View allAll Photos Tagged sacral
Mirje, kasnoantički lokalitet, smješten je blizu Postira, na strateški izvrsnom položaju blizu Salone, glavnog grada provincije Dalmacije. Građeno je blizu Dioklecijanove palače u Splitu i carskih kamenoloma pored Škripa, odakle se brao kamen za gradnju veličanstvene palače.
Brojni fragmenti crkvenog kamenog namještaja potvrdili su postojanje sakralne građevine iz 6. stoljeća. Sklop nije građen za samostansku zajednicu već je riječ o adaptaciji kasnoantičke vile s termalnim sklopom.
Mirje, a late antique locality, is situated near Postira, on excellent strategic position near Salona, the capital of the province of Dalmatia. It was built near Diocletian palace in Split and imperial quarries near Škrip, from which architectural stone for building of monumental palace was cut.
Numerous fragments of stone furniture confirmed the existence of sacral building from 6th century. The complex was not built for the convent's community, but was the adaptation of the late antique villa with thermal complex.
The St. Stephan monastery church is located in Habsthal, a small district of Ostrach in the Sigmaringen district.
During the Thirty Years' War, the monastery and the church were partially destroyed.
In 1680, Jodok Beer rebuilt the monastery and church, using the existing masonry. The church will be completed this year.
Between 1747 and 1748 the church interior was redesigned in rococo style under the prioress Maria Theresa Schürtin.
For this she recruits Joseph Anton Feuchtmayer for the stucco work and Gottfried Bernhard Göz for the execution of the frescoes.
Feuchtmayer also made two nave altars, which were destroyed in 1867.
DONDE SIEMBRAS, RECOGES
Si pones dulzura en tu manera de cocinar, en tus alimentos… comes amor. Si pones dulzura en tu familia, en tus relaciones, en tu trabajo… estás creando un entorno de sanación para todos. Si pones dulzura en las tareas del hogar, estás haciendo de tu casa un santuario.
Puedes elegir transformar tu mundo y enseñar a otros cómo transformar el suyo, llevando la paz, la calma y el agradecimiento a tus acciones. Paso a paso, día a día, mes a mes… suma cambios amorosos que se irán estableciendo en tu vida como el “nuevo normal”.
Con tu dulzura y tu consciencia, de-vuelve a tus palabras, a tus relaciones, a tus espacios y entornos… su importancia y su Sacralidad. En amor y por amor a la Tierra, y a todos los seres que la habitamos.
Myriam Aram
Saint Michael’s Cathedral of Alba Iulia was built between 1247 and 1291, which makes it contemporary to the famous Notre Dame of Paris. Furthermore, it appears that a great French architect, Villard de Honnecourt, contributed to its design. In addition to being the oldest and the longest cathedral in Romania (at 89.16 m measured along its axis), it is also considered the most important monument of Romanesque architecture in Transylvania.
The site is registered in the National Archaeological Repertory of Romania.
Over the centuries, the town of Banská Štiavnica was visited by many outstanding engineers and scientists who contributed to its fame. The old medieval mining centre grew into a town with Renaissance palaces, 16th-century churches, elegant squares and castles. The urban centre blends into the surrounding landscape, which contains vital relics of the mining and metallurgical activities of the past.
THE CALVARY
A special highlight of Banská Štiavnica is this complex of sacral buildings set in a beautiful scenery near the lovely town that is inscribed in the UNESCO World Heritage List.
You might recognize this croix from a previous post and you might actually prefer that composition, but I think this one deserved to be shown as well because, to me, it shows the way the croix de chemin are just part of the rural landscape.
Chaudière-Appalaches (Beauce), 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.
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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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. 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.
One of two organs built by Aquilino Amezua in years 1901 - 1903 to replace the previous organs destroyed by an earthquake in 1888.
The new construction of the basilica in Weingarten (1715-1724) costs 210,000 guilders (approx. 9 450,000 euros). Begun by Franz Beer II, it will be finished by Christian Thumb. Beer leaves the construction site in a dispute and moves on to nearby Weißenau to build the new monastery church there.
Cosmas Damian Asam, 32 years old, was commissioned to paint the frescoes. For this he receives 7,500 guilders (approx. 337,500 euros). It's his first major order. His frescoes set wonderful color accents in the snow-white church interior. There are four main pictures and 36 secondary pictures, a total of around 1000 square meters. Asam and his assistants needed six months for this. The stucco comes from Franz Schmuzer who decorated the church with stucco from 1719 - 1721. Giacomo Antonio Corbellini made the high altar according to the plans of his brother-in-law Donato Giuseppe Frisoni, Diego Francesco Carlone supplied the figures.
The 24-year-old Joseph Anton Feuchtmayer also received his first major order in 1720, to manufacture and deliver the choir stalls. He fulfilled this mandate in 1724.
In 1762 the current pulpit was purchased. It comes from Fidel Sporer from Altdorf.
One of the largest baroque organs in Germany is located on the west gallery. It is a work by Joseph Gabler from Ochsenhausen. It is only his second organ after Ochsenhausen. But before he can build the main organ, he repairs the two choir organs made by the Swiss organ builder Joseph Bosshard. The choir organs are installed in the still damp new building and are "rotten" after a few years. Gabler was able to convince the convent of his qualities as an organ builder, and, on the recommendation of the abbot from Ochsenhausen, he was then commissioned to build the main organ. The instrument is estimated at 17,619 guilders (approx. 792,855 euros), but it is much more expensive. Gabler also designed the organ brochure.
