburg, Russia.[citation needed] In 1860 his father retired from his jewelry business and moved with his family to Germany. He left the House of Fabergé in Saint Petersburg in the hands of his business partner. Carl Fabergé undertook a course at the Dresden Arts and Crafts School. In 1862 Agathon Fabergé, the Fabergés' second son, was born in Dresden, Germany, where he went to school as well.
In 1864, Peter Carl Fabergé embarked upon a Grand Tour of Europe. He received tuition from respected goldsmiths in Germany, France and England, attended a course at Schloss's Commercial College in Paris, and viewed the objects in the galleries of Europe's leading museums.
His travel and study continued until 1872, when at the age of 26 he returned to St. Petersburg and married Augusta Julia Jacobs. 1874 saw the arrival of his first child, Eugene Fabergé and two years later, Agathon Fabergé was born; Alexander Fabergé and Nicholas Fabergé followed in 1877 and 1884 respectively. For the following 10 years, his father's trusted workmaster Hiskias Pendin acted as his mentor and tutor. The company was also involved with cataloguing, repairing, and restoring objects in the Hermitage during the 1870s. In 1881 the business moved to larger street-level premises at 16/18 Bolshaya Morskaya.
Upon the death of Hiskias Pendin in 1882, Carl Fabergé took sole responsibility for running the company. Carl was awarded the title Master Goldsmith, which permitted him to use his own hallmark in addition to that of the firm. In 1885 his brother Agathon Fabergé joined the firm and became Carl Faberge's main assistant in the designing of jewelry.[3]
Carl and Agathon Fabergé Sr. were a sensation at the Pan-Russian Exhibition held in Moscow in 1882. Carl was awarded a gold medal and the St. Stanisias Medal. One of the Fabergé pieces displayed was a replica of a 4th-century BC gold bangle from the Scythian Treasure in the Hermitage. The Tsar, Alexander III, "Emperor and Autocrat of all the Russians", declared that he could not distinguish the Fabergé's work from the original and ordered that objects by the House of Fabergé should be displayed in the Hermitage as examples of superb contemporary Russian craftsmanship. The House of Fabergé with its range of jewels was now within the focus of Russia's Imperial Court.
When Peter Carl took over the House, there was a move from producing jewellery in the then-fashionable French 18th century style to becoming artist-jewellers. Fabergé's production of the very first so-called Fabergé egg, the Hen Egg, given as a gift from the Tsar to his wife Maria Fyodorovna on Orthodox Easter (24 March) of 1885 so delighted her that on 1 May the Emperor assigned Fabergé the title Goldsmith by special appointment to the Imperial Crown of that year. This meant that Fabergé now had full personal access to the important Hermitage Collection, where he was able to study and find inspiration for developing his unique personal style. Influenced by the jewelled bouquets created by the eighteenth century goldsmiths Jean-Jacques Duval and Jérémie Pauzié, Fabergé re-worked their ideas combining them with his accurate observations and his fascination for Japanese art. This resulted in a revival of the lost art of enameling and a focus on the setting of every single gemstone in a piece to its best visual advantage. Indeed, it was not unusual for Agathon to make ten or more wax models so that all possibilities could be exhausted before deciding on a final design. Shortly after Agathon joined the firm, the House introduced objects deluxe: gold bejewelled items embellished with enamel ranging from electric bell pushes to cigarette cases and including objects de fantaisie.
In light of the Empress' response to receiving one of Fabergé's eggs on Easter, the Tsar soon commissioned the company to make an Easter egg as a gift for her every year thereafter. The Tsar placed an order for another egg the following year. Beginning in 1887, the Tsar apparently gave Carl Fabergé complete freedom with regard to egg designs, which then became more and more elaborate. According to Fabergé Family tradition, not even the Tsar knew what form they would take— the only stipulation was that each one should be unique and each should contain a surprise. Upon the death of Alexander III, his son, the next Tsar, Nicholas II, followed this tradition and expanded it by requesting that there be two eggs each year, one for his mother (who was eventually given a total of 30 such eggs) and one for his wife, Alexandra (who received another 20). These Easter gift eggs are today distinguished from the other jeweled eggs Fabergé ended up producing by their designation as "Imperial Easter eggs" or "Tsar Imperial Easter eggs". The tradition continued until the October Revolution when the entire Romanov dynasty was executed and the eggs and many other treasures were confiscated by the interim government. The two final eggs were never delivered nor paid for.
Although today the House of Fabergé is famed for its Imperial Easter eggs, it made many more objects ranging from silver tableware to fine jewelry which were also of exceptional quality and beauty, and until its departure from Russia during the revolution, Fabergé's company became the largest jewelry business in the country. In addition to its Saint Petersburg headquarters, it had branches in Moscow, Odessa, Kiev and London. It produced some 150,000 to 200,000 objects from 1882 until 1917.
In 1900, Fabergé's work represented Russia at the 1900 World's Fair in Paris. As Carl Fabergé was a member of the jury, the House of Fabergé exhibited hors concours (without competing). Nevertheless, the House was awarded a gold medal and the city's jewelers recognized Carl Fabergé as a maître. Additionally, France recognized Carl Fabergé with one of the most prestigious of French awards, appointing him a knight of the Legion of Honour. Two of Carl's sons and his head workmaster were also honored. Commercially, the exposition was a great success and the firm acquired a great many orders and clients.
