View allAll Photos Tagged sacral
7DWF, Crazy Tuesday: Upright format
The Deutscher Dom (German Church or New Church) is part of an important architectural ensemble composed of the German Church, the French Church, and the Konzerthaus (Concert Hall). The ensemble is located on the Gendarmenmarkt which is regarded as one of the most beautiful places in Berlin.
Reflected in the windows of the Quartier 205, a shopping mall, commercial and residential house located between the Gendarmenmarkt and Friedrichstrasse, is the domed tower of the German / New Church. The tower of the German Church, which is much bigger than the building of the church itself, never had a sacral function. In fact the name "Dom" refers to the French word dôme / English dome, and not to a cathedral. Complicated? Let's make it a little more so, the German Church is not to be confused with the Berlin Cathedral which in fact is a real cathedral and the Evangelical Supreme Parish and Collegiate Church of Berlin, Germany.
Photowalk with [https://www.flickr.com/photos/kugel-fotos-sabine-r] on Whitsunday 2018 ;-)
Dom reflektiert...
...in den Fenstern des Quartiers 205, einem Wohn- und Geschäftshaus mit edler Einkaufspassage zwischen Gendarmenmarkt und Friedrichstraße in Berlin-Mitte. Der Deutsche Dom, wie auch sein Pendant, der Französische Dom, sind Teil des berühmten Architekturensembles auf dem Gendarmenmarkt, das vom Konzerthaus (ehemals Schauspielhaus) komplettiert wird. Der Gendarmenmarkt gilt als einer der schönsten Plätze Berlins.
Weder der Deutsche noch der Französische Dom sind Kirchen im eigentlichen Sinne, der Name leitet sich vielmehr vom französischen "dôme" ab und bezieht sich auf die kuppelförmigen Türme, die die jeweiligen Kirchengebäude bei Weitem überragen.
Fotospaziergang mit Sabine.R an Pfingstsonntag 2018 ;-)
The Church of St James is the oldest stone church in Kutná Hora, and was intended as the spiritual centre of the entire town since its very establishment. Its location and architectural concept also corresponds to this. The church is located in the very heart of the medieval town: the distance to all other churches is approximately the same, which is an expression of the sacral nature of this area. The tower of the Church of St James is thus visible from afar and serves as an important point of orientation for the wider area.
La construction de cette église (1873-1923), monument à la fois politique et culturel, suit l'après-guerre de 1870. Elle est déclarée d'utilité publique par une loi votée le 24 juillet 1873 par l'Assemblée nationale de 1871 ; le bâtiment est officiellement achevé en 1923. Elle s'inscrit dans le contexte de recharge sacrale et dans le cadre d'un nouvel « ordre moral » faisant suite aux événements de la Commune de Paris, dont Montmartre fut un des hauts lieux. Sa situation à 130 m d'altitude près de l'un des points culminants de Paris, et son dôme qui s'élève à 83 mètres, la rendent visible de très loin.
The pilgrimage church of Our Lady, also known as the Frauenkirche, is located in the Bavarian market town of Münsterhausen, in the district of Günzburg.
In 1659 the Heidenheimer family took over the fief in which Münsterhausen is located. In 1695, Baroness Johanna Franziska von Heidenheim fell ill in childbirth. The doctors had already given her up when she went on a pilgrimage as a last resort to the miraculous image in Altötting. There she finds help. She was so taken with it that she asked for a consecrated copy of the miraculous image. She receives this. The baroness then had a chapel built with the same dimensions as the Altötting octagon. A pilgrimage begins, and in order to be able to cope with the stream of pilgrims, a nave is added to the chapel. Construction began in 1699 and was consecrated in October 1708. Master builder is Valerian Brenner from Vorarlberg, plasterer is Hans-Jörg Brix.
The chapel is only connected to the nave by a door and a window, this changes in 1901/02. You break through into the chapel. This has served as the choir of the church ever since. The high altar also dates from 1901/02. In it, the miraculous image from the previous age has been taken over, framed by relief panels made of gold and silver sheet. Both side altars are original from the time of origin. The pulpit is made in 1708. The ceiling paintings are oil on canvas and also date from 1708.
