View allAll Photos Tagged sacral
Among the beautiful sacral sights we can undoubtedly include the Greek Catholic wooden Church of the Protection of the Holy Mother of God from 1770, which stands in the mountain village of Miroľa in the northeastern region of Slovakia.
It has a characteristic log structure and a three-part outer and inner division. The interior is decorated with iconostasis and altar. In the sanctuary, there is the icon of the archangel Michael and the icon of the Mother of God, Virgin Hodegetria with praise located. Liturgical objects are found in the anteroom that were revealed in the individual rebuildings of the temple. Especially the rare raincoat, probably from the 17th century, is worth noticing.
A special chapter is the rare books used in religious services in the Church-Slavic language. The temple has been repaired several times, most recently a complete reconstruction in 2005-2008 has been carried out. As well as with other wooden churches, even here stands a wooden entrance gate with a low shingled roof in front of the church.
Church of St. John of Dukla and Monastery of Bernadine monks - the church with two towers was built between 1761 and 1764 in the late baroque style. The temple was extended from 1890 to 1902 when a chapel of St. John of Dukla was built and the main nave was enlarged. Also monastery building was added. The interior dates back to the turn of the 19th century. The paintings of Tadeusz Popiel present scenes from life of St. John of Dukla. There is a silver coffin with relics of St. John. Pope John Paul II came to Dukla on 9th of August, a day before the canonization event and he spent a night in the monastery
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.
The small medieval village of Pican is perched on a 350 meters high hill in the Istrian hinterland, 10km south east of Pazin.
Inhabited by the Histri tribe in early prehistoric times and later on by the Romans naming it Petina, Pican has lost its past importance and nowadays counts just 300 inhabitants.
WHY TO COME ?
Pican is interesting for people searching for relaxation in its old houses of interesting architecture surrounded by the charming countryside that offers numerous opportunities for hiking, cycling and other outdoors activities.
WHAT TO SEE
Unfortunately, the only visible evidence of the Roman presence is the inscription on the stone incorporated in the doorpost of the house facing the bell tower. Erected in 1872 this 48 meters high campanile that dominates the place is the third tallest in Istria.
In the Middle Ages, the town was encircled by defensive walls that are preserved partially because, over time, they were mutilated by houses built on top of them. However, the main town gate, constructed at the turn of the fourteenth into the fifteenth century and renovated in the 17th century is well conserved.
The fact that Pican was the administrative centre of central Istria as well as Bishopric seat confirms the significance it once had. The Diocese of Pican established in the fifth century by Byzantium was one of the oldest and smallest dioceses in the world that survived until the eighteenth century(1788). Although small, thanks to its role in the past Pican has conserved a couple of interesting sacral edifices.
CHURCH OF ST. ROCK
Before you enter the town on the left side of the main gate there is the small Church of St. Roch dedicated to the patron saint of people afflicted by the plague or other infectious diseases. Its foundation stone was laid in the beginning of the 17th century during one of the most severe plague epidemics.
The park in front of the main gate to Pićan hosts the sculpture of St. John Nepomucene built in 1714.
CHURCH of ST. MICHAEL
The tiny Romanesque Church of St. Michael from the 13th century is situated at the top of 365 meters high Calvary Hill (Kalvarija), next to the cemetery. The interior of this single-nave building is decorated with valuable Gothic frescoes from the first half of the 15th century that were enriched by the Glagolitic engravings during the 15th and 16th centuries. Being located on a hilltop, its natural viewpoint offers a spectacular view of the surrounding area. In addition, this beautiful view was embellished by the stone sculpture The Family by Nane Zavagno, who took part in the Mediterranean Sculpture Symposium at Dubrova near Labin.
THE CHURCH OF THE ANNOUNCIATION OF THE BLESSED VIRGIN MARY
This parish church was built on the foundations of a former cathedral of St. Nikifor from the 14th century. The main nave of the old Medieval church was expanded in 1613 but it acquired its current external form after its thorough modification between 1753 and 1771. Its interior was also redecorated in baroque style and the main altar is adorned with a painting of The Annunciation by Valentin Metzinger. Tombs of the bishops of Pićan and other meritorious citizens of Pićan, decorated with relief and coats of arms, are placed under the church floor and the plateau in front of the church. Also, the notes of the “Pican's mess” celebrated in Old Church Slavon by the Glagolitic priests that is performed even nowadays are found there. Its bell tower stands separate from the church and offers a splendid view of the Istrian countryside.
BIRTHPLACE of Matko Brajša Rašan
Pican is also the birth place of Matko Brajsa Rasan (1859. – 1934.), choir master, recorder of old Istrian melodies whose birth home is located opposite the parish church. In 1912, he also composed the current official Istrian anthem Krasna zemljo after the lyrics of Ivan Cukon.
VIEWPOINTS
Whole Pican has beautiful views of the Istrian countryside but the most beautiful view is from the church of St. Michael.
The Franz Ferdinand's Viewpoint situated in front of the cathedral offers an unobstructed view over the undulating landscape of central Istria.
-------------------------
Pican, Petina, Petinum, Pedena, Penna, Biben, Pyben, Piben, Piebn, Piebnn, Pitchann....
Što se krije u imenu? Ponekad nije jednostavno u povijesnim izvorima slijediti tragove Pićna jer se on krije pod najrazličitijim imenima. Porijeklo imena Petina neki pripisuju pretpostavci da je Pićanska biskupija bila peta po redu u svijetu pri čemu u riječi pet vide keltski korijen.
Pićan je zasigurno naseljen u dalekoj prapovijesti. Najstariji dijelovi histarske gradine nalazili su se na brdu Kalvarija (13), sjevernije od današnjeg naselja, a zatim se pretpostavlja da tu živi keltsko pleme Secusa. U rimsko se doba, vjerojatno na istom strateški dobro odabranom mjestu, nalazilo vojno uporište i naselje Petina.
Ima autora koji su baš uz Pićan vezivali i naziv Pucinum kojim i Plinije i Ptolomej nazivaju utvrdu u unutrašnjosti Istre koja je i na rimskom dvoru bila poznata po posebno dobrom vinu. Žena cara Augusta, Livia, vjerovala je da svoju dugovječnost duguje baš činjenici da pije isključivo to vino. Jedini danas vidljivi trag rimske prisutnosti je natpis na kamenu ugrađen u dovratnik kuće nasuprot zvonika ( 4) koji spominje nekog Lucia Caonalia iz porodice Pupinia koju nalazimo i drugdje u Istri (Kringa, Pula, Poreč, Kopar, Trst).
U doba vladavine Bizanta Pićan je bio administrativno središte središnjeg dijela Istre. Od kasne antike pa sve do kraja XVIII stoljeća u Pićnu je sjedište istoimene biskupije, jedne od najstarijih ali i najmanjih u kršćanskom svijetu uopće.
Uz nastanak Pićanske biskupije i uz njenog zaštitnika Sv. Nicefora vezane su brojne međusobno isključive i često isprepletene legende. Snalaženje nam dodatno otežava činjenica da su sa Pićnom zapravo povezana dva Nicefora - Sv. Nicefor mučenik i Sv. Nicefor biskup.
Legenda o svetom Niceforu mučeniku kaže kako je rimski car car Konstantin Veliki (prvi koji je priznao i poticao kršćanstvo i koji je sagradio novo središte carstva - Konstantinopolj, kasnije Carigrad) dao tjelesne ostatke svetog Nicefora iz Antiohije postaviti na lađu u Carigradu i naredio da se na mjestu gdje se lađa sama zaustavi ima ovom svecu posvetiti crkva. Po proširenoj verziji je svečevo tijelo nakon pristajanja uz obalu Istre postavljeno na konja koji je pušten i zaustavio se baš - u Pićnu.
