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The Church of Holy Savior in Chora, while modest in size, is one of the most beautiful Byzantine churches. The original church on this site was built in the early 5th century and stood outside of the 4th century walls of Constantine the Great. When Theodosius II built his formidable land walls in 413–414, the church became incorporated within the city's defenses, but retained the name Chora.
Most of the current structure dates to the years 1077–1081 when it was rebuilt in the basic shape of a cross or quincunx. It was restored after a partial collapse early in the 12th century. Its fine mosaics and frescoes were added between 1315 and 1321.
In the early 16th century, the church was converted into a mosque by the Ottoman rulers, and the frescoes and mosaics were plastered over. In 1948, it was secularized, and in the following years the stunning mosaics and frescoes were restored.
For more information on this church see the link below.
www.columbia.edu/cu/wallach/exhibitions/Byzantium/html/bu...
My friend and I drove cross country from Ann Arbor, MI to Naples, FL to bury a friend. We saw the Jesus in Ohio right before we got home, and he wanted to swim in the lake. A lady saw him jump and thought he was naked. I explained, got a handshake, then got kicked out. But not until after we got this!
Holy Savior Cathedral (Armenian: Սուրբ Ամենափրկիչ Վանք, Surp Amenaprgich Vank; Persian: کلیسای وانک or آمنا پرکیج, Kelisa-ye Vank or Amenapergich; ), also known as Vank Cathedral and The Church of the Saintly Sisters, is a cathedral in Isfahan, Iran. Vank means "monastery" or "convent" in the Armenian language.
History[edit]
Vank Cathedral was one of the first churches to be established in the city's Jolfa district by Armenian deportees settled by Shah Abbas I after the Ottoman War of 1603-1605. The varying fortunes and independence of this suburb across the Zayandeh rood and its eclectic mix of European missionaries, mercenaries and travelers can be traced almost chronologically in the cathedral's combination of building styles and contrasts in its external and internal architectural treatment.
Construction[edit]
Construction is believed to have begun in 1606, and completed with major alterations to design between 1655 and 1664 under the supervision of Archbishop David. The cathedral consists of a domed sanctuary, much like a Persian mosque, but with the significant addition of a semi-octagonal apse and raised chancel usually seen in western churches. The cathedral's exteriors are in relatively modern brickwork and are exceptionally plain compared to its elaborately decorated interior.
Ornamentation[edit]
The interior is covered with fine paintings and gilded carvings and includes a wainscot of rich tile work. The delicately blue and gold painted central dome depicts the Biblical story of creation of the world and man's expulsion from Eden. Pendentives throughout the church are painted with a distinctly Armenian motif of a cherub's head surrounded by folded wings. The ceiling above the entrance is painted with delicate floral motifs in the style of Persian miniature. Two sections, or bands, of murals run around the interior walls: the top section depicts events from the life of Jesus, while the bottom section depicts tortures inflicted upon Armenian martyrs by the Ottoman Empire.
The interior of the Vank Cathedral.
The courtyard contains a large freestanding belfry towering over the graves of both Orthodox and Protestant Christians. A tile work plaque inscribed in Armenian can be seen by the entrance to the cathedral; graves are also placed along the exterior wall before the entrance, with inscriptions in Armenian. In one corner of the courtyard is a raised area with a memorial to the 1915 Armenian Genocide in Turkey. Across the courtyard and facing the cathedral is a building housing a library and museum; outside of this building are several carved stones showing scenes from the Bible
Votivkirche (9, Rooseveltplatz, the provost parish church "To the Divine Savior").
History
Archduke Ferdinand Max after the rescue of his brother Franz Joseph I (assassination attempt of Johann Libenyi on 18 February 1853), suggested by an appeal the construction of a memory church, which was built from 1856 to 1879 according to the plans of Heinrich Ferstel (who at the beginning of construction was only 28 years old) together with the parsonage behind it in the style of French cathedral gothic of the 13th century on the Glacis in front of the (gate) Schottentor. Since the Glacis had not yet been released for development, the church had to be erected on the outer edge of this one and thus a few years later it stood distant from the Ring Road. Around the construction of the church there were a number of unrealized projects: the planned in a semicircular shape University of Vienna behind the church respectively a Hall of Fame (Viennese Acropolis, realized in the Arsenal) and the Tegetthoff monument in front of the church.
The site was definitively established on 25th October 1855; on 24th of April, 1856, the foundation stone was laid by Cardinal Archbishop Rauscher (commemorative plaque); on 18th of August, 1868, the completion of the tower was celebrated. The consecration was carried out by Cardinal Archbishop Kutschker on the occasion of the silver wedding of the Imperial couple on April 24, 1879 (commemorative plaque). The Votivkirche was in the monarchy (catholic) garrison church for Vienna (imperial decision of 1862). Here, too, all military funerals commenced. The Votivkirche is one of the most outstanding examples of historic architecture.
Roosevelt square - Votivkirche, around 1900
Exterior
Double tower facade with three figures portals and window rose.
Main portal
Main portal with rich figural decoration by Johannes Benk (Christ-King statue in the midst of the apostles, surrounded by models from the Old Covenant [Abel, Noe, Melchizedek, Isaak, Samson, Aaron, Moses]; in the gable above the Holy Trinity (by Josef Gasser), on the side four evangelists and Austro-Hungarian provincial patrons (Koloman [Lower Austria], Vigilius (South Tyrol), Aegius [Carinthia], Josef [Steiermark], Leopold [Lower Austria], Wenzel (Bohemia), Spiridion (Dalmatia), Michael (Galicia), Georg (Krain), Rochus (Croatia), St. Nicholas of Bari (Veneto), Ladislaus (Transylvania), Justus (Trieste), Hedwig (Silesia), Ruprecht (Salzburg), Johannes Nepomuk (Bohemia) by Franz Melnitzky and Peter Kastlunger) above the rosette "Coronation of Mary" by Gasser.
Side portal
Reliefs of Gasser ( "Annunciation of Mary" [below it the four prophets Jeremiah, Isaiah, David and Micah by Anton Schmidgruber], "Resurrection of Christ" (below it St Francis, Elisabeth and Sophie von Kastlunger).
Entrance portals
The entrance portals into the transept are devoted to God the Father and the Holy Spirit. There are eight prophets, or church fathers, on the arcade arrows. The church received a new roof of Eternit-plates in 1967.
Interior
Three-aisled, ribbed vaulted basilica, with four flat side chapels on each side; three-aisled transept; choir with 7/12 closing; chapel ambulatory and apse chapel. The wall and ceiling paintings stem from Joseph von Führich, A. von Wörndle, Carl Jobst and Josef Matyáš Trenkwald. On the vault of the central nave, the Christ's Family Tree by Franz Jobst and Carl Jobst. The organ (1874-1878) by E. F. Walcker & Co. (Ludwigsburg) is the only mechanical work of this size (3,762 pipes) in Europe (Anton Bruckner has also played here).
The glass paintings of the church windows, to which Trenkwald had supplied the designs, were destroyed during the Second World War and replaced by figural windows (mostly by designs by Christine Feldmann, with the exception of the "emperor window" which was renewed according to old pattern, thus in the replacement windows there are also topics that fall into the time after church building).