In 1916, the House of Fabergé became a joint-stock company with a capital of 3-million rubles.
The following year upon the outbreak of the October Revolution, the business was taken over by a 'Committee of the Employees of the Company K Fabergé. In 1918 The House of Fabergé was nationalised by the Bolsheviks. In early October the stock was confiscated. The House of Fabergé was no more.]
After the nationalisation of the business, Carl Fabergé left St. Petersburg on the last diplomatic train for Riga. In mid-November, the Revolution having reached Latvia, he fled to Germany and first settled in Bad Homburg and then in Wiesbaden. Eugène, the Fabergés' eldest, travelled with his mother in darkness by sleigh and on foot through snow-covered woods and reached Finland in December 1918. During June 1920, Eugène reached Wiesbaden and accompanied his father to Switzerland where other members of the family had taken refuge at the Bellevue Hotel in Pully, near Lausanne.
Peter Carl Fabergé never recovered from the shock of the Russian Revolution. He died in Switzerland on September 24, 1920. His family believed he died of a broken heart. His wife, Augusta, died in 1925. The two were reunited in 1929 when Eugène Fabergé took his father's ashes from Lausanne and buried them in his mother's grave at the Cimetière du Grand Jas in Cannes, France.
Fabergé had four sons: Eugène (1874–1960), Agathon (1876–1951), Alexander (1877–1952) and Nicholas (1884–1939). Descendants of Peter Carl Fabergé live in mainland Europe, Scandinavia and South America.
Henry Bainbridge, a manager of the London branch of the House of Fabergé, recorded recollections of his meetings with his employer in both his autobiography and the book he wrote about Fabergé. We are also given an insight into the man from the recollections of François Birbaum, Fabergé's senior master craftsman from 1893 until the House's demise.
From Bainbridge we know that while punctilious with his dress, Fabergé "rarely if ever wore black but favoured well-cut tweeds". He added "There was an air of the country gentleman about him, at times he reminded one of an immaculate gamekeeper with large pockets." He was a very focused individual with no wasted actions or speech. He did not like small talk. On one occasion during dinner Bainbridge, feeling out of the conversation said, "I see Lord Swaythingly is dead". Fabergé asked who he was and upon being told responded cuttingly, "And what can I do with a dead banker?"
When taking orders from customers he was always in a hurry and would soon forget the fine detail. He would then interrogate the staff so as to find any who had been standing near him and may have overheard. His great-granddaughter Tatiana Fabergé notes that he usually had a knotted handkerchief in his breast pocket.
When Carl noticed an unsuccessfully wrought item, he would call for his senior master craftsman and make endless derisory and ironic remarks. On occasions when Birbaum realized Fabergé was the designer, he would show him his sketch. Fabergé would then smile guiltily and say, "Since there is nobody to scold me, I have had to do it myself".
From Birbaum we also know that Carl was famous for his wit and was quite merciless to fops, whom he hated. A certain prince who fell into this category boasted to Fabergé about his latest honour from the Tsar, adding that he had no idea as to why the award was made. The prince expected the jeweler to shower him with congratulations. Instead, Fabergé simply replied, "Indeed, your Highness, I too have no idea what for".
Carl never traveled with luggage—he bought all his requisites at his destination. On one occasion, when he arrived at the Negresco Hotel in Nice the doorman barred him from entering because of the amount of luggage he carried. Thankfully one of the grand dukes who was in residence called out a greeting and Carl Fabergé was promptly ushered apologetically into the establishment.
Bainbridge concludes, "Taking him all in all, Fabergé came as near to a complete understanding of human nature as it is possible for a man to come, with one word only inscribed on his banner, and that word – tolerance. There is no doubt whatsoever that this consideration for the worth of others was the foundation for his success."
©2012 Marcio Souza Photography | All Rights Reserved | Please do not use without my permission
©2012 Marcio Souza Photography | Todos os Direitos Reservados | Obséquio não usar esta imagem sem permissão.
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©2018 Icaro Roberto | All Rights Reserved | Please do not use this image without my written permission
©2018 Icaro Roberto | Todos os Direitos Reservados | Obséquio não usar esta imagem sem permissão.
Contato: icarorfalves@gmail.com
"Feliz Feliz no cumpleaños a ti a tu!"
Gracias por hacer mi "año nuevo" fantástico. Este es un obsequio de mi a tu. Descarga con click derecho y usalo de fondo de pantalla.
In one particular garden at the cemetery, rows of stone statues of children represent unborn children, including miscarried, aborted, and stillborn children. Parents can choose a statue in the garden and decorate it with small clothing and toys. Usually the statues are accompanied by a small gift for Jizō, the guardian of unborn children, to ensure that they are brought to the afterlife. Occasionally stones are piled by the statue; this is meant to ease the journey to the afterlife.
en.wikipedia.org/wiki/Z%C5%8Dj%C5%8D-ji
En un jardín en particular en el cementerio, filas de estatuas de piedra de niños representan a los niños por nacer, incluidos los niños abortados, abortados y nacidos muertos. Los padres pueden elegir una estatua en el jardín y decorarla con ropa y juguetes pequeños. Por lo general, las estatuas van acompañadas de un pequeño obsequio para Jizō, el guardián de los niños por nacer, para asegurarse de que sean llevados al más allá. Ocasionalmente, la estatua amontona piedras; esto está destinado a facilitar el viaje a la otra vida.