Legenda o svetom Niceforu biskupu i trnoplesarima -
Po toj je legendi Nicefor bio pićanski biskup (u nekim verzijama prvi pićanski biskup i osnivač biskupije) kojeg su Pićanci tužili akvilejskom patrijarhu zbog navodno nećudorednog života, jer je živio sa svojom nećakom. Kako bi ih odvratio od optužbi i dokazao svoje božje poslanje Nicefor im ponudi da udarcem štapa o neplodno i dračom obraslo tlo otvori izvor pitke vode. Pićanci to odbiju, pravdajući se da im je potrebnija drača koju kasnije koriste u svojim vinogradima. On na to uzvrati riječima: da Bog da bosi po trnju plesali zbog čega se za Pićance do dana današnjeg uvriježio naziv -trnoplesari. A umjesto u Pićnu, Nicefor na putu ka patrijarhu u Akvileju stvori izvore u Gračišću, Krbunama, Buzetu, Trstu i drugdje. Došavši pred patrijarha ne imade gdje objesiti svoj plašt, već ga zatakne o zraku sunca što je provirila u prostoriju i taj je znak bio dovoljan da ga se oslobodi svih optužbi.
Na povratku Nicefor umire, te mu se tjelesni ostaci čuvaju u Umagu sve do 1379. kada ih otimaju Genovežani. Ipak, po svečevoj želji, u znak oprosta je u Pićan poslana njegova desnica koja se i danas čuva u Katedrali.
Očito su pićanski biskupi i sami pokušali razriješiti proturječja oko svoja dva istoimena sveca, pa biskup Antonio Marenzi (1635-1646) piše o njihovom životu i knjigu. Prilikom rekonstrukcije katedrale su tako kipovi obojice svetaca postavljeni na njeno pročelje, a zajedno su prikazani i na slici na oltaru Sv. Nicefora, pri čemu Nicefor ranokršćanski mučenik i zaštitnik Pićanske biskupije u rukama drži maketu Pićna.
U srednjem vijeku, ne samo crkvenu, već i svjetovnu vlast u Pićnu imaju Akvilejski patrijarsi, nakon čega Pićan biva uključen u pazinski posjed kojim upravlja Majnard Črnogradski. Dok su se obalni istarski gradovi jedan po jedan postepeno priklanjali Veneciji, Pićan je zajedno s Pazinom i okolicom imao potpuno drugačiju sudbinu. Ženidbom Majnardove nasljednice grofice Matilde Pazinske za Goričkog grofa Engelberta Pićan postaje krajem XII stoljeća sastavnim djelom njihove Grafschaft Ysterreich koja 1374. pod imenom Pazinska knežija temeljem ugovora o naslijeđivanju postaje privatno vlasništvo porodice Habsburg. Oni čitavu knežiju najradije daju u kratkoročne zakupe sad jednom, sad drugom plemiću, u čije ime posjedom upravljaju kapetani, a Habsburzi (i) tim novcem financiraju svoj uspon na carsko prijestolje. Tužna polumilenijska podjela Istre na austrijski i venecijanski dio, prožeta čestim surovim sukobima dva svadljiva susjeda, upadima Turaka i epidemijama kuge, završila je tek padom Venecije i dolaskom Napoleona.
U parku pred ulazom u Pićan, baš kao i u susjednom Gračišću ili u Tinjanu nalazi se kip Sv. Ivana Nepomuka, češkog sveca, zaštitnika kraljica, mostova, ispovjednih tajni i zaštitnika protiv poplava, sagrađen 1714. Vjerojatno je i Pićan na ulazu u grad nekada imao pokretni most. Nedaleko njega spomenik je Pićancima nastradalima u II svjetskom ratu (10), a na nešto sniženom terenu uz park nalazi se crkvica Sv. Roka, zaštitnika od kuge (11) kojoj je kamen temeljac postavio biskup Gašpar Bobek (1631.-1634.) u jeku jedne od najvećih epidemija kuge. U stari dio Pićna ulazimo kroz monumentalna gradska vrata koja potječu iz 14. stoljeća, a obnovljena su 1613. za biskupa Antonia Zara (1601. -1621.). Zahvaljujući bliskoj vezi sa nadvojvodom Ferdinandom Zara je već sa 27 godina od običnog klerika postao biskup Pićna. U Pićnu je napisao svoje životno djelo, svojevrsnu filozofsku enciklopediju pod naslovom Anatomia ingeniorum et scientiarum sectionibus quattuor comprehensa koja je tiskana u Veneciji 1615. Ostati će zapamćen kao prvi talijanski mislilac koji se odvojio od skolastičke filozofije. Zara je obnovio i biskupsku palaču, a započeo je i gradnju nove katedrale. Međutim, već su 1653. i katedrala i biskupski dvor opustošeni u najvećoj buni kmetova u Istri. Pritisnuti novim davanima koja su uvedena zbog podmirivanja dugova Knežije prema Kranjskoj a naročito zbog surovosti predstavnika kranjske pokrajinske uprave Hanibala Bottoni-a, oko tri tisuće ljudi iz čitave Knežije se okupilo 06. srpnja u Gračišću i krenulo na Pićan pod vodstvom Mate Bolka. Razvalili su gradska vrata i provalili u katedralu, u biskupski dvor i kuće kanonika, te na licu mjesta presudili Bottoni-u i njegovom kancelaru.
Pićanski zvonik od bijelog vapnenca sagrađen je 1872. Osim što je sa svojih 48 metara među najvišima u Istri, mnogi ga drže i najljepšim. U podnožju zvonika i danas stoji kamena mjera kojom su se mjerila davanja podanika.
Župna crkva Navještenja Blažene Djevice Marije je današnji vanjski oblik dobila preuređenjem 1753., a unutrašnjost je barokizirana za vrijeme posljednjeg pićanskog biskupa Piccardia (1766 1784). Kao što i dolikuje katedrali, u vlasništvu crkve je brojni vrijedan inventar, a ističe se zlatom protkani biskupski plašt, poklon carice Marija Terezija. Reljefima i grbovima ukrašene grobnice pićanskih biskupa, ali i zaslužnih građana Pićna ugrađene su u pod crkve i u plato ispred crkve.
Vidikovac Franje Ferdinanda - Pogled sa ovog mjesta na brdovit krajolik središnje Istre, kao i poseban okus pićanskog vina koje mu je ponudio župnik, uvjerili su austrijskog prijestolonasljednika Franju Ferdinanda, da slijedeći put u Pićan mora doći u pratnji žene Sofije, strastvene slikarice, kako bi ovjekovječila prizor. Ta mu se želja na žalost nije ostvarila jer su oboje nedugo zatim nastradali u atentatu u Sarajevu 1914.
Nasuprot župne crkve nalazi se rodna kuća Matka Brajše Rašana zborovođe, zapisivača istarskih narodnih napjeva i skladatelja koji je 1912. na tekst Ivana Cukona skladao današnju službenu istarsku himnu Krasna zemljo. Manje je poznato da je još jedna važna muzička lićnost vezana uz Pićan. Radi se o slovencu Jurju Slatkonji osnivaču i voditelju Bečkog dvorskog orkestra i kasnijem prvom bečkom biskupu, koji se u Pićnu spominje od 1506. kao administrator biskupije, a 1513 kao biskup.
Od trga ispred crkve možemo nastaviti ulicom prema zapadu uz zgradu u kojoj je od 1914. do 1918. djelovala Narodna čitaonica. Kroz mali prolaz možemo izaći desno u vrtove kako bi vidjeli najsačuvaniji dio gradskih zidina.
Na suprotnom kraju Pićna preporučamo posjetiti vidikovac Svete Jelene nazvan po istoimenoj crkvici koja je nekada bila na tom mjestu. U tom dijelu naselja ima još napuštenih starih kuća zanimljive arhitekture, sa rustikalnim nadvratnicima i stepeništima ponekad uklesanim u živu stijenu, koje tek čekaju da im se udahne novi život.
Za kraj posjete Pićnu preporučamo jednobrodnu romaničku crkvicu Svetog Mihovila iz XIII stoljeća koja se nalazi na susjednom uzvišenju. Ona u svojoj unutrašnjosti krije vrijedne zidne slike iz prve polovine XV stoljeća, koje tek čekaju stručnu restauraciju. Nezaboravan pogled koji se pruža sa tog prirodnog vidikovca obogaćuje od 1999. kamena skulptura Obitelj talijanskog kipara Nane Zavagnea, sudionika Mediteranskog kiparskog simpozija u Dubrovi kraj Labina.
cit:
www.central-istria.com/hr/odredista-destinations/pican
-------------------------------------
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.