Simple croix de chemin.
Bas-Saint-Laurent, Quebec, Canada.
This image is one in a series of croix de chemin (roadside crosses). There are between 2,500 and 3,000 croix de chemin scattered all over rural Québec, the historic centre of North American Catholicism. Croix de chemin are large (15 to 20 feet tall) and were “erected to fulfill a vow, to sacralize the land, or to ward off calamities” (Kaell, “Marking Memory”, p. 135). Croix de chemin are most often made of wood and are decorated with iconography of the Passion. There are three main types: (1) the simple croix de chemin which may have some decorative elements at the end or centre, (2) the croix de chemin featuring instruments of the Passion which are decorated with a lance, nails, hammer, whip, ladder, crown of thorns, and/or rooster and (3) the calvaire, which depicts the crucifixion scene.
I wrote a blog post about my December 2022 photographic trip to the rural areas of Chaudière-Appalaches (Beauce) and Bas-Saint-Laurent, south and east of Québec City. If you'd like to see some behind the scene shots, video and read some stories about how I shot these images, take a look.
If you'd like to see the rest of the images from this trip, take a look at my Québec album and if you'd like to see the series within the series - the croix de chemin - there's an album for croix, as well.
The Roman Catholic wooden church of St. Francis of Assisi, made of red spruce, was built at the end of the 15th century in the Gothic style. It is situated on a small elevation in the centre of the village of Hervartov in the Bardejov district. Since 2008 it has been included in the list of UNESCO monuments.
It is the oldest and one of the best preserved wooden churches in Slovakia. The church is enclosed by a stone wall with pilasters, which gives visitors the impression of a small fortress. The sacral building consists of a polygonal sanctuary, a nave, a sacristy and an undercroft, which has been modified to create a granary. The church also includes a bell tower.
While the exterior of the oldest wooden church on the Slovak side of the Carpathian Mountains has remained unchanged, the interior has undergone several modifications due to the Reformation, the Recatholization and the Baroque style. Surface compositions of geometric shapes as well as scenes from the lives of saints or moral scenes make up the rich decoration of the interior walls of the Hervart church.
The Church of St. Archangel Michael is a wooden church with a bell tower from 1742 located in the municipality of Ladomirová. The church was dedicated to St. Archangel Michael and was built without a single nail.
During the Second World War, the right side of the iconostasis was badly damaged. Fortunately, it was restored in 1946. The church was damaged again in 1957, when a linden tree fell on it during a brutal storm. The church has been a national cultural monument since 1968 and was entered on the World Heritage List on 8 July 2008.
On the southern side, there is a wooden bell tower secured from the outside by vertical spruce boards. The church was built in the style popular across the Transcarpathia and the regions spanning almost to the river Poprad. The so-called Lemko style (Lemkos are an ethnic group inhabiting parts of Transcarpathia) is evidenced by the classical square floor plan with a central extended nave, covered by a wooden dome (like the presbytery). The vault is connected with the walls through an atypically shaped octagon without pendatives typical for temples built by Hutsuls (ethnic group) (see the only church in Nižný Komárnik: www.regionsaris.sk/kam-ist/svidnik-a-okolie/dreveny-chram...).
The octagon motif of Russian-Byzantine origin was used only in this part of the interior; the rest of the interior follows the tradition of Lemkos, as evidenced by three onion dome shingles roofs. The church tower dominates the space reserved exclusively for women. The towers and the two-storey tented roofs above the sanctuary are topped with onion domes with metal crosses. The remarkable feature of the sacral complex is its stepped gable roof covered with shingles. This roof served as an inspiration for the church in Mirola www.regionsaris.sk/kam-ist/svidnik-a-okolie/dreveny-chram... and Hunkovce www.regionsaris.sk/kam-ist/svidnik-a-okolie/dreveny-chram... . The log building and the space below the tower are covered with vertical spruce boards with slats. On the west side of the nave is a small choir with a wooden windowsill.