Mizuko kuyo (水子供養 Mizuko kuyō, "servicio memorial para un feto abortado") es una ceremonia japonesa para las mujeres que han sufrido un aborto espontáneo, aborto inducido o mortinato. Esta práctica es más evidente desde la creación de santuarios en la década de 1970 para tal ritual, con el fin de la tranquilidad de la gestante, descanso del alma del feto y evitar la venganza del espíritu del bebé. Originalmente el mizuko kuyo fue usado para ofrendar a Jizo (Ksitigarbha), un Bodhisattva supuesto protector de los niños. Durante el Período Edo, cuando una embarazada era empujada a cometer aborto o infanticidio por su pobreza, la práctica era adaptada para satisfacer la situación. Hoy día, la práctica del mizuko kuyo continúa en Japón, aunque no es claro su autenticidad histórica en las prácticas del budismo en Japón. La ceremonia varía entre templos, escuelas e individuos. Es común que en los templos budistas se ofrezcan estatuillas de Jizo vestidas a lo largo de los pasillos para este propósito. Algunos de estos servicios han sido criticados por aprovecharse y abusar de las creencias que los japoneses tienen acerca de la posible venganza de los espíritus de los bebés abortados.
es.wikipedia.org/wiki/Mizuko_kuy%C5%8D
Mizuko kuyō (水子供養) meaning "water child memorial service", is a Japanese ceremony for those who have had a miscarriage, stillbirth, or abortion. This practice has become particularly visible since the 1970s with the creation of shrines devoted solely to this ritual. Reasons for the performance of these rites can include parental grief, desire to comfort the soul of the fetus, guilt for an abortion, or even fear of retribution from a vengeful ghost.
Mizuko (水子), literally "water child", is a Japanese term for an aborted, stillborn or miscarried baby, and archaically for a dead baby or infant. Kuyō (供養) refers to a memorial service. Previously read suiji, the Sino-Japanese on'yomi reading of the same characters, the term was originally a kaimyō or dharma name given after death.The mizuko kuyō, typically performed by Buddhist priests, was used to make offerings to Jizō, a bodhisattva who is believed to protect children. In the Edo period, when famine sometimes led the poverty-stricken to infanticide and abortion, the practice was adapted to cover these situations as well.
Today, the practice of mizuko kuyō continues in Japan, although it is unclear whether it is a historically authentic Buddhist practice. Specific elements of the ceremony vary from temple to temple, school to school, and individual to individual. It is common for temples to offer Jizō statues for a fee, which are then dressed in red bibs and caps, and displayed in the temple yard. Though the practice has been performed since the 1970s, there are still doubts surrounding the ritual. Some view the memorial service as the temples' way of benefiting from the misfortune of women who have miscarried or had to abort a pregnancy. American religious scholars have criticized the temples for allegedly abusing the Japanese belief that the spirits of the dead retaliate for their mistreatment, but other scholars believe the temples are only answering the needs of the people.
The ceremony is attended by both parents or by one, not necessarily the mother. The service can vary from a single event to one that repeats monthly or annually. Though the service varies, common aspects resemble the ceremony for the recent dead, the senzo kuyō (先祖供養). The priest faces the altar and evokes the names of various Buddhas and bodhisattvas. Mantras, often the Heart Sutra and the 25th chapter of the Lotus Sutra, known as the "Avalokiteśvara Sutra", are performed, as are calls of praise to Jizō. Gifts are offered to the Buddha on behalf of the mourned, typically food, drink, incense or flowers. A kaimyō is given to the deceased, and a statue of Jizō is often placed on temple grounds upon completion of the ceremony.
en.wikipedia.org/wiki/Mizuko_kuy%C5%8D
Los seis Jizō es una antigua leyenda japonesa perteneciente al budismo, cuyo protagonista es el bodhisattva Jizō (地蔵) o Ksitigarbha (地蔵菩薩), tal como se le conoce en Japón. Jizō es el encargado de proteger las almas de los bebés que no han nacido y de los niños que han muerto siendo muy pequeños, a los que se les llama mizuko (水子) o niños del agua. Jizō es el protector de las mujeres embarazadas y de los niños, así como también de los bomberos y viajeros.
