A Qibla Mušarriqa for the First Al-Aqṣà Mosque?
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Church Building Terms What Do Narthex and Nave Mean? Our Church Building Terms Explained a Virtual Class Prepared by Charles E.DICKSON,Ph.D
Welcome to OUR 4th VIRTUAL GSP class. Church Building Terms What Do Narthex and Nave Mean? Our Church Building Terms Explained A Virtual Class Prepared by Charles E.DICKSON,Ph.D. Lord Jesus Christ, may our church be a temple of your presence and a house of prayer. Be always near us when we seek you in this place. Draw us to you, when we come alone and when we come with others, to find comfort and wisdom, to be supported and strengthened, to rejoice and give thanks. May it be here, Lord Christ, that we are made one with you and with one another, so that our lives are sustained and sanctified for your service. Amen. HISTORY OF CHURCH BUILDINGS The Bible's authors never thought of the church as a building. To early Christians the word “church” referred to the act of assembling together rather than to the building itself. As long as the Roman government did not did not recognize and protect Christian places of worship, Christians of the first centuries met in Jewish places of worship, in privately owned houses, at grave sites of saints and loved ones, and even outdoors. In Rome, there are indications that early Christians met in other public spaces such as warehouses or apartment buildings. The domus ecclesiae or house church was a large private house--not just the home of an extended family, its slaves, and employees--but also the household’s place of business. Such a house could accommodate congregations of about 100-150 people. 3rd-century house church in Dura-Europos, in what is now Syria CHURCH BUILDINGS In the second half of the 3rd century, Christians began to construct their first halls for worship (aula ecclesiae). -
Reconstructing Herod's Temple Mount in Jerusalem
Reconstructing Herod’s Temple Mount in Jerusalem By Kathleen RitmeyerLeen Ritmeyer Herod the Great—master builder! Despite his crimes and excesses, no one can doubt his prowess as a builder. One of his most imposing achievements was in Jerusalem. To feed his passion for grandeur, to immortalize his name and to attempt to win the loyalty of his sometimes restive Jewish subjects, Herod rebuilt the Temple (1 on the reconstruction drawing) in lavish fashion. But first he extended the existing platform—the Temple Mount—on which it was built, doubling its size. Herod ruled from 37 to 4 B.C. Scarcely a generation after the completion of this unparalleled building project,a the Romans ploughed the Temple Mount and built a temple to Jupiter on the site. Not a trace of Herod’s Temple was left. The mighty retaining walls of the Temple Mount, however, were deliberately left lying in ruins throughout the Roman (70–324 A.D.) and Byzantine (324–640 A.D.) periods—testimony to the destruction of the Jewish state. The Islamic period (640–1099) brought further eradication of Herod’s glory. Although the Omayyad caliphs (whose dynasty lasted from 633 to 750) repaired a large breach in the southern wall of the Temple Mount, the entire area of the Mount and its immediate surroundings was covered by an extensive new religio-political complex, built in part from Herodian ashlars that the Romans had toppled. Still later, the Crusaders (1099–1291) erected a city wall in the south that required blocking up the southern gates to the Temple Mount. -
The Capital Sculpture of Wells Cathedral: Masons, Patrons and The
The Capital Sculpture of Wells Cathedral: Masons, Patrons and the Margins of English Gothic Architecture MATTHEW M. REEVE For Eric Fernie This paper considers the sculpted capitals in Wells cathedral. Although integral to the early Gothic fabric, they have hitherto eluded close examination as either a component of the building or as an important cycle of ecclesiastical imagery in their own right. Consideration of the archaeological evidence suggests that the capitals were introduced mid-way through the building campaigns and were likely the products of the cathedral’s masons rather than part of an original scheme for the cathedral as a whole. Possible sources for the images are considered. The distribution of the capitals in lay and clerical spaces of the cathedral leads to discussion of how the imagery might have been meaningful to diCerent audiences on either side of the choir screen. introduction THE capital sculpture of Wells Cathedral has the dubious honour of being one of the most frequently published but least studied image cycles in English medieval art. The capitals of the nave, transepts, and north porch of the early Gothic church are ornamented with a rich array of figural sculptures ranging from hybrid human-animals, dragons, and Old Testament prophets, to representations of the trades that inhabit stiC-leaf foliage, which were originally highlighted with paint (Figs 1, 2).1 The capitals sit upon a highly sophisticated pier design formed by a central cruciform support with triple shafts at each termination and in the angles, which oCered the possibility for a range of continuous and individual sculpted designs in the capitals above (Fig. -