In the front part of the building’s fencing, a part of the wooden beam enclosure with a shingled roof and also an entrance gate with a low pyramidal roof covered with shingles have been preserved. The iconostasis and altar, which dates from the middle of the 18th century, are also worth noting.
La nota città spagnola di Granada deve a questo frutto il suo nome, da sempre simbolo della fertilità. La tradizione di questa pianta è davvero molto antica e ricca di leggende e di storie misteriose.
Il simbolo della fertilità è da sempre molto collegato ad essa, al punto di trovarlo fra le mani di diversi affreschi e dipinti raffiguranti Gesù, proprio per significare la vita che Dio ci ha donato.
Simbolo di resurrezione per l’arte copta, per Giunone era simbolo di sacralità e per Venere di amore, infatti, le spose dell’antica Roma ne intrecciavano rami da posare poi sul loro capo.
In Turchia la sposa lascia cadere a terra un melograno per vedere quanti chicchi usciranno: il numero corrisponderà al numero di figli che potrà avere.
In India si pensa che il succo sia un potente curatore contro la sterilità.
Nel linguaggio dei fiori, inserire in una composizione un frutto di melograno significa “amore forte che arde”.
Crucifixion Group - You can find it on the end of the northern (left) nave of the church, where it encloses this entire temple space.
It is a three-dimensional figural work, where the central wooden cross with the sculpture of the Crucified Christ is flanked on the sides by free-standing statues of the mourning Virgin Mary and St. John the Evangelist.
This sculptural composition forms a historical superstructure of one of the side altars of the church.
This type of croix de chemin is known as a calvaire. I arrived at this spot just as the light was fading on my first day in Quebec. The winds were dying down a bit, though you can see the snow being kicked around in the background, and I'd had an amazing first day of photography. A great memory.
Chaudière-Appalaches (Beauce), Québec, Canada.
This image is one in a series of croix de chemin (roadside crosses) taken during my December 2022 photographic trip to Québec. There are between 2,500 and 3,000 croix de chemin scattered all over rural Québec, the historic centre of North American Catholicism. Despite the decrease in influence of the Catholic Church during the Quiet Revolution of the 1960s and the prediction that, as a result, croix de chemin would disappear from the rural landscape, recent surveys have shown that around 80% of the croix that were surveyed in the 70s and 80s are still standing. Croix de chemin are large (15 to 20 feet tall) crosses that where originally “erected to fulfill a vow, to sacralize the land, or to ward off calamities” (Kaell, p. 135). They hark back to the cross that Jacques Cartier erected on the Canadian mainland, in Gaspé, on July 24, 1534 on his first exploration trip of the Gulf of St. Lawrence, but also represent their owners’ Catholic devotion and are examples of beautiful rural folk art. Croix de chemin are most often made of wood (though some more modern ones are made of metal) and are decorated with iconography of the Passion. Each year their caretakers try to repaint them and every 40 or 50 years they have to be replaced altogether. There are three main types of croix de chemin: (1) the simple croix de chemin which may have some decorative elements at the end or centre, (2) the croix de chemin featuring instruments of the Passion which are decorated with a lance, nails, hammer, whip, ladder, crown of thorns, and/or rooster and (3) the calvaire, which depicts the crucifixion scene.
The primary reason I wanted to photograph the croix de chemin was that they are wonderful pieces of folk art – made and maintained, sometimes for many decades, by local artisans, and are pretty much unique to Québec in Canada (although emigrants from Québec brought a few to Ontario and Manitoba in the 19th century). I spent many hours of scouting the locations of croix de chemin using the fantastic website Les Croix de Chemin au Québec and searching out and photographing them to create this series was a highlight of my recent trip. In the end, I photographed almost 40 croix de chemin to create this series.
Kaell, H. (2017) Marking memory: Heritage work and devotional labor at Québec’s croix de chemin. In K. Norget (Ed.), The Anthropology of Catholicism (pp. 122-138). University of California Press.
Joly, D. (2007). Wayside crosses. In Encyclopedia of French cultural heritage in North America. www.ameriquefrancaise.org/en/article-296/Wayside_Crosses.html
I wrote a blog post about my December 2022 photographic trip to the rural areas of Chaudière-Appalaches (Beauce) and Bas-Saint-Laurent, south and east of Québec City. If you'd like to see some behind the scene shots, video and read some stories about how I shot these images, take a look.