De acuerdo con la leyenda, una pareja de ancianos vivía en un hogar humilde y pasaban por muchas necesidades. Se ganaban la vida vendiendo sombreros de paja que fabricaban con sus propias manos. Sin embargo, eran tan pobres que al llegar el día de Fin de Año no tenían dinero para comprar algo especial para cenar y celebrar dicha fecha. El anciano entonces le prometió a su esposa que iría al pueblo, vendería los sombreros y le compraría algo para cenar. El anciano había llevado consigo cinco sombreros de paja, pero al no conseguir venderlos se propuso a regresar a su hogar. Una gran nevada le sorprendió durante el camino de vuelta y divisó a lo lejos seis estatuas de Jizō, de las cuales sintió pena al estar cubiertas de nieve. El anciano quitó la nieve de las estatuas y les ofreció los sombreros que venía cargando con él. A ver que faltaba un sombrero para una de las estatuas, el anciano se quitó su propio sombrero y se lo colocó al sexto Jizō. Más tarde esa noche, la pareja oyó ruidos fuera de su casa y al salir se encontraron con arroz, mochi, pescado y monedas de oro en su puerta. Posteriormente vieron a las estatuas de Jizō con los sombreros en sus cabezas, quienes agradecieron a la pareja por su bondad.
es.wikipedia.org/wiki/Los_seis_Jiz%C5%8D
Kasa Jizō (笠地蔵) is a Japanese folk tale about an old couple whose generosity is rewarded by the bodhisattva Kṣitigarbha, whose name is Jizō in Japanese. The story is commonly handed down by parents to their children in order to instill moral values, as it is grounded in Buddhist thought. An alternative title, Kasako Jizō can be found in Iwate and Fukushima Prefectures. Its origins belong in the Tōhoku and Niigata regions, with the oldest dispensations coming from Hokuriku, as well as areas of Western Japan such as Hiroshima and Kumamoto Prefectures. Its precise origin, however, remains unknown.
One day in the snowy country there lived an incredibly impoverished elderly couple. On New Year's Day, the couple realized that they were unable to afford mochi (a staple form of rice eaten during the New Year). The old man decided to go into town to sell his home-made kasa, but his endeavors proved unsuccessful. Due to the horrible weather conditions, the old man gave up the task and made his trek back home. In the blizzard, the old man came across a line of Jizō statues, to whom he decided to give his kasa as an offering, as well to keep their heads clear of snow. However, he only had enough kasa on hand to give to all but one statue. He gave the remaining statue his tenugui and went on his way. Upon returning home, he relayed the scenario to his wife, who praised him for his virtuous deed, without criticizing his inability to purchase any New Year mochi. That evening, while the couple was asleep, there came a heavy thumping sound from outside the house. They opened the door to find a great pile of treasures, consisting of such goods as rice, vegetables, gold coins, and mochi. The old couple watched on as the Jizō statues marched off into the snowy distance. Having repaid the old man for his selflessness, the couple was able to celebrate the New Year.
San'en-zan Zōjō-ji (三縁山増上寺) is a Jōdo-shū Buddhist temple in Tokyo, Japan. It is the main temple of the Jōdo-shū ("Pure Land") Chinzei sect of Buddhism in the Kantō region,.
Zōjō-ji is notable for its relationship with the Tokugawa clan, the rulers of Japan during the Edo period, with six of the Tokugawa shōguns being buried in the Taitoku-in Mausoleum in the temple grounds. Also, the temple's Sangadetsumon (main gate) is the oldest wooden building in Tokyo, dating from 1622. The original buildings, temples, mausoleums and the cathedral were destroyed by fire, natural disasters or air raids during World War II.
It is located in the Shiba neighborhood of Minato. The Shiba Park is built around the temple, with the Tokyo Tower standing beside it. In 2015 a Treasure Gallery was opened on the underground level of the Daiden (great hall), and it currently houses paintings of Kanō Kazunobu and a model of the Taitoku-in Mausoleum.
Sentai Kosodate Jizō (Unborn Children Garden)
In one particular garden at the cemetery, rows of stone statues of children represent unborn children, including miscarried, aborted, and stillborn children. Parents can choose a statue in the garden and decorate it with small clothing and toys. Usually the statues are accompanied by a small gift for Jizō, the guardian of unborn children, to ensure that they are brought to the afterlife. Occasionally stones are piled by the statue; this is meant to ease the journey to the afterlife.
There is no admission fee for visitors to enter the temple complex. For the Treasure Gallery museum the access fee is (as of 2017, 700 yen).
The entrance is at a 10-minute walk from Hamamatsucho Station on the JR Yamanote and Keihin-Tōhoku Lines, a 6-minute walk from Daimon Station on the Toei Asakusa and Toei Oedo Lines, a 3-minute walk from Onarimon and Shibakoen Stations on the Toei Mita Line, and about 500 meters from the Shibakoen exit of the Shuto Expressway.
While not immediately obvious, the temple grounds are somewhat wheelchair accessible if entering from the side street instead of the main gate.
en.wikipedia.org/wiki/Z%C5%8Dj%C5%8D-ji
San'en-zan Zōjō-ji (三 縁 山 増 上 寺) es un templo budista Jōdo-shū en Tokio, Japón. Es el templo principal de la secta del budismo Jōdo-shū ("Tierra pura") Chinzei en la región de Kantō,
Zōjō-ji es notable por su relación con el clan Tokugawa, los gobernantes de Japón durante el período Edo, con seis de los shōguns Tokugawa enterrados en el Mausoleo Taitoku-in en los terrenos del templo. Además, el Sangadetsumon (puerta principal) del templo es el edificio de madera más antiguo de Tokio, que data de 1622. Los edificios originales, templos, mausoleos y la catedral fueron destruidos por incendios, desastres naturales o ataques aéreos durante la Segunda Guerra Mundial.
