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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.
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.
provenance: Fričovce, Šariš county, north-east Slovakia
location: Šariš Museum Bardejov
for educational purpose only
please do not use without permission
provenance: Fričovce, Šariš county, north-east Slovakia
location: Šariš Museum Bardejov
for educational purpose only
please do not use without permission
location: Šariš, eastern Slovakia
for educational purpose only
please do not use without permission
AMDG
Budaörs
Kálvária / Calvary
1821
"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...
Sacral mineral springs Kurtyaevo. Close to Severodvinsk, Arkhangelsk region, Russia.
Kodak Six-16 pinhole camera
Košice, Abov county, eastern Slovakia
Gothic reliefs 1400-1430
Baroque sculptural additions 1720 by Simon Grimming
(please do not use without permission)
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
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Суперсимметричная модель сакральных проявлений Господа в виде трехликого Творца, Священной Души (ПарамАтмы) и Святого Духа (конец моей 7Dseist медитации).
The supersymmetric model of a sacral phenomenon of the Lord in the form of three-faced Creator, Sacred Soul (ParamAtma) and the Sacred Spirit in my octahedral Aura (the end of mine 7Dseist meditation)
* Суперсимметричная модель сакральных проявлений Господа в виде трехликого
Творца, Священной Души (ПарамАтмы) и Святого Духа воссоздает непроявленную
восьмигранную структуру плазмы (Ауры) кварк-лептон-гравитационного поля
7Dseist пространства-времени Духовного Мира!
ТМ Сущности Творца вселенной проявились на моем лице в виде его трехликого
расслоения; Цветок Брахмы, внутри которого видно ортогональное сечение
6Dseist (4Ds+2Dt) пространства-времени в форме портала (червоточины)
-перехода в Тонкий Мир Творца "ЙарРай-БрахмаЛока", проявился в области лба
(6 чакра); Внутри бутона цветка Розы виден восседающий на престоле Создатель "JarRos"!
* Господь в виде Священной Души (ПарамАтмы) и Святого Духа проявился в форме двух струн кварк-лептон-гравитационного поля
в верхней части Ауры, справа и слева от центральной струны; между 7-й и 8-й сефиротами Аура приняла форму короны излучений;
Хорошо видно, что центральная струна (стоячая волна канала сефирот), имеет симметричную форму двойной право-левовинтовой
спирали с 8 узлами; между ними расположены 7-10 сефироты, которые являются проекциями соответствующих осей координат
11-ти мерного гиперкомплексного пространства-времени, с которым связано переменное кварк-лептон-гравитационное 7D-10Dseist поле.
Феномен «5Dseist инпринтинга» - поглощения моего тела полем 4D seist пространства-времени с увеличением его кривизны и «выдавливанием» заднего плана на передний отчетливо проявился в результате суперпозиции лево-правовинтовых волн, внутреннего вращения, расширения, расслоения и инверсии 5Dseist пространства-времени
The 5Dseist inprinting - the inner 5Dseist expansion of 4Dseist SpaceTime
The double toroidal-shaped right-left-screw spiral string «7D-10Dseist DNA» of a quark-lepton-gravitational field
If you find the information useful, please support my development efforts: Donate to my VISA cart № 4731185608540404
C, 2012-2016, Yaroslav Bondarenko,
Ярослав Бондаренко, 4D-7D SEIST Projects
location: Šariš, eastern Slovakia
for educational purpose only
please do not use without permission
AMDG
Parish church of the Holy Cross, Kežmarok, Spiš county, Slovakia
for educational purpose only
please do not use without permission
AMDG
location: East Slovak Museum, Košice
provenance: Ondrej, Spiš county
(please do not use without permission)
2006. 1 x 1 x 0,2 m. Wooden crucifix, projector, dvd player. More information about this artwork can be found at: www.markuskison.de/crucifixion
property of the Slovak National Gallery, Bratislava
for educational purpose only
please do not use without permission
dôležitá informácia v Profile
location: Šariš, eastern Slovakia
for educational purpose only
please do not use without permission
AMDG
Church of the Assumption of the Virgin Mary (Mohelnice nad Jizerou, Bohemia)
The Roman Catholic Church of the Assumption of the Virgin Mary in Mohelnice nad Jizerou (Mladá Boleslav district) is a stone sacral building from the second half of the 12th century. The church falls under the parish-deanery of Mnichovo Hradiště. In addition to the church itself, a part of the protected area is also the adjacent functional cemetery with a morgue and a wall.
The single-nave church has a rectangular floor plan. It was built by sandstone from Hrubá Skála, the masonry of precisely machined blocks is row-shaped, while each row has a different height. On the west side of the church there is a prismatic tower, on the east there is an apse, inside there is a glass conch. On the north side is a pseudo-Romanesque sacristy and a cross vault, completed during reconstruction in 1876.