Liturgical Architecture: the Layout of a Byzantine Church Building
Liturgical Architecture: The Layout of a Byzantine Church Building Each liturgical tradition has its own requirements and expectations for the liturgical space; here, we will look at the St. Nicholas Church building and its symbolism in the Byzantine tradition. The nave The most ancient plan of Christian architecture is probably the basilica, the large rectangular room used for public meetings, and many Byzantine churches today are organized around a large liturgical space, called the nave (from the Greek word for a ship, referring to the ark of Noah in which human beings were saved from the flood). The nave is the place where the community assembles for prayer, and symbolically represents the Church "in pilgrimage" - the Church in the world. It is normally adorned with icons of the Lord, the angels and the saints, allowing us to see and remember the "cloud of witnesses" who are present with us at the liturgy. At St. Nicholas, the nave opens upward to a dome with stained glass of the Eucharist chalice and the Holy Spirit above the congregation. The nave is also provided with lights that at specific times the church interior can be brightly lit, especially at moments of great joy in the services, or dimly lit, like during parts of the Liturgy of Presanctified Gifts. The nave, where the congregation resides during the Divine Liturgy, at St. Nicholas is round, representing the endlessness of eternity. The principal church building of the Byzantine Rite, the Church of Holy Wisdom (Hagia Sophia) in Constantinople, employed a round plan for the nave, and this has been imitated in many Byzantine church buildings. -
Chapter 3 Translatio Templi: a Conceptual Condition for Jerusalem References in Medieval Scandinavia
Eivor Andersen Oftestad Chapter 3 Translatio Templi: A Conceptual Condition for Jerusalem References in Medieval Scandinavia The present volume traces Jerusalem references in medieval Scandinavia. An impor- tant condition for these references is the idea of Christians’ continuity with the bibli- cal Jerusalem and the Children of Israel. Accordingly, as part of an introduction to the topic, an explanation of this idea is useful and is given in the following. According to the Bible, God revealed himself to the Jews and ordered a house to be built for his dwelling among his people.1 The high priest was the only one allowed to enter His presence in the innermost of the Temple – the Holy of Holies was the exclusive meeting place between God and man. This was where the Ark of the Covenant was preserved, and it was the place for the offering at the Atonement day. The Old Testament temple cult is of fundamental significance for the legitimation of the Christian Church. Although this legitimation has always depended on the idea of continuity between Jewish worship and Christian worship, the continuity has been described variously throughout history. To the medieval Church, a transfer of both divine presence and sacerdotal authority from the Old to the New Covenant was crucial. At the beginning of the twelfth century, which was both in the wake of the first crusade and the period when the Gregorian papacy approved the new Scandinavian Church province, a certain material argument of continuity occurred in Rome that can be described according to a model of translatio templi.2 The notion of translatio can be used to characterize a wide range of phenomena and has been one of several related approaches to establish continuity over time in western history.3 The “translation of the empire,” translatio imperii, was defined by 1 1 Kgs 6:8. -
Nave Plans Reflect Years of Listening, Revising