Está ubicado en el barrio Shiba de Minato. El Parque Shiba está construido alrededor del templo, con la Torre de Tokio al lado. En 2015 se abrió una Galería del Tesoro en el nivel subterráneo del Daiden (gran salón), y actualmente alberga pinturas de Kanō Kazunobu y un modelo del Mausoleo Taitoku-in.
Sentai Kosodate Jizō (Jardín de niños por nacer)
En un jardín en particular en el cementerio, filas de estatuas de piedra de niños representan a los niños por nacer, incluidos los niños abortados, abortados y nacidos muertos. Los padres pueden elegir una estatua en el jardín y decorarla con ropa y juguetes pequeños. Por lo general, las estatuas van acompañadas de un pequeño obsequio para Jizō, el guardián de los niños por nacer, para asegurarse de que sean llevados al más allá. Ocasionalmente, la estatua amontona piedras; esto está destinado a facilitar el viaje a la otra vida.
No hay tarifa de admisión para que los visitantes ingresen al complejo del templo. Para el museo Treasure Gallery, la tarifa de acceso es (a partir de 2017, 700 yenes).
La entrada se encuentra a 10 minutos a pie de la estación Hamamatsucho de las líneas JR Yamanote y Keihin-Tōhoku, a 6 minutos a pie de la estación Daimon de las líneas Toei Asakusa y Toei Oedo, a 3 minutos a pie de las estaciones Onarimon y Shibakoen en la línea Toei Mita, ya unos 500 metros de la salida Shibakoen de la autopista Shuto.
Si bien no es obvio de inmediato, los terrenos del templo son accesibles para sillas de ruedas si se ingresa desde la calle lateral en lugar de la puerta principal.
© 2016 Marcio Souza Photography | All Rights Reserved | Please do not use this image without my written permission ©2016 Marcio Souza Photography | Todos os Direitos Reservados | Obséquio não usar esta imagem sem permissão.
Daphne me obsequió luz antes de su partida. Dice que las velas anaranjadas mantienen viva nuestra pasión y creatividad...yo le creo todo....la dejaré acá para que exista por siempre... asi será.
Gracias Daphne, eres magia eterna.
©2014 Marcio Souza Photography | All Rights Reserved | Please do not use this image without my written permission ©2014 Marcio Souza Photography | Todos os Direitos Reservados | Obséquio não usar esta imagem sem permissão.
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©2021 Icaro Roberto | Todos os Direitos Reservados | Obséquio não usar esta imagem sem permissão.
Contato: icarorfalves@gmail.com
También conocida como la Campana de la Paz o de la Libertad, debido a que, en su base figura una inscripción donde se puede leer “Perquè l’ esperit d’Olimpia plani damunt la humanitat, la pau i la llibertat esdevinguin perdurables.”, en castellano, "Para que el espíritu de Olimpia proyecte para siempre sobre la humanidad , la paz y la libertad".
Se trata de una campana de bronce, obsequio de la fundición alemana A.Bachert al arzobispado de Barcelona con motivo de los JJOO de 1992.
.....................................................................................................................
Also known as the Bell of Peace or Bell of Freedom, is posible to read on its base the legend: "That the spirit of Olympia projects forever on humanity, peace and freedom."
It was a gift from the German foundry A.Bachert to the city of Barcelona to celebrate the 1992 Olympics Games.
The bell rings twice a day, at noon and at 7 o'clock in the afternoon
San Juan, Puerto Rico.
Mi Galeria en B&N www.flickr.com/photos/samycollazo
Mi Nueva galeria www.flickr.com/photos/scollazo/
CVS 400
Minolta Hi-Matic G2. Obsequio de Eddy www.flickr.com/photos/diverso
Minolta 38mm F:2.8
Lightroom 3
Algunas de las preciosas y mágicas imagenes que me han dado compañia ésta Navidad. Gracias a todos, me faltaria mural porqué he visto tanto y tan bello.
1. una sola cosa, 2. [153/365] siempre nos quedará París, 3. Mis mejores deseos, 4. Christmas tree, 5. Christmas in the cabinet, 6. Nuevas tradiciones... (new traditions), 7. { obsequio }, 8. Happy New Year, 9. Carrusel ♥
©2017 Marcio Souza Photography | All Rights Reserved | Please do not use without my written permission
© 2010 2017 Marcio Souza Photography | Todos os Direitos Reservados | Obséquio não usar esta imagem sem permissão.
In one particular garden at the cemetery, rows of stone statues of children represent unborn children, including miscarried, aborted, and stillborn children. Parents can choose a statue in the garden and decorate it with small clothing and toys. Usually the statues are accompanied by a small gift for Jizō, the guardian of unborn children, to ensure that they are brought to the afterlife. Occasionally stones are piled by the statue; this is meant to ease the journey to the afterlife.
en.wikipedia.org/wiki/Z%C5%8Dj%C5%8D-ji
En un jardín en particular en el cementerio, filas de estatuas de piedra de niños representan a los niños por nacer, incluidos los niños abortados, abortados y nacidos muertos. Los padres pueden elegir una estatua en el jardín y decorarla con ropa y juguetes pequeños. Por lo general, las estatuas van acompañadas de un pequeño obsequio para Jizō, el guardián de los niños por nacer, para asegurarse de que sean llevados al más allá. Ocasionalmente, la estatua amontona piedras; esto está destinado a facilitar el viaje a la otra vida.
