View allAll Photos Tagged sacral
Urheberrecht bei Andreas Dlugosch
Dieses Foto ist urheberrechtlich geschützt. Ohne meine vorherige schriftliche Genehmigung darf das Foto weder ganz, noch auszugsweise kopiert, verändert, vervielfältigt oder veröffentlicht werden.
Das Nutzungsrecht meiner Fotos ist immer kostenpflichtig.
©Andreas Dlugosch
===================================================
Info's zum Foto hier
de.wikipedia.org/wiki/Rupert_von_Salzburg
===================================================
Una slanciata e pregevole chiesa romanica, eretta nella metà del XII secolo e sede vescovile fino ai primi anni del 1500 di un villaggio medioevale oggi scomparso. Nostra Signora di Castro deve il suo nome alla presenza nei suoi pressi di un forte romano, un “castrum”, che divenne poi il toponimo Castro, attribuito alla diocesi del borgo di cui fu appunto cattedrale. Il piccolo tempio è costruito in trachite con gradazioni di colore dal rosa al rosso, e presenta una scalinata sul davanti composta da cinque gradini. Su una delle fiancate si apre un portico, posteriore alla chiesa, formato da quattro arcate e collegato da un portale all’edificio maggiore.
Lo splendido contesto in cui è inserita la chiesa ne esalta la suggestione e conferisce al luogo una sacralità che appaga lo sguardo e lo spirito.
FS 30.1.22
"Originario dell’Asia Minore, l’albero del noce, appartiene alla famiglia delle Juglandacee, dal termine latino “Iovis glans”, ghianda di Giove, a testimonianza della sacralità e del legame con la divinità, probabilmente grazie alla sua maestosità ed alla peculiarità di crescere in luoghi isolati, lontani da altre specie arboree. Quest’ultima caratteristica, si deve alla presenza di una sostanza tossica, la juglandina, secreta dalle radici e dalle foglie, che provoca la morte delle altre piante nelle vicinanze. L’albero del noce è stato importato prima in Grecia e poi a Roma, attorno al 100 a.C, e si è diffuso, successivamente, in tutta Europa grazie alle proprietà nutrizionali dei suoi frutti, molto calorici (ben 650 calorie per 100 grammi), ma ricchi di vitamina B, sali minerali, potassio, fosforo, calcio, ferro e magnesio. Tutte caratteristiche ideali, che ne hanno fatto alimento principe dell’alimentazione rurale, soprattutto nei lunghi periodi di carestia. Testimonianze dell’uso delle noci nell’alimentazione dei romani sono state rinvenute durante gli scavi di Ercolano, grazie al ritrovamento di alcuni frutti carbonizzati, mentre nei dipinti della Villa dei Misteri di Pompei sono raffigurati alcuni frutti. Proprio nell’area vesuviana e sulla costiera Sorrentina, vengono ancora prodotte le Noci di Sorrento, una delle specie più pregiate, di cui esistono due varietà certificate: una più allungata e leggermente appuntita da un lato e smussata alla base ed una seconda, più piccola e tondeggiante.
Versatili, oleose e dal sapore sfizioso e gradevole, le noci sono state usate, e lo sono ancora oggi, come ingredienti per la preparazione di gustose ricette, dagli antipasti, ai primi piatti ai dolci, senza dimenticare il pregiato liquore, il Nocino, o Nocello, che si ricava dai malli acerbi, raccolti, come tradizione vuole, il 24 giugno, la Notte di San Giovanni, che coincide con il Solstizio d’Estate. Tuttavia, fin dai tempi più antichi, il noce ed i suoi frutti sono stati oggetto di storie e leggende, che, nei secoli, hanno contribuito ad attribuire a questo albero ed ai suoi frutti una nomea più o meno sinistra, al punto che, ancora oggi, si usa il termine “nocivo” per indicare qualcosa di dannoso per la salute. In particolare, l’albero del noce è legato all’elemento femminile ed alle storie nate attorno alle streghe. Ma come si è arrivati a questa fama sinistra? Indubbiamente, fin dai tempi più antichi, il noce è stato amato ed odiato: indispensabile dal punto di vista alimentare, da un lato, temuto per le leggende nate attorno alle sue fronde, dall’altro."
