View allAll Photos Tagged sacral
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.
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
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.
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.
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.
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.
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.
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.
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...
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.
"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.
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
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.
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.
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.
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.
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...
The Cathedral of Seville is built on the old aljama mosque of the city, this shows the power that one culture exercises over another when it is conquered. This fact makes its plan different, facing Mecca and not Jerusalem, that is, facing south instead of east. It should be clarified that Mecca is oriented at 10o from Seville and not at 86o as the old mosque is oriented, this is due to the fact that in Al-Andalus the mosques had to be oriented towards the south quadrant and not towards the east, as the Christian churches did. When the Cathedral Chapter commissioned the design of the Gothic Cathedral, it stated verbatim that it wanted a Cathedral that everyone who saw it would take for crazy. For this, 5 naves were created that covered the 116 by 76 meter rectangle occupied by the Almohad mosque, this results, unlike what was usual in the great European Gothic Cathedrals, a hall plan with a Latin cross marked in height and in width by the central naves and the transept. This hall plan also results in the absence of an ambulatory at the head, which ends in a straight line like the wall of the old mosque. Later the Royal Chapel would be added, which is a Renaissance apse, but it does not really correspond to the Gothic company. In the naves of the Gospel and the Epistle, which are the lateral naves, there are many chapels. The 60 pillars support 68 ogive vaults, highlighting those of the transept and central nave with their star shapes. Instead of placing a clerestory, a continuous balcony was chosen along the main nave in order to be able to wander around the temple without being seen. Located in the central nave, in order from the feet, are the Retrochoir, the Choir, with two organs, the Transept, the Main Altar, the Back of Altar and the Royal Chapel.
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.