High altar of the Holy Cross: panel paintings and predella reliefs by anonymous master from 1450-1460, over life size crucifixion (one of the best in Slovakia) by Master Paul of Levoča from around 1510, Virgin Mary by an unknown Kežmarok carver from the beginning of the 16th century (headwear is a later addition), St John and Mary Magdalene are from 17th century.
for educational purpose only
please do not use without permission
AMDG
Scrivo queste note a commento del video Solstizi radenti: i cani della Madonna alla scoperta dello spirito Mercurio
Immaginiamo che a qualcuno interessi leggere oltre, che effettivamente i moti interni che mi hanno portato a scattare queste foto e a costruire questo video possano risultare interessanti per un qualche motivo a me in questo momento sconosciuto.
Immaginiamo che il titolo, solstizi radenti, sia autoesplicativo e che lasci facilmente immaginare la sensibilità dell'occhio fotografico che vede nella luce radente del solstizio d'inverno uno stimolo di magica liturgia da celebrare in qualche modo per sottolineare la sacralità del tempo diverso del sole rinato, un po' come quando si cerca un modo per onorare l'ebbrezza dell'estate nel solstizio di giugno.
Non possiamo però immaginare che sia autoesplicativo il sottotitolo: i cani della Madonna alla scoperta dello spirito Mercurio.
Tra il blasfemo, l'immaginifico e l'alchemico: una bella pretesa, un azzardo.
Come un azzardo sono le foto, per molti motivi.
Sono un azzardo perchè c'è il male, il brutto, lo stonato ai più.
Posso citare almeno due casi: lo smog e i tralicci.
Tutte le immagini sono piene di smog, ma l'ho trattato con un biancore accecante, da farlo diventare quasi un mare di nebbia; ma tutti sappiamo che è una finta.
Ad un certo punto nel video le transizioni tra una foto e l'altra passano dal bianco al nero, introducendo foto di Torino e delle fabbriche: è lì che si legge questo 'scurimento' dell'inquinamento che aleggia in tutta la pianura.
Poi ci sono fili e tralicci; elementi solitamente rimossi dalle composizioni fotografiche di paesaggio naturalistico perchè fuori contesto, inquinanti tornerei a dire.
Invece, così come per lo smog, ho voluto che costituissero parte del messaggio: il male c'è, ed è qui per restare, fa parte del paesaggio della nostra vita; sta a noi leggerne l'equilibrio e il senso.
Sono un azzardo perchè i bianconeri così tirati possono disturbare, il contrasto così forte, la chiarezza esasperata, i cieli forzatamente tersi o completamente bianchi non fanno parte della normale esperienza visiva.
Le foto si presentavano piatte, torbide, gelatinose e abbaglianti; lavorando sull'esposizione, sul contrasto, sulla chiarezza e sui dettagli le ha fatte diventare le visioni allucinate con cui ho costruito la storia.
E questo sole! Il sole di mezzogiorno del solstizio, così basso, chiaro, tagliente, forte; questo stesso sole è un azzardo, un sole al suo culmine così basso che c'è da aspettare un intero anno perchè capiti di nuovo.
Questo sole che scalda in modo così innaturale per la stagione; salgo per il sentiero sano e ripido, lacrimo sudori e ad ogni sguardo l'occhio chiede di stare dietro ad un mirino per scattare, ancora e ancora.
Sale la voglio di unire quelle che saranno queste foto in un video, e la musica subito è 'Dogs', dall'album 'Animals' dei Pink Floyd.
Straziante, cani che abbaiano in lontananza, uomini che muoiono di cancro, la chitarra di Gilmour come pugnale conficcato nella schiena appena ti volti.
In particolare penso alla sezione più strumentale, le note distorte, i latrati, e quindi il cambio di passo, la soluzione melodica che toglie dall'impasse e apre il brano a sonorità positive; questa doveva essere la colonna sonora del video, i cani che mi accompagnavano verso la piccola cappella in cresta, la Madonna della Neve: i cani della Madonna, appunto, che tanta parte hanno avuto nell'accompagnarmi agli scatti.
Tramontato il sole e tornato a casa ho cercato e ricercato il punto esatto del brano che avevo in testa; ma non quadrava, troppa distorsione, troppa negatività, nelle foto voleva esserci ben altro.
Se c'è il male, è una parte.
Non ho nessuna intenzione di celebrare il male di solstizio, quanto piuttosto l'equilibrio; i bianchi e i neri contrapposti, le sfumature, l'angelo dagli occhi torbidi che abbraccia lo stupito diavolo: questo voleva essere il mio racconto, questa l'impressione degli sguardi al solstizio, questo volevo raccontare.
Distillare, separare, unire nei grigi e dividere nei bianchi e neri; solve et coagula, la danza della luce, la giostra dei contrari così cara all'alchimia.
Alchimia, la nera terra, la radice, quanto di più dolce e profondo possa conoscere l'uomo; mi viene incontro e mi suggerisce che questi pensieri seguono una via già tracciata nel tempo, è quella dello spirito Mercurio, l'androgino degli equilibri impossibili.
Sorrido e riposo pensando a quanti uomini possano nel tempo aver seguito questa via che mi rimbalza negli occhi davanti a questa luce radente che dal cielo scende in terra.
Cerco le linee verticali, il percorso dal cielo alla terra e viceversa; immanenza e trascendenza si rincorrono, come angeli che percorrono in su e giù la scala verso il cielo del sogno di Giacobbe.
Ne cerco il segno su questa terra: le linee verticali diventano una necessità dello sguardo, quasi una fame che si nutre della verticalità ipnotica dei tralicci e si sazia dolcemente nell'ascesa al cielo degli alberi.
Nei giorni successivi curo e scelgo le foto: i bianchi abbaglianti, i bianchi ed i neri, lo smog e la luce, i tralicci, gli alberi.
Ogni foto un movimento.
Ogni foto un passo.
Ogni passo è parte di una coreografia onirica.
Cerco musica; già avevo conosciuto le atmosfere cristalline di David Lang ne 'La grande bellezza', provo ad associare 'Just'.
Mi sembra perfetto.
Questa voce, pura ed essenziale.
Tre movimenti: chiaroscuri, tralicci, alberi.
Un solo strumento a corda, circa dalla metà, sottolinea i passaggi.
Null'altro.
E' la purezza che cercavo.
lo provo e lo riprovo, ne estraggo un paio di minuti, monto le foto, curo i passaggi e.. il video è fatto.
Penso alla curva del sole, al semicerchio che descrive e nell'ordine disegno: un semicerchio, sotto ad esso un cerchio che simbolegga il sole, sotto ancora una linea verticale per i tralicci e gli alberi, in basso una linea orizzontale a simboleggiare la terra.
Solstizi radenti - i cani della Madonna.
Quando guardo il foglio su cui ho disegnato questo schema non mi ci vuole molto a riconoscere ciò di cui ho disegnato il simbolo: Mercurio.
Alla scoperta dello spirito Mercurio.
(premio 2019 GAP/DIAF Piemonte / Valle d'Aosta per audiovisivo riguardante un luogo del Piemonte)
The small medieval village of Pican is perched on a 350 meters high hill in the Istrian hinterland, 10km south east of Pazin.
Inhabited by the Histri tribe in early prehistoric times and later on by the Romans naming it Petina, Pican has lost its past importance and nowadays counts just 300 inhabitants.
WHY TO COME ?
Pican is interesting for people searching for relaxation in its old houses of interesting architecture surrounded by the charming countryside that offers numerous opportunities for hiking, cycling and other outdoors activities.
WHAT TO SEE
Unfortunately, the only visible evidence of the Roman presence is the inscription on the stone incorporated in the doorpost of the house facing the bell tower. Erected in 1872 this 48 meters high campanile that dominates the place is the third tallest in Istria.