Dal libro : " Ti do una noce! Storia, leggende e ricette
del frutto più magico" di
Manuela Fiorini
The Cathedral of Seville is built on the old aljama mosque of the city, this shows the power that one culture exercises over another when it is conquered. This fact makes its plan different, facing Mecca and not Jerusalem, that is, facing south instead of east. It should be clarified that Mecca is oriented at 10o from Seville and not at 86o as the old mosque is oriented, this is due to the fact that in Al-Andalus the mosques had to be oriented towards the south quadrant and not towards the east, as the Christian churches did. When the Cathedral Chapter commissioned the design of the Gothic Cathedral, it stated verbatim that it wanted a Cathedral that everyone who saw it would take for crazy. For this, 5 naves were created that covered the 116 by 76 meter rectangle occupied by the Almohad mosque, this results, unlike what was usual in the great European Gothic Cathedrals, a hall plan with a Latin cross marked in height and in width by the central naves and the transept. This hall plan also results in the absence of an ambulatory at the head, which ends in a straight line like the wall of the old mosque. Later the Royal Chapel would be added, which is a Renaissance apse, but it does not really correspond to the Gothic company. In the naves of the Gospel and the Epistle, which are the lateral naves, there are many chapels. The 60 pillars support 68 ogive vaults, highlighting those of the transept and central nave with their star shapes. Instead of placing a clerestory, a continuous balcony was chosen along the main nave in order to be able to wander around the temple without being seen. Located in the central nave, in order from the feet, are the Retrochoir, the Choir, with two organs, the Transept, the Main Altar, the Back of Altar and the Royal Chapel.
The parish church of Arth in the Swiss canton Schwyz, is an important early baroque church of Switzerland. Built between 1694 – 1697 this sacral building is a striking landmark of this town.
The black altars are a contrast to the white interior, they were built by Johann Jörg Hagenmüller.
LO QUE HACES CON DULZURA, REZUMA AMOR
Donde siembras, recoges.
Si pones dulzura en tu manera de cocinar, en tus alimentos… comes amor.
Si pones dulzura en tu familia, en tus relaciones, en tu trabajo… estás creando un entorno de sanación para todos.
Si pones dulzura en las tareas del hogar, estás haciendo de tu casa un santuario.
Puedes elegir transformar tu mundo, y enseñar a otros cómo transformar el suyo, llevando la paz, la calma y el agradecimiento a tus acciones.
Paso a paso, día a día, mes a mes… suma cambios amorosos que se irán estableciendo en tu vida como el “nuevo normal”.
Con tu dulzura y tu consciencia, de-vuelve a tus palabras, a tus relaciones, a tus espacios y entornos… su importancia y su Sacralidad.
En amor y por amor a la Tierra, y a todos los seres que la habitamos.
Texto de Myriam Aram
Despite the St.Stephens Cathedral being undoubtedly Viennas most famous church it is certainly not the oldest. The St.Peters church which is located in the immediate vicinity of the St.Stephens Cathedral was (re-)built in the second half of the 4th century. Originally the Roman building served for military purposes. At that time Vienna went by the name of Vindobona, and was a Roman fort.
The picture shows the dome of the church with it's stunning fresco.
The pilgrimage church of the Birth of Mary in Schießen, a community near the former Roggenburg monastery, was rebuilt between 1681 and 1686, as the pilgrimage to Schießen is becoming increasingly popular and the old church is becoming too small.
In 1781 the church was renovated and painted in line with the new zeitgeist. The Weissenhorn artists Christian Eitele and Konrad Huber are among those involved.
Among the beautiful sacral sights we can undoubtedly include the Greek Catholic wooden Church of the Protection of the Holy Mother of God from 1770, which stands in the mountain village of Miroľa in the northeastern region of Slovakia.
It has a characteristic log structure and a three-part outer and inner division. The interior is decorated with iconostasis and altar. In the sanctuary, there is the icon of the archangel Michael and the icon of the Mother of God, Virgin Hodegetria with praise located. Liturgical objects are found in the anteroom that were revealed in the individual rebuildings of the temple. Especially the rare raincoat, probably from the 17th century, is worth noticing.
A special chapter is the rare books used in religious services in the Church-Slavic language. The temple has been repaired several times, most recently a complete reconstruction in 2005-2008 has been carried out. As well as with other wooden churches, even here stands a wooden entrance gate with a low shingled roof in front of the church.
St.Peter und Paul-Kirche
Ilsenburg Abbey (German: Kloster Ilsenburg) was a monastery of the Benedictine Order located at Ilsenburg near Wernigerode, in Saxony-Anhalt in Germany. The former abbey is a stop on the Romanesque Road.
The monastery was built in the Saxon lands of Eastphalia at the site of a former Pfalz and hunting lodge, mentioned as Elysynaburg in a 995 deed issued by King Otto III.