Mizuko kuyo (水子供養 Mizuko kuyō, "servicio memorial para un feto abortado") es una ceremonia japonesa para las mujeres que han sufrido un aborto espontáneo, aborto inducido o mortinato. Esta práctica es más evidente desde la creación de santuarios en la década de 1970 para tal ritual, con el fin de la tranquilidad de la gestante, descanso del alma del feto y evitar la venganza del espíritu del bebé. Originalmente el mizuko kuyo fue usado para ofrendar a Jizo (Ksitigarbha), un Bodhisattva supuesto protector de los niños. Durante el Período Edo, cuando una embarazada era empujada a cometer aborto o infanticidio por su pobreza, la práctica era adaptada para satisfacer la situación. Hoy día, la práctica del mizuko kuyo continúa en Japón, aunque no es claro su autenticidad histórica en las prácticas del budismo en Japón. La ceremonia varía entre templos, escuelas e individuos. Es común que en los templos budistas se ofrezcan estatuillas de Jizo vestidas a lo largo de los pasillos para este propósito. Algunos de estos servicios han sido criticados por aprovecharse y abusar de las creencias que los japoneses tienen acerca de la posible venganza de los espíritus de los bebés abortados.
es.wikipedia.org/wiki/Mizuko_kuy%C5%8D
Mizuko kuyō (水子供養) meaning "water child memorial service", is a Japanese ceremony for those who have had a miscarriage, stillbirth, or abortion. This practice has become particularly visible since the 1970s with the creation of shrines devoted solely to this ritual. Reasons for the performance of these rites can include parental grief, desire to comfort the soul of the fetus, guilt for an abortion, or even fear of retribution from a vengeful ghost.
Mizuko (水子), literally "water child", is a Japanese term for an aborted, stillborn or miscarried baby, and archaically for a dead baby or infant. Kuyō (供養) refers to a memorial service. Previously read suiji, the Sino-Japanese on'yomi reading of the same characters, the term was originally a kaimyō or dharma name given after death.The mizuko kuyō, typically performed by Buddhist priests, was used to make offerings to Jizō, a bodhisattva who is believed to protect children. In the Edo period, when famine sometimes led the poverty-stricken to infanticide and abortion, the practice was adapted to cover these situations as well.
Today, the practice of mizuko kuyō continues in Japan, although it is unclear whether it is a historically authentic Buddhist practice. Specific elements of the ceremony vary from temple to temple, school to school, and individual to individual. It is common for temples to offer Jizō statues for a fee, which are then dressed in red bibs and caps, and displayed in the temple yard. Though the practice has been performed since the 1970s, there are still doubts surrounding the ritual. Some view the memorial service as the temples' way of benefiting from the misfortune of women who have miscarried or had to abort a pregnancy. American religious scholars have criticized the temples for allegedly abusing the Japanese belief that the spirits of the dead retaliate for their mistreatment, but other scholars believe the temples are only answering the needs of the people.
The ceremony is attended by both parents or by one, not necessarily the mother. The service can vary from a single event to one that repeats monthly or annually. Though the service varies, common aspects resemble the ceremony for the recent dead, the senzo kuyō (先祖供養). The priest faces the altar and evokes the names of various Buddhas and bodhisattvas. Mantras, often the Heart Sutra and the 25th chapter of the Lotus Sutra, known as the "Avalokiteśvara Sutra", are performed, as are calls of praise to Jizō. Gifts are offered to the Buddha on behalf of the mourned, typically food, drink, incense or flowers. A kaimyō is given to the deceased, and a statue of Jizō is often placed on temple grounds upon completion of the ceremony.
en.wikipedia.org/wiki/Mizuko_kuy%C5%8D
Los seis Jizō es una antigua leyenda japonesa perteneciente al budismo, cuyo protagonista es el bodhisattva Jizō (地蔵) o Ksitigarbha (地蔵菩薩), tal como se le conoce en Japón. Jizō es el encargado de proteger las almas de los bebés que no han nacido y de los niños que han muerto siendo muy pequeños, a los que se les llama mizuko (水子) o niños del agua. Jizō es el protector de las mujeres embarazadas y de los niños, así como también de los bomberos y viajeros.
