View allAll Photos Tagged sacral
Church of St. John of Dukla and Monastery of Bernadine monks - the church with two towers was built between 1761 and 1764 in the late baroque style. The temple was extended from 1890 to 1902 when a chapel of St. John of Dukla was built and the main nave was enlarged. Also monastery building was added. The interior dates back to the turn of the 19th century. The paintings of Tadeusz Popiel present scenes from life of St. John of Dukla. There is a silver coffin with relics of St. John. Pope John Paul II came to Dukla on 9th of August, a day before the canonization event and he spent a night in the monastery
Church of st. Mary Magdalene in Dukla is one of the most valuable Polish rococo churches.
It was built as a gothic one, around 1461, with a brick chancel and a wooden nave. When in 1738 there was a fire in the city, the nave burned down entirely, and the chancel became the basis for the reconstruction of the temple.
The owner of Dukla and the Grand Marshal of the Crown, Józef Wandalin Mniszech, the same one who donated the land for the Bernardine monastery, undertook it. The temple was given a baroque appearance, but another fire and the death of Józef Vandalin in 1747 interrupted the work. They were continued in 1764 by the son of the marshal, Jerzy August Mniszech, supported by his wife, Maria Amalia. It was then that the church's interior acquired a rococo interior and fittings that have survived to this day.
gorybezgranic.pttk.pl/en/295-gory-bez-granic-the-church-o...
St. Zeno in Isen is one of the oldest churches in the Archdiocese of Munich and Freising. Isen Monastery is one of the oldest monasteries on Bavarian soil, founded in the 8th century by Bishop Erembert, the second Bishop of Freising.
The current church building dates back to a Romanesque building from the 12th century. The model for the church in Isen is the cathedral in Freising.
The church was destroyed by fire in 1638. It was rebuilt in the early Baroque style. In 1699 it was given a further Baroque makeover, and in 1760 it was redesigned in the Rococo style.
The plasterers came from the Wessobrunner school.
In the course of historicism in the 19th century, the Baroque high altar and pulpit were replaced, and ceiling frescoes were removed. Later, when the Baroque style was once again appreciated, the church received a new neo-baroque high altar and a neo-baroque pulpit.
It is worth mentioning that the Romanesque entrance gate to the church has been preserved, in a vestibule dating from the Gothic period.
in the church of Oberammergau, Bavaria. -
The health of the population also comes first for the municipality of Oberammergau - known for its famous Passion Festival. The corona pandemic has made it impossible to complete this year's game without endangering contributors and guests. In addition, the perspective for this year is unclear. A postponement of just a few months seemed unacceptable to everyone involved.
Massive chirch fire (2013). 6 years after the massive church fire, the St. Niklaas church in Westkapelle will be rebuild. There will be a sacral and a multifunctional area.
C'est un exemple unique de l'architecture sacrale juive. Les Synagogues en bois, en raison du prix bon marché et de la disponibilité des matières premières, étaient très répandues au XVIIe siècle. C'étaient des artisans locaux, pas nécessairement juifs qui les ont construit. Cette synagogue en bois a été construite probablement en 1640. Au cours de son existence, elle a subi de nombreux changements. La synagogue était célèbre pour ses peintures multicolores (peintures murales) couvrant les plafonds et les murs, entrecoupées de versets bibliques, des proverbes et des abréviations. L’un de ces artistes était Israël ben Mordechai Lissnitzki. Les peintures ont été restaurées par Izhak Ben Yehuda en 1729.
It is a unique example of Jewish sacral architecture. Wooden synagogues, because of the cheap price and availability of raw materials, were widespread in the seventeenth century. They were artisans, not necessarily Jews who built them. This wooden synagogue was probably built in 1640. During its existence it has undergone many changes. The synagogue was famous for his colorful paintings (murals) covering the ceilings and walls, interspersed with Bible verses, proverbs and abbreviations. One of these artists was Israel ben Mordechai Lissnitzki. The paintings were restored by Izhak Ben Yehuda in 1729.
To unikatowy przykład żydowskiej architektury sakralnej.
Drewniane synagogi, ze względu na dostępność i taniość surowca, były w XVII wieku powszechne. Budowali je lokalni rzemieślnicy, niekoniecznie Żydzi. Drewniana synagoga została zbudowana prawdopodobnie w 1640 roku. W czasie swego istnienia przechodziła wiele zmian. Synagoga słynęła z wielobarwnych malowideł (polichromii) pokrywających sufity i ściany, przeplatanych wersami biblijnymi, przysłowiami i skrótami.
Jednym z artystów był Israel ben Mordechai Lissnitzki. Malowidła zostały odrestaurowane przez Izhaka ben Jehudę w roku 1729.
All my images are All rights reserved.
Do not use my photos without my expressed and written consent.
Le mie foto sono a disposizione di aziende, editoria, industria pubblicitaria o del semplice privato, fotografie rigorosamente scelte per qualità, dedicate ai più svariati utilizzi: dalla stampa fino a semplici stampe personalizzate.
Le mie immagini sono protette da diritti d’autore: se siete interessati a qualcuna delle mie immagini, potete contattarmi all’indirizzo mail info@promoemozioni.biz. Un uso improprio delle mie immagini sarà perseguibile e perseguito ai sensi di legge.
www.flickr.com/groups/promoemozioni-food/pool/show/
Martedì 23 dicembre 2008
Al Ristorante Selvatico di Rivanazzano si rinnova il rito della “cena delle sette cene”, una tradizione presente nell’Oltrepò Pavese fin dal medioevo, tramandata solo oralmente e ricostruita da Piera Spalla Selvatico nel 1987.
