View allAll Photos Tagged sacral
author: Master Paul of Levoča
dating: c 1520
height: 71 cm
location: parish church of St Nicholas, Prešov, Šariš county, Slovakia
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H&E
Sacral mixed germ cell tumor (teratoma and yolk sac tumor)
Note the lacy, reticular growth pattern and microcystic growth pattern
property of the Archdiocesan Museum in Krakow, Poland
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location: St. Elizabeth Cathedral, Košice, Slovakia
panel paintings: unknown from Spiš county, dated 1516
wooden statues: unknown from Košice, Bratislava or Vienna, 1474-1477 or later
height of the statues in the shrine: 159 & 164 cm
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dôležitá informácia v Profile
Reportage.
Luogo: Cossoine.
Questa è la prima parte del reportage. A breve posterò le altre foto.
Le immagini che inserirò 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.
from the altarpiece of Ľubica, Spiš county, north-east Slovakia
location: East Slovak Museum Košice
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Nardo di Cione, workshop of
partly by Andrea di Cione, called Orcagna
property of the Bojnice Castle Museum
exhibited at the Slovak National Gallery in Bratislava
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upper row: Sts James the Great & Jerome, Madonna and Child, Sts John the Baptist & Rainier
lower row: Sts Margaret & Anthony the Hermit, Sts Lucy & Peter, Imago pietatis, Sts Paul & Catherine, Sts Augustine & Mary Magdalene
From the official website of Panagurishte Municipality
THE PANAGYURISHTE TREASURE
(C. 4-3 B.S.)
It was found near the Mramor hillock in 1949 during agricultural work. It consists of nine richly adorned vessels - an amphora, seven rhytons and a phial. It weighs 6.164 kg. The largest vessel is the amphora, which has a centaur-shaped handle. Three of the seven rhytons are shaped as animals' heads, one is the front part of a goat, three have women's (Amazon) heads. The set most probably served for the drinking of wine in a religious, celebratory or domestic atmosphere. There is also an opinion that its purpose was the ritual purification of a liquid, which could be wine. It is supposed that another two rhytons with the front part of animals, an amphora and one or two phials are missing, with a view of the sacral importance of the number three in the Thracian religion.
There exist two basic hypotheses about the origin of the Panagyurishte Treasure. They are based on the carved letters on some of the vessels, which are considered to signify the measure units of the gold. According to a widespread thesis, the signs belong to the metric system used in the Asia Minor town Lampsak. Other scholars however have discovered that a similar system was used in the interior of Thrace, so there is a possibility of the treasure's local origin.
My mother-in-law is a superb therapist, and human being. I was privileged to receive a Cranio-sacral massage. Her mask was because she had a bad cold.
(taken 17.06.11, uploaded 21.06.11)
Rimavské Brezovo, like many other municipalities in the region, is associated with mining history. The originally early Gothic church, towering over the silhouette of low village houses, used to be dedicated to the Birth of the Virgin Mary before the Reformation. The name of the village was given according to the first written historical reference from the year 1334 as Brezou and, for some time, it was also the county seat of Malohont. The single-nave church was probably built in the first half of the 14th century with a square-ended chancel and a rib vault. Due to the population increase connected with the establishment of iron works facility in the village at the end of the 18th century, the church capacity was insufficient. Therefore, the largest reconstruction of the temple was undertaken in 1893. The original sacristy on the northern side was demolished, the entrance was walled and the nave was extended southwards. The older chancel thus lost its role and started to be used as a sitting space. Thanks to this reconstruction, medieval murals were found under layers of lime paint and their restoration was then devoted to I. Möller and I. Huszek. Unfortunately the work was not always done in the most sparing way. Quality interior paintings in the original Gothic section are probably the work of artists from the workshop of the Master of Ochtiná chancel. The most striking element is Christ in Glory, the figure of the blessing Christ in the shining circle with the Sun and the Moon, depicted in the eastern part of the vault. The winged lion and the golden-winged eagle on the sides symbolize the evangelists Mark and John. Opposite to them are an angel and a winged bull as Matthew and Luke. The Marian theme is elaborated in two bands around the perimeter of the entire chancel. The lower band of the northern wall belongs to the depiction of the Death of the Virgin Mary, above this composition we find a quite unique, for this region, Italian-Byzantine motif of the Assumption with the figure of Christ in the mandorla. A small child stands on his knees as the soul of the Virgin Mary, the whole scene is held by four stylized angels. Beneath the Marian cycle, the entire perimeter of the walls is painted with a template ornament, into which the strip of four-leaf-shaped medallions with heads of prophets is inserted. This part of the paintings appears to be the least affected by the re-paintings and is preserved in a very good condition and in the original colours. On the walls of the nave, due to various building modifications, the frescoes were preserved only in fragments. The most intact frescoes are on the southern part of the triumphal arch: the Christ in a mandorla, a blessing angel, or St. Bartholomew, who was skinned alive, he carries the skin on a stick. Remnants of the Christological Cycle, such as the Christ carrying the cross or the Crucifixion, were preserved on the northern wall of the nave. The southern wall was largely destroyed during the redevelopment. However, research has revealed a depiction of St. Anne as a madonna with a child in her arms, with women carrying gifts in baskets walking into her direction. They also carry young pigeons to prepare a traditional strengthening soup for the fresh mother. This scene is very likely utterly unique on the territory of Slovakia. Comprehensive restoration and research were carried out in successive stages from 2005 till 2019, and the original approximately 700-year-old paving in the chancel was a valuable discovery as well. The restoration of the chancel was awarded by the main prize of the Cultural monument of the year 2012, the artworks were renewed by M. Janšto and R. Boroš. The church logo symbolically depicts a fresco of a young maiden attacked by devils in the hell from the church nave
The High altar of Saint Nicholas in the parish Church of Saint Nicholas in Prešov, eastern Slovakia, was erected already in late Gothic period (1490-1506, sculptor Ján Weiss). After the fire of 1673 the Gothic shrine with more than life-size carvings survived and was incorporated to the new Baroque altar construction of 1696 with statues by Jozef Hartmann, with the dominant Saint Sebastian. The prominent position of Saint Sebastian in the altar dedicated to Saint Nicholas can be explained by the intervention of the city mayor, donor of the altar, whose patron saint was Sebastian.