If you'd like to see the rest of the images from this trip, take a look at my Québec album and if you'd like to see the series within the series - the croix de chemin - there's an album for them, as well.
Kalkar is a municipality in the district of Kleve, in North Rhine-Westphalia, Germany. It is located near the Rhine, approx. 10 km south-east of Cleves. The most famous building of Kalkar is its church St. Nicolai, which has one of the most significant sacral inventory from the late Middle Ages in Europe or the Brick Gothic town hall build in 1446.
Kalkar was founded by Dirk VI of Cleves in 1230 and received city rights in 1242. It was one of the seven "capitals" of Cleves (called Kleve), until the line of the Duchy of Cleves died out in 1609, whereupon the city went over to the Margraviate of Brandenburg. Marie of Burgundy, Duchess of Cleves retired to Monreberg castle in Kalkar, where she founded a Dominican convent in 1455. Under her influence the city bloomed and artists were attracted to the favorable climate for cultural investment. She died at Monreberg castle in 1463.
Urheberrecht bei Andreas Dlugosch
Dieses Foto ist urheberrechtlich geschützt. Ohne meine vorherige schriftliche Genehmigung darf das Foto weder ganz, noch auszugsweise kopiert, verändert, vervielfältigt oder veröffentlicht werden.
Das Nutzungsrecht meiner Fotos ist immer kostenpflichtig.
©Andreas Dlugosch
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Info's zum Foto hier
glockenklaenge.de/orte/bay/gars_am_inn.html#
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Esztergom was the capital of Hungary from the 10th till the mid-13th century when King Béla IV of Hungary moved the royal seat to Buda. During the same period, the castle of Esztergom was built on the site of ancient Roman castrum. It served not only as the royal residence until the 1241 (the Mongol invasion), but also as the center of the Hungarian state, religion, and Esztergom county.
After changing his residence to Budapest, Béla IV gave the palace and castle to the archbishop. Following these events, the castle was built and decorated by the bishops. The center of the king’s town, which was surrounded by walls, was still under royal authority. A number of different monasteries did return or settle in the religious center.
Meanwhile, the citizenry had been fighting to maintain and reclaim the rights of towns against the expansion of the church within the royal town. In the chaotic years after the fall of the House of Árpád, Esztergom suffered another calamity: in 1304, the forces of Wenceslaus II, the Czech king occupied and raided the castle. In the years to come, the castle was owned by several individuals: Róbert Károly and then Louis the Great patronized the town.
The Ottoman conquest of Mohács in 1526 brought a decline to the previously flourishing Esztergom as well. In the Battle of Mohács, the archbishop of Esztergom died. In the period between 1526 and 1543, when two rival kings reigned in Hungary, Esztergom was besieged six times. At times it was the forces of Ferdinand I or John Zápolya, at other times the Ottomans attacked. Finally, in 1530, Ferdinand I occupied the castle. He put foreign mercenaries in the castle, and sent the chapter and the bishopric to Nagyszombat and Pozsony.
However, in 1543 Sultan Suleiman I attacked the castle and took it. Esztergom became the centre of an Ottoman sanjak controlling several counties, and also a significant castle on the northwest border of the Ottoman Empire. In the 17th century Esztergom was besieged and conquered several times during the Ottoman-Habsburg Wars. Most of the buildings in the castle and the town that had been built in the Middle Ages were destroyed during this period, and there were only uninhabitable, smothered ruins to welcome the liberators.
In 1761 the bishopric regained control over the castle, where they started the preliminary processes of the reconstruction of the new religious center: the middle of the Várhegy (Castle Hill), the remains of Saint Stephen and Saint Adalbert churches were carried away to provide room for the new cathedral.
Foto 11: Commemorazione della rivoluzione Messicana
Foto del 2009
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LA RIVOLUZIONE MESSICANA
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Le pitture si susseguono incalzanti.
I colori catturano gli occhi, li graffiano.