The church was restored in 1876 in the spirit of historical purism of the 19th century by the architect Josef Mocker, known for his reconstructions and completions of a number of important medieval monuments, including St. Vitus Cathedral in Prague and Karlštejn Castle. After this purist reconstruction, the original Romanesque church was significantly changed. The windows were modified and enlarged, the ceiling in the nave was replaced, the main entrance to the church was relocated and the floor in the church was raised. Of the original windows, only one small four-leaf rose in the shape of a four-leafed rose, located on the southwest side of the church, has been preserved. During the reconstruction, a new staircase was also built from ground level, making the entrance hall accessible through the entrance from the ground floor of the bell tower on the west side of the church.
(According to the Czech wiki)
Асимметричная "СНС" модель сакральных проявлений Господа в виде трехликого Творца, Священной Души (ПарамАтмы) и Святого Духа (конец моей 7Dseist медитации).
The asymmetrical model of a sacral phenomenon of the Lord in the form of three-faced Creator, Sacred Soul (ParamAtma) and the Sacred Spirit in my octahedral Aura (the end of mine 7Dseist meditation)
* Асимметричная "СНС" модель сакральных проявлений Господа в виде трехликого Творца, Священной Души (ПарамАтмы) и Святого Духа отражает непроявленную восьмигранную структуру плазмы (Ауры) кварк-лептон-гравитационного поля 7Dseist пространства-времени Духовного Мира!
ТМ Сущности Творца вселенной проявились на моем лице в виде его трехликого
поперечного расслоения; Цветок Брахмы, внутри которого видно ортогональное
сечение 6Dseist (4Ds+2Dt) пространства-времени в форме портала (червоточины)
перехода в Тонкий Мир Творца "ЙарРай-БрахмаЛока", проявился в области лба (6 чакра);
внутри бутона цветка Розы виден восседающий на престоле Создатель "JarRaja"!
* Господь в виде Священной Души (ПарамАтмы) и Святого Духа проявился в форме двух струн кварк-лептон-гравитационного поля в верхней части Ауры, справа и слева от центральной струны; между 7-й и 8-й сефиротами Аура приняла форму короны излучений; Хорошо видно, что центральная струна (стоячая волна канала сефирот), имеет асимметричную форму двойной право-левовинтовой спирали с 8 узлами; между ними расположены 7-10 сефироты, которые являются проекциями соответствующих осей координат 11-ти мерного гиперкомплексного пространства-времени, с которым связано переменное кварк-лептон-гравитационное 7D-10Dseist поле. Полосы темной материи и белой "темной энергии" служат подложкой расслоенного пространства-времени;
Многоликая голова Ангельской ТМС 6Dseist пространства-времени закономерно проявилась в левом верхнем углу изображения; она является источником правовинтовых опережающих антигравитационных волн темной материи, кторые можно считать причинными волнами расслоения и деформаций 5Dseist пространства-времени, которые вызывают изменения характеристик лептон-инерционных 4Dseist полей, определяющих изменения координат и импульсов грубых материальных тел 3Dseist пространства-времени...
If you find the information useful, please support my development efforts: Donate to my VISA cart № 4731185608540404
C, 2012-2016, Yaroslav Bondarenko,
Ярослав Бондаренко, 4D-7D SEIST Projects
provenance: Fričovce, Šariš county, north-east Slovakia
location: Šariš Museum Bardejov
for educational purpose only
please do not use without permission
The area where Szentendre is today was uninhabited when the Magyars arrived. In the 9th century, Árpád's companion, the sacral prince Kurszán, settled here. He renovated the Roman fortress that had fallen into ruin and reestablished a settlement on the remains of the Roman buildings.
Little is known about the history of Szentendre between the 9th and 10th centuries. Some sources suggest that there was a settlement called Apurig in this area. The word apor means "brook" and so presumably the settlement was located on a small river-way. Based on maps of military surveys, there were five brooks in the area: Dera, Bükkös, Öregvíz and Sztelin. It is unknown as to which brook the Apor can be identified with.
The city was largely depopulated in the Ottoman era. According to a 17th-century census, only one family and their service staff remained here at that time.
After the Ottomans were expelled from the area, foreign settlers moved to the settlement. Today evidence of the town's prosperity in this time can be seen in the baroque style of the houses, the Mediterranean atmosphere of the town's architecture, its beautiful churches, the cobblestoned streets, and its narrow alleys. During the Great Turkish War, Serbs were invited to emigrate to Hungary to evade the Ottoman Empire. Because of this invitation, there was a mass emigration of Serbs in 1690 to the Szentendre region. These Serbs left enduring traces on the townscape and its culture. The buildings in the city center have tried to preserve this Serbian influence in their architecture, but these buildings do not in fact date to the 17th century. Based on maps from the end of the century, the city center actually boasted other buildings at that time.
There was also considerable Dalmatian immigration. The Dalmatian families settled on Donkey Mountain where Dalmát Street preserves their memory today. Even in the 1980s, this street was inhabited exclusively by descendants of the original Dalmatians. These descendants now live throughout the city.
Although the Ottomans had decimated the population of the region, starting in the 1690s, the population slowly began to increase and in 1872 it reached a level when the town-like character began to dominate again instead of the village-like character. The public administration as well as the business establishments made it possible to practice all the privileges entailing a city. Szentendre was granted city-status in 1872.