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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.
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.
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.
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© 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.
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.
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.
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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.
The monastery of the Benedictine Order at Pannonhalma was founded in 996 in Western Hungary and had a major role in the diffusion of Christianity in medieval Central Europe. The monastery shows a stratification of different architectural styles and various buildings.
Among these buildings: a school (the first ever school founded in the country), the monastic complex – home to the monks whose life is still based on St. Benedict’s Rule ‘Ora et labora’ -, the tourist welcome points and hospitality facilities, the Chapel of Our Lady, the Millennium Chapel and the botanical and herbal gardens.
www.comece.eu/christian-artworks-benedictine-archabbey-of...
Retrochoir of the Roman Catholic cathedral of Seville, Seville, Spain. This wonderful Baroque style retrochoir is work of Miguel de Zumárraga and was finalized in 1635. It was constructed with precious materials like marmor or jasper and it's decorated with bas-relieves and bronce busts.
"Because you cannot see Him, God is everywhere."
[Quote from Yasunari Kawabata - Literature Nobel Prize Winner 1968]
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.
Salvator Church in Duisburg, Germany
A new organ from the Swiss company Kuhn is put into service in 2002.
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.
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.
The interior of the former monastery church in Wiblingen, a district of Ulm, is characterized by early classicism.
Around 1750 there were plans for a new church by Johann Michael Fischer, but construction did not begin until 1772. The master builder was Johann Georg Specht, appointed by Abbot Roman Fehr. Although Specht has to stick to Fischer's dimensions on the western side of the nave, he can do without the load-bearing wall pillars planned by Fischer, since vaults no longer play a role; flat domes are now preferred, and they almost always consist of light wooden slats Substrate for the plaster. Specht also plans two towers on the western front, instead of in the east as Fischer planned. But these are never fully built; only a torso remains.
Januaryius Zick was hired for the interior design by Primate Amandus Storr. Zick essentially takes the reins and all the other craftsmen have to subordinate themselves to him. Zick still paints the frescoes in a strongly baroque character, but the rest of the furnishings follow classicism. The stucco is no longer used excessively as in the Rococo, but is used sparingly, here in the plait style, it no longer interferes with the frescoes. Benedikt Sporer from Wessobrunn is their creator, and the gold mounts come from Br. Martin Dreyer. The choir stalls are reminiscent of the famous choir stalls of Ottobeuren and Zwiefalten because of their golden dorsal reliefs. This is not surprising, because the creator of these stalls is Franz Joseph Friedrich Christian, son of Johann Joseph Christian, who created the choir stalls in Zwiefalten and Ottobeuren. Zick also designs the prospectus of the choir organs, which once housed an organ by Johann Nepomuk Holzhey.
The church was consecrated in 1783, but the monastery was not long in coming. A striking exhibit is the large crucifix in front of the high altar, which originally comes from Ulm Minster. The high altar also once stood in front of a choir grille, which is no longer there today. Benedikt Sporer's pulpit is considered an excellent work. Other side altars are set up in the church, but they do not have a large spatial impact.
A main organ has been installed in the west gallery since 2021. Until then, the gallery was deserted and there was not enough money or time to purchase an organ at the time.
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
SCORRE LA VITA
Foto 35 - Stefano e babbo Lamberto al circo.
Foto anno 1961
________________________________________________
TRA IL SACRO ED IL PROFANO
E' vero, ho fatto il chierichetto per due o tre anni,
ma non ero di sicuro uno stinco di santo.
Di marachelle anche coi frati, ne ho combinate in quantità.
Certo a dieci/undici anni,
la percezione del sacro e del profano è molto vaga e di difficile interpretazione.
Per me frequentare la chiesa,
era un modo per arrivare a sera con qualcosa d'interessante da raccontare a casa.
Per i miei genitori, una guida sicura alla mia esuberante voglia di conoscere il mondo.
In particolare avevo legato col più "strambo" dei frati cappuccini, guarda un po' si chiamava padre Francesco.
Raccontava le parabole del Vangelo come fossero barzellette da bar, condite con brio e tanta sempicità.
Vi devo confessare che è proprio per questo che lo stavo ad ascoltare in... "religioso silenzio".
Poi più grande, ne ho apprezzato le omelie che talvolta ammaliavano i fedeli assiepati in chiesa.
Pensate parlava di speranza... per tutti.
Mi sembra chiaro che oggi ci rivedo il nostro Papa Francesco non solo per il nome.
Lo stesso piglio, la stessa dolcezza sempre espressa con parole che perfino un ragazzino poteva comprendere con facilità.
Con il solito intento, ma in modo molto più dimesso,
voglio raccontarvi una mia "colossale" figuraccia.
Ora che sono "attempato" ci rido sopra con nostalgia anche se,
lo ammetto, me ne vergogno ancora.
Questo mio lavoro di pulizia dell'anima,
mi sprona a raccontare anche vicende piuttosto disdicevoli.
