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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
Altar of the Doctors of the Church, 1510-1520
author of the statues: Master Paul of Levoča
author of the paintings: Master Petrus
location: Šariš, eastern Slovakia
for educational purpose only
please do not use without permission
AMDG
Zack’s influence comes from Leonardo Da Vinci, Raphael, Michelangelo... These great artists who have forever revolutionized art, architecture, and even science. The first of their times to sublimate men and women by giving them the appearance of living God, "half-man, half God".
Parish church of the Holy Cross, Kežmarok, Spiš county, Slovakia
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AMDG
location: Central Slovak Museum, Banská Bystrica, Slovakia
provenance: Selce pri Banskej Bystrici
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E' risaputo, ma non guasta ripeterlo, che la nostra epoca ha una spiccata tendenza a creare dei miti che, esaurita la loro funzione (miracolistica o catartica), sono poi immolati sull'altare del progresso e distrutti solo perché dalle loro ceneri possano sorgerne altri più nuovi e, in virtù di questo, ricchi di rinnovate proprietà taumaturgiche. Perché il mito si perpetui, sia pure con una ritualità di volta in volta diversa, occorre un sacerdote che ne garantisca la sacralità. Internet, ultimo mito quotidianamente celebrato, in grado di incantare ormai le folle, si è percorsa tanta strada grazie ad una seduzione in più: la promessa che ognuno, al pari dell'altro possa incarnare il ruolo del sacerdote prescelto, di chi conosce la formula magica per realizzare l'incantesimo.
E gli incantesimi sono davvero tanti, in grado di soddisfare le esigenze più svariate, esigenze che l'apparente semplicità del mezzo pone tutte su uno stesso piano: dall'ordinazione di una pizza al sogno, da sempre vagheggiato, di un contenitore universale di tutto lo scibile.
La tecnologia, dunque, al servizio dell'uomo, di un uomo che non ha perso, bensì ritrovato accanto a tanti consumistici aneliti anche quello umanistico alla conoscenza. Fin qui il quadro è idilliaco e sembra avvalorare l'ipotesi che sì, in Internet ci sia veramente già tutto gratis.
Tuttavia se si muta la prospettiva, e si prova a osservare il rovescio della medaglia, ecco che il sogno di un sapere onnicomprensivo, ordinato sistematicamente si trasforma pian, piano fino a trasfigurarsi nell'inquietante visione del labirinto borgesiano: un gioco inesauribile di scatole cinesi o di mondi possibili di cui non è facile riconoscere il migliore.
provenance: Zlaté, Šariš county, north-east Slovakia
location: Šariš Museum Bardejov
for educational purpose only
please do not use without permission
location: parish church of St Nicholas in Prešov, eastern Slovakia
dating: c 1720s
(please do not use without permission)
location: parish church of St Nicholas in Prešov, eastern Slovakia
dating: c 1720s
(please do not use without permission)
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
brocade, gold and silver threads
provenance: St Elizabeth Cathedral, Košice, Slovakia
location: East Slovak Museum, Košice
for educational purpose only
please do not use without permission
Altar of the Doctors of the Church, 1510-1520
author of the statues: Master Paul of Levoča
author of the paintings: Master Petrus
location: Šariš, eastern Slovakia
for educational purpose only
please do not use without permission
AMDG
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)
photographed against two sources of light
property of the Archdiocesan Museum in Krakow, Poland
provenance: Ludzmierz, Lesser Poland
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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.
Het hoogkoor vormt het sacrale centrum van de kerk, met de rijke uitstraling die het heeft gekregen begin vorige eeuw. We betreden de ruimte waar het mysterie wordt voltrokken. Enkel zo laat zich deze ruimte lezen… In het eucharistie-vieren realiseert zich telkens weer de zin van Christus’ zelfgave waaraan de gelovigen delen. Deze spirituele denkwereld heeft vorm gegeven aan dit hoogkoor.
Van de muurschilderingen van de Luikse schilder Adolphe Tassin uit 1904 hadden enkel de grote taferelen de modernistische ‘overschilderwoede’ van de jaren 60 overleefd… De restauratie van 2020 heeft alle overige figuren en motieven weer blootgelegd of hersteld. Bij onvolledige fragmenten in de profetengroepen bovenaan werd het onderscheid tussen oorspronkelijke en nieuwe laag bewaard.
Onderaan herhaalt zich rondom het motief van de pelikaan. De goudkleur geeft een levendig lichteffect. De pelikaan die – volgens legende – zijn jongen voedt met eigen bloed is een vroegchristelijk symbool van Christus’ zelfgave in de kruisdood.
De grote taferelen zijn zgn. voorafbeeldingen uit het Oude Testament van het Christusgebeuren. In het neo-thomistisch geloof van de 20ste eeuw reveleren deze ‘prefiguraties’ hoe Christus ‘van eeuwigheid’ is en zich realiseert in verleden, heden en toekomst. Verschillende aspecten van dit heilsgebeuren worden betekend: voedsel, heling en bevrijding voor het leven van mensen.