High altar
High altar of white marble with six Egyptian alabaster columns with figural ornamentation by Gasser, Robert Streschnak and Ferdinand Laufberger (cardinal virtues in the vault of the canopy), portrait of Mary, that was a gift from Pope Pius IX in the middle of the (constantly locked) chapel ambulatory.
Marienaltar (once the Antwerp altar)
Here stood the Antwerp altar (the most important work of the Flemish carving art of the 15th century, since 1996 for security reasons as a loan in the cathedral and diocesan museum).
The theme of the church window is the history of Christ's suffering.
"Emperor window"
Window of the city of Vienna "Emperor window"
The window was donated by the municipality of Vienna in 1877 and renewed by the latter after the Second World War.
Bishop's Chapel
The altar is dedicated to the Divine Heart of Jesus; grave of the Auxiliary Bishop Godfried Marschall (he was the first church minister).
Church windows: Bishops of Austrian church history.
Altar of the Mother of God of Guadelupe.
Church window: History of the worship of the Virgin of Guadelupe.
Winged altar
The altar made of cedar wood from Lebanon, shows Mary's engagement with St. Joseph, the proclamation with closed wings.
Church window: History of the worship of the Marienbild of Mariazell.
Barbara candle (Artillery Memorial).
Church window: History of Mary's image by Maria Pötsch.
Monument to the members of the executive who have fallen.
Church window: History of the wonderful glass window of Absam (Tyrol).
Church window: Rudolf I
Church window: Ferdinand II
Gothic chapel shrine
Holy grave for the last days of Holy Week.
Church window: 23rd Eucharistic Congress in Vienna (1912).
Church window: death in the National Socialist concentration camp Mauthausen.
Baptismal chapel
Baptismal stone of Egyptian marble; tumba by Niklas Graf Salms (Salm tomb).
Church windows: Major Austrian missionaries.
Pulpit
Pulpit of marble; On the gold mosaic of the parapet, the four church fathers and the teaching Savior; at the foot of the pulpit the bust of Ferstel by Viktor Tilgner.
Monument to the Austrian Kaiserschützen Regiments, church Window: Representatives of the Austrian Social Reform (draft by Hans Schweiger).
Cross altar
Church window: left John of God (defense of Vienna against the Turks 1529), right Franz Jägerstätter.
Votivkirche (9, Rooseveltplatz; Propsteipfarrkirche „Zum göttlichen Heiland").
Geschichte
Erzherzog Ferdinand Max regte nach der Errettung seines Bruders Franz Joseph I. (Attentat von Johann Libenyi am 18. Februar 1853) durch einen Aufruf den Bau einer Gedächtniskirche an, die 1856-1879 nach den Plänen von Heinrich Ferstel (der bei Baubeginn erst 28 Jahre alt war) samt dem dahinterstehenden Pfarrhaus im Stil französischer Kathedralgotik des 13. Jahrhunderts auf dem Glacis vor dem Schottentor erbaut wurde. Da das Glacis damals noch nicht zur Verbauung freigegeben war, musste die Kirche am äußeren Rand desselben errichtet werden und stand damit einige Jahre später fern der Ringstraße. Rund um den Bau der Kirche gab es eine Reihe unrealisierter Projekte: die halbkreisförmig hinter der Kirche geplante Universität Wien beziehungsweise eine Ruhmeshalle (Wiener Akropolis; realisiert im Arsenal) und das Tegetthoffdenkmal vor der Kirche.
Das Areal wurde am 25. Oktober 1855 definitiv festgelegt, am 24. April 1856 fand die Grundsteinlegung durch Kardinal-Erzbischof Rauscher statt (Gedenktafel), am 18. August 1868 feierte man die Turmvollendung. Die Weihe nahm Kardinal-Erzbischof Kutschker anlässlich der Silberhochzeit des Kaiserpaars am 24. April 1879 vor (Gedenktafel). Die Votivkirche war in der Monarchie (katholisch) Garnisonskirche für Wien (kaiserlicher Entschluss von 1862). Hier nahmen auch alle militärischen Leichenbegängnisse ihren Ausgang. Die Votivkirche ist eines der hervorragendsten Beispiele historisierender Architektur.
Rooseveltplatz – Votivkirche, um 1900
Äußeres
Doppelturmfassade mit drei Figurenportalen und Fensterrose.
Hauptportal
Hauptportal mit reichem figuralem Schmuck von Johannes Benk (Christ-König-Statue inmitten der Apostel, umgeben von Vorbildern aus dem Alten Bund [Abel, Noe, Melchisedech, Isaak, Samson, Aaron, Moses); im Giebel darüber Heilige Dreifaltigkeit (von Josef Gasser), seitlich vier Evangelisten und österreichisch-ungarische Landespatrone (Koloman [Niederösterreich], Vigilius [Südtirol], Ägydius [Kärnten], Josef [Steiermark], Leopold [Niederösterreich], Wenzel [Böhmen], Spiridion [Dalmatien], Michael [Galizien], Georg [Krain], Rochus [Kroatien], Nikolaus von Bari [Venetien], Ladislaus [Siebenbürgen], Justus [Triest], Hedwig [Schlesien], Ruprecht [Salzburg], Johannes Nepomuk [Böhmen]) von Franz Melnitzky und Peter Kastlunger), über der Rosette „Krönung Mariens" von Gasser.
Seitenportale
Reliefs von Gasser („Verkündigung Mariens" [darunter die vier Propheten Jeremias, Isaias, David und Michäas von Anton Schmidgruber ], „Auferstehung Christi" [darunter Namenspatrone der kaiserlichen Familie: Franziskus, Elisabeth und Sophie von Kastlunger]).
Eingangsportale
Die Eingangsportale ins Querschiff sind Gott Vater und dem Heiligen Geist gewidmet. An den Arkadenpfeilern befinden sich acht Propheten beziehungsweise Kirchenväter. Die Kirche erhielt 1967 ein neues Dach aus Eternitplatten.
Inneres
Dreischiffige, kreuzrippengewölbte Basilika, beiderseits vier flache Seitenkapellen; dreischiffiges Querschiff; Chor mit 7/12-Schluss; Kapellenumgang und Kapellenkranz. Die Wand- und Deckengemälde stammen von Joseph von Führich, A. von Wörndle, Carl Jobst und Josef Matyáš Trenkwald. Am Deckengewölbe des Mittelschiffs Stammbaum Christi von Franz Jobst und Carl Jobst. Die Orgel (1874-1878) von E. F. Walcker & Co. (Ludwigsburg) ist das einzige mechanische Werk dieser Größe (3.762 Pfeifen) in Europa (auch Anton Bruckner hat hier gespielt).
Die Glasgemälde der Kirchenfenster, zu denen Trenkwald die Entwürfe geliefert hatte, wurden während des Zweiten Weltkriegs vernichtet und (mit Ausnahme des nach alter Vorlage erneuerten „Kaiserfensters") durch Figuralfenster (zumeist nach Entwürfen von Christine Feldmann) ersetzt (daher finden sich bei den Ersatzfenstern auch Themen, die in die Zeit nach dem Kirchenbau fallen).