Menù
Insâlàtâ âd bidràv, püvrón e inciùd - Insalata di barbabietole, peperoni e acciughe
Turtâ d’sücâ - Torta di zucca
Sigùl cul pen - Cipolle ripiene
Fas dâ Bâmbén cun l’âjà - Fasce del Bambino con l’agliata
Mârlüs cun l’üvâtâ - Merluzzo con l’uvetta
Furmâgiâtâ cun mustàrdâ - Formaggetta con mostarda
Per giâsö cöt cun i câstégn - Pere ghiacciolo cotte con le castagne
Per la cena dell’antivigilia di Natale si usava preparare un pasto “di magro” ma molto abbondante, composto di sette portate, anche per affrontare il digiuno del giorno seguente. Inoltre i contadini, che avevano ogni giorno problemi di sopravvivenza, sfruttavano l’evento per rimpinzarsi. Gli ingredienti erano poveri e legati al territorio e alla natura, come pane, noci, aglio e cipolle.
Questa cena celava un codice dov’erano mescolati gastronomia, religiosità e ritualità della tradizione: sette erano le portate che componevano il menù, come i peccati capitali, i giorni della creazione e le ore di luce in inverno. La cena riprendeva anche l’antico rito dei saturnali, che festeggiavano la fine della fase discendente del sole sull’orizzonte e l’inizio di quella ascendente, culminante con il solstizio d’estate.
Ogni piatto o ingrediente legato a questo momento conviviale acquistava un immenso potere che lo trasformava in strumento terapeutico valido per tutto l’anno; tutto era carico di magia e significato.
Ad esempio il pane diveniva oggetto di grande attenzione grazie alla leggenda, tramandata per secoli in conventi e monasteri, secondo la quale Gesù Bambino venne nascosto in un contenitore con della pasta di pane in un momento di pericolo durante la fuga in Egitto. In quei tempi gli ebrei preparavano il pane senza lievito, ma quella pasta lievitò fino ad avvolgere e nascondere il Bambino. Da qui la considerazione quasi sacra del processo di lievitazione. Si aveva, infatti, una cura speciale per conservare “âl cârsént”, l’unico modo per poter fare il pane la volta successiva.
In occasione della “cena delle sette cene” il capo famiglia deponeva sulla tavola un grosso miccone, contraddistinto da un bastoncino, e a fine pasto ne distribuiva dei pezzetti allo scopo di preservare dalle malattie. Il pane avanzato veniva tenuto da parte fino a Sant’Antonio (17 gennaio) per darne dei bocconi agli animali della stalla, così che anche la loro salute ne fosse protetta per tutto l’anno. La sacralità del pane era data anche dal segno di croce tracciato con la lama del coltello sull’impasto prima della lievitazione.
Altro piatto ricco di simbologia era la torta di zucca, che, con il suo colore, rappresentava il sole, che sembrava essersi materializzato nella zucca stessa per renderla ricca di energia e capace di nutrire non solo il corpo.
L’aglio e la cipolla, che avevano lo scopo di allontanare gli spiriti malefici, erano presenti nell’insalata di barbabietole e peperoni, nelle cipolle ripiene e nel sugo dell’”âjà” (agliata) che veniva usato per condire le tagliatelle, tagliate larghe per poterle chiamare “fasce del Bambino”.
Le noci, ingredienti di base del sugo, indicavano prosperità e fecondità, mentre l’uvetta, presente nel merluzzo, era simbolo di abbondanza e rendeva importante un piatto povero.
Questa cena di magro, di tipo monacale per non avere rimorsi, era dunque un intreccio di simbologie pagane ed era preparata all’antivigilia di Natale.
Per informazioni e prenotazioni:
RISTORANTE SELVATICO - via Silvio Pellico, 19 – Rivanazzano - telefono 0383 944720.
questa foto fa parte del progetto di valorizzazione dell’oltrepò promoemozioni.biz/Progetto_Oltrepo.htm
in attesa di essere postate qui sopra, altre foto dell'oltrepò le trovate qui: promoemozioni.biz/Oltrepo_da_scoprire.htm.
vedi anche www.promoemozioni.biz.
da visitare nella zona:
promoemozioni.biz/Oltrepo_da_scoprire.htm
se volete dare un’occhiata al nostro splendido territorio:
picasaweb.google.it/www.promoemozioni.biz/SplendidOltrep#...
watermarked with picmarkr.com
My entry to Summer Joust 2021 in category Monastery (surprising, isnt't it?)
I took inspiration from various examples of gothic architecture in Europe. The model includes interiors: a cathedral, scriptorium, pantry and two cells.
Ostrów Lednicki - the largest of the five islands on Lake Lednica, is one of the most important places in Polish history. On the island there is an archaeological site with preserved remains of the castle and the oldest in Poland of the Preromian palace-sacral architecture (with baptismal basins) and a free-standing cemetery church. Both objects were erected during the reign of Mieszko I. Here probably took place in 966 the Baptism of Poland
Here is place of the action of Józef Ignacy Kraszewski's novel titled "The Old Fairy Tale" which reviving the ancient times of pagan Slavs.
-
Ostrów Lednicki – największa z pięciu wysp na jeziorze Lednica, jest jednym z najważniejszych miejsc historii Polski. Na wyspie znajduje się stanowisko archeologiczne z zachowanymi pozostałościami grodu oraz najstarszego w Polsce zespołu preromańskiej architektury pałacowo-sakralnej (z basenami do chrztu) i wolno stojącego kościoła cmentarnego. Obydwa obiekty wzniesiono w czasach panowania Mieszka I. Tutaj prawdopodobne miał miejsce Chrzest Polski w 966 roku.
W tym miejscu toczy się akcja powieści Józefa Ignacego Kraszewskiego pt. Stara baśń wskrzeszająca zamierzchłe czasy pogańskich Słowian.
If life could be so kind...
