View allAll Photos Tagged sacral
Sentado, fui testar o filtro de densidade neutra variável, quando olhei para o alto esse garoto me xeretava por cima. Agradeci a composição....
Meu menino deus tem ascendência espartana e disputará a sombra da cruz com a geração decadente e serrará todas as cruzes e devolverá a sacralidade às curvas da natureza. Meu menino deus ao manipular livros salvará a si antes dos velhos, meu menino deus saberá a hora de me enterrar embaixo do fogo! E rezará pelas cachoeiras, pelas matas, mares e águas todas do por aí. Meu menino deus terá saudade de futuro...
The construction of the church in Kyjatice dates back to the end of the 13th or the beginning of the 14th century. Like the surrounding villages, Kyjatice adopted ideas of the Reformation: we know the names of evangelical pastors working here since the 1620s. With a short break during the re-Catholicization, the Kyjatice Church has always been and still is Lutheran. This originally fortified Romanesque-Gothic single-nave church with a square chancel, an eastern tower and a northern sacristy, hides rare murals. The fresco decoration of the church comes from two stages – from the end of the 14th (chancel, triumphal arch) and the first half of the 15th century (north wall of the nave).
After the adoption of the Reformation, the murals were whitewashed, but discovered in 1894 (by István Groh) and repainted. Their discovery and restoration took place in the 1980s, when a comprehensive research of the church took place. We find scenes of apostles, several saints and prophets in medallions, the figures of wise and obscure virgins on the triumphal arch lining. On the triumphal arch, we find scenes from the life of Christ – the kiss of Judas, Christ before Pilate, Carrying the Cross, the Crucifixion and Lamentation of Christ (Pietà). The nave is dominated on the northern wall by a unique depiction of the Last Judgment in the form of a large circle, centered on Jesus in the almond tree. On the fresco, Jesus judges the living and the dead, rising from the graves, and dividing them into righteous and condemned. The nine fields of the circle represent the onset of nine distinctive angelic choirs and crowds of the victorious church. The painting is reminiscent of illustrations in the manuscripts of St. Hildegard of Bingen. The painting is dated to the year 1486. In addition to frescoes, the Gothic is also represented by a southern late Gothic portal and doors and a simple portal to the sacristy. The wooden coffered ceiling with Renaissance floral ornaments dates from 1637, from the times when the church was used by the Lutherans (similar to other wooden furniture – the western tribune or the so called patronage bench). On the ceiling, there are also the names of the masters: Lazar Galko and Jakub Stephanik, the mayor. The simple stone baptismal font is probably from the 13th century. The Renaissance altar from 1678 fills the entire façade of the chancel. The sculptures of the three apostles have a central position, with Jesus Christ and two angels in the extension. The richly carved wooden baroque pulpit dates from the first third of the 18th century.
Brussels, Belgium
Saint Catherine's Church on the background of the city skyline. Closed due to lack of faithful, after desacralisation planned to be converted into a fruit and vegetables market.
Lamayuru - Ladakh - West-Tibet - India
This is the photo in the monk's hand:
www.flickr.com/photos/a_lion/5002502832/in/photolist-nEtw...
Curiosity: Last day I was in this house. It was a dead and funeral ceremony. I gave as gift family some Dalai Lama photo.
Next day I walked in the street. The monk come out of the house and showed me this pic. He couldn't knew, that is my photo. He was very proud for the HHDL pic. I told him, this pic is my work. The monk smiled, and told me thanks, and blessed me. :-)
The landmark of the old mining village with interesting spindle-shaped urbanism is the Lutheran Church located on a low hill at the upper end of the village called Koceľovce. The church is an almost intactly preserved Gothic building from the first half of the 14th century, originally dedicated to St. Bartholomew.
The single-nave space with a polygonal chancel, a sacristy on the north side and a high tower on a square plan in the west, which turns into an octogon on the upper floors, is covered by a high gabled roof with shingles. The roofing of the tower, with an atypical metal Art Nouveau helmet, dates from the beginning of the 20th century. The nave is vaulted with classicist Theresian vaults instead of the original beamed ceiling, which is stylishly followed by an equally vaulted brick porch. During the last third of the 14th century, the polygonal chancel was built and vaulted with a cross rib vault. The stylistic purity of the church is emphasized by high windows divided by profiled bars and tracery and a system of supporting pillars of the chancel. The current southern entrance to the church was opened during the restoration in the 2nd half of the 18th century, it is closed by a Gothic door with decorative fittings, which were transferred here from the original entrance portal in the tower. Another Gothic door with rich wrought iron decoration is in the portal to the sacristy. This interesting wrought iron door also became the logo of the church.