On 15 April 1003 King Henry II donated the estate for this purpose to the Bishop of Halberstadt, and the abbey had been founded by 1009. In 1018 the Halberstadt bishop vested the monastery with further possessions around Ilsenburg and Osterwieck. The first monks possibly descended from Fulda Abbey in Franconia.
Fostered by Bishop Burchard II of Halberstadt from about 1070, the convent experienced a flourishing period whereupon numerous filial monasteries were established, such as Huysburg, and the abbeys of Harsefeld, Hillersleben, and Wimmelburg.
A larger Romanesque church was erected and dedicated to Sts Peter and Paul on 5 June 1087; including the oldest preserved three-aisled choir of all Benedictine sacral buildings in Germany.
The adjacent cloister buildings were erected after a blaze in 1120 and finished in 1176. The monastic community included up to 25 monks, it joined the Benedictine Bursfelde Congregation in 1464/65.
ƒ/5.6 24.0 mm 1/25 800
_DSC8658_pt2
When the mighty blooming spirits of the Spring appear among our reality and whisper us about the sacral beauty...
www.christoph-schmich.de/farbenrausch-photography/ This photograph is copyrighted and may not be used anywhere, including blogs, without my express permission.
Please contact me for licensing requests. Thank you for watching!
Die Jesuitenkirche ist der erste grosse, sakrale Barockbau in der Schweiz.
1666 begann der Bau, 1677 wurde die Jesuitenkirche feierlich eingeweiht. Eindrucksvoll ist auch die Akustik des prächtigen Kirchenraumes. Er dient heute neben Gottesdiensten auch der Ausbildung von Organisten der Luzerner Hochschule für Musik und als Konzertlokalität.
The Jesuit Church is the first large, sacral Baroque building in Switzerland.
Construction began in 1666, and in 1677 the Jesuit church was inaugurated. Impressive are also the acoustics of the magnificent church space. Today, in addition to services, it also serves as a training place for organists at the Lucerne University of Music and as a concert venue.
P1130068b -
Sveti Stefan - Demir Kilise / İstanbul, Türkiye
Für die bulgarisch-orthodoxe Kirche St. Stefan wurden 1893-96 fünfhundert Tonnen Eisen und Stahl verbaut. Sie steht am Goldenen Horn in Istanbul.
Nähere Infos siehe entsprechende Links im Internet.
——————————
For the construction of the Bulgarian Orthodox Church of St. Stephen in the years 1893-96 five hundred tons of iron and steel were installed. It stands on the Golden Horn in Istanbul.
For more information see corresponding links on the Internet.
It was to be five domes, based on the model of the Holy Sepulcher of St. Anthony in Padua, as the client, Pastor Johann Ulrich Julius, wanted it. But such an execution clearly exceeds the financial means of the parish. But master builder Johann Georg Fischer built the desired five domes, not visible from the outside, as a so-called pendentive dome without a drum ring, a nave dome, a dome above the crossing and in the choir, as well as the domes in the two side chapels.
In 1727 Fischer delivered the final design, and the first mass could be celebrated in the church as early as 1733. Fischer entrusts the construction work to his foreman Paul Bienz.
Ignaz Finsterwalder contributes significantly to the splendid furnishings with his stucco. The frescoes, created by Matthias Wolcker and Anton Wenzeslaus Haffe, are also excellent work.
Urheberrecht bei Andreas Dlugosch
Dieses Foto ist urheberrechtlich geschützt. Ohne meine vorherige schriftliche Genehmigung darf das Foto weder ganz, noch auszugsweise kopiert, verändert, vervielfältigt oder veröffentlicht werden.
Das Nutzungsrecht meiner Fotos ist immer kostenpflichtig.
©Andreas Dlugosch
===================================================
Info's zum Foto hier
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...
St. Martin, the Catholic parish church of the community, is built right next to Aulendorf Castle. Romanesque in origin, the church has undergone numerous alterations and additions over the centuries. A rich and valuable equipment contributes to the appearance. The stucco should be emphasized, it is a so-called mortar stucco, not the usual plaster stucco.
Stans is the capital of the central Swiss canton of Nidwalden. In the middle of the village, on the village square, is the Catholic parish church of St. Peter and Paul. The early baroque church was built between 1641 and 1647. In contrast to its four predecessor buildings, the church is not faced, but the axis runs north - south. Only the church tower dates from the Romanesque period. The architect of the church is Jakob Berger.