Figure s'intrecciano a mimare la sofferenza.
Pennellate sanguigne tratteggiano il dramma di una storia spesso cruenta.
Un sussulto.
Perché tanto dolore tanta sopraffazione.
Perché la storia è sangue?
Me lo domando, ma è misera retorica la mia.
L'uomo è così.
Incapace di vivere senza guerre.
Il murale che ho scelto non è il migliore,
non possiamo relegare il tutto ad una gara.
Forse è quello più importante per il Messico moderno.
Il sofferto inizio di un lungo e difficile cammino verso la democrazia.
Seppur nella sacralità del momento, ne rimarca ancora barlumi d'insofferenza.
La data è ben in evidenza ma sono le figure ai lati a catturare interesse.
Volti senza sorriso che trasmettono solo la difficoltà dell'impresa da compiersi.
Occhi fissi, spenti, sono ancora i fucili a comandare.
Che tristezza.
La data del 4 giugno 1910 è solo una prima tappa per arrivare ad un paese libero e solidale.
Eroi popolari come Emiliano Zapata e Francisco “Pancho” Villa,
ad enfatizzarne il diritto e la giustizia per un popolo oppresso dal potere dissennato.
La storia nel suo evolversi la potrete trovare sui libri o sulla rete.
Sono troppo stanco per proseguire.
E' il 26 dicembre 2020 mentre scrivo, piango.
La notte è arrivata sono spossato e preoccupato.
Quest'anno è stato un'ecatombe mondiale.
Dobbiamo fare la nostra rivoluzione.
Dobbiamo cambiare, ma non fucili, ABBRACCI.
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© Il testo e la foto sono di esclusiva proprietà dell'autore, Stefano Paradossi, che ne detiene i diritti e ne vieta qualsiasi utilizzo da parte di terzi. La foto fa parte dell'Archivio Fotografico della famiglia Paradossi.
© The text and the picture are of exclusive property of the author, Stefano Paradossi, who owns the rights and prohibits any use by third parties. The image is part of the Photo Archive of the Paradossi family.
Esztergom was the capital of Hungary from the 10th till the mid-13th century when King Béla IV of Hungary moved the royal seat to Buda. During the same period, the castle of Esztergom was built on the site of ancient Roman castrum. It served not only as the royal residence until the 1241 (the Mongol invasion), but also as the center of the Hungarian state, religion, and Esztergom county.
After changing his residence to Budapest, Béla IV gave the palace and castle to the archbishop. Following these events, the castle was built and decorated by the bishops. The center of the king’s town, which was surrounded by walls, was still under royal authority. A number of different monasteries did return or settle in the religious center.
Meanwhile, the citizenry had been fighting to maintain and reclaim the rights of towns against the expansion of the church within the royal town. In the chaotic years after the fall of the House of Árpád, Esztergom suffered another calamity: in 1304, the forces of Wenceslaus II, the Czech king occupied and raided the castle. In the years to come, the castle was owned by several individuals: Róbert Károly and then Louis the Great patronized the town.
The Ottoman conquest of Mohács in 1526 brought a decline to the previously flourishing Esztergom as well. In the Battle of Mohács, the archbishop of Esztergom died. In the period between 1526 and 1543, when two rival kings reigned in Hungary, Esztergom was besieged six times. At times it was the forces of Ferdinand I or John Zápolya, at other times the Ottomans attacked. Finally, in 1530, Ferdinand I occupied the castle. He put foreign mercenaries in the castle, and sent the chapter and the bishopric to Nagyszombat and Pozsony.
However, in 1543 Sultan Suleiman I attacked the castle and took it. Esztergom became the centre of an Ottoman sanjak controlling several counties, and also a significant castle on the northwest border of the Ottoman Empire. In the 17th century Esztergom was besieged and conquered several times during the Ottoman-Habsburg Wars. Most of the buildings in the castle and the town that had been built in the Middle Ages were destroyed during this period, and there were only uninhabitable, smothered ruins to welcome the liberators.