The Alexander Nevsky Memorial Church was built between 1826 and 1829 for the Russian soldiers of the choir of the Russian colony of Alexandrowka. It is the oldest Russian Orthodox church building in Western Europe, modeled on Old Russian architecture, and an example of early Russian historicism. As part of the Alexandrowka colony, the church has been under UNESCO protection since 1999 as part of the Palaces and Parks of Potsdam and Berlin World Heritage Site.
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... /
In the vicinity of Jelšava, an old mining village Rákoš hides a quiet church with unique Gothic paintings. The church was built on an elevated site in the northern part of the village under the slope of Železník Hill on top of which a castle of the Bubek Family was once standing.
The Roman Catholic Church of the Holy Trinity is an early Gothic single-nave building from the mid-13th century. It has still a Romanesque horseshoe-shaped apse and slotted Romanesque windows, but the entrance portal is already formed by a Gothic arch. The nave has a flat wooden painted ceiling from the end of the 17th century. In front of the church stands a Baroque brick belfry with a wooden superstructure.
Wall paintings from the last third of the 15th century cover the walls and the vault of the chancel and almost the entire northern wall of the nave. High-quality Italian fresco paintings can be seen, a piece of art ordered by the wealthy noblemen from the House of Bubek. Travelling through northern Italy in the service of King Louis the Great, they had an opportunity to acquaint themselves with the best works of Italian masters whom they brought to the Kingdom of Hungary to decorate churches in Plešivec, Štítnik, and Rákoš. The vault of the sanctuary depicts the Christ Pantocrator with angels, the four church fathers and the symbols of the Evangelists (Matthew – angel, Mark – lion, Luke – bull, and John – eagle). On the walls of the sanctuary, we can find prophets, apostles and three saint kings: Ladislaus, Stephen, and Emeric. In the window lining, there are figures of women saints: Catherine, Barbara, Elisabeth and Margaret of Hungary. One of the most interesting parts is the unconventional depiction of Christ standing in a grave held by Mother Mary. The scene is complemented with the figures of an angel and of St. John the Baptist. Figures of saints, prophets, a depiction of the ten virgins, a partially damaged figure of the Virgin Mary Protector and a very well-preserved sitting figure of God with three faces giving blessings are on the walls of the triumphal arch. This unusual way of portraying the Holy Trinity which has been later banned by the Trident Council for its striking resemblance to the pagan god Triglav, still appears in two other locations in Slovakia – Ochtiná (logo of the Gothic Route) and Žehra.
The northern wall of the nave is almost entirely covered with murals in three horizontal bands. The upper band depicts scenes from the St. Ladislaus legend, it shows lancer horse riders of the St. Ladislaus’s royal entourage at the forefront, in a dynamic moment of fight with the Cumans. The second and the third band below portray the Last Judgment with the central figure of Christ the Redeemer with angels and a number of saints on the sides. Right below them we can see open graves from which dead are rising. Archangel Michael divides them into two groups, the saved ones, who walk to the left towards the heaven‘s gate, and the damned ones, whose chains are bound by the devils to the gate of hell. The most recent of the paintings date back to the first half of the 15th century; they depict the Assumption of the Virgin, individual figures of saints and the Stigmatization of St. Francis. We have chosen the hand of St. Francis with a stigma as the logo of the church. On the outer southern wall of the church, fragments of the painting of Madonna and Child have been preserved. Since 1992, there have been intermittent renewal activities of the church taking place, during which the restoration of murals was included. Furniture is stored and it would be returned into the church, once the restoration works are finished.
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.
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... /
New project.
In my region are a lot of puplic and sacral buildings made out of concrete. Most of them are from the 70s. Some are built by famous architects like Alvar Aalto.
I will try to collect them all.
Built: 1960
Architect: Gerhard Langmaack
La fonte nuragica Li Paladini si trova in mezzo ad un fitto e lussureggiante bosco, alle falde del Monte de Deu. Costruita in pietra di granito, la fonte incamera un vena sorgiva ancora attiva e presenta sul davanti una grande pietra di soglia con incisa una canaletta per il deflusso dell'acqua. La camera di captazione è chiusa superiormente da una semicupola ogivale che si conclude in alto con due lastre di copertura a piattabanda. Nonostante le manomissioni che hanno alterato non poco l’originale forma dell’atrio, la piccola fonte di Li Paladini mantiene ancora intatto il senso di sacralità proprio di tutti gli edifici dedicati in Sardegna al culto delle acque.
