View allAll Photos Tagged sacral
© by Jean Claude Castor l 030mm - Photography
Vienna, Charles Church, Panorama, 2012
well...after 2,5 years of waiting I was finally able to handle the RAW material I took from the Charles Church in Vienna and get the results I wanted in the first place. The files have not been the most accurate ones, but I at least used all the tools available to process them :) Hope you like it !
Lukinić Brdo - Wooden Chapel of St. John the Baptist
www.tzzz.hr/en/visit-county/cultural-heritage/most-valuab...
The Roman Catholic wooden church of St. Francis of Assisi, made of red spruce, was built at the end of the 15th century in the Gothic style. It is situated on a small elevation in the centre of the village of Hervartov in the Bardejov district. Since 2008 it has been included in the list of UNESCO monuments.
It is the oldest and one of the best preserved wooden churches in Slovakia. The church is enclosed by a stone wall with pilasters, which gives visitors the impression of a small fortress. The sacral building consists of a polygonal sanctuary, a nave, a sacristy and an undercroft, which has been modified to create a granary. The church also includes a bell tower.
While the exterior of the oldest wooden church on the Slovak side of the Carpathian Mountains has remained unchanged, the interior has undergone several modifications due to the Reformation, the Recatholization and the Baroque style. Surface compositions of geometric shapes as well as scenes from the lives of saints or moral scenes make up the rich decoration of the interior walls of the Hervart church.
«Le rivoluzioni non le fanno gli architetti.
Noi osserviamo, interpretiamo i cambiamenti in atto nel mondo. Allora il cambiamento era nell’aria, qualcuno doveva ben costruire un museo che uscisse dalla sacralità, che smettesse di intimidire.
Così è nato il Beaubourg».
Renzo Piano
L'opera veniva inaugurata a Parigi 40 anni fa (31 gennaio 1977), cambiando per sempre la nostra idea dei musei ma anche molto di più: il nostro modo di concepire l’architettura, l’urbanistica, gli spazi delle nostre città.
Fu vinta la sfida lanciata dal presidente Georges Pompidou che voleva «un insieme architettonico e urbano capace di segnare la nostra epoca».
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.
Excerpt from Wikipedia:
The Zagreb Cathedral on Kaptol is a Roman Catholic institution and not only the tallest building in Croatia but also the most monumental sacral building in Gothic style southeast of the Alps. It is dedicated to the Assumption of Mary and to kings Saint Stephen and Saint Ladislaus. The cathedral is typically Gothic, as is its sacristy, which is of great architectural value. Its prominent spires are considered to be landmarks as they are visible from most parts of the city.
In 1093 when King Ladislaus (1040-1095) moved the bishop's chair from Sisak to Zagreb, he proclaimed the existing church as a cathedral. Construction on the cathedral started shortly after his death and was finished in 1217 and consecrated by king Andrew II of Hungary. The building was destroyed by the Mongols in 1242 but rebuilt by bishop Timotej (1263-1287) a few years later. At the end of the 15th century, the Ottoman Empire invaded Croatia, triggering the construction of fortification walls around the cathedral, some of which are still intact. In the 17th century, a fortified renaissance watchtower was erected on the south side, and was used as a military observation point, because of the Ottoman threat.
The cathedral was severely damaged in the 1880 Zagreb earthquake. The main nave collapsed and the tower was damaged beyond repair. The restoration of the cathedral in the Neo-Gothic style was led by Hermann Bollé, bringing the cathedral to its present form. As part of that restoration, two spires 108 m (354 ft) high were raised on the western side.
When facing the portal, the building is 46 meters wide and 108 meters high. The cathedral contains a relief of Cardinal Aloysius Stepinac with Christ done by the Croatian sculptor Ivan Meštrović. The cathedral was visited by Pope Benedict XVI on 5 June 2011 where he celebrated Sunday Vespers and prayed before the tomb of Blessed Aloysius Stepinac.
