View allAll Photos Tagged sacral
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)
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
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
Lucia Soppe used three of these from her large inventory during a Cranio Sacral treatment on the 8th of September
Parish church of the Holy Cross, Kežmarok, Spiš county, Slovakia
for educational purpose only
please do not use without permission
AMDG
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.
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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
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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.
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.
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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.
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
Church of St. Francis and St. Bernard, Vilnius (Šv. Pranciškaus Asyžiečio bažnyčia)
next to St. Anne's Church 1564 but remodelled many times
Adam Mickiewicz Monument - poet, dramatist, essayist, publicist, translator, National poet of Lithuania
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.
a.k.a:
Master of the Historia Friderici et Maximiliani
Meister des Pulkauer Tafelbilder
Master of the Pulkau Altar
Historia-Meister
Meister der Historia Friderici et Maximiliani
On the reverse of this table painting is the scene of Finding the Grave of Saint Stephen the Protomartyr.
location: Slovak National Gallery
(please do not use without permission)
Май 2019 год.
Керчь, Республика Крым, Россия.
Камера - Nikon D5100
Объектив - Nikon 18-105mm f/3.5-5.6G ED VR AF-S DX Nikkor
The Bakócz chapel is the earliest Italian Renaissance-style building north of the Alps. It is also the first fully Renaissance-era, centrally planned ecclesiastical building outside of Italy. It is a groundbreaking and influential structure, which uniquely fuses the style of Tuscan (central Italian) early Renaissance with Hungarian architectural traditions.