FS 13.6.19
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It was time to go home and I really was relieved that the conference was almost over. After breakfast I walked through the neighbourhood to take pictures and take my mind off the bad news for a while. I then went into this church and lit some candles. I'm not a religious person but I thought it would be a nice gesture that my grandmother would have appreciated.
This image was taken in the cloisters at Gloucester Cathedral. The structure seen at the very end of the corridor formed part of an art exhibition.
You can follow me also on Getty | 500 px | Deviant Art
Between the mountains of Ovcar (985m) and Kablar (889m), the river Zapadna Morava shaped and formed the Ovcar-Kablar gorge, one of the most beautiful gorges in Serbia. Due to it’s extraordinary beauty, abundance in flora and fauna, ten monasteries, preserved sacral and memorial objects and their landmarks and other values, as well, this magic gorge, 8km away from Cacak, has been proclaimed protected natural estate by the governmental Act of the Republic of Serbia, as a region of outstanding features.
In the „hart“ of Ovcar-Kablar Gorge, in oasis of greenery and peacefulness, lies Ovcar Banja spa. Situated at an altitude of 278m above see level, Ovcar Banja (Ovcar spa) has rich thermal springs and water has been used or treatment of rheumatism, spondilosis, arthritis and sport injures. Nature was exceptionally generous to this region, as well as many fast clear mountain rivers, steep cliffs, wooded the landscapes that will take your breath away.
Althought only 20km long, Ovcar-Kablar Gorge is one of the most beautiful gorges in Serbia, which breasts hide it’s biggest treasure, beautiful medieval monasteries. Because of them this gorge got popular name „Serbian Holly Hill“. Once wild and inaccessible, Ovcar-Kablar Gorge today has 10 monasteries: Vavedenje, Nikolje, Jovanje, Preobrazenje, Sretenje, Svete Trojice, Uspenije, Vaznesenje, Ilinje, Blagovestenje as well as the Church of St. Sava and church-cave Kadjenica.
Text from www.ovcarbanja.rs/srpski/ok_klisura.html
More on Ovcar-Kablar gorge on wiki - en.wikipedia.org/wiki/Ov%C4%8Dar-Kablar_Gorge
Olieverf op doek, 1355 x 1665 mm
“Rust” is een meesterwerk van buitengewone schoonheid en uitzonderlijke communicatieve directheid van de jonge Caravaggio, daterend uit 1597. De compositie is op een absoluut originele manier verdeeld door de figuur van de prachtige engel, van achteren gezien, met grote zwarte zwaluwvleugels, terwijl hij viool speelt. Rechts, omringd door weelderige vegetatie, ligt de slapende Madonna met het Kind in haar armen. Beide figuren worden geïdealiseerd afgebeeld en de schoonheid van hun gelaatstrekken contrasteert met de naturalistische weergave van Sint-Jozef, die, hoewel overmand door vermoeidheid, in vervoering raakt door de verschijning van de engel en aanbiedt om de partituur voor hem vast te houden. Dit is het eerste bekende schilderij op groot formaat met een sacraal thema van de kunstenaar, die kort daarvoor in Rome was aangekomen. De heldere, gouden tinten en de idyllische toon van de compositie dragen nog duidelijk Lombardische en Venetiaanse wortels. Voor de Madonna lijkt het erop dat Caravaggio geïnspireerd werd door hetzelfde model dat, waarschijnlijk kort daarna, poseerde voor de “Bloedige Magdalena”. De noten op de partituur volgen een motet dat de Vlaamse componist Noël Bauldwijn in 1519 schreef op een tekst uit het Hooglied en opgedragen aan Maria. Het werd in 1650, samen met de “Bloedelijke Magdalena” en andere werken, aangekocht door Donna Olimpia Maidalchini en werd onmiddellijk onderdeel van de fideicommissariaatcollectie van Pamphilj.
Galleria Doria Pamphilj Rome
Il bianco contiene in se tutti gli altri colori, unficando quindi la totalità, ed è usato per sostenere e segnalare diversi passaggi di stato. Si pensi al vestito bianco della sposa o al bianco funerario delle culture orientali. É il colore adatto per un nuovo inizio, una soglia di passaggio verso qualcosa di nuovo
É associato con la luce, la bontà, l'innocenza, la purezza e la verginità. Simbolizza l'indifferenziato, la castità e la santità, la sacralità e la redenzione. Associato al nero simbolizza la dualità, i due opposti, il bene ed il male. Associato al rosso simbolizza il diavolo, il purgatorio