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The SU-76 (Samokhodnaya Ustanovka 76) was a Soviet self-propelled gun used during and after World War II.
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
The Su-21 attack aircraft had its roots in the Su-15 interceptor, which itself was a development of Sukhoi's tailed-delta Su-9 and Su-11 interceptor fighters. Construction of the Su-15 (internal project designation T-58) began in mid-1960, state acceptance tests of the respective T-58-8M1 interception complex with radar and air-to-air missiles started in August 1963.
In 1966 series production at Novosibirsk began, the first pre-series Su-15 interceptor made its first flight from Novosibirsk on 6 March 1966. Once identified as a new service aircraft, NATO christened the type 'Flagon'. While the Su-15 was in series production, a number of improved design features were developed, tested and subsequently introduced with a new production series of the interceptor.
In 1969, under the influence of the Vietnam conflict and the conclusion that dedicated ground attack aircraft were needed in a modern battlefield, the Sukhoi OKB investigated options for a new close-support "mudfighter" aircraft. One option was a derivative of the Su-15, designated the "T-58Sh" -- the suffix "Sh" stood for "shturmovik (storm bird)", a general Soviet name for a close-support aircraft.
The T-58Sh design was based on the Su-15 fuselage and engine installation with two Tumansky R-13-300 turbojets, but with considerable modifications. These included totally new wings and stabilizers - the orginal delta wing for high speed gave way to tapered wings with a constant 40° sweep, and the horizontal stabilizers were modified, too. The original fin was kept, though, as well as most of the landing gear installation, even though the front wheel retracted backwards now, since the complete nose up until spar no. 10 had been redesigned: instead of the interceptor's large radome, a slanted, considerably shorter nose improved the field of view for the pilot. In its tip it housed a 'Fon' laser rangefinder as well as a missile guidance antenna. A Doppler radar was housed under the nose, too, and an ASP-PF gunsight and a PBK-2 bomb sight optimized for lob-bombing were installed. The cockpit was completely armored, as well as parts of the lower fuselage around the engine section. All internal tanks (holding 4.500kg/9.921lb of fuel in the fuselage as well as in the wings) were self-sealing.
Another novelty was the freshly developed, built-in Gatling cannon, the GSh-30A, also known as 9A-621. This formidable, six-barreled weapon had a pneumatic mechanism (instead of en electric system, which was used in US types like the M61 'Vulcan' gun), fired 30mm shells and achieved a staggering fire rate of 5.000rpm. The cannon's magazine held 280 rounds - a shift of fuel tanks from the fuselage into the new wings with more internal space allowed the belly installation behind the front wheel well. Furthermore, a total of nine external weapon hardpoints allowed an ordnance load of up to 5.500kg (12.115lb), which included laser-guided smart bombs/missiles as well as tactical nuclear weapons.
Two T-58Sh prototypes were completed, and the first of these flew on 6 April 1968, the second on 26 September 1968. After State Acceptance Trials the Su-15Sh entered service in 1970 - in parallel, OKB Mikoyan was also working on a ground attack variant of its MiG-23 VG fighter, the later MiG-27, which flew in 1971 for the first time.
This advantage in time to service worked in favor of the Suchoj aircraft, which was so different from its Su-15 origins that it received a new service-designation, Su-21 (which was, by Western observers, often miss-attributed to the late Su-15 interceptor versions with ogive radomes and new double-delta wings).
By 1972, four squadrons were equipped with the new aircraft. Interestingly, none of the Su-21 were deployed to Afghanistan. Instead, the new fighter bombers were exclusively allocated to Attack Regiments in the potential Western conflict theatre, two of them based in Poland and two in Eastern Germany.
The basic version of the aircraft was produced at Factory 31, at Tbilisi, in the Soviet Republic of Georgia. Between 1969 and 1975, 182 Su-21 were produced. Much like the Su-15 interceptor variants, there were no exports, the Soviet/Russian Air Force remained the only operator - the more versatile MiG-23/27 filled that role. Later, foreign customers would receive the Su-25K from Sukhoi's export program, as well as the Su-20 and 22 VG fighter bombers.
During its service career, the Su-21 was constantly upgraded. One of the most significant changes was an MLU programme which, among others, introduced the 'Shkval' optical TV and aiming system, which was coupled with a new 'Prichal' laser rangefinder and target designator in an enlarged nosecone. This system enabled the aircraft to carry out all-weather missions, day and night, and also allowed to deploy the new 'Vikhr' laser-guided, tube-launched missiles, which were very effective against armored vehicles.