Hochaltar
Hochaltar aus weißem Marmor mit sechs ägyptischen Alabastersäulen mit figuralem Schmuck von Gasser, Robert Streschnak und Ferdinand Laufberger (Kardinaltugenden im Gewölbe des Baldachins), Bildnis der Maria, das ein Geschenk von Papst Pius IX. war, in der Mitte des (ständig gesperrten) Kapellenumgangs.
Marienaltar (einst Antwerpener Altar)
Hier stand der Antwerpener Altar (bedeutendstes Werk der flämischen Schnitzkunst des 15. Jahrhunderts; seit 1996 aus Sicherheitsgründen als Leihgabe im Dom- und Diözesanmuseum).
Thema des Kirchenfensters ist die Leidensgeschichte Christi.
„Kaiser-Fenster"
Fenster der Stadt Wien („Kaiser-Fenster"). Das Fenster wurde 1877 von der Gemeinde Wien gespendet und von dieser nach dem Zweiten Weltkrieg erneuert.
Bischofskapelle
Der Altar ist dem Göttlichen Herzen Jesu gewidmet; Grabstätte des Weihbischofs Godfried Marschall (er war der erste Propst der Kirche).
Kirchenfenster: Bischöfe der österreichischen Kirchengeschichte.
Altar der Gottesmutter von Guadelupe.
Kirchenfenster: Geschichte der Verehrung des Marienbilds von Guadelupe.
Flügelaltar
Der aus Zedernholz vom Libanon geschaffene Altar zeigt die Verlobung Mariens mit dem heiligen Josef, bei geschlossenen Flügeln die Verkündigung.
Kirchenfenster: Geschichte der Verehrung des Marienbilds von Mariazell.
Barbarakerze (Artilleristen-Gedächtnisstätte).
Kirchenfenster: Geschichte des Marienbilds von Maria Pötsch.
Denkmal für die im Dienst gefallenen Angehörigen der Exekutive.
Kirchenfenster: Geschichte des wunderbaren Glasfensters von Absam (Tirol).
Kirchenfenster: Rudolf I.
Kirchenfenster: Ferdinand II.
Gotischer Kapellenschrein
Heiliges Grab für die letzten Tage der Karwoche.
Kirchenfenster: 23. Eucharistischer Kongress in Wien (1912).
Kirchenfenster: Todesstiege im nationalsozialistischen Konzentrationslager Mauthausen.
Taufkapelle
Taufstein aus ägyptischen Marmor; Hochgrab von Niklas Graf Salms (Salmgrabmal).
Kirchenfenster: Bedeutende österreichische Missionare.
Kanzel
Kanzel aus Marmor; auf dem Goldmosaik der Brüstung die vier Kirchenväter und der lehrende Heiland; am Kanzelfuß Büste Ferstels von Viktor Tilgner.
Denkmal für die österreichische Kaiserschützen-Regimenter, Kirchenfenster: Vertreter der österreichischen Sozialreform (Entwurf von Hans Schweiger).
Kreuzaltar
Kreuz-Altar.
Kirchenfenster: links Johannes von Gott (Verteidigung Wiens gegen die Türken 1529), rechts Franz Jägerstätter.
Holy Savior Cathedral (Armenian: Սուրբ Ամենափրկիչ Վանք, Surp Amenaprgich Vank; Persian: کلیسای وانک or آمنا پرکیج, Kelisa-ye Vank or Amenapergich; ), also known as Vank Cathedral and The Church of the Saintly Sisters, is a cathedral in Isfahan, Iran. Vank means "monastery" or "convent" in the Armenian language.
History[edit]
Vank Cathedral was one of the first churches to be established in the city's Jolfa district by Armenian deportees settled by Shah Abbas I after the Ottoman War of 1603-1605. The varying fortunes and independence of this suburb across the Zayandeh rood and its eclectic mix of European missionaries, mercenaries and travelers can be traced almost chronologically in the cathedral's combination of building styles and contrasts in its external and internal architectural treatment.
Construction[edit]
Construction is believed to have begun in 1606, and completed with major alterations to design between 1655 and 1664 under the supervision of Archbishop David. The cathedral consists of a domed sanctuary, much like a Persian mosque, but with the significant addition of a semi-octagonal apse and raised chancel usually seen in western churches. The cathedral's exteriors are in relatively modern brickwork and are exceptionally plain compared to its elaborately decorated interior.
Ornamentation[edit]
The interior is covered with fine paintings and gilded carvings and includes a wainscot of rich tile work. The delicately blue and gold painted central dome depicts the Biblical story of creation of the world and man's expulsion from Eden. Pendentives throughout the church are painted with a distinctly Armenian motif of a cherub's head surrounded by folded wings. The ceiling above the entrance is painted with delicate floral motifs in the style of Persian miniature. Two sections, or bands, of murals run around the interior walls: the top section depicts events from the life of Jesus, while the bottom section depicts tortures inflicted upon Armenian martyrs by the Ottoman Empire.
The interior of the Vank Cathedral.
The courtyard contains a large freestanding belfry towering over the graves of both Orthodox and Protestant Christians. A tile work plaque inscribed in Armenian can be seen by the entrance to the cathedral; graves are also placed along the exterior wall before the entrance, with inscriptions in Armenian. In one corner of the courtyard is a raised area with a memorial to the 1915 Armenian Genocide in Turkey. Across the courtyard and facing the cathedral is a building housing a library and museum; outside of this building are several carved stones showing scenes from the Bible
Like other settlers Hovell made short exploratory journeys in the country surrounding the Cumberland Plain and in 1823 discovered the Burragorang Valley. At this time Governor Sir Thomas Brisbane hoped to have the country between Lake George and Bass Strait explored and planned an official expedition which never eventuated. Hovell and Hamilton Hume, who had been considered as the principals of Brisbane's party, decided to undertake the journey at their own expense, and on 17 October 1824 left Hume's station near Gunning for Westernport, the government having assisted them with some stores and equipment. After crossing the Murrumbidgee River, then in flood, they discovered a large river which Hovell named the Hume (later proved to be part of the Murray), crossed the Mitta Mitta, Goulburn and Ovens Rivers, and on 16 December sighted Port Phillip. An error in calculating their position led Hovell to believe that they had arrived on the western shore of Westernport, but they were on Corio Bay in Port Phillip. They returned to Gunning on 18 January 1825 and, as a result of their report, Brisbane decided to send a party to Westernport by sea. The party, which included Hovell, left Sydney late in 1826 under the command of Captain Wright and returned five months later. On arrival at Westernport Hovell realized his mistake; but the surrounding country was examined and 'great quantities of very fine coal' were discovered.
DSCN3318X2
Saint Petersburg (Russian: Санкт-Петербург, tr. Sankt-Peterburg) is the second largest city in Russia, politically incorporated as a federal subject (a federal city). It is located on the Neva River at the head of the Gulf of Finland on the Baltic Sea.