..would it be?
would you offer politeness a second chance,
or steal away with the only 'me'
that of your beloved heart's stoic stance
we're only alive once upon a time in life
where memories grace our thearchic imaginations;
who rules that roost, if I may ask?
and does the answer come before ruling reputations
a question of faith in the diocese of the hidden heathen mask
where we came, becomes our sacral souvenir
a sanctuary were it not for overcrowded pleas
seeking, ever searching for that place
incomplete without, our world rules on borrowed guarantees
with no time in credit for the purchase of love to embrace
who is absolutely right here?
when all of us left fight for a glimmer of hope,
that past perpetrator's have already dug away at nature's purity
governmental genocide of war-torn greed leaves us all sliding the slippery slope
our guilty leaders sit penannular in their shame and collective obscurity
damn them! damn them all to hell! this is no gilding of the lily
if you see you feel, when you feel you react,
and despise the polluting of minds as much as the polluting of life on earth itself
upon us all, the weight and burden is heavily stacked
dare we allow peirastic science the gift to find oneself?
I would have thought we were human enough by now?
or do we deem nature insufficient for our superior purposes nowadays?
the mere Swan is but a Swan compared to us technobeasts
and yet, envy we do, the Swan with it's gentility and grace that never ceases to amaze
to find that higher state of presence of mind far beyond our scavenging political feasts
another expansion for us beings, and one down for the feathered wings in retreat
backhanders here, there and everywhere, so ignore the nature in peril
advanced sales, profits up, another downer for the ringed gliders of pure merit
we're up there with the fat cats, clawing every inch upon our instinctive feral
now where has all the life gone? is an empty world all we've left to inherit?
by anglia24
16h45: 02/04/2008
©2008anglia24
The fortified early Gothic church from the first half of the 14th century was built on the site of an older building. In the 15th century it was fortified with a wall and a wooden bell tower was built on the grounds in 1657. The single-nave space with a square-ended presbytery and a built-in sacristy has a painted cassette ceiling from 1758, the presbytery is characteristic by its rib vault. The mural paintings date back to the 60s of the 14th century and the creator of at least a part of them is the Master of Ochtiná presbytery. These interior frescoes were discovered in the early 20th century by I. Huszka who was restoring them in 1905. All the paintings, interior and exterior ones, were completely restored between 1983 and 1985 by J. Josefík, L. Székely and I. Žuch.
Within the almost intact medieval church, the murals have a uniquely strong impression and informative value, thanks to their scale and complexity of preservation. Thematically they focus on individual scenes from the Marian and the Passion cycle, but they do not have a uniform concept unlike the upper belt on the nave’s northern wall with a complete depiction of the St. Ladislaus legend.
... continuo la raccolta dei muri. Questo ha qualche spiraglio...anzi, ne ha sette
Curiosità e aneddoti del numero simbolico per eccellenza
7un numero da sempre magico, misterioso, intriso di sacralità e con una ricchissima simbologia che lo connota fin dall'antichità.
Molte delle proprietà attribuite al 7 risalgono addirittura all'astrologia babilonese che riconosceva 7 pianeti e divideva il mese lunare in cicli di 7 giorni, da qui l'origine della nostra settimana. A ciò è riconducibile molta della sacralità dei 7, che rappresentava in quel tempo il cosmo e la sua perfezione. Tutte le civiltà antiche hanno sviluppato un simbolismo numerico e in esse è infatti ricorrente l'interpretazione dei 7 come numero sacro, unico e immobile. Il solo dei primi dieci numeri che non ne genera nessuno ed è generato solo dall'unità, il risultato della somma dei 3 (lo spirito, il maschile) e del 4 (la materia, il femminile).
Che il 7 possa essere considerato l'emblema della pienezza spirituale e cosmica, il numero sacro per eccellenza, è confermato dalla forte carica simbolica conferitagli in molte religioni.
L'Antico Testamento utilizza 7 nomi per indicare la terra e altrettanti per il cielo; secondo il libro dell'Apocalisse, la fine dei mondo sarà annunciata dalla rottura dei 7 Sigilli, seguita dal suono di 7 trombe per bocca dei 7 Angeli, quindi dai 7 Portenti e infine dal versamento delle 7 Coppe dell'ira di Dio. Nel Nuovo Testamento, 7 sono i sacramenti, i doni dello Spirito Santo, i peccati capitali (gola, lussuria, avarizia, superbia, accidia, invidia e ira) e le virtù, 4 cardinali (forza, sapienza, giustizia e temperanza) e 3 teologali (fede, speranza e carità).
Nell'Ebraismo, il candelabro a 7 luci, detto Menorah, è il simbolo della fede eternamente accesa; nel Corano, il mondo è sorretto da 7 colonne poggiate sulle spalle di un gigante, a sua volta sostenuto da un'aquila, che posa su una balena che nuota nel Mare Eterno. Nel libro sacro dell'Induismo, 7 erano gli illuminati del Veda dell'India.
7 è inoltre sinonimo di governo dei cicli e dei ritmi della vita umana. Dopo il concepimento, infatti, l'embrione rimane tale per 7 settimane per poi trasformarsi in feto e il parto avviene dopo 7 lune nuove. Tralasciando questi significati collegati al 7, si possono comunque trovare mille altri simboli e modi di dire che ci riportano a questo numero. Ne abbiamo segnalati alcuni, sicuramente non tutti: lasciamo ai lettori lo sfizio di individuarne altri ancora.