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.
Excerpt from cologne.de:
The impressive church, in the south west of the city centre, still retains extensive parts of the original building and is one of the oldest sacral buildings in Cologne. The monumental church of St. Pantaleon originated at the middle of the 10th century with the founding of a Benedictine abbey by the Archbishop Bruno. His niece by marriage, the Byzantine Theophanu, made sure building work continued after Bruno's death in 965.
Her interest in the church was most certainly due to family reasons, but the patronage of Saint Pantaleon in particular played a decisive role, since he originated from Theophanu's native country. After her death she was buried in St. Pantaleon. Her mortal remains lie there today in a modern marble sarcophagus.
A special feature in St. Pantaleon is the original Baroque features in the chancel. In all other comparable churches in Cologne these were removed throughout the course of the 19th century. Furthermore, it is home to one of the two choir screens that still exist in Cologne today.
This choir screen, unfortunately only half of which remains, depicts late Gothic forms and is 20 years older than the one in St. Maria in the Capitol. The relic shrines of Saint Albinus and Saint Maurinus on the crossing are also remarkable and date back to the late 12th century.
“L’ossessione amorosa si basa su una fede di tipo religioso: nulla può essere messo in dubbio, la mente passa in secondo piano, subentrano i guardiani della sacralità, la sacralità della passione. Su tutto aleggia uno spirito quindicenne.”
L. Pezzali, Lealtà
Dopo un intero pomeriggio di meteo incerto, piovaschi e schiarite... me lo sentivo dire che alla fine ci sarebbe stato un tramonto da favola. Ed eccomi qui, a contemplare quanto sia magnifico e religiosamente silenzioso questo posto. Capisco ora gli indiani Navajo quando parlavano di "sacralità" di un posto, questo ne emana da ogni dove. Monument Valley Navajo Tribal Park, Ferie 2013.
Excerpt from cologne.de:
The impressive church, in the south west of the city centre, still retains extensive parts of the original building and is one of the oldest sacral buildings in Cologne. The monumental church of St. Pantaleon originated at the middle of the 10th century with the founding of a Benedictine abbey by the Archbishop Bruno. His niece by marriage, the Byzantine Theophanu, made sure building work continued after Bruno's death in 965.
Her interest in the church was most certainly due to family reasons, but the patronage of Saint Pantaleon in particular played a decisive role, since he originated from Theophanu's native country. After her death she was buried in St. Pantaleon. Her mortal remains lie there today in a modern marble sarcophagus.
A special feature in St. Pantaleon is the original Baroque features in the chancel. In all other comparable churches in Cologne these were removed throughout the course of the 19th century. Furthermore, it is home to one of the two choir screens that still exist in Cologne today.
This choir screen, unfortunately only half of which remains, depicts late Gothic forms and is 20 years older than the one in St. Maria in the Capitol. The relic shrines of Saint Albinus and Saint Maurinus on the crossing are also remarkable and date back to the late 12th century.
St. James´s Parish Church is situated in the oldest area of the town. One of the theories about its beginnings says that Losert and Palacký Streets date back to the time when Lipník was just a little settlement. Merchant came here both from Hranice and Olomouc to market their goods in the marketplace at the church. Only after the town got its walls, another route arose in the southern part: the street which led from Hranická Gate to Oseká Gate. The original church which once stood here, might have been a Roman-style building, but Lacek of Kravaře had a new church built in its place efore 1400 – this time in Gothic style. In 1596, the tower was decotated with a peristyle and a dome.
The major part of the interior is from the 60´s of the 18th century when the church was rebuilt in baroque style. The opposite building incorporated in the town walls is the Parish House.
Cathédrale Notre-Dame de Strasbourg) is a Roman Catholic church and is one of the most important cathedrals in European architectural history as well as the largest sandstone buildings in the world. Like the city of Strasbourg in general, the Liebfrauen-Münster also links German and French cultural influences.