February 2019 | Issue No. 125 A presence Sacred in the center of Memphis Photo by Fleming Architects In the plan for the chancel, the high altar moves closer to the people, and the Communion rail at the base of the stairs defines the new perimeter. The flooring adds a clean finish to the worship space. Nave Plans Reflect years of Listening, Revising nnual meetings at Church of the Holy Communion are in muted shades of gray and white, adds a clean, cool finish to Abusy, boisterous times when the parish discusses its business the floors and aisle. and accomplishments. The improvements include the narthex, now an underused An awed quiet fell over the room in this year’s meeting when and poorly lit entry, the unseen heating and cooling systems in Sandy pulled back the cloth on the stunning views of what the attic and dated bathrooms near the front door. The flooring architect Scott Fleming says is possible for the nave. extends to the narthex. Natural light streams through new The nave is awash in a gentle light that highlights its graceful windows in both the east and west doors of the narthex and arches, creamy walls and ceiling. The chancel, where so many through a newfound transom over the church’s front doors. sacred moments in the life of this church family happen, is open Flooding the entry with natural light and creating windows and more accessible. The high altar is closer to the people. And the in the back wall of the church immediately connects people communion rail, where the faithful gather each week, is moved to arriving for church to the sacred beauty of the central place of the base of the chancel stairs, creating a more flexible space. -
The Cathedral Close
Welcome. No matter your background, your faith, or your reason for visiting, we welcome you to Washington National Cathedral. Each year, the Cathedral opens its doors to hundreds of thousands of worshipers and visitors who come to find peace and inspiration, listen to beautiful music, and experience the 1 2 2 north rose south rose 4 5 5 6 7 8 8 9 Cathedral’s extraordinary art and architecture. CATHEDRAL ART AND ARCHITECTURE Built of Indiana limestone, the Cathedral is the sixth largest in Main Level (the Nave) 4 A tribute to those who have served in our armed forces, the 7 At the east end of the Cathedral nave is the HIGH 9 The Cathedral’s great iconographic story—the movement i The artwork in the BAPTISTRY depicts symbols the world. Its design is unique and not copied from any earlier art of WAR MEMORIAL CHAPEL tells stories of sacrifice ALTAR. One-hundred-and-ten figures of men and women of humankind from creation to redemption—begins outside representing baptism. A nearby elevator provides building. The building is shaped like a cross, with a long nave— 30 minutes—highlights and the struggle for freedom. exemplifying the highest ideals of Christianity surround at the WEST FAÇADE. The art here explores themes of wheelchair access to the lower level. the central figure of Christ in Majesty, completing the creation. The carved tympana above three massive portals a tenth of a mile—and two shorter transepts. Follow the numbered items to tour the “must see” highlights A statue of the Christ Child welcomes visitors to memorial bays—north 5 iconographic story with the redemption of humankind show the creation of day, the creation of humankind, and the of the Cathedral’s art and architecture. -
The Temple Mount in the Herodian Period (37 BC–70 A.D.)
The Temple Mount in the Herodian Period (37 BC–70 A.D.) Leen Ritmeyer • 08/03/2018 This post was originally published on Leen Ritmeyer’s website Ritmeyer Archaeological Design. It has been republished with permission. Visit the website to learn more about the history of the Temple Mount and follow Ritmeyer Archaeological Design on Facebook. Following on from our previous drawing, the Temple Mount during the Hellenistic and Hasmonean periods, we now examine the Temple Mount during the Herodian period. This was, of course, the Temple that is mentioned in the New Testament. Herod extended the Hasmonean Temple Mount in three directions: north, west and south. At the northwest corner he built the Antonia Fortress and in the south, the magnificent Royal Stoa. In 19 B.C. the master-builder, King Herod the Great, began the most ambitious building project of his life—the rebuilding of the Temple and the Temple Mount in lavish style. To facilitate this, he undertook a further expansion of the Hasmonean Temple Mount by extending it on three sides, to the north, west and south. Today’s Temple Mount boundaries still reflect this enlargement. The cutaway drawing below allows us to recap on the development of the Temple Mount so far: King Solomon built the First Temple on the top of Mount Moriah which is visible in the center of this drawing. This mountain top can be seen today, inside the Islamic Dome of the Rock. King Hezekiah built a square Temple Mount (yellow walls) around the site of the Temple, which he also renewed. -
Constantine Triumphal Arch 313 AD Basilica of St. Peter Ca. 324