In 1914 the name of the city was changed from Saint Petersburg to Petrograd (Russian: Петроград), in 1924 to Leningrad (Russian: Ленинград), and in 1991, back to Saint Petersburg.
Saint Petersburg is a major European cultural center, and also an important Russian port on the Baltic Sea.
The Historic Centre of Saint Petersburg and Related Groups of Monuments constitute a UNESCO World Heritage Site. Saint Petersburg is also home to The Hermitage, one of the largest art museums in the world.
en.wikipedia.org/wiki/Saint_Petersburg
Kazan Cathedral or Kazanskiy Kafedralniy Sobor (Russian: Каза́нский кафедра́льный собо́р), also known as the Cathedral of Our Lady of Kazan, is a cathedral of the Russian Orthodox Church on the Nevsky Prospekt in St. Petersburg. It is dedicated to Our Lady of Kazan, probably the most venerated icon in Russia.
en.wikipedia.org/wiki/Kazan_Cathedral,_St._Petersburg
The Church of the Savior on Spilled Blood (Russian: Церковь Спаса на Крови, Tserkovʹ Spasa na Krovi) is one of the main sights of St. Petersburg, Russia. It is also variously called the Church on Spilt Blood (Russian: Церковь на Крови, Tserkov’ na Krovi) and the Cathedral of the Resurrection of Christ (Russian: Собор Воскресения Христова, Sobor Voskreseniya Khristova), its official name.
Architecturally, the Cathedral differs from St. Petersburg's other structures. The city's architecture is predominantly Baroque and Neoclassical, but the Savior on Blood harks back to medieval Russian architecture in the spirit of romantic nationalism. It intentionally resembles the 17th-century Yaroslavl churches and the celebrated St. Basil's Cathedral in Moscow.
The Church contains over 7500 square meters of mosaics—according to its restorers, more than any other church in the world.
Holy Savior Cathedral (Armenian: Սուրբ Ամենափրկիչ Վանք, Surp Amenaprgich Vank; Persian: کلیسای وانک or آمنا پرکیج, Kelisa-ye Vank or Amenapergich; ), also known as Vank Cathedral and The Church of the Saintly Sisters, is a cathedral in Isfahan, Iran. Vank means "monastery" or "convent" in the Armenian language.
History[edit]
Vank Cathedral was one of the first churches to be established in the city's Jolfa district by Armenian deportees settled by Shah Abbas I after the Ottoman War of 1603-1605. The varying fortunes and independence of this suburb across the Zayandeh rood and its eclectic mix of European missionaries, mercenaries and travelers can be traced almost chronologically in the cathedral's combination of building styles and contrasts in its external and internal architectural treatment.
Construction[edit]
Construction is believed to have begun in 1606, and completed with major alterations to design between 1655 and 1664 under the supervision of Archbishop David. The cathedral consists of a domed sanctuary, much like a Persian mosque, but with the significant addition of a semi-octagonal apse and raised chancel usually seen in western churches. The cathedral's exteriors are in relatively modern brickwork and are exceptionally plain compared to its elaborately decorated interior.
Ornamentation[edit]
The interior is covered with fine paintings and gilded carvings and includes a wainscot of rich tile work. The delicately blue and gold painted central dome depicts the Biblical story of creation of the world and man's expulsion from Eden. Pendentives throughout the church are painted with a distinctly Armenian motif of a cherub's head surrounded by folded wings. The ceiling above the entrance is painted with delicate floral motifs in the style of Persian miniature. Two sections, or bands, of murals run around the interior walls: the top section depicts events from the life of Jesus, while the bottom section depicts tortures inflicted upon Armenian martyrs by the Ottoman Empire.
The interior of the Vank Cathedral.
The courtyard contains a large freestanding belfry towering over the graves of both Orthodox and Protestant Christians. A tile work plaque inscribed in Armenian can be seen by the entrance to the cathedral; graves are also placed along the exterior wall before the entrance, with inscriptions in Armenian. In one corner of the courtyard is a raised area with a memorial to the 1915 Armenian Genocide in Turkey. Across the courtyard and facing the cathedral is a building housing a library and museum; outside of this building are several carved stones showing scenes from the Bible
Holy Savior Cathedral (Armenian: Սուրբ Ամենափրկիչ Վանք, Surp Amenaprgich Vank; Persian: کلیسای وانک or آمنا پرکیج, Kelisa-ye Vank or Amenapergich; ), also known as Vank Cathedral and The Church of the Saintly Sisters, is a cathedral in Isfahan, Iran. Vank means "monastery" or "convent" in the Armenian language.
History[edit]
Vank Cathedral was one of the first churches to be established in the city's Jolfa district by Armenian deportees settled by Shah Abbas I after the Ottoman War of 1603-1605. The varying fortunes and independence of this suburb across the Zayandeh rood and its eclectic mix of European missionaries, mercenaries and travelers can be traced almost chronologically in the cathedral's combination of building styles and contrasts in its external and internal architectural treatment.
Construction[edit]
Construction is believed to have begun in 1606, and completed with major alterations to design between 1655 and 1664 under the supervision of Archbishop David. The cathedral consists of a domed sanctuary, much like a Persian mosque, but with the significant addition of a semi-octagonal apse and raised chancel usually seen in western churches. The cathedral's exteriors are in relatively modern brickwork and are exceptionally plain compared to its elaborately decorated interior.
Ornamentation[edit]
The interior is covered with fine paintings and gilded carvings and includes a wainscot of rich tile work. The delicately blue and gold painted central dome depicts the Biblical story of creation of the world and man's expulsion from Eden. Pendentives throughout the church are painted with a distinctly Armenian motif of a cherub's head surrounded by folded wings. The ceiling above the entrance is painted with delicate floral motifs in the style of Persian miniature. Two sections, or bands, of murals run around the interior walls: the top section depicts events from the life of Jesus, while the bottom section depicts tortures inflicted upon Armenian martyrs by the Ottoman Empire.
The interior of the Vank Cathedral.
The courtyard contains a large freestanding belfry towering over the graves of both Orthodox and Protestant Christians. A tile work plaque inscribed in Armenian can be seen by the entrance to the cathedral; graves are also placed along the exterior wall before the entrance, with inscriptions in Armenian. In one corner of the courtyard is a raised area with a memorial to the 1915 Armenian Genocide in Turkey. Across the courtyard and facing the cathedral is a building housing a library and museum; outside of this building are several carved stones showing scenes from the Bible
www.iphonesavior.com wallpaper without adding the obvious (.com) Support the iPhone Savior and tell a friend. It's always free!
Holy Savior Cathedral (Armenian: Սուրբ Ամենափրկիչ Վանք, Surp Amenaprgich Vank; Persian: کلیسای وانک or آمنا پرکیج, Kelisa-ye Vank or Amenapergich; ), also known as Vank Cathedral and The Church of the Saintly Sisters, is a cathedral in Isfahan, Iran. Vank means "monastery" or "convent" in the Armenian language.
History[edit]
Vank Cathedral was one of the first churches to be established in the city's Jolfa district by Armenian deportees settled by Shah Abbas I after the Ottoman War of 1603-1605. The varying fortunes and independence of this suburb across the Zayandeh rood and its eclectic mix of European missionaries, mercenaries and travelers can be traced almost chronologically in the cathedral's combination of building styles and contrasts in its external and internal architectural treatment.