The cathedral was built from 1176 to 1439 from pink Vogesensandstein on the site of a burned-down predecessor building from the years 1015 to 1028, which in turn had replaced a 1007 burned-down church from the Carolingian period. The new building was built from northeast to southwest and was initially in Romanesque, then Gothic style. From at least 1647 to 1874, the cathedral with its 142 meter high north tower was the tallest structure of humanity and the highest building completed in the Middle Ages.
(wikipedia)
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Die Cathédrale Notre-Dame de Strasbourg) ist eine römisch-katholische Kirche und eine der wichtigsten Kathedralen der europäischen Architekturgeschichte sowie die größten Sandsteinbauten der Welt. Wie die Stadt Straßburg im Allgemeinen verbindet auch das Liebfrauen-Münster deutsche und französische kulturelle Einflüsse.
Der Dom wurde von 1176 bis 1439 aus rosa Vogesensandstein an der Stelle eines niedergebrannten Vorgängergebäudes aus den Jahren 1015 bis 1028 erbaut, das seinerseits eine 1007 niedergebrannte Kirche aus karolingischer Zeit abgelöst hatte. Das neue Gebäude wurde von Nordosten nach Südwesten gebaut und war zunächst im romanischen, dann im gotischen Stil. Von mindestens 1647 bis 1874 war die Kathedrale mit ihrem 142 Meter hohen Nordturm das höchste Bauwerk der Menschheit und das höchste im Mittelalter fertiggestellte Bauwerk.
(wikipedia)
El ídolo de Peña Tú (en asturiano Peñatú) se encuentra en la localidad de Puertas de Vidiago, concejo de Llanes (Asturias, España).
El conjunto neolítico de pinturas y grabados aparecen reflejados en la cara orientada a levante de esta peña ubicada en el final de la Sierra Plana de la Borbolla; esta situación hace que la roca forme un abrigo natural para las pinturas lo que ha posibilitado su conservación hasta nuestros días.
Las pinturas están realizadas en color rojizo y representan de forma esquemática figuras humanas, de las que se puede destacar una en la que aparece una especie de bastón. Hay también diferentes puntos rojos cuya interpretación hoy en día es desconocida. Dentro de este grupo pictórico (muchas de ellas hoy en día casi desaparecidas o con trazos muy endebles) se halla también la figura de un animal cuadrúpedo. Las pinturas se entremezclan con diferentes cruces grabadas en la roca hechas en la época de la cristianización para sacralizar las figuras paganas.
Si bien las pinturas son de menor importancia debido a su modesta realización, lo que destaca del conjunto es el ídolo y su puñal. Se trata de una figura de un 1,1 m de alto representando la forma de una persona envuelta con una túnica o un ropaje decorado con rectas, trazos cortos y líneas en zigzag. El conjunto está rematado con un tocado con líneas que salen de él a modo de flecos. De la figura humana se perciben únicamente los ojos, la nariz y el pie izquierdo.
A la izquierda del ídolo se encuentra dibujado un puñal hacia abajo. Se cree que esto indica que la figura hace referencia al enterramiento de un hombre cuyo cargo dentro de la tribu sería la de un gran guerrero o jefe. De hecho, casi en la base de la roca se encuentra una cavidad que pudo ser usada para tal fin. La creencia de que el conjunto se trata de un monumento mortuorio se ve reforzada por la existencia de una serie de túmulos y tumbas prehistóricas en la sierra.
The idol of Peña Tú (in Asturian Peñatú) is located in the town of Puertas de Vidiago, municipality of Llanes (Asturias, Spain).
The Neolithic set of paintings and engravings appear reflected in the east facing face of this rock located at the end of the Sierra Plana de la Borbolla; This situation makes the rock form a natural shelter for the paintings, which has made possible its conservation up to the present day.