Le "7 - Sette" Curiosità
i colori dell'arcobaleno e Le note musicali e I chakra
centri energetici dell'organismo umano e Le stelle della costellazione dell'Orsa Maggiore o I principali fenomeni di meteorologia e Gli aromi base che compongono i profumi o Le meraviglie dei mondo antico
I cieli dei sistema Tolemaico o Le figlie dei titano Atlante
Le fanciulle e i fanciulli che venivano offerti al Minotauro
I sapienti dell'antica Grecia e La danza dei 7 veli di Salomè o Le opere di misericordia e I dolori di Maria
Le piaghe d'Egitto o Le invoca;doni nel Pater Noster
Ogni 7 anni si celebrava l'anno sabbatico e Le divinità mitologiche identificate dalla Cabala ebraica e I pezzi che compongono il Tangram, antico rompicapo cinese o Gli anni di disgrazia se si rompe uno specchio e La crisi dei 70 anno e Laceto dei 7 ladroni (antico farmaco)
Gli stivali delle 7 leghe e I nani di Biancaneve
Chiudere con 7 sigilli o Avere 7 spiriti come i gatti
70 volte 7 e Essere al settimo cielo e Sudare 7 camicie
Andare per i 7 mari e Il 7 Bello o Il minestrone abruzzese delle 7 virtù
7 VOLTE A ROMA
Il numero 7 è senza alcun dubbio il numero più ricorrente nella storia di Roma. La città è stata costruita su 7 Colli: Capitolino, Esquilino, Palatino, Quirinale, Viminale, Celio e Aventino. Fondata da Romolo il 21 multiplo di 7) aprile, è stata governata da 7 re: Romolo, Numa Pompilio, Tullo Ostilio, Anco Marzio, Tarquinio Prisco, Servio Tuillo e Tarquínio il Superbo. La leggenda vuole che la città divenne "eterne per le 7 cose fata# condotte a Roma perché di buon auspicio: l'ago di Cibele, una pietra nera adorata in Asia minore; la quadriga dei Voienti donata dalla città di Vejo; le ceneri d'Oreste, figlio di Agamennone, considerate un portafortuna; lo scettro di Priamo, re di Troia; il velo dIiione; la statua di Atena Pallade detta il Palladio; i dodici scudi detti Ancilii. Roma è, inoltre, la città delle 7 Chiese, con riferimento alla tradizione di pellegrinaggio introdotta nel XVI secolo da S. Filippo Neri e detta il "giro delle 7 Chiese», percorso di fede negli itinerari dei Giubileo. Le Chiese, tappa dei giro, sono le 4 Basiliche maggiori di S. Pietro in Vaticano, S. Giovanni in Laterano, S. Maria Maggiore, S. Paolo fuori le mura e le Basiliche minori di S. Sebastiano sull'Appia, S. Croce in Gerusalemme e S. Lorenzo fuori le mura.
IL 7 NEI SOGNI
Fin dall'antichità ed in ogni cultura questo numero ha in se' concentrato il potere della perfezione fino a diventare una chiave universale per la comprensione e la rappresentazione del mondo. Il sette, numero sacro e magico, esprime allora ogni traguardo e realizzazione sul piano morale, spirituale e materiale
If you visit the beautiful town of Grassau in the Chiemgau, you should definitely not miss the parish church of the Assumption of the Virgin Mary. It is characterized by its lush stucco and frescoes from different eras.
The origins of the church are Romanesque, but only parts of the perimeter walls and the basement of the tower have survived. The church building was remodeled and extended in the Gothic style in the 14th and 15th centuries, and the flat-roofed interior with star-ribbed vaulting was redesigned in the 16th century.
But the Baroque period also left its clearly visible traces in this church. In 1705 the remodeling begins. The rib vaults are knocked down to make room for frescoes and stucco. Guillo Zuccalli was commissioned to do the stucco work, and he didn't skimp on it. At the same time, Jakob Carnutsch painted the frescoes, which were overpainted with rococo paintings by Johann Nepomuk della Croce in 1766/67. In the 1970s, some of the Carnutsch frescoes were uncovered again.
The seven – refuges – chapel is attached to the southern aisle. It is an amalgamation of two chapels.
In the choir there is an early baroque high altar, built between 1640 and 1642. Inside is an altarpiece, which has the Assumption of Mary as its theme. It is a work by Peter Candids d.Ä. It is a smaller and slightly modified copy of the altarpiece from the Munich Frauenkirche. The two side altars probably come from the same workshop as the high altar. The painter of the altarpieces is Johann Nepomuk della Croce.
Fuori la luce abbagliante, nitida come solo in Tibet é possibile trovare.
Entro nel monastero.
Un monaco mi prende per il braccio e mi porta con lui, con fare misterioso.
Lo seguo curiosa ed emozionata.
In un ambiente carico di sacralitá e senza tempo, solo la luce di queste fiammelle.
Rimango rapita e gli occhi pian piano distinguono figure sacre dai volti minacciosi e dai colori che intuisco essere vibranti.
Odore di burro di yak e incenso...
Ombre sui muri, la mia... la sua...
Solo prima di andare via scatto la foto in condizioni poibitive, senza cavalletto.
Ma provo... voglio avere un ricordo visivo di quel momento. Non importa come verrá.
Ed eccolo qui... davanti ai miei occhi, quel momento.
Vivido come allora.
Ruins of a medieval fortified church are located above the village of Lúčka, situated at the border of the Slovenské rudohorie mountain range and the national park of Slovenský kras. The village had been known since 1409 as part of the Turňa Castle Estate donated to Pál Besen by King Sigismund.
According to the testimony provided by the local church, however, the village dates back to at least the half of the 13th century. The church itself was built as an early-Gothic church of the Gemer style. In the first half of the 15th century, it was surrounded by a defensive stone wall with a watchtower situated in the front. The small fortress was captured by Jan Jiskra’s troopsand is commonly called the Hussite church by the locals. Only the external walls of the church and the considerably lowered defensive wall with the tower that later on served as a belfry have been preserved up to the present. The quadratic tower used to have two floors in the past, with three windows on the first floor and three loopholes on the ground floor that served to watch the surroundings and to protect the fortress from three sides: the west, the south, and the east. The top of the slope upon which the church was built provided for the natural protection from the north.