Construction[edit]
Construction is believed to have begun in 1606, and completed with major alterations to design between 1655 and 1664 under the supervision of Archbishop David. The cathedral consists of a domed sanctuary, much like a Persian mosque, but with the significant addition of a semi-octagonal apse and raised chancel usually seen in western churches. The cathedral's exteriors are in relatively modern brickwork and are exceptionally plain compared to its elaborately decorated interior.
Ornamentation[edit]
The interior is covered with fine paintings and gilded carvings and includes a wainscot of rich tile work. The delicately blue and gold painted central dome depicts the Biblical story of creation of the world and man's expulsion from Eden. Pendentives throughout the church are painted with a distinctly Armenian motif of a cherub's head surrounded by folded wings. The ceiling above the entrance is painted with delicate floral motifs in the style of Persian miniature. Two sections, or bands, of murals run around the interior walls: the top section depicts events from the life of Jesus, while the bottom section depicts tortures inflicted upon Armenian martyrs by the Ottoman Empire.
The interior of the Vank Cathedral.
The courtyard contains a large freestanding belfry towering over the graves of both Orthodox and Protestant Christians. A tile work plaque inscribed in Armenian can be seen by the entrance to the cathedral; graves are also placed along the exterior wall before the entrance, with inscriptions in Armenian. In one corner of the courtyard is a raised area with a memorial to the 1915 Armenian Genocide in Turkey. Across the courtyard and facing the cathedral is a building housing a library and museum; outside of this building are several carved stones showing scenes from the Bible
18-19 августа 2021, Преображение Господа Бога и Спаса нашего Иисуса Христа / 18-19 August 2021, The Holy Transfiguration of Our Lord, God, and Savior Jesus Christ
Holy Savior Cathedral (Armenian: Սուրբ Ամենափրկիչ Վանք, Surp Amenaprgich Vank; Persian: کلیسای وانک or آمنا پرکیج, Kelisa-ye Vank or Amenapergich; ), also known as Vank Cathedral and The Church of the Saintly Sisters, is a cathedral in Isfahan, Iran. Vank means "monastery" or "convent" in the Armenian language.
History[edit]
Vank Cathedral was one of the first churches to be established in the city's Jolfa district by Armenian deportees settled by Shah Abbas I after the Ottoman War of 1603-1605. The varying fortunes and independence of this suburb across the Zayandeh rood and its eclectic mix of European missionaries, mercenaries and travelers can be traced almost chronologically in the cathedral's combination of building styles and contrasts in its external and internal architectural treatment.
Construction[edit]
Construction is believed to have begun in 1606, and completed with major alterations to design between 1655 and 1664 under the supervision of Archbishop David. The cathedral consists of a domed sanctuary, much like a Persian mosque, but with the significant addition of a semi-octagonal apse and raised chancel usually seen in western churches. The cathedral's exteriors are in relatively modern brickwork and are exceptionally plain compared to its elaborately decorated interior.
Ornamentation[edit]
The interior is covered with fine paintings and gilded carvings and includes a wainscot of rich tile work. The delicately blue and gold painted central dome depicts the Biblical story of creation of the world and man's expulsion from Eden. Pendentives throughout the church are painted with a distinctly Armenian motif of a cherub's head surrounded by folded wings. The ceiling above the entrance is painted with delicate floral motifs in the style of Persian miniature. Two sections, or bands, of murals run around the interior walls: the top section depicts events from the life of Jesus, while the bottom section depicts tortures inflicted upon Armenian martyrs by the Ottoman Empire.
The interior of the Vank Cathedral.
The courtyard contains a large freestanding belfry towering over the graves of both Orthodox and Protestant Christians. A tile work plaque inscribed in Armenian can be seen by the entrance to the cathedral; graves are also placed along the exterior wall before the entrance, with inscriptions in Armenian. In one corner of the courtyard is a raised area with a memorial to the 1915 Armenian Genocide in Turkey. Across the courtyard and facing the cathedral is a building housing a library and museum; outside of this building are several carved stones showing scenes from the Bible
Holy Savior Cathedral (Armenian: Սուրբ Ամենափրկիչ Վանք, Surp Amenaprgich Vank; Persian: کلیسای وانک or آمنا پرکیج, Kelisa-ye Vank or Amenapergich; ), also known as Vank Cathedral and The Church of the Saintly Sisters, is a cathedral in Isfahan, Iran. Vank means "monastery" or "convent" in the Armenian language.
History[edit]
Vank Cathedral was one of the first churches to be established in the city's Jolfa district by Armenian deportees settled by Shah Abbas I after the Ottoman War of 1603-1605. The varying fortunes and independence of this suburb across the Zayandeh rood and its eclectic mix of European missionaries, mercenaries and travelers can be traced almost chronologically in the cathedral's combination of building styles and contrasts in its external and internal architectural treatment.
Construction[edit]
Construction is believed to have begun in 1606, and completed with major alterations to design between 1655 and 1664 under the supervision of Archbishop David. The cathedral consists of a domed sanctuary, much like a Persian mosque, but with the significant addition of a semi-octagonal apse and raised chancel usually seen in western churches. The cathedral's exteriors are in relatively modern brickwork and are exceptionally plain compared to its elaborately decorated interior.
Ornamentation[edit]
The interior is covered with fine paintings and gilded carvings and includes a wainscot of rich tile work. The delicately blue and gold painted central dome depicts the Biblical story of creation of the world and man's expulsion from Eden. Pendentives throughout the church are painted with a distinctly Armenian motif of a cherub's head surrounded by folded wings. The ceiling above the entrance is painted with delicate floral motifs in the style of Persian miniature. Two sections, or bands, of murals run around the interior walls: the top section depicts events from the life of Jesus, while the bottom section depicts tortures inflicted upon Armenian martyrs by the Ottoman Empire.
The interior of the Vank Cathedral.
The courtyard contains a large freestanding belfry towering over the graves of both Orthodox and Protestant Christians. A tile work plaque inscribed in Armenian can be seen by the entrance to the cathedral; graves are also placed along the exterior wall before the entrance, with inscriptions in Armenian. In one corner of the courtyard is a raised area with a memorial to the 1915 Armenian Genocide in Turkey. Across the courtyard and facing the cathedral is a building housing a library and museum; outside of this building are several carved stones showing scenes from the Bible
Bremen Esiam, Ghana- in West Africa.
While I was teaching in the village, I lived with the headmaster of the school, DeGraft, and his family. Savior is one of the youngest in a family of farmers that lives near DeGraft's house. He and his siblings came by the house to play and often helped out DeGraft's wife, Aba, with cooking. DeGraft and Aba have always been generous no matter what, but Savior's family made sure that he and his siblings helped out in exchange for extra food and water for his family.