De acuerdo con la leyenda, una pareja de ancianos vivía en un hogar humilde y pasaban por muchas necesidades. Se ganaban la vida vendiendo sombreros de paja que fabricaban con sus propias manos. Sin embargo, eran tan pobres que al llegar el día de Fin de Año no tenían dinero para comprar algo especial para cenar y celebrar dicha fecha. El anciano entonces le prometió a su esposa que iría al pueblo, vendería los sombreros y le compraría algo para cenar. El anciano había llevado consigo cinco sombreros de paja, pero al no conseguir venderlos se propuso a regresar a su hogar. Una gran nevada le sorprendió durante el camino de vuelta y divisó a lo lejos seis estatuas de Jizō, de las cuales sintió pena al estar cubiertas de nieve. El anciano quitó la nieve de las estatuas y les ofreció los sombreros que venía cargando con él. A ver que faltaba un sombrero para una de las estatuas, el anciano se quitó su propio sombrero y se lo colocó al sexto Jizō. Más tarde esa noche, la pareja oyó ruidos fuera de su casa y al salir se encontraron con arroz, mochi, pescado y monedas de oro en su puerta. Posteriormente vieron a las estatuas de Jizō con los sombreros en sus cabezas, quienes agradecieron a la pareja por su bondad.
es.wikipedia.org/wiki/Los_seis_Jiz%C5%8D
Kasa Jizō (笠地蔵) is a Japanese folk tale about an old couple whose generosity is rewarded by the bodhisattva Kṣitigarbha, whose name is Jizō in Japanese. The story is commonly handed down by parents to their children in order to instill moral values, as it is grounded in Buddhist thought. An alternative title, Kasako Jizō can be found in Iwate and Fukushima Prefectures. Its origins belong in the Tōhoku and Niigata regions, with the oldest dispensations coming from Hokuriku, as well as areas of Western Japan such as Hiroshima and Kumamoto Prefectures. Its precise origin, however, remains unknown.
One day in the snowy country there lived an incredibly impoverished elderly couple. On New Year's Day, the couple realized that they were unable to afford mochi (a staple form of rice eaten during the New Year). The old man decided to go into town to sell his home-made kasa, but his endeavors proved unsuccessful. Due to the horrible weather conditions, the old man gave up the task and made his trek back home. In the blizzard, the old man came across a line of Jizō statues, to whom he decided to give his kasa as an offering, as well to keep their heads clear of snow. However, he only had enough kasa on hand to give to all but one statue. He gave the remaining statue his tenugui and went on his way. Upon returning home, he relayed the scenario to his wife, who praised him for his virtuous deed, without criticizing his inability to purchase any New Year mochi. That evening, while the couple was asleep, there came a heavy thumping sound from outside the house. They opened the door to find a great pile of treasures, consisting of such goods as rice, vegetables, gold coins, and mochi. The old couple watched on as the Jizō statues marched off into the snowy distance. Having repaid the old man for his selflessness, the couple was able to celebrate the New Year.
In one particular garden at the cemetery, rows of stone statues of children represent unborn children, including miscarried, aborted, and stillborn children. Parents can choose a statue in the garden and decorate it with small clothing and toys. Usually the statues are accompanied by a small gift for Jizō, the guardian of unborn children, to ensure that they are brought to the afterlife. Occasionally stones are piled by the statue; this is meant to ease the journey to the afterlife.
en.wikipedia.org/wiki/Z%C5%8Dj%C5%8D-ji
En un jardín en particular en el cementerio, filas de estatuas de piedra de niños representan a los niños por nacer, incluidos los niños abortados, abortados y nacidos muertos. Los padres pueden elegir una estatua en el jardín y decorarla con ropa y juguetes pequeños. Por lo general, las estatuas van acompañadas de un pequeño obsequio para Jizō, el guardián de los niños por nacer, para asegurarse de que sean llevados al más allá. Ocasionalmente, la estatua amontona piedras; esto está destinado a facilitar el viaje a la otra vida.
Mizuko kuyo (水子供養 Mizuko kuyō, "servicio memorial para un feto abortado") es una ceremonia japonesa para las mujeres que han sufrido un aborto espontáneo, aborto inducido o mortinato. Esta práctica es más evidente desde la creación de santuarios en la década de 1970 para tal ritual, con el fin de la tranquilidad de la gestante, descanso del alma del feto y evitar la venganza del espíritu del bebé. Originalmente el mizuko kuyo fue usado para ofrendar a Jizo (Ksitigarbha), un Bodhisattva supuesto protector de los niños. Durante el Período Edo, cuando una embarazada era empujada a cometer aborto o infanticidio por su pobreza, la práctica era adaptada para satisfacer la situación. Hoy día, la práctica del mizuko kuyo continúa en Japón, aunque no es claro su autenticidad histórica en las prácticas del budismo en Japón. La ceremonia varía entre templos, escuelas e individuos. Es común que en los templos budistas se ofrezcan estatuillas de Jizo vestidas a lo largo de los pasillos para este propósito. Algunos de estos servicios han sido criticados por aprovecharse y abusar de las creencias que los japoneses tienen acerca de la posible venganza de los espíritus de los bebés abortados.
es.wikipedia.org/wiki/Mizuko_kuy%C5%8D
Mizuko kuyō (水子供養) meaning "water child memorial service", is a Japanese ceremony for those who have had a miscarriage, stillbirth, or abortion. This practice has become particularly visible since the 1970s with the creation of shrines devoted solely to this ritual. Reasons for the performance of these rites can include parental grief, desire to comfort the soul of the fetus, guilt for an abortion, or even fear of retribution from a vengeful ghost.