The area where the church stands counts among the ecologically cleanest territories in Slovakia. It provides for exceptionally good conditions for recreationin a peaceful natural setting and for short walks in the basin of the Čremošná, to the lake of Lúčka, as well as to the surrounding beech and fir forests. Moreover, the unique natural reserve of Zádielska dolina is located in close distance, lined with plateaux where traces of fortified prehistoric settlements were confirmed by archaeological surveys.
Church of the Assumption of the Virgin Mary (Mohelnice nad Jizerou, Bohemia)
The Roman Catholic Church of the Assumption of the Virgin Mary in Mohelnice nad Jizerou (Mladá Boleslav district) is a stone sacral building from the second half of the 12th century. The church falls under the parish-deanery of Mnichovo Hradiště. In addition to the church itself, a part of the protected area is also the adjacent functional cemetery with a morgue and a wall.
The single-nave church has a rectangular floor plan. It was built by sandstone from Hrubá Skála, the masonry of precisely machined blocks is row-shaped, while each row has a different height. On the west side of the church there is a prismatic tower, on the east there is an apse, inside there is a glass conch. On the north side is a pseudo-Romanesque sacristy and a cross vault, completed during reconstruction in 1876.
The church was restored in 1876 in the spirit of historical purism of the 19th century by the architect Josef Mocker, known for his reconstructions and completions of a number of important medieval monuments, including St. Vitus Cathedral in Prague and Karlštejn Castle. After this purist reconstruction, the original Romanesque church was significantly changed. The windows were modified and enlarged, the ceiling in the nave was replaced, the main entrance to the church was relocated and the floor in the church was raised. Of the original windows, only one small four-leaf rose in the shape of a four-leafed rose, located on the southwest side of the church, has been preserved. During the reconstruction, a new staircase was also built from ground level, making the entrance hall accessible through the entrance from the ground floor of the bell tower on the west side of the church.
(According to the Czech wiki)
In 1754, a contract was concluded with the builder Johann Schneider from Riedlingen to build a new Lady Chapel. Together with the painter Ignaz Wegscheider from Riedlingen and the Mimmenhausen plasterer Johann Anton Feuchtmayer, they created a true rococo jewel. The Lady Chapel was consecrated in 1756.
A “chapel” under the name “Our Lady” was mentioned here as early as 1465 and 1478. There is also evidence of a chapel at this location being re-consecrated in 1513 under the auxiliary bishop of Constance.
Feuchtmayer not only does the stucco work, he also makes the altars.
But to everyone's horror, part of the ceiling collapsed in 1850, damaging the fresco. The Munich art and history painter Fidelis Schabet painted over the baroque frescoes in 1856. The organ, by Johann Baptist Basilius Bihler, was installed in 1775.
Church of st. Mary Magdalene in Dukla is one of the most valuable Polish rococo churches.
It was built as a gothic one, around 1461, with a brick chancel and a wooden nave. When in 1738 there was a fire in the city, the nave burned down entirely, and the chancel became the basis for the reconstruction of the temple.
The owner of Dukla and the Grand Marshal of the Crown, Józef Wandalin Mniszech, the same one who donated the land for the Bernardine monastery, undertook it. The temple was given a baroque appearance, but another fire and the death of Józef Vandalin in 1747 interrupted the work. They were continued in 1764 by the son of the marshal, Jerzy August Mniszech, supported by his wife, Maria Amalia. It was then that the church's interior acquired a rococo interior and fittings that have survived to this day.
gorybezgranic.pttk.pl/en/295-gory-bez-granic-the-church-o...
When you come to Ursberg, a town in the district of Günzburg in Bavaria, you must visit the church St. Petrus and St. Johannes Evangelist, a former monastery church of the Promenstratensian Order.
The church was built 1230. Joseph Dossenberger rebuilt the inner of this sacral building in baroque style. At the same time Jakob Fröschle and Konrad Huber painted the frescos. The organ on the gallery is an instrument by Johann Nepomuk Holzhey, a famous organ builder in the baroque period.
ENG: During our short trip we had a perfect view of the Frauenkirche from the hotel, but now more of it. ☻
The Frauenkirche in Dresden (originally the Church of Our Lady - the name refers to the Holy Mary) is an Evangelical Lutheran church of the Baroque period and the defining monumental building of the Dresden New Market. It is regarded as a magnificent testimony to Protestant sacred architecture, has one of the largest stone church domes north of the Alps and is considered the largest sandstone building in the world.
The Dresden Frauenkirche was built between 1726 and 1743 according to a design by George Bähr and became an emblem of both the Dresden Baroque and the famous city silhouette. At the end of the Second World War, during the air raids on Dresden in the night from 13 to 14 February 1945, it was severely damaged by the firestorm raging in Dresden and collapsed burnt out in the morning of 15 February. In the GDR, the ruin remained intact and was left as a memorial against war and destruction.
After the fall of the Berlin Wall, the clearing of the ruins began at the beginning of 1993 and the reconstruction of the church began in 1994. The work, which was completed in 2005, was mainly financed by support associations and donors from all over the world, including the US "Friends of Dresden". On 30 October 2005 a consecration service and ceremony took place in the Frauenkirche. The ruin now became an official symbol of reconciliation.