Chiesa del Salvatore sul Sangue Versato
La chiesa del Salvatore sul Sangue Versato (in russo: Храм Спаса на Крови) è una chiesa di San Pietroburgo, che sorge sulla riva del canale Gribaedova e vicino al parco Michailovksij del Museo Russo, non lontano dalla Prospettiva Nevskij. Il nome ufficiale in russo è Собор Воскресения Христова, cioè cattedrale della Resurrezione di Cristo, e fu eretta sul luogo dove venne ucciso lo zar Alessandro II di Russia, vittima di un attentato il 13 marzo 1881 (il 1 marzo per il calendario giuliano allora in vigore).
L'edificazione di questa chiesa ebbe inizio nel 1883 durante il regno di Alessandro III, come luogo di memoria per il padre assassinato due anni prima in quello stesso luogo: i lavori non procedettero molto speditamente e venne completata solo nel 1907, regnante Nicola II: i fondi necessari vennero attinti dalle casse della famiglia imperiale con l'aiuto di numerosi donatori privati.
it.wikipedia.org/wiki/Chiesa_del_Salvatore_sul_Sangue_Ver...
The Church of the Savior on Spilled Blood (Russian: Храм Спаса на Крови) Khram Spasa na Krovi is one of the main sights of St. Petersburg, Russia. It is also variously called the Church on Spilt Blood and the Cathedral of the Resurrection of Christ (Russian: Собор Воскресения Христова), its official name.
"The preferred Russian name for this great church is [Храм Спаса на Крови] Khram Spasa na Krovi, but each English-language tourist publication seems to list it under a different name. The moniker of "Spilled Blood" is most popular in preference to the likes of the Church of the Resurrection, Church of our Savior on the Blood, Cathedral of the Ascension, Resurrection of the Christ, or Assumption, Church of the Redeemer, or any permutation of the above."
This Church was built on the site where Tsar Alexander II was assassinated and was dedicated in his memory. It should not to be confused with the Church on Blood in Honour of All Saints Resplendent in the Russian Land, located in the city of Yekaterinburg where the former Emperor Nicholas II (1868-1918) and several members of his family and household were executed following the Bolshevik Revolution.
Holy Savior Cathedral (Armenian: Սուրբ Ամենափրկիչ Վանք, Surp Amenaprgich Vank; Persian: کلیسای وانک or آمنا پرکیج, Kelisa-ye Vank or Amenapergich; ), also known as Vank Cathedral and The Church of the Saintly Sisters, is a cathedral in Isfahan, Iran. Vank means "monastery" or "convent" in the Armenian language.
History[edit]
Vank Cathedral was one of the first churches to be established in the city's Jolfa district by Armenian deportees settled by Shah Abbas I after the Ottoman War of 1603-1605. The varying fortunes and independence of this suburb across the Zayandeh rood and its eclectic mix of European missionaries, mercenaries and travelers can be traced almost chronologically in the cathedral's combination of building styles and contrasts in its external and internal architectural treatment.
Construction[edit]
Construction is believed to have begun in 1606, and completed with major alterations to design between 1655 and 1664 under the supervision of Archbishop David. The cathedral consists of a domed sanctuary, much like a Persian mosque, but with the significant addition of a semi-octagonal apse and raised chancel usually seen in western churches. The cathedral's exteriors are in relatively modern brickwork and are exceptionally plain compared to its elaborately decorated interior.
Ornamentation[edit]
The interior is covered with fine paintings and gilded carvings and includes a wainscot of rich tile work. The delicately blue and gold painted central dome depicts the Biblical story of creation of the world and man's expulsion from Eden. Pendentives throughout the church are painted with a distinctly Armenian motif of a cherub's head surrounded by folded wings. The ceiling above the entrance is painted with delicate floral motifs in the style of Persian miniature. Two sections, or bands, of murals run around the interior walls: the top section depicts events from the life of Jesus, while the bottom section depicts tortures inflicted upon Armenian martyrs by the Ottoman Empire.
The interior of the Vank Cathedral.
The courtyard contains a large freestanding belfry towering over the graves of both Orthodox and Protestant Christians. A tile work plaque inscribed in Armenian can be seen by the entrance to the cathedral; graves are also placed along the exterior wall before the entrance, with inscriptions in Armenian. In one corner of the courtyard is a raised area with a memorial to the 1915 Armenian Genocide in Turkey. Across the courtyard and facing the cathedral is a building housing a library and museum; outside of this building are several carved stones showing scenes from the Bible
Holy Savior Cathedral (Armenian: Սուրբ Ամենափրկիչ Վանք, Surp Amenaprgich Vank; Persian: کلیسای وانک or آمنا پرکیج, Kelisa-ye Vank or Amenapergich; ), also known as Vank Cathedral and The Church of the Saintly Sisters, is a cathedral in Isfahan, Iran. Vank means "monastery" or "convent" in the Armenian language.
History[edit]
Vank Cathedral was one of the first churches to be established in the city's Jolfa district by Armenian deportees settled by Shah Abbas I after the Ottoman War of 1603-1605. The varying fortunes and independence of this suburb across the Zayandeh rood and its eclectic mix of European missionaries, mercenaries and travelers can be traced almost chronologically in the cathedral's combination of building styles and contrasts in its external and internal architectural treatment.
Construction[edit]
Construction is believed to have begun in 1606, and completed with major alterations to design between 1655 and 1664 under the supervision of Archbishop David. The cathedral consists of a domed sanctuary, much like a Persian mosque, but with the significant addition of a semi-octagonal apse and raised chancel usually seen in western churches. The cathedral's exteriors are in relatively modern brickwork and are exceptionally plain compared to its elaborately decorated interior.
Ornamentation[edit]
The interior is covered with fine paintings and gilded carvings and includes a wainscot of rich tile work. The delicately blue and gold painted central dome depicts the Biblical story of creation of the world and man's expulsion from Eden. Pendentives throughout the church are painted with a distinctly Armenian motif of a cherub's head surrounded by folded wings. The ceiling above the entrance is painted with delicate floral motifs in the style of Persian miniature. Two sections, or bands, of murals run around the interior walls: the top section depicts events from the life of Jesus, while the bottom section depicts tortures inflicted upon Armenian martyrs by the Ottoman Empire.
The interior of the Vank Cathedral.
The courtyard contains a large freestanding belfry towering over the graves of both Orthodox and Protestant Christians. A tile work plaque inscribed in Armenian can be seen by the entrance to the cathedral; graves are also placed along the exterior wall before the entrance, with inscriptions in Armenian. In one corner of the courtyard is a raised area with a memorial to the 1915 Armenian Genocide in Turkey. Across the courtyard and facing the cathedral is a building housing a library and museum; outside of this building are several carved stones showing scenes from the Bible
Holy Savior Cathedral (Armenian: Սուրբ Ամենափրկիչ Վանք, Surp Amenaprgich Vank; Persian: کلیسای وانک or آمنا پرکیج, Kelisa-ye Vank or Amenapergich; ), also known as Vank Cathedral and The Church of the Saintly Sisters, is a cathedral in Isfahan, Iran. Vank means "monastery" or "convent" in the Armenian language.