In the Middle Ages, the town was encircled by defensive walls that are preserved partially because, over time, they were mutilated by houses built on top of them. However, the main town gate, constructed at the turn of the fourteenth into the fifteenth century and renovated in the 17th century is well conserved.
The fact that Pican was the administrative centre of central Istria as well as Bishopric seat confirms the significance it once had. The Diocese of Pican established in the fifth century by Byzantium was one of the oldest and smallest dioceses in the world that survived until the eighteenth century(1788). Although small, thanks to its role in the past Pican has conserved a couple of interesting sacral edifices.
CHURCH OF ST. ROCK
Before you enter the town on the left side of the main gate there is the small Church of St. Roch dedicated to the patron saint of people afflicted by the plague or other infectious diseases. Its foundation stone was laid in the beginning of the 17th century during one of the most severe plague epidemics.
The park in front of the main gate to Pićan hosts the sculpture of St. John Nepomucene built in 1714.
CHURCH of ST. MICHAEL
The tiny Romanesque Church of St. Michael from the 13th century is situated at the top of 365 meters high Calvary Hill (Kalvarija), next to the cemetery. The interior of this single-nave building is decorated with valuable Gothic frescoes from the first half of the 15th century that were enriched by the Glagolitic engravings during the 15th and 16th centuries. Being located on a hilltop, its natural viewpoint offers a spectacular view of the surrounding area. In addition, this beautiful view was embellished by the stone sculpture The Family by Nane Zavagno, who took part in the Mediterranean Sculpture Symposium at Dubrova near Labin.
THE CHURCH OF THE ANNOUNCIATION OF THE BLESSED VIRGIN MARY
This parish church was built on the foundations of a former cathedral of St. Nikifor from the 14th century. The main nave of the old Medieval church was expanded in 1613 but it acquired its current external form after its thorough modification between 1753 and 1771. Its interior was also redecorated in baroque style and the main altar is adorned with a painting of The Annunciation by Valentin Metzinger. Tombs of the bishops of Pićan and other meritorious citizens of Pićan, decorated with relief and coats of arms, are placed under the church floor and the plateau in front of the church. Also, the notes of the “Pican's mess” celebrated in Old Church Slavon by the Glagolitic priests that is performed even nowadays are found there. Its bell tower stands separate from the church and offers a splendid view of the Istrian countryside.
BIRTHPLACE of Matko Brajša Rašan
Pican is also the birth place of Matko Brajsa Rasan (1859. – 1934.), choir master, recorder of old Istrian melodies whose birth home is located opposite the parish church. In 1912, he also composed the current official Istrian anthem Krasna zemljo after the lyrics of Ivan Cukon.
VIEWPOINTS
Whole Pican has beautiful views of the Istrian countryside but the most beautiful view is from the church of St. Michael.
The Franz Ferdinand's Viewpoint situated in front of the cathedral offers an unobstructed view over the undulating landscape of central Istria.
-------------------------
Pican, Petina, Petinum, Pedena, Penna, Biben, Pyben, Piben, Piebn, Piebnn, Pitchann....
Što se krije u imenu? Ponekad nije jednostavno u povijesnim izvorima slijediti tragove Pićna jer se on krije pod najrazličitijim imenima. Porijeklo imena Petina neki pripisuju pretpostavci da je Pićanska biskupija bila peta po redu u svijetu pri čemu u riječi pet vide keltski korijen.
Pićan je zasigurno naseljen u dalekoj prapovijesti. Najstariji dijelovi histarske gradine nalazili su se na brdu Kalvarija (13), sjevernije od današnjeg naselja, a zatim se pretpostavlja da tu živi keltsko pleme Secusa. U rimsko se doba, vjerojatno na istom strateški dobro odabranom mjestu, nalazilo vojno uporište i naselje Petina.
Ima autora koji su baš uz Pićan vezivali i naziv Pucinum kojim i Plinije i Ptolomej nazivaju utvrdu u unutrašnjosti Istre koja je i na rimskom dvoru bila poznata po posebno dobrom vinu. Žena cara Augusta, Livia, vjerovala je da svoju dugovječnost duguje baš činjenici da pije isključivo to vino. Jedini danas vidljivi trag rimske prisutnosti je natpis na kamenu ugrađen u dovratnik kuće nasuprot zvonika ( 4) koji spominje nekog Lucia Caonalia iz porodice Pupinia koju nalazimo i drugdje u Istri (Kringa, Pula, Poreč, Kopar, Trst).
U doba vladavine Bizanta Pićan je bio administrativno središte središnjeg dijela Istre. Od kasne antike pa sve do kraja XVIII stoljeća u Pićnu je sjedište istoimene biskupije, jedne od najstarijih ali i najmanjih u kršćanskom svijetu uopće.
Uz nastanak Pićanske biskupije i uz njenog zaštitnika Sv. Nicefora vezane su brojne međusobno isključive i često isprepletene legende. Snalaženje nam dodatno otežava činjenica da su sa Pićnom zapravo povezana dva Nicefora - Sv. Nicefor mučenik i Sv. Nicefor biskup.
Legenda o svetom Niceforu mučeniku kaže kako je rimski car car Konstantin Veliki (prvi koji je priznao i poticao kršćanstvo i koji je sagradio novo središte carstva - Konstantinopolj, kasnije Carigrad) dao tjelesne ostatke svetog Nicefora iz Antiohije postaviti na lađu u Carigradu i naredio da se na mjestu gdje se lađa sama zaustavi ima ovom svecu posvetiti crkva. Po proširenoj verziji je svečevo tijelo nakon pristajanja uz obalu Istre postavljeno na konja koji je pušten i zaustavio se baš - u Pićnu.
Legenda o svetom Niceforu biskupu i trnoplesarima -
Po toj je legendi Nicefor bio pićanski biskup (u nekim verzijama prvi pićanski biskup i osnivač biskupije) kojeg su Pićanci tužili akvilejskom patrijarhu zbog navodno nećudorednog života, jer je živio sa svojom nećakom. Kako bi ih odvratio od optužbi i dokazao svoje božje poslanje Nicefor im ponudi da udarcem štapa o neplodno i dračom obraslo tlo otvori izvor pitke vode. Pićanci to odbiju, pravdajući se da im je potrebnija drača koju kasnije koriste u svojim vinogradima. On na to uzvrati riječima: da Bog da bosi po trnju plesali zbog čega se za Pićance do dana današnjeg uvriježio naziv -trnoplesari. A umjesto u Pićnu, Nicefor na putu ka patrijarhu u Akvileju stvori izvore u Gračišću, Krbunama, Buzetu, Trstu i drugdje. Došavši pred patrijarha ne imade gdje objesiti svoj plašt, već ga zatakne o zraku sunca što je provirila u prostoriju i taj je znak bio dovoljan da ga se oslobodi svih optužbi.
Na povratku Nicefor umire, te mu se tjelesni ostaci čuvaju u Umagu sve do 1379. kada ih otimaju Genovežani. Ipak, po svečevoj želji, u znak oprosta je u Pićan poslana njegova desnica koja se i danas čuva u Katedrali.
Očito su pićanski biskupi i sami pokušali razriješiti proturječja oko svoja dva istoimena sveca, pa biskup Antonio Marenzi (1635-1646) piše o njihovom životu i knjigu. Prilikom rekonstrukcije katedrale su tako kipovi obojice svetaca postavljeni na njeno pročelje, a zajedno su prikazani i na slici na oltaru Sv. Nicefora, pri čemu Nicefor ranokršćanski mučenik i zaštitnik Pićanske biskupije u rukama drži maketu Pićna.