GER: Bei unseren Kurztrip hatten wir einen perfekten Blick vom Hotel aus auf die Frauenkirche, aber nun mehr von ihr. ☻
Die Frauenkirche in Dresden (ursprünglich Kirche Unserer Lieben Frau – der Name bezieht sich auf die Heilige Maria) ist eine evangelisch-lutherische Kirche des Barock und der prägende Monumentalbau des Dresdner Neumarkts. Sie gilt als prachtvolles Zeugnis des protestantischen Sakralbaus, besitzt eine der größten steinernen Kirchenkuppeln nördlich der Alpen und gilt als größter Sandsteinbau der Welt.
Die Dresdner Frauenkirche wurde von 1726 bis 1743 nach einem Entwurf von George Bähr erbaut und wurde zu einem Emblem sowohl des Dresdner Barocks wie auch der berühmten Stadtsilhouette. Am Ende des Zweiten Weltkriegs wurde sie während der Luftangriffe auf Dresden in der Nacht vom 13. zum 14. Februar 1945 durch den in Dresden wütenden Feuersturm schwer beschädigt und stürzte am Vormittag des 15. Februar ausgebrannt in sich zusammen. In der DDR blieb die Ruine erhalten und wurde als Mahnmal gegen Krieg und Zerstörung belassen.
Nach der Wende begannen Anfang 1993 die Enttrümmerung und ab 1994 der Wiederaufbau des Kirchbaus. Die 2005 abgeschlossenen Arbeiten wurden überwiegend von Fördervereinen und Spendern aus aller Welt, darunter den US-amerikanischen „Friends of Dresden“, finanziert. Am 30. Oktober 2005 fand in der Frauenkirche ein Weihegottesdienst und Festakt statt. Aus der Ruine wurde nun ein offizielles Symbol der Versöhnung.
In the middle of the village of Maria Steinbach on a hill stands the pilgrimage church of Our Lady of Sorrows and St. Ulrich.
This church was built in 1749 by Abbot Benedikt Stadelhofer from Rot an der Rot, because Maria Steinbach was part of the territory of the Imperial Abbey of Rot an der Rot.
As pilgrimages to Maria Steinbach increased, it was decided to replace the previous Gothic church with a new one in the Rococo style. Master mason Anton Lacher carried out the building plans.
The church was consecrated in 1755, but it took another ten years for the interior work to be completed.
Johann Georg Üblher, who came from Wessobrunn, decorated the church with rich stucco. Franz Xaver Schmuzer was at his side. The pulpit, the two side altars and the high altar were also made by Üblher.
The Kempten court painter Franz Georg Hermann painted the frescoes. Joseph Gabler from Ochsenhausen made the organ.
The client had so-called miracle pictures painted under the gallery ceilings. They show typical occurrences of pilgrims and believers. The detailed frescoes testify to the painter's good knowledge of rural life. The motifs shown are linked to the Bible, for example the burning of the farmhouse with Sodom and Gomorrah.
Plešivec is an ancient seat of the Bubek family. The Ákoš family, the ancestors of the Bubeks, received it from King Belo IV. in 1243, after the battle on the Slaná River, where the ancestor of the Bubeks, Detrik, allegedly saved the king’s life. After stabilizing his position in 1320, Dominik Bubek built a water castle in Plešivec. In its vicinity, he built a monumental church, which also served as a burial place for the representatives of the family. It was constructed on the site of an older church built by his ancestors. The church, originally nearly twice as long as it is now, was a two-nave Gothic building with a polygonal ending of the chancel, originally vaulted on the central pillars.
From 1349, we have a record of the request of Juraj Bubek to the Pope for the possibility of collecting the indulgences to finance its construction. In the middle of the 14th century, the interior of the church was completed with fresco paintings of very high quality, carried out by Italian masters. In the first quarter of the 15th century, the church was completed with the north-facing funeral chapel of the Bubeks, built according to the pattern of the Spiš funeral chapels. We enter into the chapel through an impressive portal, the architecture of which is associated with the works of the Cathedral of St. Elizabeth in Košice. In its interior, we find three three-part late Gothic windows with an original tracery in the ogive arch shape and corbels of the former vaults.
In 1558, at the time of the Turkish threat, the church was severely damaged, the vault collapsed and the building remained as a ruin until its reconstruction in 1617. By that time, the church was taken over by the reformed believers who reduced its layout to its current length of 19 meters; they covered the nave with a flat ceiling and closed the entrance to the unused chapel. At that stage, the entrance to the church was established from the south and three window openings were made on the south wall. From that period comes a valuable matroneum with painted decorations from 1627. In 1807, a bell-tower was built, a beautiful example of the so-called Gemer classicism.
Ceiling of the Mosque
Çamlıca Mosque (Turkish: Çamlıca Camii) is a mosque located in Istanbul and the largest mosque in Turkey. The mosque can hold 63,000 people and includes a museum, art gallery, library, conference hall, and underground parking lot for 3,500 vehicles.
Çamlıca Mosque was designed by two female architects, Bahar Mızrak and Hayriye Gül Totu, at a cost of around TL 150 million ($66.5 million). The length of the four mosque minarets span 107.1 metres, a measurement that refers to the Battle of Manzikert (1071) fought by the Seljuk and Byzantine Empires.
"Orange is the sacral chakra color. Orange is composed of red and yellow in equal parts and it is a color of vitality and strength. Just as the sacral chakra is located in the pelvic area, orange is the area of our gut feelings and wisdom. Buddhists call this "hara", the centre of being through which we connect with the deepest voice of the self, the deepest stillness and wisdom. This is where we find bliss. Orange energy is very sensual. Living a life guided by orange color transforms even the most mundane daily experiences into pleasurable experiences. Orange stands for creativity, growth, learning, pleasure, a sense of vitality and aliveness. In these heavy times, what is better than an energetic bath in orange light?"
Please use Shared Environment you have to see the orange;
the EEP setting and audio stream are integral part of this installation.