History[edit]
Vank Cathedral was one of the first churches to be established in the city's Jolfa district by Armenian deportees settled by Shah Abbas I after the Ottoman War of 1603-1605. The varying fortunes and independence of this suburb across the Zayandeh rood and its eclectic mix of European missionaries, mercenaries and travelers can be traced almost chronologically in the cathedral's combination of building styles and contrasts in its external and internal architectural treatment.
Construction[edit]
Construction is believed to have begun in 1606, and completed with major alterations to design between 1655 and 1664 under the supervision of Archbishop David. The cathedral consists of a domed sanctuary, much like a Persian mosque, but with the significant addition of a semi-octagonal apse and raised chancel usually seen in western churches. The cathedral's exteriors are in relatively modern brickwork and are exceptionally plain compared to its elaborately decorated interior.
Ornamentation[edit]
The interior is covered with fine paintings and gilded carvings and includes a wainscot of rich tile work. The delicately blue and gold painted central dome depicts the Biblical story of creation of the world and man's expulsion from Eden. Pendentives throughout the church are painted with a distinctly Armenian motif of a cherub's head surrounded by folded wings. The ceiling above the entrance is painted with delicate floral motifs in the style of Persian miniature. Two sections, or bands, of murals run around the interior walls: the top section depicts events from the life of Jesus, while the bottom section depicts tortures inflicted upon Armenian martyrs by the Ottoman Empire.
The interior of the Vank Cathedral.
The courtyard contains a large freestanding belfry towering over the graves of both Orthodox and Protestant Christians. A tile work plaque inscribed in Armenian can be seen by the entrance to the cathedral; graves are also placed along the exterior wall before the entrance, with inscriptions in Armenian. In one corner of the courtyard is a raised area with a memorial to the 1915 Armenian Genocide in Turkey. Across the courtyard and facing the cathedral is a building housing a library and museum; outside of this building are several carved stones showing scenes from the Bible
The Persian Zoroastrian tradition is a close cousin to that of the Yezidis’ and it is probable that they have a common origin in the East. Links between the Yezidis and Persians are manifold. They share many rites, including daily Sun worship, and the premier savior-deity of both traditions (Mithra and Tawsi Melek) is a solar god possessing the cock as a sacred animal and Sunday as his sacred day of the week. There is no question Tawsi Melek and his Hindu counterpart, Murugan, are counterparts of the Persian Mithra, whose name denotes “middle” and “harmony,” thus denoting the balance and union of the universal polarity that brought both Murugan and the Peacock Angel into manifestation. Mithra’s common name in Persia was Mihr, a title currently assumed by Tawsi Melek’s premier representative on Earth, the Mir or Yezidi Prince, and an additional link between Mithra and Murugan can be gleened from the name of Mithra’s most sacred annual celebration, the Mihragan ( which takes place exactly same time as most important gathering of Yazidis, during which, as in Mithra rituals, focal point is slaying of a bull )
Thus, the connection between Tawsi Melek and Mithra is undeniable, however the Peacock Angel’s most salient Persian counterpart is the primal bird of paradise, the Simurgh, who possesses a dog or dragon head and a huge peacock tail. The Simurgh lives on Mount Elbourz, the
primal sacred mountain at the center of the Earth that serves as an axis mundi uniting Heaven and Earth. Elbourz is, by the way, also said to be the worldly home of Mithra, so perhaps the Simurgh is one of his alternate forms.
The Simurgh was the patron of the lineage of Persian Kings, many of which lived in glorious castles in the Elbourz Mountains in northern Iran. This link was never more evident than during the early Sasanian Dynasty, when the Persian kings adopted the Simurgh as their royal symbol.
According to some Persian legends the Simurgh is, like Tawsi Melek, the Planetary Logos or collective consciousness of all creatures on Earth (see: The Peacock Angel and Theosophy). This truth is illustrated in an old Persian legend known as The Conference of the Birds, during which a flock of birds paid a visit to the Simurgh at his home on Mt. Elbourz. After having a private meeting with the Simurgh each of the birds spoke amongst themselves about their experience. Each shared that gazing at the Simurgh was like looking into a mirror. Each bird saw himself reflected back to him because the Simurgh is the union of them all.
Also reflecting the Peacock Angel, the Simurgh serves the function of the “Green Man,” albeit indirectly. The association can be deduced through the name Simurgh, which is a contraction Saena meregh, meaning the “Saena bird.” In Persian legend it was said that as the Saena bird the Simurgh lived upon the Saena Tree, the world tree, which flourished upon an island in the middle of a cosmic sea known as Lake Vourukasha. Occasionally the Saena bird would flap its wings and spread seeds all over the Earth. These seeds would sprout to become the green vegetation that covered the planet.
from [ www.yeziditruth.org/the_peacock_angel ]
© Birawar Najm
Birawar2000@gmail.com
Holy Savior Cathedral (Armenian: Սուրբ Ամենափրկիչ Վանք, Surp Amenaprgich Vank; Persian: کلیسای وانک or آمنا پرکیج, Kelisa-ye Vank or Amenapergich; ), also known as Vank Cathedral and The Church of the Saintly Sisters, is a cathedral in Isfahan, Iran. Vank means "monastery" or "convent" in the Armenian language.
History[edit]
Vank Cathedral was one of the first churches to be established in the city's Jolfa district by Armenian deportees settled by Shah Abbas I after the Ottoman War of 1603-1605. The varying fortunes and independence of this suburb across the Zayandeh rood and its eclectic mix of European missionaries, mercenaries and travelers can be traced almost chronologically in the cathedral's combination of building styles and contrasts in its external and internal architectural treatment.
Construction[edit]
Construction is believed to have begun in 1606, and completed with major alterations to design between 1655 and 1664 under the supervision of Archbishop David. The cathedral consists of a domed sanctuary, much like a Persian mosque, but with the significant addition of a semi-octagonal apse and raised chancel usually seen in western churches. The cathedral's exteriors are in relatively modern brickwork and are exceptionally plain compared to its elaborately decorated interior.
Ornamentation[edit]
The interior is covered with fine paintings and gilded carvings and includes a wainscot of rich tile work. The delicately blue and gold painted central dome depicts the Biblical story of creation of the world and man's expulsion from Eden. Pendentives throughout the church are painted with a distinctly Armenian motif of a cherub's head surrounded by folded wings. The ceiling above the entrance is painted with delicate floral motifs in the style of Persian miniature. Two sections, or bands, of murals run around the interior walls: the top section depicts events from the life of Jesus, while the bottom section depicts tortures inflicted upon Armenian martyrs by the Ottoman Empire.
The interior of the Vank Cathedral.
The courtyard contains a large freestanding belfry towering over the graves of both Orthodox and Protestant Christians. A tile work plaque inscribed in Armenian can be seen by the entrance to the cathedral; graves are also placed along the exterior wall before the entrance, with inscriptions in Armenian. In one corner of the courtyard is a raised area with a memorial to the 1915 Armenian Genocide in Turkey. Across the courtyard and facing the cathedral is a building housing a library and museum; outside of this building are several carved stones showing scenes from the Bible
Holy Savior Cathedral (Armenian: Սուրբ Ամենափրկիչ Վանք, Surp Amenaprgich Vank; Persian: کلیسای وانک or آمنا پرکیج, Kelisa-ye Vank or Amenapergich; ), also known as Vank Cathedral and The Church of the Saintly Sisters, is a cathedral in Isfahan, Iran. Vank means "monastery" or "convent" in the Armenian language.