These updated aircraft received the designation Su-21D ('dorabotanyy' = updated). Two respective prototypes were built in 1982–84, and all aircraft were brought to this standard until 1988.
The only engagement of the Su-21 in a real combat scenario was its employment during the First Chechen War - which also signalized the type's retirement, after the conflict was over. Together with other Russian Air Force air assets, The Su-21s achieved air supremacy for Russian Forces, destroying up to 266 Chechen aircraft on the ground. The entire Air Force assets committed to the Chechen campaign between 1994 and 1996 performed around 9,000 air sorties, with around 5,300 being strike sorties. The 4th Russian Air Army had 140 Su-17Ms, Su-21Ds, Su-24s and Su-25s in the warzone supported by an A-50 AWACS aircraft. The employed munitions were generally unguided bombs and rockets with only 2.3% of the strikes using precision-guided munitions.
The Su-21 was a controversial aircraft. It was relatively reliable, benefitting from its two engines and solid armor, which was seen as one of the most important features for a true battlefield aircraft - inofficially, it was nicknamed 'ома́р' ('lobster') among the crews.
It had a high payload and was a very stable weapon platform. But the type suffered from the fact that it was an interceptor derivate which had originally been designed for dashes at Mach 2.5 at high altitudes. Consequently, the airframe had to be enforced to withstand higher G loads at low level flight and with heavy external loads, so that it was basically overweight. The extra armor did not help much either.
Additionally, the R-13 jet engines (basically the same that powered the 3rd generation MiG-21MF) were thirsty, even when running without the afterburner extra power, so that the type's range was very limited. Its ability to dash beyond Mach 1 even at low altitudes was of little tactical use, even though its high rate of acceleration and climb made it ideal for suprise attacks and delivery of tactical nuclear weapons - the latter was the main reason why the type was kept in service for so long until it was replaced by Su-24 bombers in this role.
Another source of constant trouble was the GSh-30A cannon. While its firepower was overwhelming, the vibrations it caused while firing and the pressure blasts from the nozzles could badly damage the aircraft's lower fuselage. There had been several incidents when the front wheel covers had literally been blown apart, and in one case the gun itself detached from its fuselage mount while firing - hitting the aircraft itself from below!
In the end, the Su-21 could not live up to the expectations of its intended role - even though this was less the aircraft's fault: the military demands had been unclear from the beginning, and the T-58Sh had been a second- choice solution to this diffuse performance profile.
Eventually the MiG-27 and also the Su-17/22 family as well as the biggher Su-24 tactical bomber, thanks to their variable geometry wings, proved to be the more flexible aircraft for the ground attack/fighter bomber role. But the lessons learned from the Su-21 eventually found their way into the very successful, subsonic Su-25 ('Frogfoot') family. The last Su-21D was retired in January 1997, after a service career of 25 years.
General characteristics
Crew: 1
Length (with pitot): 17.57 m (57 ft 6 1/4 in)
Wingspan: 12.24 m (40 ft 1 in)
Height: 4.84 m (15 ft 10 in)
Empty weight: 11.225 kg (24.725 lb)
Loaded weight: 17.500 kg (38.580 lb)
Powerplant:
2× Tumansky R-13-300 turbojets,each rated at 40.21 kN (9,040 lbf) dry and at 70.0 kN (15,730 lbf) with afterburner
Performance
Maximum speed: 1.250km/h (777mph/674nm) at sea level
Range: 1.380 km (855 ml)
Ferry range: 1.850 km (1.146 mi)
Service ceiling: 17.000 m (55.665 ft)
Armament
1× GSh-30A gatling gun with 280 RPG in the lower fuselage
9× hardpoints (three under the fuselage, three under each wing) for a weapon load of up to 5.500kg (12.115lb),
including iron bombs, unguided missiles and rocket pods, guided weapons, napalm tanks or gun pods; two R-60 (AA-8 "Aphid") AAMs were typically carried for self-defense on the outer pylon pair
The kit and its assembly:
This whif actually has a real background, as outlined above - OKB Sukhoi actually worked in the late 60ies on a Su-15 derivate as a specialized attack aircraft, since the Soviet Forces lacked that type. The ground attack types then in service were the vintage MiG-17 and converted MiG-19 fighters, as well as the fast but very limited Su-7 - either outdated fighters or a fighter-bomber with insufficient range and payload.
