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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.
location: Šariš, eastern Slovakia
for educational purpose only
please do not use without permission
AMDG
For more information about this slide, visit CSlide - history.medsci.ox.ac.uk/cslide/flickr/set/72157638378456906
Košice, Abov county, eastern Slovakia
Gothic reliefs 1400-1430
Baroque sculptural additions 1720 by Simon Grimming
(please do not use without permission)
A nice new cathedral building, in what historians may someday identify as a normative style for early 21st century sacral architecture: glassy outside, woody inside, and a subtle update of Walter Netsch's Air Force Chapel, designed for the same firm forty years earlier and itself an attempt to re-invent the Gothic link between up-to-the-minute structural logic (which now implies green design) and the divine. It's nice - not my thing as such, but nice. The interior is the main attraction, and I did get a quick peek, but a service was just beginning and I didn't want to start snapping away. My one real gripe is the site plan - while the connective plaza drawing a few different elements together is a fine enough idea, the design seems to waffle on whether the church should address this space, or the adjacent nine-lane roadway cutting the site off from Lake Merritt. I also lamented the absence of some kind of shade in this plaza space - a covered walkway around the edges, however dated, might have not only made the space more comfortable, but begin to suggest other uses (stalls for the church flea market, etc.). But a nice project.
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.
property of the Slovak National Gallery, Bratislava, Slovakia
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
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.
location: Šariš, eastern Slovakia
for educational purpose only
please do not use without permission
AMDG
location: Šariš, eastern Slovakia
for educational purpose only
please do not use without permission
AMDG
provenance: St Ann´s church, Bardejov, north-east Slovakia
location: Šariš Museum Bardejov
IMHO the statue comes from 1480s
for educational purpose only
please do not use without permission
Košice, Abov county, eastern Slovakia
Gothic reliefs 1400-1430
Baroque sculptural additions 1720 by Simon Grimming
(please do not use without permission)
location: Šariš, eastern Slovakia
for educational purpose only
please do not use without permission
AMDG
provenance: Richvald, Šariš county, north-east Slovakia
location: Šariš Museum Bardejov
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 Sacral Chakra relates to emotional and sexual energy in the body and our ability to flow with change.
The Svadhishthana Chakra or Sacral Chakra symbolizes creative potential, the ability to harbor fulfilling relationships, as well as our sexual energy. Suppressing such vital energy or obsessing over negative thoughts and patterns cause blockages. This chakra releases a person from controlling behavior and fear of abandonment. Restoring balance to the Sacral Chakra creates an empowered and confident individual.
♦ Name in Sanskrit: Svadhisthana means the “dwelling place of the self”
♦ Location: The lower abdomen below the tailbone (includes lower pelvis, womb, and genitals)
♦ Color: Orange
♦ Element: Water
♦ Signs of balance: Feelings of creativity, playfulness, and sensual and sexual pleasure
♦ Signs of imbalance: Addictive/compulsive behaviors, sexual dysfunction, fear of change, emotional instability.
location: Šariš, eastern Slovakia
for educational purpose only
please do not use without permission
AMDG
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.
location: Šariš, eastern Slovakia
for educational purpose only
please do not use without permission
AMDG
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.