In 1761 the bishopric regained control over the castle, where they started the preliminary processes of the reconstruction of the new religious center: the middle of the Várhegy (Castle Hill), the remains of Saint Stephen and Saint Adalbert churches were carried away to provide room for the new cathedral.
A simple, small and slightly wonky croix de chemin near the town of Saint-Denis-De La Bouteillerie in Bas-Saint-Laurent.
This image is one in a series of croix de chemin (roadside crosses). There are between 2,500 and 3,000 croix de chemin scattered all over rural Québec, the historic centre of North American Catholicism. Despite the decrease in influence of the Catholic Church during the Quiet Revolution of the 1960s and the prediction that, as a result, croix de chemin would disappear from the rural landscape, recent surveys have shown that around 80% of the croix that were surveyed in the 70s and 80s are still standing. Croix de chemin are large (15 to 20 feet tall) and were “erected to fulfill a vow, to sacralize the land, or to ward off calamities” (Kaell, p. 135). Croix de chemin are most often made of wood and are decorated with iconography of the Passion. There are three main types: (1) the simple croix de chemin which may have some decorative elements at the end or centre, (2) the croix de chemin featuring instruments of the Passion which are decorated with a lance, nails, hammer, whip, ladder, crown of thorns, and/or rooster and (3) the calvaire, which depicts the crucifixion scene.
I wanted to photograph the croix de chemin is as wonderful pieces of folk art – made and maintained, sometimes for many decades, by locals, that are uniquely Québecois. In the end, I photographed almost 40 croix de chemin to create this series.
Kaell, H. (2017) Marking memory: Heritage work and devotional labor at Québec’s croix de chemin. In K. Norget (Ed.), The Anthropology of Catholicism (pp. 122-138). University of California Press.
Joly, D. (2007). Wayside crosses. In Encyclopedia of French cultural heritage in North America. www.ameriquefrancaise.org/en/article-296/Wayside_Crosses.html
Bas-Saint-Laurent, Québec, Canada.
I wrote a blog post about my December 2022 photographic trip to the rural areas of Chaudière-Appalaches (Beauce) and Bas-Saint-Laurent, south and east of Québec City. If you'd like to see some behind the scene shots, video and read some stories about how I shot these images, take a look.
If you'd like to see the rest of the images from this trip, take a look at my Québec album and if you'd like to see the series within the series - the croix de chemin - there's an album for them, as well.
Il Nadaam una festa speciale in Mongolia. Quello più grande avviene nella capitale, ma durante l’estate se ne svolgono anche nelle poche “cittá” di periferia. Abbiamo avuto la fortuna di capitare il giorno giusto in quello di Karakorum.
E’ una festa per e del popolo, della gente comune, dove si cimentano gli arcieri, i contorsionisti, i musicisti, i lottatori e si assiste alle corse dei cavalli con i bimbi come fantini. Arriva gente dai dintorni con i costumi tipici e i volti carichi di storia e vita. Naturalmente il tutto è avvolto nella sacralità del buddismo.
Questo è un immenso tappeto di seta, cucito a mano che rappresenta un buddha.
Ci si gira intorno in senso orario e si prega. Era srotolato su un pendio solo per qualche ora. Qualcosa di solenne, preziosissimo e spettacolare di un Paese dove la sacralitá é vita.
The Monastery at Lébény was established between 1199 and 1203, by a nobleman, for private worship. The complex was dedicated to the Apostle Saint James the Great. Though the existing charter for approving the donations and construction was signed by Andreas II (1208), one of the walls of the church had “1206” engraved in them, which may indicate that the church was already built at that time. It is also mentioned in the RegestrumVaradiense (an important language memorial), which was made in the late cathedral chapter of the present Oradea (Nagyvárad) in the 13th century. The monastery of Lébény was attacked and burnt down several times; the first by Mongols, then the second by King Ottokar I of Bohemia; and thereafter by the Turks, which was probably in 1529 and definitely in 1683. The monastery was taken back from the Turks by the arch-abbot of Pannonhalma in 1540. He named a new abbot, though the title only existed on paper for a little bit longer than two decades. In 1563 the monastery was burnt down again for the third time and was left devoured. Presently, the only part of the complex that is still standing is the iconic three-nave Romanesque church in the middle of Lébény village. This church is one of the most important Romanesque style buildings of Hungary, which was most probably restored in the 17th century by the Jesuits, and it was the first ever Hungarian monument that was restored in the second half of the 19th century. In addition, the Romanesque church is also operating as a parish of the village.