U srednjem vijeku, ne samo crkvenu, već i svjetovnu vlast u Pićnu imaju Akvilejski patrijarsi, nakon čega Pićan biva uključen u pazinski posjed kojim upravlja Majnard Črnogradski. Dok su se obalni istarski gradovi jedan po jedan postepeno priklanjali Veneciji, Pićan je zajedno s Pazinom i okolicom imao potpuno drugačiju sudbinu. Ženidbom Majnardove nasljednice grofice Matilde Pazinske za Goričkog grofa Engelberta Pićan postaje krajem XII stoljeća sastavnim djelom njihove Grafschaft Ysterreich koja 1374. pod imenom Pazinska knežija temeljem ugovora o naslijeđivanju postaje privatno vlasništvo porodice Habsburg. Oni čitavu knežiju najradije daju u kratkoročne zakupe sad jednom, sad drugom plemiću, u čije ime posjedom upravljaju kapetani, a Habsburzi (i) tim novcem financiraju svoj uspon na carsko prijestolje. Tužna polumilenijska podjela Istre na austrijski i venecijanski dio, prožeta čestim surovim sukobima dva svadljiva susjeda, upadima Turaka i epidemijama kuge, završila je tek padom Venecije i dolaskom Napoleona.
U parku pred ulazom u Pićan, baš kao i u susjednom Gračišću ili u Tinjanu nalazi se kip Sv. Ivana Nepomuka, češkog sveca, zaštitnika kraljica, mostova, ispovjednih tajni i zaštitnika protiv poplava, sagrađen 1714. Vjerojatno je i Pićan na ulazu u grad nekada imao pokretni most. Nedaleko njega spomenik je Pićancima nastradalima u II svjetskom ratu (10), a na nešto sniženom terenu uz park nalazi se crkvica Sv. Roka, zaštitnika od kuge (11) kojoj je kamen temeljac postavio biskup Gašpar Bobek (1631.-1634.) u jeku jedne od najvećih epidemija kuge. U stari dio Pićna ulazimo kroz monumentalna gradska vrata koja potječu iz 14. stoljeća, a obnovljena su 1613. za biskupa Antonia Zara (1601. -1621.). Zahvaljujući bliskoj vezi sa nadvojvodom Ferdinandom Zara je već sa 27 godina od običnog klerika postao biskup Pićna. U Pićnu je napisao svoje životno djelo, svojevrsnu filozofsku enciklopediju pod naslovom Anatomia ingeniorum et scientiarum sectionibus quattuor comprehensa koja je tiskana u Veneciji 1615. Ostati će zapamćen kao prvi talijanski mislilac koji se odvojio od skolastičke filozofije. Zara je obnovio i biskupsku palaču, a započeo je i gradnju nove katedrale. Međutim, već su 1653. i katedrala i biskupski dvor opustošeni u najvećoj buni kmetova u Istri. Pritisnuti novim davanima koja su uvedena zbog podmirivanja dugova Knežije prema Kranjskoj a naročito zbog surovosti predstavnika kranjske pokrajinske uprave Hanibala Bottoni-a, oko tri tisuće ljudi iz čitave Knežije se okupilo 06. srpnja u Gračišću i krenulo na Pićan pod vodstvom Mate Bolka. Razvalili su gradska vrata i provalili u katedralu, u biskupski dvor i kuće kanonika, te na licu mjesta presudili Bottoni-u i njegovom kancelaru.
Pićanski zvonik od bijelog vapnenca sagrađen je 1872. Osim što je sa svojih 48 metara među najvišima u Istri, mnogi ga drže i najljepšim. U podnožju zvonika i danas stoji kamena mjera kojom su se mjerila davanja podanika.
Župna crkva Navještenja Blažene Djevice Marije je današnji vanjski oblik dobila preuređenjem 1753., a unutrašnjost je barokizirana za vrijeme posljednjeg pićanskog biskupa Piccardia (1766 1784). Kao što i dolikuje katedrali, u vlasništvu crkve je brojni vrijedan inventar, a ističe se zlatom protkani biskupski plašt, poklon carice Marija Terezija. Reljefima i grbovima ukrašene grobnice pićanskih biskupa, ali i zaslužnih građana Pićna ugrađene su u pod crkve i u plato ispred crkve.
Vidikovac Franje Ferdinanda - Pogled sa ovog mjesta na brdovit krajolik središnje Istre, kao i poseban okus pićanskog vina koje mu je ponudio župnik, uvjerili su austrijskog prijestolonasljednika Franju Ferdinanda, da slijedeći put u Pićan mora doći u pratnji žene Sofije, strastvene slikarice, kako bi ovjekovječila prizor. Ta mu se želja na žalost nije ostvarila jer su oboje nedugo zatim nastradali u atentatu u Sarajevu 1914.
Nasuprot župne crkve nalazi se rodna kuća Matka Brajše Rašana zborovođe, zapisivača istarskih narodnih napjeva i skladatelja koji je 1912. na tekst Ivana Cukona skladao današnju službenu istarsku himnu Krasna zemljo. Manje je poznato da je još jedna važna muzička lićnost vezana uz Pićan. Radi se o slovencu Jurju Slatkonji osnivaču i voditelju Bečkog dvorskog orkestra i kasnijem prvom bečkom biskupu, koji se u Pićnu spominje od 1506. kao administrator biskupije, a 1513 kao biskup.
Od trga ispred crkve možemo nastaviti ulicom prema zapadu uz zgradu u kojoj je od 1914. do 1918. djelovala Narodna čitaonica. Kroz mali prolaz možemo izaći desno u vrtove kako bi vidjeli najsačuvaniji dio gradskih zidina.
Na suprotnom kraju Pićna preporučamo posjetiti vidikovac Svete Jelene nazvan po istoimenoj crkvici koja je nekada bila na tom mjestu. U tom dijelu naselja ima još napuštenih starih kuća zanimljive arhitekture, sa rustikalnim nadvratnicima i stepeništima ponekad uklesanim u živu stijenu, koje tek čekaju da im se udahne novi život.
Za kraj posjete Pićnu preporučamo jednobrodnu romaničku crkvicu Svetog Mihovila iz XIII stoljeća koja se nalazi na susjednom uzvišenju. Ona u svojoj unutrašnjosti krije vrijedne zidne slike iz prve polovine XV stoljeća, koje tek čekaju stručnu restauraciju. Nezaboravan pogled koji se pruža sa tog prirodnog vidikovca obogaćuje od 1999. kamena skulptura Obitelj talijanskog kipara Nane Zavagnea, sudionika Mediteranskog kiparskog simpozija u Dubrovi kraj Labina.
cit:
www.central-istria.com/hr/odredista-destinations/pican
-------------------------------------
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.
The Sacral Chakra – Gateway to your sexuality and creativity
Continuing my series on the Chakras which are your power centers today we deal with the Chakra for our sexuality and creativity. Located around the womb/stomach area, this second chakra is believed to be the place from which we give birth, not literally but in its most creative sense. In the same way that the Empress in the Major Arcana of the Tarot is the great mother of all things, our Sacral Chakra is the origin of our power to create and experience abundance as well as the connection to our sexuality.
This area is considered important across many ancient and spiritual traditions. The Chinese call this area the Dan Tien, which some translate as ‘Elixir field’. It is believed to be the center of our physical and spiritual power and is linked with both thought and feeling, hence its importance in medicine, meditation, and martial arts. In the tradition of Yoga, this area is called the Manipura, and Prana – or life energy – is thought to radiate from here.
I believe this area has particular significance for women and our connection to ourselves, our bodies, our divine wisdom, and our sexuality.
Repressing our sexuality or creativity can inhibit our power. When it comes to our sexuality, this may mean loosening up around the labels that we use to define ourselves by who and how we love. We are all divine beings, capable of the most incredible love and intense connections and to try and constrain that magnificence within a word, a label or an identity can only place a limit around all that we are.
This is also the home of your creativity. You literally give birth to ideas and inspiration from this Chakra. If you feel creatively blocked then this is the Chakra to work on.
The amazing power source around this Chakra is hinted at in the way that we talk about the importance of going with our gut feelings, or not being able to stomach something. This is the area that strongly communicates our intuitions and can act as a powerful indicator of whether we are on the right track or heading in the wrong direction, and in terms of what is good for us and what we might need to be wary of.
Keeping your sacral Chakra turning
1/ Take the time to look at how you view your sexuality. Are you comfortable with who you are? Do you feel the need to define or explain yourself? If you lived in a world where there were no descriptions or judgments, how would you experience the depth of your connection to other people?
Apex Orthowears Pvt. Ltd. manufacturer of Cervical Aids, Cervical products, Cervical Collar, Cervical pillow, cervical support products, Rehabilitation Aids, Health Products for the handicapped.