Specifications for a ground attack aircraft were unclear at that time, though. Supersonic capability was still seen as a vital asset for any military aircraft, and WWII tactics were still the basis for close air support duties. The T-58Sh was eventually one design direction that would keep development time and costs low, starting with a proven basic airframe and adapting it to a new (and very different) role.
The Su-15, from which the T-58Sh was derived, originally was a Mach 2 interceptor, solely armed with missiles. Making THIS a ground attack aircraft surely was a huge step. The projected Su-15Sh, how the aircrfat was also called, was still to be supersonic, since this was seen as a vital asset at that time. This concept would eventually be a dead end, though, or, alternatively, result in the lighter and much cheaper MiG-27 tactical fighter in the 70ies. But it should still take some more years until a subsonic, simple and dedicated aircraft (the T-8, which made its maiden flight in 1975 and became later the Su-25 'Frogfoot') would be the 'right' direction for the new shturmovik. The Su-15Sh actually never left the drawing board, the swing-wing Su-17/20/22 more or less took its place in real life.
With that background my idea was to build a model of the ground attack Su-15 derivate in front line service in the mid 80ies, at the Cold War's peak and used by the Group of Soviet Forces in (Eastern) Germany. The Su-21 designation is fictional. But since the aircraft would be SO different from the Su-15 interceptor I can hardly imagine that it would have been called Su-15Sh in service. Since its cousin, the MiG-27, also received a new designation, I decided to apply the Su-21 code (which was never applied to a real aircraft - those Su-15 versions called Su-21 are just misnomers or speculations of Western 'experts' when the Iron Curtain was still up).
As a coincidence, I had all 'ingredients' at hand:
● Fuselage and fin from a PM Model Su-15
● Nose section from an Academy MiG-27 (leftover from the Q-6 kitbach)
● Wings and horizontal stabilizers from an ESCI A-7
The A-7 wings have slightly more sweep than what the drafted T-58Sh had (45° vs. 40°), as far as I can tell from profiles, but otherwise they fit in shape and size. I just cut the orginal leading edge away, sculpted a new front from putty, and the result looked very good.
What became tricky were the landing gear wells. Part of the Su-15 landing gear retracts into the lower fuselage, and mating this with the Corsair's wings and the potential space for the landing gear there did not match up properly -the wings would end up much too far behind.
After some trials I decided to cut out the landing gear wells on the lower side of the wings, relatively far forward, and cut out a part of the lower fuselage, reversed it, so that the landing gear wells woukd be placed about 5mm further forward, and the wings were finally attached to the fuselage so that these would match the respective openings on the fuselage's bottom. This was more or less the only major and unexpected surgery, and the original Su-15 landing gear could be retained.
Using the A-7's stabilizers was also a bit off the original concept (the T-58Sh appeared to keep the original parts), but I found that the more slender but wider A-7 parts just made the aircraft look more homogenous?
Grafting the MiG-27 cockpit (which was taken OOB) onto the fuselage was not a big problem, since the intersection is of simple shape and fits well by height and width. I made a vertical cut on the Su-15 fuselage in the middle of the air intake area, which would later be hidden through the air intakes. The latter were taken from the Su-15, but simplified: the intake became simple and "vertical", and the large, orginal splitter plates were replaced by the shorter speiceimen from the MiG-27 kit. The fit almost perfectly, are just a bit short, so that a small hole had to be filled with styrene strips on the lower side.
The fin was taken OOB, just as on the propsed real aircraft. The resulting side profile reminds VERY much of a Dassault Étendard on steroids...? The whole thing also looks a bit like the missing link between the Su-15 and the later Su-24 fighter bomber - esp. when you know the Fencer's fixed-wing T-6 prototype.
Externally, the gatling gun (also taken from the leftoevr MiG-27) and a total of nine hardpoints were added - three under the fuselage, flanking the gun, and six under the outer wings.
Since the Su 15 is a pretty large aircraft, I used the opportunity to equip the aircraft with serious air-to-ground ordnance, a pair of TV-guided Kh-29T (AS-14 "Kedge") missiles from an ICM USSR weapon set and a pair of R-60 AAMs, leftover from an ESCI Ka-34. Furthermore, chaff/flare dispensers were added to the rear upper fuselage, as well as some antennae and the pitots.
Actually, this kitbash was less complicated as expected. Needed lots of putty, sure, but this would also have been needed on the OOB Su-15 from PM Models, as it is a primitive and crude model kit. Here, it found a good use. One drawback is, though, that the surface lacks detail: the PM Model Su-15 is bleak (to put it mildly), and the re-used A-7 wings lost much of their engraved details to leftover paint or sanding - paint tricks would have to mend this.