(please do not use without permission)
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.
SACRA
by: Kirsten Berg
from: Berkeley, CA/Bali, Indonesia
year: 2019
Sacra is a totemic gateway, symbolizing a pivotal point between infinite and finite. The sacrum (= ‘holy bone’) is the first gateway through which we metamorphize from space to substance, into the wordly realm. It is also the last bone that disintegrates, holding ritual significance in ancient cultures, as a reminder of the past and future passage that we all share. Sacra’s focal point is a ‘sacral object’, embedded with convex mirrors reflecting our shared cellular origins; a bowed gate like a funnel for source into form; a silhouette echoing Japanese torii gates, which traditionally indicate a passage between the profane/worldly plane to the sacred. “Sacra” mirrors that journey, literally and poetically, in reverse and also ‘in between’.
URL: www.kirstenberg.com
Contact: kberginfo@gmail.com
burningman.org/event/brc/2019-art-installations/?yyyy=&am...
An MRI Scan of the Sacrum (Sacral Spine, Upper Tailbone) evaluates the bones and nearby soft tissues of the sacrum. Parts of the lower lumbar spine are also seen. This scan can detect fractures, infection and tumors of the sacral spine.
Hidden in Punat bay is islet of Košljun, famous for its Franciscan monastery, one of the greatest cultural centres of Croatia with collections of ethnography, archaeology and sacral art.
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Sakriven u Puntarskom zaljevu nalazi se otočić Košljun, poznat po franjevačkom samostanu u kojemu su redovnici stoljećima sakupljali mnoge vrijedne predmete koji danas čine znamenitu etnografsku zbirku.
(By Kvarner County Tourist Board)
This imposing edifice comprises a couple of historical buildings representing defensive, sacral and public architecture from different periods of time. Once upon a time, it was one of the finest renaissance royal residences in Poland.
During the Lublin Diet 1569 king Sigismund Augustus signed the Lublin Union here between Poland and Lithuania.
The Castle suffered a significant damage during the wars against the Swedes and Cossacs in the 17th C but, fortunately, the 13th C. romanesque tower, known as the donjon, and the 14th C's gothic chapel of the Holy Trinity with amazing russo-bysantine frescoes suffered no harm.
The neogothic frame of today's Castle was designed in the first half of the 19th Century to serve as a prison and was used by the Nazis during WW II as an execution place for many Jewish and Polish people.
Today the Castle accommodates a museum, and interesting art exhibitions and musical concerts are often kept here.
(100_2294)
vista of the original Gothic Louvre palace behind St John Baptist
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Basilica of St Aegidius, church with the largest number (11) Gothic altars in Europe, in their original setting, UNESCO´s World Heritage site
Bardejov, north-eastern Slovakia
for educational purpose only
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AMDG
location: parish church of St Nicholas in Prešov, eastern Slovakia
dating: c 1720s
(please do not use without permission)
Basilica of St Aegidius, church with the largest number (11) Gothic altars in Europe, in their original setting, UNESCO´s World Heritage site
Bardejov, north-eastern Slovakia
for educational purpose only
please do not use without permission
AMDG
I was at a conference in Arizona, on my way to a session, when I walked by some workers dismantling a display for a Nike global marketing conference. There were lots of these mannequins, previously sportily attired, standing and laying around. Lots of body parts, too. I usually bring my camera everywhere, but I didn't have it with me at that moment. I SPRINTED back to my room to get it ... could not have cared less that I was late to my session. (Actually, I might have been on my way to the bar. Or, come to think of it, on my way back.)
Interesting document of the counter-reformation sacral art - 17th century roman-catholic Gothic Revival altarpiece in the style of local late Gothic altars with wings and predella. The upper part with the medallion depicting David with lions is a Baroque addition from 1687.
location: East Slovak Museum, Košice
for educational purpose only
please do not use without permission
vista of the original Gothic Louvre palace behind St John Baptist
for educational purpose only
please do not use without permission
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