The church in Ochtiná was formerly dedicated to St. Nicholas and is one of the oldest and most interesting landmarks of the Gemer countryside. The name of the village is most likely derived from the old German expression for the number eight: ocht, as an evidence of the area settled by German guests in the second half of the 13th century. According to historical sources, original eight German families established here a prosperous settlement founded on mining of iron ore located in the nearby Hrádok hill.
However, the layout of the church point to an older settlement which could have been destroyed during a Mongol invasion. This is indicated by a document from the king Belo IV, from 1243, by which he donates a large part of an area of the Slaná river valley for faithful services to Detrik and Filip Bubek. In 1318, Ochtiná was mentioned as a property of the Štítnik branch of the Bubek family, that certainly supported the construction of the local church and later its murals as well.
The Gothic church, built possibly on the site of a ruined Romanesque structure is a single-nave church with a polygonal-shaped chancel including a northern sacristy. Around the mid-14th century, the interiors were painted with figural wall paintings which were done by fresco technique. Research has shown that the tower had been built later, probably in second half of 15th century. Romanesque windows on the tower are secondarily used from other church in the area. At the beginning of the 16th century, the relatively small space of the church was extended with a northern side nave having a star-shaped vault.
In the first third of the 17th century, when the church was already Lutheran, medieval frescos were hidden under a white lime paint and, during the 18th century, the church was given a new Prussian vault over the nave.
H&E
Sacral mixed germ cell tumor (teratoma and yolk sac tumor)
Note the lacy, reticular growth pattern and islands of pale blue matrix
Lucia Soppe used three of these from her large inventory during a Cranio Sacral treatment on the 8th of September
property of the Archdiocesan Museum in Krakow, Poland
provenance: Krakow (?)
IMHO the painting is much older, from 1450s
for educational purpose only
please do not use without permission
AMDG
Plešivec is an ancient seat of the Bubek family. The Ákoš family, the ancestors of the Bubeks, received it from King Belo IV. in 1243, after the battle on the Slaná River, where the ancestor of the Bubeks, Detrik, allegedly saved the king’s life. After stabilizing his position in 1320, Dominik Bubek built a water castle in Plešivec. In its vicinity, he built a monumental church, which also served as a burial place for the representatives of the family. It was constructed on the site of an older church built by his ancestors. The church, originally nearly twice as long as it is now, was a two-nave Gothic building with a polygonal ending of the chancel, originally vaulted on the central pillars.
From 1349, we have a record of the request of Juraj Bubek to the Pope for the possibility of collecting the indulgences to finance its construction. In the middle of the 14th century, the interior of the church was completed with fresco paintings of very high quality, carried out by Italian masters. In the first quarter of the 15th century, the church was completed with the north-facing funeral chapel of the Bubeks, built according to the pattern of the Spiš funeral chapels. We enter into the chapel through an impressive portal, the architecture of which is associated with the works of the Cathedral of St. Elizabeth in Košice. In its interior, we find three three-part late Gothic windows with an original tracery in the ogive arch shape and corbels of the former vaults.
In 1558, at the time of the Turkish threat, the church was severely damaged, the vault collapsed and the building remained as a ruin until its reconstruction in 1617. By that time, the church was taken over by the reformed believers who reduced its layout to its current length of 19 meters; they covered the nave with a flat ceiling and closed the entrance to the unused chapel. At that stage, the entrance to the church was established from the south and three window openings were made on the south wall. From that period comes a valuable matroneum with painted decorations from 1627. In 1807, a bell-tower was built, a beautiful example of the so-called Gemer classicism.
The church in Ochtiná was formerly dedicated to St. Nicholas and is one of the oldest and most interesting landmarks of the Gemer countryside. The name of the village is most likely derived from the old German expression for the number eight: ocht, as an evidence of the area settled by German guests in the second half of the 13th century. According to historical sources, original eight German families established here a prosperous settlement founded on mining of iron ore located in the nearby Hrádok hill.
However, the layout of the church point to an older settlement which could have been destroyed during a Mongol invasion. This is indicated by a document from the king Belo IV, from 1243, by which he donates a large part of an area of the Slaná river valley for faithful services to Detrik and Filip Bubek. In 1318, Ochtiná was mentioned as a property of the Štítnik branch of the Bubek family, that certainly supported the construction of the local church and later its murals as well.
The Gothic church, built possibly on the site of a ruined Romanesque structure is a single-nave church with a polygonal-shaped chancel including a northern sacristy. Around the mid-14th century, the interiors were painted with figural wall paintings which were done by fresco technique. Research has shown that the tower had been built later, probably in second half of 15th century. Romanesque windows on the tower are secondarily used from other church in the area. At the beginning of the 16th century, the relatively small space of the church was extended with a northern side nave having a star-shaped vault.
In the first third of the 17th century, when the church was already Lutheran, medieval frescos were hidden under a white lime paint and, during the 18th century, the church was given a new Prussian vault over the nave.
The door to the right as you enter the basilica leads to the crypt, a series of eerie vaults at the bottom of 50 steps, with tombs guarded by monoliths representing Mourning and Eternity. Among those at rest here are Cardinal József Mindszenty.
Cheryl is well on her path...She wanted to open her back Chakra's up and decided that a henna session may help put that into motion... It was a wonderful session for both of us :0)
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.
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.
The small medieval village of Pican is perched on a 350 meters high hill in the Istrian hinterland, 10km south east of Pazin.
Inhabited by the Histri tribe in early prehistoric times and later on by the Romans naming it Petina, Pican has lost its past importance and nowadays counts just 300 inhabitants.
WHY TO COME ?
Pican is interesting for people searching for relaxation in its old houses of interesting architecture surrounded by the charming countryside that offers numerous opportunities for hiking, cycling and other outdoors activities.
WHAT TO SEE
Unfortunately, the only visible evidence of the Roman presence is the inscription on the stone incorporated in the doorpost of the house facing the bell tower. Erected in 1872 this 48 meters high campanile that dominates the place is the third tallest in Istria.
In the Middle Ages, the town was encircled by defensive walls that are preserved partially because, over time, they were mutilated by houses built on top of them. However, the main town gate, constructed at the turn of the fourteenth into the fifteenth century and renovated in the 17th century is well conserved.
The fact that Pican was the administrative centre of central Istria as well as Bishopric seat confirms the significance it once had. The Diocese of Pican established in the fifth century by Byzantium was one of the oldest and smallest dioceses in the world that survived until the eighteenth century(1788). Although small, thanks to its role in the past Pican has conserved a couple of interesting sacral edifices.
CHURCH OF ST. ROCK
Before you enter the town on the left side of the main gate there is the small Church of St. Roch dedicated to the patron saint of people afflicted by the plague or other infectious diseases. Its foundation stone was laid in the beginning of the 17th century during one of the most severe plague epidemics.
The park in front of the main gate to Pićan hosts the sculpture of St. John Nepomucene built in 1714.
CHURCH of ST. MICHAEL
The tiny Romanesque Church of St. Michael from the 13th century is situated at the top of 365 meters high Calvary Hill (Kalvarija), next to the cemetery. The interior of this single-nave building is decorated with valuable Gothic frescoes from the first half of the 15th century that were enriched by the Glagolitic engravings during the 15th and 16th centuries. Being located on a hilltop, its natural viewpoint offers a spectacular view of the surrounding area. In addition, this beautiful view was embellished by the stone sculpture The Family by Nane Zavagno, who took part in the Mediterranean Sculpture Symposium at Dubrova near Labin.
THE CHURCH OF THE ANNOUNCIATION OF THE BLESSED VIRGIN MARY
This parish church was built on the foundations of a former cathedral of St. Nikifor from the 14th century. The main nave of the old Medieval church was expanded in 1613 but it acquired its current external form after its thorough modification between 1753 and 1771. Its interior was also redecorated in baroque style and the main altar is adorned with a painting of The Annunciation by Valentin Metzinger. Tombs of the bishops of Pićan and other meritorious citizens of Pićan, decorated with relief and coats of arms, are placed under the church floor and the plateau in front of the church. Also, the notes of the “Pican's mess” celebrated in Old Church Slavon by the Glagolitic priests that is performed even nowadays are found there. Its bell tower stands separate from the church and offers a splendid view of the Istrian countryside.