Painting and markings:
As a frontline service aircraft, this one would receive a tactical camouflage pattern. The Soviet Air Force offers a wide range of options, ranging from boring to bizarre, and I settled for a typical four-color camouflage with light blue undersides:
● Humbrol 119 (Light Earth)
● Humbrol 159 (Khaki Drab)
● Humbrol 195 (Chrome Oxide Green, RAL 6020)
● Testors 2005 (Burnt Umber)
● Humbrol 115 (Russian Blue) for the lower surfaces
The paint scheme was inspired by a East Germany-based Su-17, the colors are guesstimates, based on pictures of real-life Soviet aircraft.
Cockpit interior was painted in typical, infamous Soviet/Russian turqoise (*Argh*), the complete landing gear was painted in Aluminum (Humbrol 56); the wheel discs became bright green (Humbrol 131), di-electric panels (e .g. the fin tip) received a coat in Forest Green (Humbrol 149, FS 34092).
The model was weathered through some counter-shading with lighter tones of the five basic colors, a wash with black ink and some additional stains and blotches with different shades of green and brown, including Humbrol 98 118, 128, 151 - even some RLM 82 from Testors found its way onto the aircraft!
Decals and markings were puzzled together from various aftermarket sheets, and are based on real life pictures of Soviet/Russian aircraft based in Eastern Germany.
I also added some bare metal stains at the leading edges and soot stains around the gun. Since the kitbashed model was pretty bleak, I tried to add painted panel lines - using a thin brush and a mix of matt varnish and black. The counter-shading applied before enhances this effect, and if you do not look too closely at the model, the result is O.K.
Finally, everything was sealed under a coat of matt acrylic varnish.
The international military-technical forum ARMY-2016.
Kubinka Airbase.
Международный военно-технический форум АРМИЯ-2016.
Аэродром Кубинка.
SU Á FEU BY DEABRU BELTZAK (ES) FT. MOTUS
Based on urban dance, fire and rhythm, Su á Feu presented by Basque company Deabru Beltzak explores urban space from a fantastic new angle. Peculiar characters reminiscent of beings from the future invade the street, transforming it into a space where modern rituals involving movements from daily life blend with rhythms from different parts of the world and primitive fire.
Join us in transforming the street into a vital, magical and magnetic fiesta of rhythm and light!*
*https://www.nightfestival.sg/programmes/detail/su-a-feu-by-deabru-beltzak-es
Chimanga Ama la cinta de gimnasia artística con ella empezó a marcar, es toda una campeona olímpica, se merece la medalla de oro a la "cosaherrrmosa"
On 10 July 1992 the 159th Guards Fighter Aviation Regiment flew out of Stargard, Poland. 39 Su-27's went back to Russia.
Cada noche se posaba sobre su ventana a la misma hora que el día anterior para verla caminar, era un ritual que no llegaba a durar un minuto, pero era suficiente para él. Observaba cada detalle de esa hermosura intensa que ella irradiaba. Su pelo castaño iluminado por la blanca luz de la luna, caía sobre su espalda y hombros, esos ojos que parecían estrellas aún en una noche nublada, sus caderas que se contoneaban sutilmente al caminar, una bella silueta que se delineaba con las luces de la calle. Era una escena perfecta, casi robada del balcón de Julieta, solo que éste Romeo no era ningún valiente.
Cobarde, siempre lo fue. Aunque tenía razón para serlo, esta mujer dejaba sin palabras a cualquiera, hasta el más corajudo de los caballeros de tiempos antiguos hubiera quedado paralizado al verla. Tenía luz propia, un aura celestial, digna de poseer alas blancas.
Él ya estaba cegado por este amor, tanto que llegó solo a necesitar verla para sobrevivir. ¿Amor? ¿Obsesión tal vez? No lo se. Lo único que puedo afirmar es la belleza de esta delicada señorita perfectamente comparada con la sutileza de reinas de antaño. Y por otro lado también sé, pues aún lo veo, que él sigue apoyado sobre esa ventana, puerta de sus sueños y marco del cielo de su única estrella.
Estoy a full con la escritura ultimamente, este es el 3er texto que termino esta semana! :D
Visita micamara.es/egipto/ para conocer mejor Egipto.
Navega en micamara.es/ para disfrutar de arte, historia, folclore, fauna y flores de otros lugares del mundo.