The paintings are made in reddish color and represent in a schematic way human figures, of which we can highlight one in which a kind of cane appears. There are also different red dots whose interpretation today is unknown. Within this pictorial group (many of them nowadays almost disappeared or with very weak lines) there is also the figure of a quadruped animal. The paintings are interspersed with different crosses carved in the rock made at the time of Christianization to sacralize the pagan figures.
Although the paintings are of minor importance due to their modest realization, what stands out of the set is the idol and his dagger. It is a figure of 1.1 m tall representing the shape of a person wrapped in a tunic or a garment decorated with straight lines, short strokes and zigzag lines. The set is topped with a headdress with lines that come out of it as fringes. Only the eyes, the nose and the left foot are perceived from the human figure.
To the left of the idol is a dagger pointing downwards. It is believed that this indicates that the figure refers to the burial of a man whose position within the tribe would be that of a great warrior or chief. In fact, almost at the base of the rock is a cavity that could be used for this purpose. The belief that the whole is a mortuary monument is reinforced by the existence of a series of prehistoric tombs and tombs in the mountains.
There has been a church at this location at least since 1200 AD, but the oldest parts of the current building only date from around 1380. It has been continuously expanded and modified since then, until it was largely destroyed in the destruction of Darmstadt on 11 September 1944. However, as the walls remained standing, it was possible to restore the church to its present state after the war.
The Stadtkirche (=city church) is the largest protestant church and the largest sacral building in Darmstadt.
Agfa Optima 1035 Sensor
Film: Kodak Portra 400 professional grade colour negative film
Developed and scanned by www.meinfilmlab.de
This church in New Town holds two records among Prague’s sacral buildings. The first is the height of its vaults - 34 m - and it was never even completed to its planned size! Its imposing appearance can be best viewed from the adjoining Franciscan Garden. The church also features the highest column altar in Prague.
en.wikipedia.org/wiki/Church_of_Our_Lady_of_the_Snows_(Prague)
...la tradizionale manifestazione che vede, lungo le vie del paese, l’allestimento delle natività.
Nata nel 1984 ad opera di Giampietro Baldracchi, la manifestazione è cresciuta sia nel numero di visitatori che di presepi partecipanti, sino al record toccato nel 2008 con ben 160 allestimenti della natività di ogni fattezza e particolarità; cosa che fa contare e superare la media di un presepio o più per famiglia residente.
Grande merito anche all'impegno di tutti gli abitanti che, con la gioia di poter esprimere l'ingegno e la sacralità dell'evento, si prestano a realizzare i presepi ed aiutare affinché tutta la manifestazione si svolga nell'interesse del paese e della tradizione natalizia.
In ogni angolo, nei giardini, sotto i porticati, le rappresentazioni brillano per la loro particolarità e sono ancor più affascinanti al tramonto.
Wat Rong Suea Ten
The Blue Temple of Chiang Rai /
For further information :
www.thailandee.com/en/visit-thailand/wat-rong-suea-ten-bl... /
www.thenotsoinnocentsabroad.com/blog/wat-rong-suea-ten-th... /
Dubulti church, the most expressive object and the visual dominant of the surrounding area is the most monumental and exquisite Art Nouveau building in Jurmala from the viewpoint of historical and sacral architecture. The size and details of the building clearly show the tradition of national romanticism that may be seen in the rich sculptural elements of the building in the placement of the elements, decor of ornamental sculptural details, as well as the diversity of the facade decoration with the smooth, corrugated and coarse plaster.
Dubulti church with 750 seats as it is today, was built by Riga building contractor and manufacturer, master of masonry Krisjanis Kergalvis (1856-1936) according to the design of the architect Wilhelm Ludwig Bockslaff (1858-1945) and Edgar Woldemar Eduard Friesendorf (1881-1945). Its foundations were laid in September 1905, but officially the foundation stone celebration took place on 16 June 1907.
www.visitjurmala.lv/en/see-and-do/art-and-culture/churche...