Aan weerszijden van de bogen uitgevend naar de zijkapellen worden de vier grote rivieren afgebeeld die de Tuin van Eden bevloeien: Phison, Gehon, Tygris en Eufraat (Gn 2,10-14). Het hoogkoor verbeeldt zo de paradijselijke wereld die door God wordt bereid. Helemaal bovenaan staan in groepjes twaalf ‘profeten’ uit het Oude Testament (inclusief koning David en Job). Ze dragen een banderol met een vers uit hun eigen profetenwoorden. De teksten zijn allemaal messiaans en eschatologisch van inslag. Deze profeten reveleren de ‘eindtijdelijke’ zin van leven en dood van Jezus: hoe Christus uiteindelijk bepalend is voor mens en wereld, al wat dood en kwaad is overwint – zij het niet zonder strijd en conflict – en garant staat voor een toekomst vol vreugde en leven. In het vieren van de eucharistie wordt hierop geanticipeerd.
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)
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
Martyrdom of St John Evangelist on the other side of the panel
provenance: St Elizabeth Cathedral in Košice
location: East Slovak Museum in Košice
for educational purpose only
please do not use without permission
provenance: St Egidius Basilica in Bardejov, north-east Slovakia
location: Šariš Museum Bardejov
for educational purpose only
please do not use without permission
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.
provenance: Zlaté, Šariš county, north-east Slovakia
location: Šariš Museum Bardejov
for educational purpose only
please do not use without permission
provenance: Zlaté, Šariš county, north-east Slovakia
location: Šariš Museum Bardejov
for educational purpose only
please do not use without permission
Ogni venerdì santo, dal XIII secolo, lungo le vie di Gubbio sfila una processione pregna di sacralità. Alla luce di falò e fiaccole, al suono di un antichissimo canto in latino, il Miserere [ www.youtube.com/watch?v=3AEuEl7jYuI ], che si è tramandato per secoli oralmente, al ritmo delle preghiere e del suono cupo dei penitenti con le caratteristiche “battistrangole” e il rumore dei passi lenti sul selciato, si richiama alla penitenza, alla purificazione e alla redenzione.
La processione del venerdì santo di Gubbio rievoca i simboli della passione che sfilano portati da uomini in saio e incappucciati: sono il teschio che rappresenta il Golgota, l’uomo con la croce, altri uomini con croci, il calice, i 40 denari, la corda, la colonna, il gallo, i flagelli, la corona di spine, la scritta Inri, il velo della Veronica, il sudario, i chiodi, il martello, la spugna, la lancia, i vestiti di Gesù, i dadi, la scala, le tenaglie. Questi simboli sono proceduti dagli uomini della confraternita che recano in mano il battistrangole, uno strumento in ferro che, scosso, determina un suono lugubre e sordo e richiama la popolazione alla processione e alla sua sacralità.
Seguono le statue del Cristo Morto e della Madonna Addolorata, entrambe preziose statue lignee, la prima si presume cinquecentesca, la seconda ottocentesca. Sono trasportate da uomini che indossano saio bianco con cappa nera (statua del Cristo) e saio bianco con cappa blu (statua della Madonna). Tutti i luoghi più significativi della storia di Gubbio sono raggiunti dal corteo: dal “pietrone”, antichissima pietra sacrificale che indica le origini pre-romane di Gubbio, ai conventi cittadini, all’ospedale, attraversando le vie del centro storico. In piazza San Pietro, Via Dante e Largo San Marziale sono accesi i fuochi e i bracieri. L’attenzione, il coinvolgimento con cui viene seguita la processione dai presenti determina una forte solennità e suggestione.
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
Spazio SoloSalute è il centro benessere a Milano diventato rapidamente punto di riferimento per il massaggio ayurvedico, il massaggio cervicale e qualunque trattamento di relax.
Il trattamento craniosacrale è un particolare tipo di massaggio, basato su una visione del corpo ben precisa. Nel cranio sacrale, l'individuo è considerato nel suo insieme come unione di corpo, mente, spirito. Lo scopo del trattamento cranio sacrale è ristabilire l'equilibrio interiore, espressione del fluire corretto della Respirazione Primaria.
Basato su tocchi leggeri che il terapeuta applica sulle ossa del cranio e della colonna vertebrale, il massaggio cervicale che pratichiamo nei locali di Spazio SoloSalute a Milano vi recherà benefici immeditati su tutto il corpo, con notevoli funzioni anti stress, di riequilibrio della postura e dell’’apparato muscolare, armonizzazione dell’apparato gastroenterico e miglioramento della respirazione.
location: Lomnička, Spiš county, Slovakia
height: 138 cm
late 18th century adjustment
for educational purpose only
please do not use without permission
AMDG
Svadhisthana
Color: Orange
Location: In your pelvic region, a couple of inches below the belly button.
