View allAll Photos Tagged sacral
Applying pressure where the spine and pelvis meet can help a lot during labor. All through pregnancy, too. Our doula Lauraina is pushing down on Velma’s sacrum while she kneels in the water.
Photo by Genevieve Shiffrar.
il mare come elemento-legame introspettivo per rappresentare lâuomo su questa isola chiamata Vita
Mi piaceva rieditare una vecchia foto, un progetto che ritengo ancora valido dopo tre anni.
Photo:GR
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.)
photographed against two sources of light
property of the Archdiocesan Museum in Krakow, Poland
provenance: Ludzmierz, Lesser Poland
for educational purpose only
please do not use without permission
AMDG
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
for educational purpose only
please do not use without permission
AMDG
dôležitá informácia v Profile
from the altarpiece of Ľubica, north-east Slovakia
location: East Slovak Museum Košice
for educational purpose only
please do not use without permission
provenance: Okoličné, Liptov county, central Slovakia
property of the East Slovak Museum in Košice
The master´s quality is manifested through the depiction of faces, introspective,
full of dignity and melancholic lyrism that is enhanced with a delicate sfumato.
for educational purpose only
please do not use without permission
with the statue of St Nicholas form an unknown location in the Spiš county
property of the Slovak National Gallery Bratislava, Slovakia
for educational purpose only
please do not use without permission
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 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.
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.
Engraving from The Encyclopaedia Britannica - 9th edition - 1876-1889.
Published by Adam and Charles Black, Edinburgh, for The Times Publications of London. 24 volumes red half leather, gilt spines and marbled endpapers and edges. About 20,000 pages 28cm x 22cm. .
In the location Mirje near Postira there are remnants of sacral building from the 6th century. The analysis of the discovered walls suggests that the complex was not built for the convent's community, but that was in fact a later adaptation of the late antique villa with thermal complex.
Na lokalitetu Mirje kod Postira nalaze se ostaci sakralne građevine iz 6. stoljeća. Analizom otkrivenih zidova može se zaključiti da kompleks nije građen za samostansku zajednicu, već da je zapravo riječ o kasnijoj adaptaciji kasnoantičke vile s termalnim kompleksom.
The monastery of the Benedictine Order at Pannonhalma was founded in 996 in Western Hungary and had a major role in the diffusion of Christianity in medieval Central Europe. The monastery shows a stratification of different architectural styles and various buildings.
Among these buildings: a school (the first ever school founded in the country), the monastic complex – home to the monks whose life is still based on St. Benedict’s Rule ‘Ora et labora’ -, the tourist welcome points and hospitality facilities, the Chapel of Our Lady, the Millennium Chapel and the botanical and herbal gardens.
www.comece.eu/christian-artworks-benedictine-archabbey-of...
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
Church of st. Mary Magdalene in Dukla is one of the most valuable Polish rococo churches.
It was built as a gothic one, around 1461, with a brick chancel and a wooden nave. When in 1738 there was a fire in the city, the nave burned down entirely, and the chancel became the basis for the reconstruction of the temple.
The owner of Dukla and the Grand Marshal of the Crown, Józef Wandalin Mniszech, the same one who donated the land for the Bernardine monastery, undertook it. The temple was given a baroque appearance, but another fire and the death of Józef Vandalin in 1747 interrupted the work. They were continued in 1764 by the son of the marshal, Jerzy August Mniszech, supported by his wife, Maria Amalia. It was then that the church's interior acquired a rococo interior and fittings that have survived to this day.
gorybezgranic.pttk.pl/en/295-gory-bez-granic-the-church-o...
The monastery of the Benedictine Order at Pannonhalma was founded in 996 in Western Hungary and had a major role in the diffusion of Christianity in medieval Central Europe. The monastery shows a stratification of different architectural styles and various buildings.
Among these buildings: a school (the first ever school founded in the country), the monastic complex – home to the monks whose life is still based on St. Benedict’s Rule ‘Ora et labora’ -, the tourist welcome points and hospitality facilities, the Chapel of Our Lady, the Millennium Chapel and the botanical and herbal gardens.
www.comece.eu/christian-artworks-benedictine-archabbey-of...
author: Master Paul of Levoča
dating: c 1520
height: 71 cm
location: parish church of St Nicholas, Prešov, Šariš county, Slovakia
for educational purpose only
please do not use without permission
AMDG
The fortified early Gothic church from the first half of the 14th century was built on the site of an older building. In the 15th century it was fortified with a wall and a wooden bell tower was built on the grounds in 1657. The single-nave space with a square-ended presbytery and a built-in sacristy has a painted cassette ceiling from 1758, the presbytery is characteristic by its rib vault. The mural paintings date back to the 60s of the 14th century and the creator of at least a part of them is the Master of Ochtiná presbytery. These interior frescoes were discovered in the early 20th century by I. Huszka who was restoring them in 1905. All the paintings, interior and exterior ones, were completely restored between 1983 and 1985 by J. Josefík, L. Székely and I. Žuch.
Within the almost intact medieval church, the murals have a uniquely strong impression and informative value, thanks to their scale and complexity of preservation. Thematically they focus on individual scenes from the Marian and the Passion cycle, but they do not have a uniform concept unlike the upper belt on the nave’s northern wall with a complete depiction of the St. Ladislaus legend.
The monastery of the Benedictine Order at Pannonhalma was founded in 996 in Western Hungary and had a major role in the diffusion of Christianity in medieval Central Europe. The monastery shows a stratification of different architectural styles and various buildings.
Among these buildings: a school (the first ever school founded in the country), the monastic complex – home to the monks whose life is still based on St. Benedict’s Rule ‘Ora et labora’ -, the tourist welcome points and hospitality facilities, the Chapel of Our Lady, the Millennium Chapel and the botanical and herbal gardens.
www.comece.eu/christian-artworks-benedictine-archabbey-of...
Gesti, parole e sacralità: arrotola il filo di bisso intorno alla vera, lo ritorce più volte, un canto sacrale, e lo trasforma in un colore che alla luce sembra oro, poi lo dona. Si deve riportare per chiedere un panno nunziale. Impercettibile al tatto, luminoso e prezioso, a tal punto che non si vende e non si compra, come da giuramento che vincola le donne della famiglia di Chiara Vigo da sempre, che si tramanda di famiglia in famiglia “non commercializzare le opere”. La ‘seta del mare’ si ottiene dai filamenti della pinna nobilis, grandi molluschi meglio conosciuti come nacchere, che si ancorano ai fondali di sabbia, ma “senza la tradizione orale è ciarpame” – ha precisato l’artista Vigo, “prima di tutto deve essere vestita di anima e offerta gratuitamente”.
Da “Porterò all’estero l’arte del bisso” di Monica Magro