In fondo siamo in tema col brano,
è proprio come una lunga confessione fatta alla luce del giorno, senza timori di sorta.
E' solo la consapevolezza di sentirne forte il bisogno.
Ma poi?
Chi di voi non ne ha combinata qualcuna da ragazzo/a?
Questi i fatti.
Mi sembra era dicembre, o giù di lì.
Lo ricordo,
perché il marmo dell'ultimo gradino davanti all'altare era gelido.
Preciso ai più giovani che anche d'inverno avevamo i calzoni corti, appena sopra il ginocchio.
Un'usanza da denunciare al telefono azzurro,
ma allora non esisteva ancora... poveri noi.
Ero inginocchiato, insieme agli altri chierichetti, da un bel po'.
La messa ai primi degli anni 60 veniva detta ancora in latino,
e di gente in chiesa ce n'era veramente tanta.
Ad un certo punto i fedeli dovevano rispondere al frate preposto ad officiare la Santa Messa con le parole:
"ora pronobis".
Questo, ripetuto varie volte.
Il sacerdote enunciava la frase, ed i fedeli concludevano.
Mi ero distratto, essendo impegnato a far sghignazzare i miei amici vicini col becero umore da piccolo scaricatore di porto.
Incurante della sacralità del momento, mi divertivo a modificare le parole da "ora pronobis" in "ora hai rotto".
E' ovvio, confidavo sul coro forte e compatto dei fedeli che copriva la mia esile voce.
Mai distrarsi.
In ultimo purtroppo... dopo le parole del frate,
non ci fu nessuna replica dei presenti, non era prevista.
In un silenzio imbarazzante s'udì solo la mia voce:
"ora hai rotto... otto ... otto... otto."
Sì cari amici ... perfino con l'eco.
Due occhi di fuoco mi fissarono pietrificandomi.
Le mani del frate mimarono uno scenario che non presagiva nulla di buono.
Una, tesa verso me con le quattro dita unite ed il pollice sotto a toccare il palmo,
l'altra con l'indice a roteare come a dire:
"ci vediamo dopo a quattr'occhi".
Era il mio insegnante di catechismo.
Chiesi un miracolo che Dio...
molto arrabbiato non mi concesse... sarei voluto scomparire.
Lo so la feci grossa, parecchio grossa,
i frati erano molto comprensivi,
ma quella volta non mi perdonarono.
Mi resi conto che c'è un limite a tutto,
e da allora il rispetto fu una mia prerogativa di vita.
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© Il testo è 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 is 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.
When the nature is awakening under the smooth spells of Spring. And her white spirits are rising above our troubles and tears in the name of love and sacral dreams...
El viajero atraviesa la plaza que desciende hacia el Muro, franquea una verja y de una caja que hay en la entrada toma una kippah. La kippah es un pequeño casquete que la mayoría de los israelíes se pone cuando va a la sinagoga para una celebración, pero que los más religiosos llevan siempre. Para rezar es obligatorio ir tocado, por eso hay aquí una caja de kippahs para los que vienen sin su propio cubrecabezas. Pero como el ahorro es madre de todo buen hábito, los casquetes a disposición son de cartulina, y la menor ráfaga de viento se los lleva, provocando grotescas persecuciones en tan sagrado lugar -los judíos observantes llevan su kippah de tela o de punto sujeta con una horquilla. (...)
El Muro de los Lamentos es en realidad el lado occidental de la plataforma de piedra construída hace dos mil años por Herodes el Grande para soportar la elevada explanada del Templo de Jerusalem, o mejor dicho, la parte de ese lado que queda al descubierto.
La plataforma ha sufrido a lo largo de los siglos el natural desgaste de la erosión y la acción humana, incluída la represalia de arrasar la ciudad de Jerusalem que ordenó Tito cuando aplastó la primera rebelión judía en el año 70. (...)
Pero la situación de la explanada era demasiado atractiva, y los sucesivos amos de Jerusalem la reconstruyeron e instalaron en ella sus propios templos, mezquitas y palacios. El resultado de las subsiguientes actuaciones sobre la plataforma es que el Muro es obra de muchos. La parte inferior es herodiana; la superior es restauración de los cruzados, de los mamelucos o de los otomanos.
Es fácil distinguir las diferentes obras, porque la herodiana es de tipo ciclópeo, las piedras miden más de un metro de alto por entre uno y tres de largo -hay una de doce metros- y pesan hasta cien toneladas, mientras que la cristiano-musulmana emplea piedras más pequeñas. Los arqueólogos consideran que son de Herodes las siete filas inferiores de piedras, pero que hay enterradas otras diecinueve hileras. De esta forma el Muro mediría de alto no los quince metros que se pueden ver hoy sino otros veintiún metros que quedan bajo tierra.