Also known as ‘the place of the self’, the Sacral Chakra is therefore all about your creative identity as a human.
This chakra helps you enjoy your life here on Earth. It’s the energy that motivates you to enjoy the fruits of your labor. Above all, indulging in pleasurable activities like sex, artistic activities and good food.
When your 2nd chakra is balanced, you’ll truly relish in all the finer things in life. Because of this, you’ll enjoy them without overdoing them.
Martyrdom of St John Evangelist on the other side of the panel
provenance: St Elizabeth Cathedral in Košice
location: East Slovak Museum in Košice
for educational purpose only
please do not use without permission
Tarlov cysts, also known as perineural cysts, are sacks made up of the myelin sheath (coating around spinal nerves) that are filled with spinal fluid. They are caused by a weakness in the connective tissue, causing holes in the myelin sheath that fill and drain of spinal fluid according to the pressure inside the dura of the spinal cord. They are classified as tumors because they grow but are considered benign and asymptomatic. However, some people actually have debilitating symptoms from Tarlov Disease. Usually the cysts are "incidental findings" on an MRI taken for another purpose. Doctors typically disregard them as being the cause for symptoms patients seek help for. They can cause multiple neurological problems similar to spinal cord injuries such as nerve pain, bowel and bladder dysfunction, etc. They also can erode the bone of the sacrum to the point of it disappearing or they can cause enough thinning to result in stress fractures of the sacral plate. Although this is classified as a rare disease, it is not uncommon and is suspected to be largely underdiagnosed. If you or anyone you know has persistent intractable tailbone pain or maybe some unexplained neurological type issues in the pelvis or legs, consider this as a cause. For more information: www.tarlovcystfoundation.org/TarlovCystInformation.asp
provenance: Fričovce, Šariš county, north-east Slovakia
location: Šariš Museum Bardejov
for educational purpose only
please do not use without permission
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 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)
How to energise sacral chakra?
Swadishthan Chakra or sacral chakra is located above the pubic bone and below the navel, and encompasses the genital region and the hypogastric plexus. The word svadhisthana can be translated as “the dwelling place of the self,” and the element of the second chakra is water, which equals cohesiveness. A balanced second chakra leads to feelings of wellness, abundance, pleasure, and joy. When this chakra is out of balance, a person may experience emotional instability, fear of change, sexual dysfunction, depression, or addictions.
This chakra also plays an important role in decision making, acceptability of new things. One of the most important roles of the energies of this chakra is how peaceful and comfortable the person is within, as it’s the level of comfort within oneself that determines whether the person deals with situation or gets stressed by it.
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
property of the Slovak National Gallery Bratislava, Slovakia
height 150 cm
for educational purpose only
please do not use without permission
Altar of the Doctors of the Church, 1510-1520
author of the statues: Master Paul of Levoča
author of the paintings: Master Petrus
location: Šariš, eastern Slovakia
for educational purpose only
please do not use without permission
AMDG
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
Zagreb 14th June 2009
The Zagreb Cathedral on Kaptol is a Roman Catholic institution and not only the tallest building in Croatia, but also the most monumental sacral building in Gothic style southeast of the Alps.[3] It is dedicated to the Assumption of Mary and to kings Saint Stephen and Saint Ladislaus. The cathedral is typically Gothic, as is its sacristy, which is of great architectural value. Its prominent spires are considered to be landmarks as they are visible from most parts of the city.
History[edit]
In 1093 when king Ladislaus (1040-1095) moved the bishop's chair from Sisak to Zagreb, he proclaimed the existing church as a cathedral. Construction on the cathedral started shortly after his death and was finished in 1217 and consecrated by king Andrew II of Hungary. The building was destroyed by the Mongols in 1242 but rebuilt by bishop Timotej (1263-1287) a few years later. At the end of the 15th century, the Ottoman Empire invaded Croatia, triggering the construction of fortification walls around the cathedral, some of which are still intact. In the 17th century, a fortified renaissance watchtower was erected on the south side, and was used as a military observation point, because of the Ottoman threat.
The cathedral was severely damaged in the 1880 Zagreb earthquake. The main nave collapsed and the tower was damaged beyond repair. The restoration of the cathedral in the Neo-Gothic style was led by Hermann Bollé, bringing the cathedral to its present form. As part of that restoration, two spires 108 m (354 ft) high were raised on the western side, both of which are now in the process of being restored as part of an extensive general restoration of the cathedral.
The cathedral is depicted on the reverse of the Croatian 1000 kuna banknote issued in 1993.[4]
When facing the portal, the building is 46 meters wide and 108 meters high.[5] The cathedral contains a relief of Cardinal Aloysius Stepinac with Christ done by the Croatian sculptor Ivan Meštrović. The cathedral was visited by Pope Benedict XVI on 5 June 2011 where he celebrated Sunday Vespers and prayed before the tomb of Blessed Aloysius Stepinac.