La Virgen de las Angustias, que bendecirá Granada con Su presencia pasadomañana, en la Carrera que lleva su nombre, la Carrera de la Virgen, con los enormes plátanos de paseo que la llenan de verde
Cofradía Penitencial de la Sagrada Pasión de Cristo (1531)
Fue fundada en 1531. Su nombre primigenio según se desprende de un documento del año 1577 es el de Cofradía de la Sagrada Pasión de Cristo y Cofradía de la Santísima Pasión de Nuestro Señor Jesucristo. A partir de 1805 se puede leer Cofradía de Nuestra Señora de la Pasión y Muerte de Nuestro. Señor Jesucristo. Por lo que parece el nombre original era el de La Pasión de Cristo y al llamar Virgen de la Pasión a la imagen de la Piedad que presidió la Iglesia, y que actualmente se encuentra en la iglesia del Real Monasterio de San quirce y Santa Julita, la advocación Mariana fue adquiriendo importancia hasta unirse al nombre de la Cofradía.
Se agregó posteriormente a la Venerable Compañía de San Juan Bautista Degollado, llamada de La Misericordia de la nación Florentina fundada en Roma, con lo cual todas las bulas y privilegios concedidos por los papas a la Cofradía italiana pasan a la vallisoletana en razón de su agregación por bulas de Julio III, Paulo III y Pió IV y Pió V.
La fiesta de la Cofradía actualmente es el 29 de agosto, día en que se celebra la Degollación de San Juan Bautista.
La Obra de Misericordia que cuidaban especialmente los cofrades de la Pasión era la de ayudar y consolar a los condenados a muerte y disponerles a bien morir, acompañándoles al suplico, y una vez ejecutados, darles cristiana sepultura, así como atender a las necesidades de sus familias, por lo cual, salían pidiendo limosna trece diputados por las calles haciendo repicar unas campanillas de muy triste sonido diciendo en voz alta: "Haga bien para hacer bien por el anima de este hombre que sacan a ajusticiar". Acabada la ejecución y con permiso que pedían a los alcaldes de la sala del crimen se hacían cargo del cadáver del ajusticiado para ser enterrado en el Humilladero, que tenía la Cofradía, a las afueras al otro lado del Puente Mayor, el Domingo de Lázaro acudían hasta allí para recoger los huesos y después de una larga procesión con sus paradas y rezos de misereres, les daban definitiva sepultura en el Convento de San Francisco, acto que realizaba desde 1578 la Cofradía de la Pasión, tuvo estrecha relación con el Convento de la Trinidad Calzada sito en la actual calle de María de Molina, a continuación del Real Monasterio de San Joaquín y Santa Ana.
El arzobispo de Valladolid D. Remigio Gandásegui, considerando que la iglesia de la Pasión estaba en estado ruinoso, ordenó que fuera abandonada, creando a la Cofradía el grave problema de no saber donde guardar los pasos que tenía. No obstante el prelado ofreció la posibilidad de guardarles en el Museo Nacional de Escultura donde no todas fueron a parar. Por expreso deseo de la Cofradía el Santísimo Cristo del Perdón no se trasladó al Museo, encontrando asilo en la de San Felipe Neri, alllí permaneció hasta 1948, año en que el Arzobispo de Valladolid Dr. García García decidió trasladarlo al Santuario Nacional de la Promesa, en donde se quedó la imagen de la Virgen de la Pasión. La Cofradía del Santísimo Cristo del Perdón desde que abandonó su iglesia adoptó este nombre de una antigua comisaría de la Cofradía de la Pasión creada en 1700, nombre que mantuvo hasta 1992, año en que removiendo papeles recobra su primitivo y originario nombre, así como una gran parte de su patrimonio, imaginero y procesional.
En 1954 se traslada junto con la imagen del Cristo del Perdón a la Iglesia de Santa María Magdalena el 22 de noviembre.
El 23 de octubre de 1993 recuperado su nombre y los documentos que lo atestiguan se trasladan a la Iglesia del Real Monasterio de San Quirce y Santa Julita. A parte de la fiesta del 29 de agosto Degollación de San Juan Bautista celebro el 15 de septiembre, festividad de Los Dolores de la Virgen, a su patrona Nuestra Señora María Santísima del La Pasión.
Hábito:
Túnica y capa gris, capirote negro, cíngulo y guantes blanco, zapato y calcetín negro.
Procesiones en las que participa:
Sábado de Pasión: Ejercicio público de Las Cinco Llagas portando a hombros al Santísimo Cristo de las Cinco Llagas.