Sólo la parte inferior, la herodiana, importa, al menos para nuestra historia. Esos gigantescos bloques de piedra quedaron, tras el arrasamiento de Jerusalem en el año 70, como el único resto visible de la capital judía, el único recuerdo físico de que los judíos, desterrados de Jerusalem, dislocados en la Diáspora, condenados a ser un pueblo sin nación, habían tenido en otra época histórica su propio Estado. El que los pedruscos formaran parte de la estructura del Templo, aunque no del Templo mismo, les añadía un plus de sacralidad.
Roma prohibió a los judíos vivir en Jerusalem en el año 70, y renovó la prohibición después de la segunda rebelión, en el año 135, cuando Adriano convirtió a Jerusalem en una ciudad romana, Aelia Capitolina.
Pero hacia el siglo III una población hebrea había vuelto a instalarse en Jerusalem, y tomó la costumbre de acudir cada 9 de Ab (mes judío que corresponde a julio), aniversario de la destrucción del Templo por Tito, a la parte de sus restos que quedaba más accesible, en el lado occidental de la plataforma. Allí celebraban un masoquista ritual en conmemoración de su desgracia histórica.
Así, a lo largo de los siglos, el Muro se convirtió en un lugar de peregrinación para los judíos de Palestina y de la Diáspora, un santuario evocador de una edad dorada anterior y perdida, ante cuyo recuerdo inducido por las inertes piedras resultaba inevitable echarse a llorar, convertir la oración en un lamento por las glorias pasadas y el triste presente. De ahí que aunque el nombre oficial sea Ha-Kotel ha-Maaravi, el Muro Occidental, todo el mundo lo conozca por Muro de los Lamentos. (...)
Fragmentos tomados del libro "Viaje a Palestina" de Luis Reyes Blanc.
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.
ENG: The Wieskirche is a remarkably beautifully furnished pilgrimage church which belongs to the Steingaden parish and is located in the Wies district, also known as the Bavarian "Pfaffenwinkel". The complete name of the Wieskirche is pilgrimage church to the Scourged Saviour on the Wies.
Today's building was built from 1745 to 1754 in rococo style. The church is located in the diocese of Augsburg and has been a UNESCO World Heritage Site since 1983. Patron saint of the church is St. Joseph.
A special feature of the "Wieskirche" are the cupola frescoes by Johann Baptist Zimmermann. The foundation of the church goes back to a pilgrimage which existed since 1739. It originated from the veneration of a statue of the scourged Saviour. The statue and the cupola painting are regarded as today's highlights.
GER: Die Wieskirche ist eine bemerkenswert prächtig ausgestattete Wallfahrtskirche die zur Gemeinde Steingaden gehört und sich im Ortsteil Wies befindet, auch bayerischen „Pfaffenwinkel“ genannt. Der vollständige Name der Wieskirche lautet Wallfahrtskirche zum Gegeißelten Heiland auf der Wies.
Der heutige Bau wurde von 1745 bis 1754 im Rokoko Stil erbaut. Die Kirche ist im Bistum Augsburg gelegen und gehört seit 1983 zum UNESCO-Weltkulturerbe. Patron der Kirche ist der Hl. Josef.
Eine Besonderheit der „Wieskirche“ sind die Kuppelfresken von Johann Baptist Zimmermann. Die Gründung der Kirche geht auf eine Wallfahrt zurück, die seit 1739 bestand. Sie entstand aus der Verehrung einer Statue des gegeißelten Heilands. So gilt die Statue sowie die Kippelmalerei als heutiges Highlight.
Ladakh (West-Tibet) - India
The history of Lamayuru monastery dates back to the 11th Century, when Mahasiddha Naropa (1016'“1100) visited the place coming from Zanskar. He spent a long time in strict retreat in a cave there and turned the place into a sacred land.
From the official website of Panagurishte Municipality
THE PANAGYURISHTE TREASURE
(C. 4-3 B.C.)
It was found near the Mramor hillock in 1949 during agricultural work. It consists of nine richly adorned vessels - an amphora, seven rhytons and a phial. It weighs 6.164 kg. The largest vessel is the amphora, which has a centaur-shaped handle. Three of the seven rhytons are shaped as animals' heads, one is the front part of a goat, three have women's (Amazon) heads. The set most probably served for the drinking of wine in a religious, celebratory or domestic atmosphere. There is also an opinion that its purpose was the ritual purification of a liquid, which could be wine. It is supposed that another two rhytons with the front part of animals, an amphora and one or two phials are missing, with a view of the sacral importance of the number three in the Thracian religion.
There exist two basic hypotheses about the origin of the Panagyurishte Treasure. They are based on the carved letters on some of the vessels, which are considered to signify the measure units of the gold. According to a widespread thesis, the signs belong to the metric system used in the Asia Minor town Lampsak. Other scholars however have discovered that a similar system was used in the interior of Thrace, so there is a possibility of the treasure's local origin.
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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.