Abandon yourself to the energy of orange without preconceptions, let it flow inside you. Discover the little games scattered around and let the joy take over
Fabulous art build by Livio Korobase.
maps.secondlife.com/secondlife/Feint%20and%20Bone/198/102/21
The fortified early Gothic church from the first half of the 14th century was built on the site of an older building. In the 15th century it was fortified with a wall and a wooden bell tower was built on the grounds in 1657. The single-nave space with a square-ended presbytery and a built-in sacristy has a painted cassette ceiling from 1758, the presbytery is characteristic by its rib vault. The mural paintings date back to the 60s of the 14th century and the creator of at least a part of them is the Master of Ochtiná presbytery. These interior frescoes were discovered in the early 20th century by I. Huszka who was restoring them in 1905. All the paintings, interior and exterior ones, were completely restored between 1983 and 1985 by J. Josefík, L. Székely and I. Žuch.
Within the almost intact medieval church, the murals have a uniquely strong impression and informative value, thanks to their scale and complexity of preservation. Thematically they focus on individual scenes from the Marian and the Passion cycle, but they do not have a uniform concept unlike the upper belt on the nave’s northern wall with a complete depiction of the St. Ladislaus legend.
Art of Nature
Ref.Winter Sea 007 19.12.2020
On this huge beach of the Venetian Region, in the Delta Po Valley situated in the Interregional Park of the "Polesine" bordering with the Adriatic Sea & shared by the Region Veneto & the Region Emilia-Romagna, it is forbidden to throw out the wood pieces restituted by the water along the sea shore as they aliment the eco-system hosting natural nests for birds & insects & screening the sand of the dunes, strenghtening them and refraining the sea to bite pieces of land.
Through the erosion effect of salty water & time passing, some pieces of wood become awesame natural sculptures.
The amazing people attending this areas, in sign of respect, appreciation & love for the wild nature, build some structures & sculptures with branches & trunks that will stay forever on the beach & the dunes as a sign of merging between human beings & nature.
Many people wondering along the seashore & walking on the dunes refrain to bring with them any watches nor smartphones to be able to abstract themselves from the frantic daily routine & loose themselves mystically in perfect harmony with the sacrality of this special wild & savage environment.
©WhiteAngel #AtmosphericPhotography. All rights reserved.
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.
Rouffach is a community in Alsace in the Département Haut – Rhin. In the middle of Rouffach there is the remarkable church of Maria Assumption. It is one of most largest sacral buildings in the Département Haut – Rhin. It is a mixing between gothic and romanesque architecture, built between the 11 th. century and 1508. During the French Revolution, the church got a big substain damage and loss.
Biru ‘e Concas è un eccezionale sito archeologico che contiene un raggruppamento di menhir fra i più importanti dell’intera area mediterranea. Sono circa 200 monoliti, alcuni isolati, altri in piccoli gruppi, altri ancora disposti in circoli o allineati fino a un numero di 20 menhir. Molti giacciono sul terreno, interi o spezzati, fuori dalla loro posizione originaria.
La visita di questo luogo mi ha veramente impressionato, per l’atmosfera di sacralità che le sue antichissime pietre riescono a trasmettere, ma anche perché si estende in mezzo ad alberi secolari, fra conifere, castagni e nocciole, in un ambiente naturale di emozionante bellezza.
(v. altre foto di Biru ‘e Concas nello stesso album “Pedras fittas, i menhir di Sardegna”).
FS 9.9.22
There is also a pilgrimage church in Freising that is popularly known as the “Wieskirche”, as is the world-famous pilgrimage church in Steingaden. And that is no accident.
The Freising forest supervisor Sylvester Hupf went on a pilgrimage to Steingaden sometime around 1740. After his pilgrimage, he attached an image of the scourged Savior to a tree next to the country road from Freising to Mainburg. As soon as the picture of the popular figure from Steingaden is hanging, a lively pilgrimage also begins in Freising. But not everyone likes this, the parish vicar Joseph Krimmer of St. Georg in particular dislikes it because he has to reckon with losses in voluntary donations. Without further ado, he had the portrait brought to St. George. But the cathedral chapter of Freising, which is well-disposed towards the pilgrimage, has the picture returned to the forest.
In 1746 a small wooden chapel was built, but it soon became too small, and so a new stone, transversely elliptical building was built between 1747/48. This building is now the choir of the pilgrimage church. The master builder is probably Johann Lorenz Hirschstötter, Freising's court architect.
But this little church soon proved to be too small and an extension was built from 1759 to 1761.
Franz Xaver Wunderer from Landshut painted the nave fresco in 1761, the three altars were erected between 1756 and 1759, based on designs by Philipp Jakob Greil.
From 1846 to 1882 Mathias Ertle was Wiess pastor. When he takes office, the coffers are empty. Through a lot of skill, setting up his own farm and purchasing land, Ertl fills the cash register. The priest's house and sacristan's house were rebuilt, and the construction of a bell tower was also his initiative. However, there are also drastic changes in the interior. The rococo altars are removed and replaced with classicist ones.
Today, retired priests act as curators in the Wieskirche.
Capitolo 7
Album completo: Cuba 7: Che, il mito
CHE… IL MITO
Non mi piace parlare di politica, la patata bollente,
la cedo volentieri a qualcun altro, ma, da poco,
gli USA hanno fatto pace con Cuba.
E’ presto per ora, ma toglierà l’assurdo ed iniquo embargo,
durato più di mezzo secolo…
Sono felice, quanta sofferenza verso questa gente,
assolutamente incolpevole.
Sinceramente, alla prima metà del 2016, è una delle pochissime notizie buone che ricordo.
Il resto… è impronunciabile.
Amo entrambi i paesi, ed il mio cuore è in festa.
Sono per la pace e per essa lotterò… sempre.
Detto questo,
torniamo al viaggio che ho fatto nel lontano 2007.