Black marble columns and altars, also made of black marble, create a wonderful contrast to the white interior. The second oldest recordable organ in Switzerland is located in the choir of the church.
The Monastery at Lébény was established between 1199 and 1203, by a nobleman, for private worship. The complex was dedicated to the Apostle Saint James the Great. Though the existing charter for approving the donations and construction was signed by Andreas II (1208), one of the walls of the church had “1206” engraved in them, which may indicate that the church was already built at that time. It is also mentioned in the RegestrumVaradiense (an important language memorial), which was made in the late cathedral chapter of the present Oradea (Nagyvárad) in the 13th century. The monastery of Lébény was attacked and burnt down several times; the first by Mongols, then the second by King Ottokar I of Bohemia; and thereafter by the Turks, which was probably in 1529 and definitely in 1683. The monastery was taken back from the Turks by the arch-abbot of Pannonhalma in 1540. He named a new abbot, though the title only existed on paper for a little bit longer than two decades. In 1563 the monastery was burnt down again for the third time and was left devoured. Presently, the only part of the complex that is still standing is the iconic three-nave Romanesque church in the middle of Lébény village. This church is one of the most important Romanesque style buildings of Hungary, which was most probably restored in the 17th century by the Jesuits, and it was the first ever Hungarian monument that was restored in the second half of the 19th century. In addition, the Romanesque church is also operating as a parish of the village.
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.
Located on the north side, the Gate of the Conception leads to the courtyard of orange trees. Completed in 1887, this doorway seamlessly matches the Gothic style of the Cathedral. Its façade features a depiction of Jesus as a priest with his apostles. Despite being added later, it harmonizes beautifully with the building’s historic architecture.
The Metten Monastery was founded in the 8th century and was one of the original Bavarian monasteries. Under Abbot Roman II, the church, which dates from the Carolingian era, was redesigned in Baroque style between 1712 and 1729, based on plans by Jakob Ruesch.
In 1722 the Austrian Franz Josef Holzinger stuccoed the church interior, Wolfgang Andreas Heindl, also from Austria, painted the frescoes.
Urheberrecht bei Andreas Dlugosch
Dieses Foto ist urheberrechtlich geschützt. Ohne meine vorherige schriftliche Genehmigung darf das Foto weder ganz, noch auszugsweise kopiert, verändert, vervielfältigt oder veröffentlicht werden.
Das Nutzungsrecht meiner Fotos ist immer kostenpflichtig.
©Andreas Dlugosch
===================================================
Info's zum Foto hier
www.jettenbach-am-inn.de/st_michael_grafengars.html
===================================================
The church in Monheim was built in 1509. It is a late Gothic hall church. Between 1700 and 1740 it was redesigned in Baroque style. In 1803 the five altars from the Kaisheim monastery were acquired. In 1721 Jakob Eck from Eichstätt made the stucco pulpit.
Its construction started at the beginning of the 15th century probably at the site of the Cistercian monastery. It was conceived as a majestic Gothic basilica with three naves. The main nave and the church as a whole were finished in the years 1513-1518.
The generally simple architecture of the church contains many valuable details and artistic works. In the set of 11 Late Gothic wing altars built in the period between 1460 and 1520, the side altar of Nativity of the Lord, attributed to the circle of artists around the Krakow workshop of W. Stwosz is considered the most valuable.
The statue The Chair of Mercy on the altar of St Barbara made probably in the workshop of Master Pavol of Levoča is considered the top wood-carving work in Slovakia.
Pope John Paul II promoted the Church of St Egidius to basilica minor in 2001.
Urheberrecht bei Andreas Dlugosch
Dieses Foto ist urheberrechtlich geschützt. Ohne meine vorherige schriftliche Genehmigung darf das Foto weder ganz, noch auszugsweise kopiert, verändert, vervielfältigt oder veröffentlicht werden.
Das Nutzungsrecht meiner Fotos ist immer kostenpflichtig.
©Andreas Dlugosch
===================================================
Info's zum Foto hier
www.inn-salzach.com/kirche-st-salvator
===============================================
Urheberrecht bei Andreas Dlugosch
Dieses Foto ist urheberrechtlich geschützt. Ohne meine vorherige schriftliche Genehmigung darf das Foto weder ganz, noch auszugsweise kopiert, verändert, vervielfältigt oder veröffentlicht werden.
Das Nutzungsrecht meiner Fotos ist immer kostenpflichtig.
©Andreas Dlugosch
===================================================
Info's zum Foto hier
www.erzbistum-muenchen.de/pfarrei/pv-buchbach/cont/75068
===================================================