This lovely croix overlooks the mighty St. Lawrence River.
Bas-Saint-Laurent, Québec, Canada.
This image is one in a series of croix de chemin (roadside crosses). There are between 2,500 and 3,000 croix de chemin scattered all over rural Québec, the historic centre of North American Catholicism. Croix de chemin are large (15 to 20 feet tall) and were “erected to fulfill a vow, to sacralize the land, or to ward off calamities” (Kaell, “Marking Memory”, p. 135). Croix de chemin are most often made of wood and are decorated with iconography of the Passion. There are three main types: (1) the simple croix de chemin which may have some decorative elements at the end or centre, (2) the croix de chemin featuring instruments of the Passion which are decorated with a lance, nails, hammer, whip, ladder, crown of thorns, and/or rooster and (3) the calvaire, which depicts the crucifixion scene.
I wrote a blog post about my December 2022 photographic trip to the rural areas of Chaudière-Appalaches (Beauce) and Bas-Saint-Laurent, south and east of Québec City. If you'd like to see some behind the scene shots, video and read some stories about how I shot these images, take a look.
If you'd like to see the rest of the images from this trip, take a look at my Québec album and if you'd like to see the series within the series - the croix de chemin - there's an album for croix, as well.
Roggenburg is a municipality in the Neu - Ulm district and has approx. 2,700 inhabitants. The most important building in this community is the Premonstratensian monastery with its Church of the Assumption of Mary.Simpert Kramer began building the church in 1752, but died in 1753, so that his son Martin Kramer completed the building in 1758.The church is integrated into the monastery building and is not itself an independent building, as is usual with the Premonstratensians. You therefore enter the church through a side entrance.It is not known exactly who the stucco comes from, either from Gottlieb or Ignaz Finsterwalder, but also Franz Xaver Feitmeyr, these names are involved.Unfortunately, the original frescoes by Franz Martin Kuen are no longer preserved. In 1845 the nave vault collapsed.Only in 1900 does the Bavarian state have new frescoes added, painted by Prof. Waldemar Kolmsperger from Munich.The Altar building family Bergmüller made the altars, the figures on the high altar were attributed to Franz Sturm.The choir stalls are taken over from the previous church, created in 1628 by Jakob Hornung and Christoph Rodt.
The organ and the organ brochure is remarkable. It is popularly known as the “big rye burger”. Built in 1761 by the Bergmüller family, the prospectus has housed several organs in the course of its history. Originally an organ built by Georg Friedrich Schmal from Ulm is built into the prospectus. This is no longer available. Johann Nepomuk Holzhey rebuilt and changed the organ. But this change is no longer there either.The church is 70 m long, 35 m wide and 28 m high.
The Monastery at Lébény was established between 1199 and 1203, by a nobleman, for private worship. The complex was dedicated to the Apostle Saint James the Great. Though the existing charter for approving the donations and construction was signed by Andreas II (1208), one of the walls of the church had “1206” engraved in them, which may indicate that the church was already built at that time. It is also mentioned in the RegestrumVaradiense (an important language memorial), which was made in the late cathedral chapter of the present Oradea (Nagyvárad) in the 13th century. The monastery of Lébény was attacked and burnt down several times; the first by Mongols, then the second by King Ottokar I of Bohemia; and thereafter by the Turks, which was probably in 1529 and definitely in 1683. The monastery was taken back from the Turks by the arch-abbot of Pannonhalma in 1540. He named a new abbot, though the title only existed on paper for a little bit longer than two decades. In 1563 the monastery was burnt down again for the third time and was left devoured. Presently, the only part of the complex that is still standing is the iconic three-nave Romanesque church in the middle of Lébény village. This church is one of the most important Romanesque style buildings of Hungary, which was most probably restored in the 17th century by the Jesuits, and it was the first ever Hungarian monument that was restored in the second half of the 19th century. In addition, the Romanesque church is also operating as a parish of the village.