History[edit]
Vank Cathedral was one of the first churches to be established in the city's Jolfa district by Armenian deportees settled by Shah Abbas I after the Ottoman War of 1603-1605. The varying fortunes and independence of this suburb across the Zayandeh rood and its eclectic mix of European missionaries, mercenaries and travelers can be traced almost chronologically in the cathedral's combination of building styles and contrasts in its external and internal architectural treatment.
Construction[edit]
Construction is believed to have begun in 1606, and completed with major alterations to design between 1655 and 1664 under the supervision of Archbishop David. The cathedral consists of a domed sanctuary, much like a Persian mosque, but with the significant addition of a semi-octagonal apse and raised chancel usually seen in western churches. The cathedral's exteriors are in relatively modern brickwork and are exceptionally plain compared to its elaborately decorated interior.
Ornamentation[edit]
The interior is covered with fine paintings and gilded carvings and includes a wainscot of rich tile work. The delicately blue and gold painted central dome depicts the Biblical story of creation of the world and man's expulsion from Eden. Pendentives throughout the church are painted with a distinctly Armenian motif of a cherub's head surrounded by folded wings. The ceiling above the entrance is painted with delicate floral motifs in the style of Persian miniature. Two sections, or bands, of murals run around the interior walls: the top section depicts events from the life of Jesus, while the bottom section depicts tortures inflicted upon Armenian martyrs by the Ottoman Empire.
The interior of the Vank Cathedral.
The courtyard contains a large freestanding belfry towering over the graves of both Orthodox and Protestant Christians. A tile work plaque inscribed in Armenian can be seen by the entrance to the cathedral; graves are also placed along the exterior wall before the entrance, with inscriptions in Armenian. In one corner of the courtyard is a raised area with a memorial to the 1915 Armenian Genocide in Turkey. Across the courtyard and facing the cathedral is a building housing a library and museum; outside of this building are several carved stones showing scenes from the Bible
A more defensible monument, perhaps, than the Peter the Great Statue: the reconstruction of the 19th century Cathedral of Christ the Savior, built to commemorate the repulsion of Napoleon and destroyed in preparation for the Palace of the Soviets project. While the loss of the great public swimming pool at the heart of the city might be lamented, it's at least sort of reasonable that the Moscow congregation would like its church back. So, even before the final collapse of the Soviet Union, the church had received governmental permission to reconstruct the cathedral, initially as a reportedly accurate version by one Alexei Denisov. At some point, he was bumped and replaced by Zurab Tsereteli (of Peter the Great fame), who was apparently a bit more improvisational with his treatment of the ornamental program and other interior elements.
Speaking in terms of architecture as a receptacle for society's preoccupations, worries and dreams, this meek reconstruction of an artistically undistinguished building seems unable to bear the weight of all the symbolic demands placed on it over the years: Tsarist triumph, then anti-proletarian oppression. The ghostly outline of the destroyed church competed with that of the Palace that never was, and the enduring hope for a banished religion peeked out of the mist over the swimming pool. The pool was filled in and the redemption of a forestalled promise after the years of dictatorship has since been soured by the collusion between Church and State that prompted Pussy Riot to stage their infamous 2012 protest act here. If "place" does matter in building, then this is a site full to bursting with incomplete and contradictory dreams.
The reason why my computer is my the Best Produce in my life is because I literally do mostly all my shopping, research, organization, and entertainment in this small area of my apartment. This computer makes my life simple. To make my busy life simple is a great accomplishment. I have to organize so much stuff in my very busy day. The computer allows me to do this without the daily frustations and stress. With frustrations and stress eliminated out of my daily life, I can be a more productive and healthy person for my family! My family and myself means the WORLD to me!
No Use For a Name live @ Razzmatazz, Barcelona.
Shot with the Hasselblad 500C/M on Ilford Delta 3200 Pro.
Holy Savior Cathedral (Armenian: Սուրբ Ամենափրկիչ Վանք, Surp Amenaprgich Vank; Persian: کلیسای وانک or آمنا پرکیج, Kelisa-ye Vank or Amenapergich; ), also known as Vank Cathedral and The Church of the Saintly Sisters, is a cathedral in Isfahan, Iran. Vank means "monastery" or "convent" in the Armenian language.
History[edit]
Vank Cathedral was one of the first churches to be established in the city's Jolfa district by Armenian deportees settled by Shah Abbas I after the Ottoman War of 1603-1605. The varying fortunes and independence of this suburb across the Zayandeh rood and its eclectic mix of European missionaries, mercenaries and travelers can be traced almost chronologically in the cathedral's combination of building styles and contrasts in its external and internal architectural treatment.
Construction[edit]
Construction is believed to have begun in 1606, and completed with major alterations to design between 1655 and 1664 under the supervision of Archbishop David. The cathedral consists of a domed sanctuary, much like a Persian mosque, but with the significant addition of a semi-octagonal apse and raised chancel usually seen in western churches. The cathedral's exteriors are in relatively modern brickwork and are exceptionally plain compared to its elaborately decorated interior.
Ornamentation[edit]
The interior is covered with fine paintings and gilded carvings and includes a wainscot of rich tile work. The delicately blue and gold painted central dome depicts the Biblical story of creation of the world and man's expulsion from Eden. Pendentives throughout the church are painted with a distinctly Armenian motif of a cherub's head surrounded by folded wings. The ceiling above the entrance is painted with delicate floral motifs in the style of Persian miniature. Two sections, or bands, of murals run around the interior walls: the top section depicts events from the life of Jesus, while the bottom section depicts tortures inflicted upon Armenian martyrs by the Ottoman Empire.
The interior of the Vank Cathedral.
The courtyard contains a large freestanding belfry towering over the graves of both Orthodox and Protestant Christians. A tile work plaque inscribed in Armenian can be seen by the entrance to the cathedral; graves are also placed along the exterior wall before the entrance, with inscriptions in Armenian. In one corner of the courtyard is a raised area with a memorial to the 1915 Armenian Genocide in Turkey. Across the courtyard and facing the cathedral is a building housing a library and museum; outside of this building are several carved stones showing scenes from the Bible
The Church of the Savior on Spilled Blood is one of St. Petersburg, Russia’s most iconic landmarks. Built on the site where Emperor Alexander II was assassinated in 1881, the church stands as a memorial to the fallen tsar. Completed in 1907, its striking design features vividly colored onion domes and intricate mosaics, showcasing traditional Russian Revival architecture. Inside, the walls are adorned with over 7,500 square meters of detailed mosaics, making it one of the largest mosaic collections in Europe. The church is both a historical monument and a masterpiece of Russian artistry.
Architecturally, the cathedral differs from Saint Petersburg's other structures. The city's architecture is predominantly Baroque and Neoclassical, but the Savior on Blood harks back to medieval Russian architecture in the spirit of romantic nationalism.