BIRTHPLACE of Matko Brajša Rašan
Pican is also the birth place of Matko Brajsa Rasan (1859. – 1934.), choir master, recorder of old Istrian melodies whose birth home is located opposite the parish church. In 1912, he also composed the current official Istrian anthem Krasna zemljo after the lyrics of Ivan Cukon.
VIEWPOINTS
Whole Pican has beautiful views of the Istrian countryside but the most beautiful view is from the church of St. Michael.
The Franz Ferdinand's Viewpoint situated in front of the cathedral offers an unobstructed view over the undulating landscape of central Istria.
-------------------------
Pican, Petina, Petinum, Pedena, Penna, Biben, Pyben, Piben, Piebn, Piebnn, Pitchann....
Što se krije u imenu? Ponekad nije jednostavno u povijesnim izvorima slijediti tragove Pićna jer se on krije pod najrazličitijim imenima. Porijeklo imena Petina neki pripisuju pretpostavci da je Pićanska biskupija bila peta po redu u svijetu pri čemu u riječi pet vide keltski korijen.
Pićan je zasigurno naseljen u dalekoj prapovijesti. Najstariji dijelovi histarske gradine nalazili su se na brdu Kalvarija (13), sjevernije od današnjeg naselja, a zatim se pretpostavlja da tu živi keltsko pleme Secusa. U rimsko se doba, vjerojatno na istom strateški dobro odabranom mjestu, nalazilo vojno uporište i naselje Petina.
Ima autora koji su baš uz Pićan vezivali i naziv Pucinum kojim i Plinije i Ptolomej nazivaju utvrdu u unutrašnjosti Istre koja je i na rimskom dvoru bila poznata po posebno dobrom vinu. Žena cara Augusta, Livia, vjerovala je da svoju dugovječnost duguje baš činjenici da pije isključivo to vino. Jedini danas vidljivi trag rimske prisutnosti je natpis na kamenu ugrađen u dovratnik kuće nasuprot zvonika ( 4) koji spominje nekog Lucia Caonalia iz porodice Pupinia koju nalazimo i drugdje u Istri (Kringa, Pula, Poreč, Kopar, Trst).
U doba vladavine Bizanta Pićan je bio administrativno središte središnjeg dijela Istre. Od kasne antike pa sve do kraja XVIII stoljeća u Pićnu je sjedište istoimene biskupije, jedne od najstarijih ali i najmanjih u kršćanskom svijetu uopće.
Uz nastanak Pićanske biskupije i uz njenog zaštitnika Sv. Nicefora vezane su brojne međusobno isključive i često isprepletene legende. Snalaženje nam dodatno otežava činjenica da su sa Pićnom zapravo povezana dva Nicefora - Sv. Nicefor mučenik i Sv. Nicefor biskup.
Legenda o svetom Niceforu mučeniku kaže kako je rimski car car Konstantin Veliki (prvi koji je priznao i poticao kršćanstvo i koji je sagradio novo središte carstva - Konstantinopolj, kasnije Carigrad) dao tjelesne ostatke svetog Nicefora iz Antiohije postaviti na lađu u Carigradu i naredio da se na mjestu gdje se lađa sama zaustavi ima ovom svecu posvetiti crkva. Po proširenoj verziji je svečevo tijelo nakon pristajanja uz obalu Istre postavljeno na konja koji je pušten i zaustavio se baš - u Pićnu.
Legenda o svetom Niceforu biskupu i trnoplesarima -
Po toj je legendi Nicefor bio pićanski biskup (u nekim verzijama prvi pićanski biskup i osnivač biskupije) kojeg su Pićanci tužili akvilejskom patrijarhu zbog navodno nećudorednog života, jer je živio sa svojom nećakom. Kako bi ih odvratio od optužbi i dokazao svoje božje poslanje Nicefor im ponudi da udarcem štapa o neplodno i dračom obraslo tlo otvori izvor pitke vode. Pićanci to odbiju, pravdajući se da im je potrebnija drača koju kasnije koriste u svojim vinogradima. On na to uzvrati riječima: da Bog da bosi po trnju plesali zbog čega se za Pićance do dana današnjeg uvriježio naziv -trnoplesari. A umjesto u Pićnu, Nicefor na putu ka patrijarhu u Akvileju stvori izvore u Gračišću, Krbunama, Buzetu, Trstu i drugdje. Došavši pred patrijarha ne imade gdje objesiti svoj plašt, već ga zatakne o zraku sunca što je provirila u prostoriju i taj je znak bio dovoljan da ga se oslobodi svih optužbi.
Na povratku Nicefor umire, te mu se tjelesni ostaci čuvaju u Umagu sve do 1379. kada ih otimaju Genovežani. Ipak, po svečevoj želji, u znak oprosta je u Pićan poslana njegova desnica koja se i danas čuva u Katedrali.
Očito su pićanski biskupi i sami pokušali razriješiti proturječja oko svoja dva istoimena sveca, pa biskup Antonio Marenzi (1635-1646) piše o njihovom životu i knjigu. Prilikom rekonstrukcije katedrale su tako kipovi obojice svetaca postavljeni na njeno pročelje, a zajedno su prikazani i na slici na oltaru Sv. Nicefora, pri čemu Nicefor ranokršćanski mučenik i zaštitnik Pićanske biskupije u rukama drži maketu Pićna.
U srednjem vijeku, ne samo crkvenu, već i svjetovnu vlast u Pićnu imaju Akvilejski patrijarsi, nakon čega Pićan biva uključen u pazinski posjed kojim upravlja Majnard Črnogradski. Dok su se obalni istarski gradovi jedan po jedan postepeno priklanjali Veneciji, Pićan je zajedno s Pazinom i okolicom imao potpuno drugačiju sudbinu. Ženidbom Majnardove nasljednice grofice Matilde Pazinske za Goričkog grofa Engelberta Pićan postaje krajem XII stoljeća sastavnim djelom njihove Grafschaft Ysterreich koja 1374. pod imenom Pazinska knežija temeljem ugovora o naslijeđivanju postaje privatno vlasništvo porodice Habsburg. Oni čitavu knežiju najradije daju u kratkoročne zakupe sad jednom, sad drugom plemiću, u čije ime posjedom upravljaju kapetani, a Habsburzi (i) tim novcem financiraju svoj uspon na carsko prijestolje. Tužna polumilenijska podjela Istre na austrijski i venecijanski dio, prožeta čestim surovim sukobima dva svadljiva susjeda, upadima Turaka i epidemijama kuge, završila je tek padom Venecije i dolaskom Napoleona.
U parku pred ulazom u Pićan, baš kao i u susjednom Gračišću ili u Tinjanu nalazi se kip Sv. Ivana Nepomuka, češkog sveca, zaštitnika kraljica, mostova, ispovjednih tajni i zaštitnika protiv poplava, sagrađen 1714. Vjerojatno je i Pićan na ulazu u grad nekada imao pokretni most. Nedaleko njega spomenik je Pićancima nastradalima u II svjetskom ratu (10), a na nešto sniženom terenu uz park nalazi se crkvica Sv. Roka, zaštitnika od kuge (11) kojoj je kamen temeljac postavio biskup Gašpar Bobek (1631.-1634.) u jeku jedne od najvećih epidemija kuge. U stari dio Pićna ulazimo kroz monumentalna gradska vrata koja potječu iz 14. stoljeća, a obnovljena su 1613. za biskupa Antonia Zara (1601. -1621.). Zahvaljujući bliskoj vezi sa nadvojvodom Ferdinandom Zara je već sa 27 godina od običnog klerika postao biskup Pićna. U Pićnu je napisao svoje životno djelo, svojevrsnu filozofsku enciklopediju pod naslovom Anatomia ingeniorum et scientiarum sectionibus quattuor comprehensa koja je tiskana u Veneciji 1615. Ostati će zapamćen kao prvi talijanski mislilac koji se odvojio od skolastičke filozofije. Zara je obnovio i biskupsku palaču, a započeo je i gradnju nove katedrale. Međutim, već su 1653. i katedrala i biskupski dvor opustošeni u najvećoj buni kmetova u Istri. Pritisnuti novim davanima koja su uvedena zbog podmirivanja dugova Knežije prema Kranjskoj a naročito zbog surovosti predstavnika kranjske pokrajinske uprave Hanibala Bottoni-a, oko tri tisuće ljudi iz čitave Knežije se okupilo 06. srpnja u Gračišću i krenulo na Pićan pod vodstvom Mate Bolka. Razvalili su gradska vrata i provalili u katedralu, u biskupski dvor i kuće kanonika, te na licu mjesta presudili Bottoni-u i njegovom kancelaru.