St. Valentine's Altar is one of the most precious examples of preserved Baroque sacral architecture in the interior of the collegiate church in Lidzbark Warmiński. Unlike the neo-Gothic main altar, it brings an authentic 17th-century atmosphere to the space.
The altar is sensitively set at the third pillar from the presbytery. It is located on the border between the main (central) and southern nave of the church.
The central element of the entire altar unit is a Baroque painting from the 17th century, which depicts St. Valentine healing a sick boy. The traditional depiction focuses on Valentine in his original Christian role as the patron saint of the seriously ill and people suffering from epilepsy (historically called "St. Valentine's disease" or "Valentine's disease"), not as a symbol of lovers.
Historical sources link the authorship of this painted work with an artist named Meyer (painter Maciej Ján working in the region)
A lovely old calvaire that is showing some wear and tear.
Bas-Saint-Laurent, Quebec, Canada
This image is one in a series of croix de chemin (roadside crosses) taken during my December 2022 photographic trip to Québec. There are between 2,500 and 3,000 croix de chemin scattered all over rural Québec, the historic centre of North American Catholicism. Despite the decrease in influence of the Catholic Church during the Quiet Revolution of the 1960s and the prediction that, as a result, croix de chemin would disappear from the rural landscape, recent surveys have shown that around 80% of the croix that were surveyed in the 70s and 80s are still standing. Croix de chemin are large (15 to 20 feet tall) crosses that where originally “erected to fulfill a vow, to sacralize the land, or to ward off calamities” (Kaell, p. 135). They hark back to the cross that Jacques Cartier erected on the Canadian mainland, in Gaspé, on July 24, 1534 on his first exploration trip of the Gulf of St. Lawrence, but also represent their owners’ Catholic devotion and are examples of beautiful rural folk art. Croix de chemin are most often made of wood (though some more modern ones are made of metal) and are decorated with iconography of the Passion. Each year their caretakers try to repaint them and every 40 or 50 years they have to be replaced altogether. There are three main types of croix de chemin: (1) the simple croix de chemin which may have some decorative elements at the end or centre, (2) the croix de chemin featuring instruments of the Passion which are decorated with a lance, nails, hammer, whip, ladder, crown of thorns, and/or rooster and (3) the calvaire, which depicts the crucifixion scene.
The primary reason I wanted to photograph the croix de chemin was that they are wonderful pieces of folk art – made and maintained, sometimes for many decades, by local artisans, and are pretty much unique to Québec in Canada (although emigrants from Québec brought a few to Ontario and Manitoba in the 19th century). I spent many hours of scouting the locations of croix de chemin using the fantastic website Les Croix de Chemin au Québec and searching out and photographing them to create this series was a highlight of my recent trip. In the end, I photographed almost 40 croix de chemin to create this series.
Kaell, H. (2017) Marking memory: Heritage work and devotional labor at Québec’s croix de chemin. In K. Norget (Ed.), The Anthropology of Catholicism (pp. 122-138). University of California Press.
Joly, D. (2007). Wayside crosses. In Encyclopedia of French cultural heritage in North America. www.ameriquefrancaise.org/en/article-296/Wayside_Crosses.html
I wrote a blog post about my December 2022 photographic trip to the rural areas of Chaudière-Appalaches (Beauce) and Bas-Saint-Laurent, south and east of Québec City. If you'd like to see some behind the scene shots, video and read some stories about how I shot these images, take a look.
If you'd like to see the rest of the images from this trip, take a look at my Québec album and if you'd like to see the series within the series - the croix de chemin - there's an album just for croix, as well.
Created for the Magnificent Manipulated Masterpieces
122nd MMM "HALLOWEEN"Challenge
Tower background by sacral stock- deviantArt
www.deviantart.com/sacral-stock/art/Foggy-Forest-31-43181...
Scull girl by Estelle-photographie- deviantArt
Bats by Moonglowlily-deviantArt
Shadow hands by Pixabay