Mizuko (水子), literally "water child", is a Japanese term for an aborted, stillborn or miscarried baby, and archaically for a dead baby or infant. Kuyō (供養) refers to a memorial service. Previously read suiji, the Sino-Japanese on'yomi reading of the same characters, the term was originally a kaimyō or dharma name given after death.The mizuko kuyō, typically performed by Buddhist priests, was used to make offerings to Jizō, a bodhisattva who is believed to protect children. In the Edo period, when famine sometimes led the poverty-stricken to infanticide and abortion, the practice was adapted to cover these situations as well.
Today, the practice of mizuko kuyō continues in Japan, although it is unclear whether it is a historically authentic Buddhist practice. Specific elements of the ceremony vary from temple to temple, school to school, and individual to individual. It is common for temples to offer Jizō statues for a fee, which are then dressed in red bibs and caps, and displayed in the temple yard. Though the practice has been performed since the 1970s, there are still doubts surrounding the ritual. Some view the memorial service as the temples' way of benefiting from the misfortune of women who have miscarried or had to abort a pregnancy. American religious scholars have criticized the temples for allegedly abusing the Japanese belief that the spirits of the dead retaliate for their mistreatment, but other scholars believe the temples are only answering the needs of the people.
The ceremony is attended by both parents or by one, not necessarily the mother. The service can vary from a single event to one that repeats monthly or annually. Though the service varies, common aspects resemble the ceremony for the recent dead, the senzo kuyō (先祖供養). The priest faces the altar and evokes the names of various Buddhas and bodhisattvas. Mantras, often the Heart Sutra and the 25th chapter of the Lotus Sutra, known as the "Avalokiteśvara Sutra", are performed, as are calls of praise to Jizō. Gifts are offered to the Buddha on behalf of the mourned, typically food, drink, incense or flowers. A kaimyō is given to the deceased, and a statue of Jizō is often placed on temple grounds upon completion of the ceremony.
en.wikipedia.org/wiki/Mizuko_kuy%C5%8D
Los seis Jizō es una antigua leyenda japonesa perteneciente al budismo, cuyo protagonista es el bodhisattva Jizō (地蔵) o Ksitigarbha (地蔵菩薩), tal como se le conoce en Japón. Jizō es el encargado de proteger las almas de los bebés que no han nacido y de los niños que han muerto siendo muy pequeños, a los que se les llama mizuko (水子) o niños del agua. Jizō es el protector de las mujeres embarazadas y de los niños, así como también de los bomberos y viajeros.
De acuerdo con la leyenda, una pareja de ancianos vivía en un hogar humilde y pasaban por muchas necesidades. Se ganaban la vida vendiendo sombreros de paja que fabricaban con sus propias manos. Sin embargo, eran tan pobres que al llegar el día de Fin de Año no tenían dinero para comprar algo especial para cenar y celebrar dicha fecha. El anciano entonces le prometió a su esposa que iría al pueblo, vendería los sombreros y le compraría algo para cenar. El anciano había llevado consigo cinco sombreros de paja, pero al no conseguir venderlos se propuso a regresar a su hogar. Una gran nevada le sorprendió durante el camino de vuelta y divisó a lo lejos seis estatuas de Jizō, de las cuales sintió pena al estar cubiertas de nieve. El anciano quitó la nieve de las estatuas y les ofreció los sombreros que venía cargando con él. A ver que faltaba un sombrero para una de las estatuas, el anciano se quitó su propio sombrero y se lo colocó al sexto Jizō. Más tarde esa noche, la pareja oyó ruidos fuera de su casa y al salir se encontraron con arroz, mochi, pescado y monedas de oro en su puerta. Posteriormente vieron a las estatuas de Jizō con los sombreros en sus cabezas, quienes agradecieron a la pareja por su bondad.
es.wikipedia.org/wiki/Los_seis_Jiz%C5%8D
Kasa Jizō (笠地蔵) is a Japanese folk tale about an old couple whose generosity is rewarded by the bodhisattva Kṣitigarbha, whose name is Jizō in Japanese. The story is commonly handed down by parents to their children in order to instill moral values, as it is grounded in Buddhist thought. An alternative title, Kasako Jizō can be found in Iwate and Fukushima Prefectures. Its origins belong in the Tōhoku and Niigata regions, with the oldest dispensations coming from Hokuriku, as well as areas of Western Japan such as Hiroshima and Kumamoto Prefectures. Its precise origin, however, remains unknown.
One day in the snowy country there lived an incredibly impoverished elderly couple. On New Year's Day, the couple realized that they were unable to afford mochi (a staple form of rice eaten during the New Year). The old man decided to go into town to sell his home-made kasa, but his endeavors proved unsuccessful. Due to the horrible weather conditions, the old man gave up the task and made his trek back home. In the blizzard, the old man came across a line of Jizō statues, to whom he decided to give his kasa as an offering, as well to keep their heads clear of snow. However, he only had enough kasa on hand to give to all but one statue. He gave the remaining statue his tenugui and went on his way. Upon returning home, he relayed the scenario to his wife, who praised him for his virtuous deed, without criticizing his inability to purchase any New Year mochi. That evening, while the couple was asleep, there came a heavy thumping sound from outside the house. They opened the door to find a great pile of treasures, consisting of such goods as rice, vegetables, gold coins, and mochi. The old couple watched on as the Jizō statues marched off into the snowy distance. Having repaid the old man for his selflessness, the couple was able to celebrate the New Year.