Jueves Santo: Procesión de Oración y Sacrificio, portando a hombros los pasos de Nuestro Padre Jesús Flagelado y al Santísimo Cristo del Perdón.
Viernes Santo: Procesión General de la Sagrada Pasión del Redentor acompañando al Santísimo Cristo del Perdón.
Imágenes que procesiona:
Santísimo Cristo del Perdón (Bernardo del Rincón, 1656). Se le atribuyó a varios escultores hasta la aparición de un contrato del hoy autor reconocido con la Cofradía de la Pasión por cien ducados de vellón, siendo elección del pintor Diego Valentín Díaz. Desfiló por primera vez en 1657 y según los escritos de 1661, se le llamaba "Paso de la Humildad de Cristo". Se conserva en su actual sede desde 1993 tras pasar por San Felipe Neri, el Santuario y la iglesia de la Magdalena.
Cristo de las Cinco Llagas (Manuel Álvarez, 1548-1563). Estuvo en el Museo de Escultura y formando parte del paso Todo está consumado desde los años 1920 hasta 1993 en que le recuperaron sus propietarios. Procesionado en: Ejercicio Público de las Cinco Llagas (Sábado de Pasión).
Nuestro Padre Jesús Flagelado (Escuela Castellana, h. 1650).
Sede: Iglesia Conventual de San Quirce y Santa Julita (Plaza de la Trinidad)
The main fighter aircraft in the Royal Malaysian Air Force is the Russian built Sukhoi Su-30MKM. These aircraft have amazing agility thanks to vectored nozzle technology. M52-16 is seen deploying its Brake Chute on landing after its display at LIMA 2015.
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“The Cross is not a Roman pole, but the wood on which God wrote his gospel”.
“La Croce non è un palo dei romani, ma il legno su cui Dio ha scritto il suo vangelo.
(Alda Merini)
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Good Friday is an anniversary which in Sicily acquires a cathartic meaning for those who are searching, not only photographically, for popular traditions (we find them widespread throughout Sicily), which are nothing other than a social, cultural event, which merge into a single past and present; from the web "popular traditions are a historical memory linked to customs and rituals that have given shape to the values and beliefs of that culture". Easter in Sicily can be a source of research, it can appear not without contradictions, citing the thoughts of that great Sicilian thinker Leonardo Sciascia, for him Sicily cannot be called Christian referring to the Sicilian festivals, at most it is only in appearance, in those properly pagan explosions tolerated by the Church; Sciascia addresses the topic as an introductory essay in the book "Religious celebrations in Sicily", illustrated with photographs of a young and still unknown Ferdinando Scianna, a book that did not fail to raise some controversy due to the Sicilian thinker's introductory note, thus being in open controversy with the sacredness of that popular Sicilian devotion (the book was criticized by the Holy See newspaper, the Osservatore Romano), Sciascia writes: “what is a religious festival in Sicily? It would be easy to answer that it is anything but a religious holiday. It is, first of all, an existential explosion; the explosion of the collective id, where the collectivity exists only at the level of the id. Since it is only during the celebration that the Sicilian emerges from his condition of a single man, which is the condition of his vigilant and painful superego, to find himself part of a class, of a class, of a city". Another Sicilian thinker, writer and poet, Gesualdo Bufalino, provides interesting indications on the meaning that Sicilians give to these traditional popular events, he says "during Easter every Sicilian feels not only a spectator, but an actor, first sorrowful and then exultant , for a Mystery that is its very existence. The time of the event is that of Spring, the season of metamorphosis, just as the very nature of the rite is metamorphic in which, as in a story from the Puppet Opera, the battle of Good against Evil is fought. Deception, Pain and Triumph, Passion, Death and Resurrection of Christ are present."