E’ il giorno di San Valentino… ormai, lo confesso,
mi sono innamorato follemente di questo paese.
Ho voluto, con tutto me stesso,
tornare una seconda volta su l’isola, perno dei Caraibi.
Una prima volta, fu nel 2004.
Il motivo è semplice.
Ritrovare l’essenza della vita.
Dopo il brutto incidente d’auto subito da mia moglie,
dopo la lunga dolorosa convalescenza,
dovevo ridargli la speranza, la forza di lottare,
la voglia di vincere.
Ho pensato a Cuba e… non mi sbagliavo, è tornata a vivere,
a sperare, a lottare, a… VINCERE.
Ed io con lei.
Credetemi, in questa scelta, non ho avuto dubbi… mai.
E’ una mattina luminosa, il paesino di Santa Clara,
ci sorride festoso, qua e la, piccoli banchi traboccano di fiori, colorano gli occhi e l’anima.
Come vi ho detto...
E' il giorno di San valentino,
ed anche a Cuba lo si festeggia.
Assorto penso:
"bene ... viva l'amore ... viva la vita".
Passeggiamo, quasi in estasi, nella piazza principale.
Qualche carrozza sferraglia sul selciato…
Il tempo sembra rallentare…
Magari accadesse... nel caso... non vorrei più andarmene.
Il motivo per cui siamo qui,
è visitare il mausoleo dove è sepolto Ernesto Che Guevara.
Per Cuba, ancor oggi, il Leader Maximo è Fidel Castro ma,
non vi è dubbio,
il vero mito è lui ... “il Che”.
Viaggiando per tutta l’isola, ovunque,
ci guarda fiero da centinaia di murali, statue, libri, foto...
Non puoi fare a meno di ammirarlo,
anche se non ne conosci a fondo la storia.
La sua figura immensa, sovrasta ogni cosa,
ogni argomento trattato lo menziona e... d’improvviso,
la certezza che sia morto… vacilla.
Il “Che” è qui, ora… e per sempre.
Non parlo dal punto di vista politico, non mi compete,
voglio far capire, in particolar modo, a chi non conosce Cuba,
che “peso” ha avuto, e ancor oggi ha la sua figura.
Quest'uomo leggendario, ha cambiato la storia del paese.
Le conseguenze, non sta a me giudicarle.
Sono andato a Santa Clara, dove adesso,
dopo tante vicissitudini, riposa,
pensando solo a fotografare, freddo, professionale.
Non credevo di potermi emozionare, invece è successo.
Ricordo la spianata, davanti al suo mausoleo,
immensa, ricolma di luce accecante.
Che strano…
Il passaggio repentino, dalla piazza di prima, piena di gioia,
di rumori, di colori, a questa piazza... d’un tratto,
diffonde ne l’anima un inquietante, senso di vuoto.
Qui regna un silenzio assoluto, irreale,
in netto contrasto con tutta Cuba.
Totale assenza di bancarelle,
di clamori, tutto è pulito, ordinato… sacrale.
“LUI”... fucile in mano, troneggia da una colonna in pietra,
il sole investe implacabile il bronzo, facendolo scintillare.
Sembra quasi, che da un momento a l’altro,
ne possa scendere, per riprendere le sue gesta eclatanti.
Quasi senza accorgermene,
passo dalla luce abbagliante,
alla penombra del luogo della sua sepoltura.
Prima, un dignitoso piccolo museo,
con foto ed effetti personali.
Poi… la tomba... semplice, a “colombaio”,
in pietra ruvida, contornata da altre,
dei suoi fedeli compagni caduti.
Uno spot... irradia una stella di luce in un angolo della lapide.
Sopra vi è scritto: “CHE” ... e nulla più.
Non credevo di emozionarmi… ma è successo.
------------------------------------------------
© La foto e il testo è di esclusiva proprietà dell'autore Stefano Paradossi che ne detiene i diritti e ne vieta qualsiasi utilizzo da parte di terzi.
© The photo and the text is of exclusive property of the author Stefano Paradossi who owns the rights and prohibits any use by third parties.
Haigerloch is a town at the north – west border of the Swabian Alb in Baden – Württemberg. There is the pilgrimage church St. Anna built in baroque style.
Masterbuilder Christian Großbayer got the order for this sacral building by Prince Joseph Friedrich von Hohenzollern – Sigmaringen. The construction time was between 1753 – 1757.
Also the sculptor Johann Georg Weckenmann and the painter Meinrad von Au got the order from the Prince to come to Haigerloch for working at this pilgrimage church.
A pleasant valley of the meandering Muráň river south of Jelšava has a significant landmark. You cannot overlook the strategically interesting hill above the village of Šivetice, on which a brick Romanesque church dedicated to St. Margaret of Antioch was built in the middle of the 13th century. Šivetice belonged to the Jelšava estate back then and from the 15th century on was administered by the Castle of Muráň. In the past, the village was known for its typical ceramics.
The church has the shape of a rotunda with an internal diameter of 11 m and is one of the largest structures with circular footprint in Central Europe. In addition to the primary sacral significance, it is assumed that the rotunda originally served as a watchtower, taking into consideration its location on a hill and its proximity of a castle (that no longer exists). During the 14th century, the interior of the church was divided into a nave and a chancel by a monumental pointed triumphal arch. Original Romanesque murals depicting scenes from the legend of St. Margaret were covered by gothic paintings with the same theme and complemented with scenes of the Passion Cycle. Like many other Gemer temples, the rotunda of Šivetice belonged in the 17th century to the Evangelical Lutheran church. In the 18th century, the church was partially rebuilt into Baroque style and the bell tower with the entrance gate was inserted into the stone wall. A cemetery is surrounding the church nowadays.