Pićanski zvonik od bijelog vapnenca sagrađen je 1872. Osim što je sa svojih 48 metara među najvišima u Istri, mnogi ga drže i najljepšim. U podnožju zvonika i danas stoji kamena mjera kojom su se mjerila davanja podanika.
Župna crkva Navještenja Blažene Djevice Marije je današnji vanjski oblik dobila preuređenjem 1753., a unutrašnjost je barokizirana za vrijeme posljednjeg pićanskog biskupa Piccardia (1766 1784). Kao što i dolikuje katedrali, u vlasništvu crkve je brojni vrijedan inventar, a ističe se zlatom protkani biskupski plašt, poklon carice Marija Terezija. Reljefima i grbovima ukrašene grobnice pićanskih biskupa, ali i zaslužnih građana Pićna ugrađene su u pod crkve i u plato ispred crkve.
Vidikovac Franje Ferdinanda - Pogled sa ovog mjesta na brdovit krajolik središnje Istre, kao i poseban okus pićanskog vina koje mu je ponudio župnik, uvjerili su austrijskog prijestolonasljednika Franju Ferdinanda, da slijedeći put u Pićan mora doći u pratnji žene Sofije, strastvene slikarice, kako bi ovjekovječila prizor. Ta mu se želja na žalost nije ostvarila jer su oboje nedugo zatim nastradali u atentatu u Sarajevu 1914.
Nasuprot župne crkve nalazi se rodna kuća Matka Brajše Rašana zborovođe, zapisivača istarskih narodnih napjeva i skladatelja koji je 1912. na tekst Ivana Cukona skladao današnju službenu istarsku himnu Krasna zemljo. Manje je poznato da je još jedna važna muzička lićnost vezana uz Pićan. Radi se o slovencu Jurju Slatkonji osnivaču i voditelju Bečkog dvorskog orkestra i kasnijem prvom bečkom biskupu, koji se u Pićnu spominje od 1506. kao administrator biskupije, a 1513 kao biskup.
Od trga ispred crkve možemo nastaviti ulicom prema zapadu uz zgradu u kojoj je od 1914. do 1918. djelovala Narodna čitaonica. Kroz mali prolaz možemo izaći desno u vrtove kako bi vidjeli najsačuvaniji dio gradskih zidina.
Na suprotnom kraju Pićna preporučamo posjetiti vidikovac Svete Jelene nazvan po istoimenoj crkvici koja je nekada bila na tom mjestu. U tom dijelu naselja ima još napuštenih starih kuća zanimljive arhitekture, sa rustikalnim nadvratnicima i stepeništima ponekad uklesanim u živu stijenu, koje tek čekaju da im se udahne novi život.
Za kraj posjete Pićnu preporučamo jednobrodnu romaničku crkvicu Svetog Mihovila iz XIII stoljeća koja se nalazi na susjednom uzvišenju. Ona u svojoj unutrašnjosti krije vrijedne zidne slike iz prve polovine XV stoljeća, koje tek čekaju stručnu restauraciju. Nezaboravan pogled koji se pruža sa tog prirodnog vidikovca obogaćuje od 1999. kamena skulptura Obitelj talijanskog kipara Nane Zavagnea, sudionika Mediteranskog kiparskog simpozija u Dubrovi kraj Labina.
cit:
www.central-istria.com/hr/odredista-destinations/pican
-------------------------------------
Der Überlinger Marienaltar im Münster. Er wurde von Jörg Zürn geschnitzt und 1619 beendet.
Infos durch rm35 in Flickr.
See in large size please.
High altar of the Holy Cross: panel paintings and predella reliefs by anonymous master from 1450-1460, over life size crucifixion (one of the best in Slovakia) by Master Paul of Levoča from around 1510, Virgin Mary by an unknown Kežmarok carver from the beginning of the 16th century (headwear is a later addition), St John and Mary Magdalene are from 17th century.
for educational purpose only
please do not use without permission
AMDG
One of the most charming medieval churches in the Gemer region is preserved in the village of Chyžné, near Jelšava. Its tall east-oriented brick gable and massive fortifications around the church dominates its surroundings. The church was built in the second half of the 13th century as a one-nave edifice with a quadratic chancel and an annexed sacristy. Later, a detached belltower, a traditional wooden construction from the 18th century, and a groundfloor building of a former school were added. The church chancel is vaulted by a cross ribbed vault, and the nave has a flat painted ceiling. The walls and vaults of the chancel, including the so-called Triumphal Arch, are covered with frescos dating back to the 70s-80s of the 14th century.
Parish church of the Holy Cross, Kežmarok, Spiš county, Slovakia
for educational purpose only
please do not use without permission
AMDG
Svadishana
element: Water
This is my chakra project, It was a journey which taught me about myself and others. The simple images represent first a merge between the conscious and the subconscious and explores the physical connection of that hyperconscious with the human body (through the endocrine system and nervous system) and our physical surroundings. Each chakra corresponds to an element and a glad within the endocrine system/a part of the body where the energy of that chakra resides in a swirl of energy.
Reportage.
Luogo: Cossoine.
Le immagini sono sconsigliate a chi è vegetariano e a chi ha lo stomaco debole.
L'uccisione del maiale è un rito antico, quasi sacrale, dove il rosso del sangue si mischia a quello del vino.
An X-ray of the Sacrum (Sacral Spine, Upper Tailbone) evaluates the bones of the sacrum. Parts of the lower lumbar spine are also seen. This test can detect fractures, infection and tumors of the sacral spine.
Yemaya Bath Salt - African Goddess of Surrender - A releasing blend for balancing the Sacral Chakra 10 oz
ingredients contains pacific ocean sea salt, dead sea salt, dry yarrow leaves and therapeutic grade essential oils of ylang ylang, tangerine, geranium and sandalwood
AncientOils.etsy.com
Budaörs
Kálvária / Calvary
"A 174 méter magas dombon 1821-ben kezdte el a római katolikus egyházközség a keresztút megépítését, melynek teljes befejezése 1851-ben történt meg. Kezdetben mindössze nyolc stációból állt a keresztút, a Kálvária domb tetejére pedig állítottak egy fakeresztet Szűz Mária, János és Mária Magdolna szobraival. 1945-től a második világháború és a németek elűzése után a kápolna köveit széthordták és csupán a fakereszt menekült meg, amely darabjai most a 2002-ben újjáépített Kálvária kápolnában láthatóak.
A Jézus Krisztus kínszenvedését és kereszthalálát megörökítő stációk fülkéiben egy-egy relief volt elhelyezve. Korábban minden év Nagypéntekén – Húsvét ünnepe előtt két nappal, Jézus kereszthalálára emlékezve – a templomból körmenet indult a Kálváriához, és innen járták végig a hívők a Keresztutat.
2000-ben széles városi összefogás eredményeként újra felszentelték a stációkat és a domb tetején álló keresztet. A stációk fülkéiben a keresztút egyes állomásait Molnár Göb Zoltán budaörsi művész ólomüvegképei díszítik, amelyek este kivilágítva is csodálatosan mutatnak. A helyreállítást követően ismét itt zajlik a nagypénteki keresztúti ájtatosság, valamint Húsvéthétfőn innen indul az úgynevezett Öröm útja is."
budaors.varosom.hu/latnivalok/vallasi-epuletek/Kalvaria-5...