In short, Easter in Sicily is a deeply felt anniversary throughout the island since ancient times, it has always had as its fulcrum the emotional participation of the people, with representations and processions which have become rites and traditions which unequivocally characterize numerous Sicilian centres, which they recall the most salient moments narrated in the Gospels and which recall the Passion, Death and Resurrection of Jesus Christ, with processions formed by the various brotherhoods (sometimes with theatrical re-enactments) which have within them contents and symbols often coming from the Spanish domination, which took place in Sicily between the 16th and 17th centuries. This year, on the occasion of Good Friday I went to the pretty town of Licodia Eubea (in the province of Catania), I'll start by saying that in this procession a unique character comes to life in statue form that cannot be found anywhere else place in Sicily, it is called "Ciurciddu" (translated "Circello"), he pulls Christ with a rope tied around his neck while he carries the Cross, this bad character has a profound symbolic-allegorical meaning, he represents "the Evil that exists in the world, the refusal towards the Truth announced by Christ", causing him suffering by pulling him with the rope tied around his neck. The boys and men "carriers of the floats" gather together, preparing for the moment when, once the procession has begun, the "'a Giunta" will take place around 10:00 a.m., or rather the very painful "encounter" between Christ ( who carries the Cross, linked to Ciurciddu) and His Mother of Sorrows (with her heart pierced by a sword, an iconic image of Spanish origin), during the meeting "the bow or greeting takes place" between the two floats, it is the Greeting that Mother and Son do in one of the most characteristic moments of this procession. While the two vares are brought to an ancient church, another event takes place which strongly characterizes this tradition, the "auction of the Cross" takes place, the ability to carry the Cross, weighing 70 kg, on one's shoulder, up to Churc of Calvary (a long uphill journey to reach the upper part of the town), is put up for auction, the highest bidder wins this possibility, after which an extraordinary event occurs: the devotee who wins the auction is embraced by numerous villagers, with great transport and affection, this is because those who participate in the auction certainly do so out of devotion but also possibly because they have had someone in their family with more or less serious health problems, and this is why people hug them and encourage them by showing their closeness . In the afternoon the procession resumes, now the Christ is dead, he is in the vara with the Urn, and is called "'u Signuri' a cascia" (by which term means "the Lord in the coffin"), the two vare (the dead Christ and His Mother of Sorrows) are carried in procession up to the Church of Calvary, where the heavy and ancient Cross carried on the shoulder by the devotee was hoisted; here, even if Christ is dead, the Crucifixion takes place , the mystical moment is accompanied by ancient songs-lamentations by the singers of the SS association. Crucifix; subsequently Christ is placed from the Cross in the urn, and descends back into the center of the town, where in the church of the Capuchin Fathers the devout people "make peace with the Lord", an act of reconciliation and request for forgiveness before the figure of Christ Died. Subsequently, late in the evening, Christ and his Mother are led into the Mother Church.
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Il Venerdì Santo è una ricorrenza che in Sicilia acquista un significato catartico per chi è alla ricerca, non solo fotografica, delle tradizioni popolari (le troviamo diffuse in tutta la Sicilia), che altro non sono che un evento sociale, culturale, che fondono in un tutt’uno passato e presente; dal web “le tradizioni popolari sono una memoria storica legata ad usanze e ritualità che hanno dato forma ai valori e alle credenze di quella cultura”. La Pasqua in Sicilia può essere fonte di ricerca, essa può apparire non priva di contraddizioni, citando il pensiero di quel grande pensatore Siciliano che fu Leonardo Sciascia, per lui la Sicilia non può dirsi cristiana riferendosi alle feste Siciliane, al massimo lo è solo in apparenza, in quelle esplosioni propriamente pagane, tollerate dalla Chiesa; Sciascia affronta l’argomento come saggio introduttivo nel libro “Feste religiose in Sicilia”, illustrato con fotografie di un giovane ed ancora sconosciuto Ferdinando Scianna, libro che non mancò di sollevare qualche polemica per la nota introduttiva del pensatore Siciliano, essendo così in aperta polemica con la sacralità di quella devozione popolare Siciliana (il libro fu oggetto di una stroncatura da parte del quotidiano della Santa Sede, l’Osservatore Romano), Sciascia scrive: “che cos’ è una festa religiosa in Sicilia? Sarebbe facile rispondere che è tutto, tranne che una festa religiosa. E’, innanzi tutto, un’esplosione esistenziale; l’esplosione dell’es collettivo, dove la collettività esiste soltanto a livello dell’es. Poiché e soltanto nella festa che il siciliano esce dalla sua condizione di uomo solo, che è poi la condizione del suo vigile e doloroso super io, per ritrovarsi parte di un ceto, di una classe, di una città ”. Altro pensatore, scrittore e poeta Siciliano, Gesualdo Bufalino, fornisce indicazioni interessanti sul senso che i Siciliani danno a questi eventi popolari tradizionali, egli dice “durante la Pasqua ogni siciliano si sente non solo uno spettatore, ma un attore, prima dolente e poi esultante, per un Mistero che è la sua stessa esistenza. Il tempo dell’evento è quello della Primavera, la stagione della metamorfosi, così come metamorfica è la natura stessa del rito nel quale, come in un racconto dell’Opera dei Pupi, si combatte la lotta del Bene contro il Male. Sono presenti l’Inganno, il Dolore e il Trionfo, la Passione, la Morte e la Resurrezione di Cristo”.