The Weingarten Monastery can, however, cover the costs of the new building from the current income; it is debt-free.
In Ucraina scorrono fiumi di sangue e di lacrime. Non si tratta solo di un'operazione militare, ma di una guerra, che semina morte, distruzione e miseria. Le vittime sono sempre più numerose, così come le persone in fuga, specialmente mamme e bambini... (Angelus 6 marzo )
.....Non si arresta, purtroppo la violenta aggressione contro l'Ucraina, un massacro insensato, dove ogni giorno si ripetono scempi e atrocità. Non c'è giustificazione per questo.
Supplico tutti gli attori delle comunità internazionali perché si impegnino davvero nel far cessare questa guerra ripugnante.
... Tutto questo è disumano! Anzi è anche sacrilego, perché va contro la sacralità della vita umana, soprattutto contro la vita indifesa che va rispettata e protetta, non eliminata e che viene prima di ogni strategia!
Non dimentichiamo, è una crudeltà disumana e sacrilega!
.... Stiamo vicini a questo popolo, abbracciamolo con l'affetto , con l'impegno e con la preghiera. Per favore, non abitiamoci alla guerra e alla violenza!,.
( Angelus 20 marzo 2022)
Stop this repulsive, senseless and violent war!
'.... The violent aggression against Ukraine doesn't stop, a senseless massacre where every day is a repetition of slaughter and atrocities. There is not a justification for it!
I plead with the international community to truly commit to ending this abhorrent war... '
Pope Francis
Dal computer
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.
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.
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.
There are three types of croix de chemin and this one fits into the first, most simple, type.
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 for them, as well.
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.
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.
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.
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”.
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.
LA CHIESA DI SAN GIORGIO
La chiesa barocca con il campanile indipendente e un battistero domina il promontorio sopra la città di Pirano. Il pendio del promontorio con il complesso sacrale è sorretto da archi di sostegno. L’odierno edificio di culto sorge dove prima si trovava una chiesa gotica usurata che fu riedificata dopo il 1595, per essere poi ultimata e consacrata nel 1637. L’odierno duomo è la più grande chiesa di Pirano ed è dedicato al santo patrono della città, San Giorgio, che stando alla leggenda salvò la città da una furiosa tempesta. Parte della ricca collezione e degli oggetti sacri della chiesa sono esposti nel museo parrocchiale di S. Giorgio; tra essi spicca la statua d'argento San Giorgio su un cavallo e un reliquiario a forma di gamba. Anche il lapidario e la grotta archeologica meritano una visita.
CANON EOS 6D Mark II con ob. CANON EF 70-300 f./4-5,6 IS USM
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.
From the Ante-Chapter-House a curved passage leads to one of the most admirable areas of Spanish Renaissance architecture: the Chapter-House of the Cathedral. It was begun in 1558 under the direction of the architec Hernán Ruiz II and was finished by Asensio de Maeda in 1592.
The layout of this area is elliptical so that all the members of the cathedral chapter were perfectly visible at their meetings where the problems of the spiritual and material government of the church were brought up and discussed. The oval vaulting in one simple unit helps the voice to carry and has exceptional acoustics. The need for hearing and seeing required in the meetings of the numerous clergy was thus satisfactorily solved, but at the same time the wall decoration of the Chapter-House consists of a complex series of pictures and figures to emphasize the virtues expected of those who came to meet there so that their exchange of ideas and opinions would take place in an atmosphere of harmony and concerd. The walls therefore show a moral code for the canons to observe in their chapter meetings. The composition of pictures and figures designed by the canon Francisco Pacheco includes a seies of sculptures ans paintings with Latin inscriptions referring to the meanings of the images. All this decoration appears in the second section of the Hall, and the first to be seen between the pedestals of the columns are painted versions of the Virtues, among which Justice, Charity, Faith, Compassion and Hope can be identified. These virtues are female figures, some of which represent Saints at the same time, such as St Barbara, St Katherine, St Lucy and St Agnes. These paintings were carried out by Pablo de Céspedes in 1592.
The authors of the large vertical reliefs between the columns are Juan Bautista Vázquez el Viejo and Diego de Velasco who made them approximately between 1582 and 1582. They show The Assumption of the Virgin, Two Miracles of St John the Evangelists, The cleasing of the Temple, The Heavenly Father with the Vintagers, The seven Angels calling the Damned, The Ectasy of St John Evangelist and The Allegory of the Mystic Lamb. The rectangular reliefs were carried out by Marcos Cabrera around 1590 and show The last Sermon of Jesus Christ, Daniel in the Lions´Den, Christ´s Baptism, The Storm in the Sea of Tiberias, The Parable of the Sower, Christ,s Agony in the Garden, St Peter contemplating the unclean Animals and Christ washing the Feet of the Apostles.
In the vault there is a magnificent series of paintings by Murillo who was commissioned by the Chapter in 1667. In a splendid carved frame everything centres on La Inmaculada, which may be considered among the most beautiful the artist made of the subject. Painted on circular canvases around the vault there is a series of eight Seville Saints who can be identified by the name on the signs. They are San Hermenegildo, San Fernando, San Leandro, San Isidoro, San Laureano, Santa Justa, Santa Rufina and San Pio. The Chapter-House centres on a magnificent mahogany armchair which was carved by the sculptor Diego de Velasco in 1592. Before it there is the secretary´s bench, also of excellent design by the same artist.
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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.
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.