In breve, la Pasqua in Sicilia è una ricorrenza profondamente sentita in tutta l’isola fin dall’antichità, essa ha sempre avuto come fulcro la commossa partecipazione del popolo, con rappresentazioni e processioni divenuti riti e tradizioni che caratterizzano inequivocabilmente numerosissimi centri Siciliani, che rievocano i momenti più salienti narrati nei Vangeli e che ricordano la Passione, la Morte e la Resurrezione di Gesù Cristo, con cortei formati dalle varie confraternite (a volte con rievocazioni teatrali) che hanno in se contenuti e simbologie spesso provenienti dalla dominazione Spagnola, avvenuta in Sicilia tra il XVI ed il XVII secolo.
Quest’anno, in occasione del Venerdì Santo mi sono recato nel grazioso paese di Licodia Eubea (in provincia di Catania), inizio col dire che in questa processione prende vita, in forma statuaria, un personaggio unico che non si trova in nessun’altro luogo della Sicilia, si chiama “Ciurciddu” (tradotto “Circello”), egli tira con una corda legata al collo il Cristo mentre porta la Croce, questo tristo personaggio ha un profondo significato simbolico-allegorico, egli rappresenta “il Male che c’è nel mondo, il rifuto verso al Verità annunciata dal Cristo”, creandogli sofferenza tirandolo con la corda legata al collo. I ragazzi e gli uomini “portatori delle vare” si riuniscono tra loro, preparandosi al momento in cui, iniziata la processione, si realizzerà attorno alle ore 10:00 “ ‘a Giunta”, ovvero “l’incontro” dolorosissimo tra il Cristo (che porta la Croce, legato a Ciurciddu) e Sua Madre l’Addolorata (col cuore trafitto da una spada, immagine iconica di origine spagnola), durante l’incontro “avviene l’inchino o saluto” tra le due vare, è il Saluto che Madre e Figlio si fanno in uno dei momenti più caratteristici di questa processione. Mentre le due vare vengono portate in una antica chiesa, avviene un altro evento che caratterizza fortemente questa tradizione, ha luogo “l’asta della Croce”, il poter portare in spalla la Croce, del peso di 70 kg, fino alla Chiesa del Calvario (un lungo percorso in salita a raggiungere la parte alta del paese), viene messo all’asta, il maggiore offerente si aggiudica questa possibilità, dopodiché avviene un fatto straordinario: il devoto che si è aggiudicato l’asta viene abbracciato da numerosissimi paesani, con grande trasporto ed affetto, questo perché chi partecipa all’asta lo fa certamente per devozione ma anche possibilmente perché in famiglia ha avuto qualcuno con problemi più o meno gravi di salute, ed è per questo che le persone lo abbracciano e lo incoraggiano mostrandogli la loro vicinanza. Nel pomeriggio riprende la processione, adesso il Cristo è morto, si trova nella vara con l’Urna, ed è chiamato “ ‘ u Signuri ‘ a cascia” (col quale termine si intende “il Signore nella cassa da morto”), le due vare (il Cristo morto e Sua Madre l’Addolorata) vengono portate in processione fin sopra la Chiesa del Calvario, dove la pesante ed antica Croce portata in spalla dal devoto è stata issata, qui, anche se il Cristo è morto, avviene la Crocifissione, il mistico momento è accompagnato da antichi canti-lamentazioni ad opera dei cantori dell’associazione SS. Crocifisso; successivamente il Cristo viene deposto dalla Croce nell’urna, e ridiscende nel centro del paese, ove nella chiesa dei Padri Cappuccini il popolo dei devoti “ fa ‘ a Paci co’ Signuri”, atto di riconciliazione e richiesta di perdono innanzi la figura del Cristo Morto. Successivamente, in tarda serata, il Cristo e Sua Madre vengono condotti nella Chiesa Madre.
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Moscow Frunze Central Aerodrome, 29 August 1993.
A great looking SU-7UM 'Moujik'.
There used to be a large collection of Russian military aircraft near the centre of Moscow.
The amazing collection was still intact in 1993 when I first visited. An entrance fee was asked to get access.
Frunze Aerodrome (or Khodinka) was Moscow's first international airport. It closed in 2003. Most aircraft got vandalised after that and were scrapped. Some survived and moved to a better place.