Constantine Triumphal Arch 313 AD Basilica of St. Peter ca. 324 ff. Old St. Peter’s: reconstruction of nave, plus shrine, transept and apse. Tetrarchs from Constantinople, now in Venice Constantine defeated the rival Augustus, Maxentius, at the Pons Mulvius or Milvian Bridge north of Rome, at a place called Saxa Rubra (“Red rocks”), after seeing a vision (“In hoc signo vinces”) before the battle that he eventually associated with the protection of the Christian God. Maxentius’s Special Forces (Equites Singulares) were defeated, many drowned; the corps was abolished and their barracks given to the Bishop of Rome for the Lateran basilica. To the Emperor Flavius Constantinus Maximus Father of the Fatherland the Senate and the Roman People Because with inspiration from the divine and the might of his intelligence Together with his army he took revenge by just arms on the tyrant And his following at one and the same time, Have dedicated this arch made proud by triumphs INSTINCTV DIVINITATIS TYRANNO Reconstruction of view of colossal Sol statue (Nero, Hadrian) seen through the Arch of Constantine (from E. Marlow in Art Bulletin) Lorsch, Germany: abbey gatehouse in the form of a triumphal arch, 9th c. St. Peter’s Basilicas: vaulted vs. columns with wooden roofs Central Hall of the Markets of Trajan Basilica of Maxentius, 3018-312, completed by Constantine after 313 Basilica of Maxentius: Vaulting in concrete Basilica of Maxentius, 3018-312, completed by Constantine after 313 Monolithic Corinthian column from the Basilica of Maxentius, removed in early 1600s by Pope Paul V and brought to the piazza in front of Santa Maria Maggiore Monolithic Corinthian column from the Basilica of Maxentius, removed in early 1600s by Pope Paul V and brought to the piazza in front of Santa Maria Maggiore BATHS OF DIOCLETIAN 298-306 AD Penn Station NY (McKim, Mead, and White) St. -
Center 5 Research Reports and Record of Activities
National Gallery of Art Center 5 Research Reports and Record of Activities ~ .~ I1{, ~ -1~, dr \ --"-x r-i>- : ........ :i ' i 1 ~,1": "~ .-~ National Gallery of Art CENTER FOR ADVANCED STUDY IN THE VISUAL ARTS Center 5 Research Reports and Record of Activities June 1984---May 1985 Washington, 1985 National Gallery of Art CENTER FOR ADVANCED STUDY IN THE VISUAL ARTS Washington, D.C. 20565 Telephone: (202) 842-6480 All rights reserved. No part of this book may be reproduced without thc written permission of the National Gallery of Art, Washington, D.C. 20565. Copyright © 1985 Trustees of the National Gallery of Art, Washington. This publication was produced by the Editors Office, National Gallery of Art, Washington. Frontispiece: Gavarni, "Les Artistes," no. 2 (printed by Aubert et Cie.), published in Le Charivari, 24 May 1838. "Vois-tu camarade. Voil~ comme tu trouveras toujours les vrais Artistes... se partageant tout." CONTENTS General Information Fields of Inquiry 9 Fellowship Program 10 Facilities 13 Program of Meetings 13 Publication Program 13 Research Programs 14 Board of Advisors and Selection Committee 14 Report on the Academic Year 1984-1985 (June 1984-May 1985) Board of Advisors 16 Staff 16 Architectural Drawings Advisory Group 16 Members 16 Meetings 21 Members' Research Reports Reports 32 i !~t IJ ii~ . ~ ~ ~ i.~,~ ~ - ~'~,i'~,~ ii~ ~,i~i!~-i~ ~'~'S~.~~. ,~," ~'~ i , \ HE CENTER FOR ADVANCED STUDY IN THE VISUAL ARTS was founded T in 1979, as part of the National Gallery of Art, to promote the study of history, theory, and criticism of art, architecture, and urbanism through the formation of a community of scholars. -
A Guide to Al-Aqsa Mosque Al-Haram Ash-Sharif Contents
A Guide to Al-Aqsa Mosque Al-Haram Ash-Sharif Contents In the name of Allah, most compassionate, most merciful Introduction JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ<<<<3 Dear Visitor, Mosques JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ<<<<<4 Welcome to one of the major Islamic sacred sites and landmarks Domes JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ<<<24 of civilization in Jerusalem, which is considered a holy city in Islam because it is the city of the prophets. They preached of the Minarets JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ<<<30 Messenger of God, Prophet Mohammad (PBUH): Arched Gates JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ<<<32 The Messenger has believed in what was revealed to him from his Lord, and [so have] the believers. All of them have believed in Allah and His angels and Schools JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ<<<36 His books and His messengers, [saying], “We make no distinction between any of His messengers.” And they say, “We hear and we obey. [We seek] Your Corridors JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ<<<<44 forgiveness, our Lord, and to You is the [final] destination” (Qur’an 2:285). Gates JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ<<<<46 It is also the place where one of Prophet Mohammad’s miracles, the Night Journey (Al-Isra’ wa Al-Mi’raj), took place: Water Sources JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ<<<54 Exalted is He who took His Servant -
Underground Jerusalem: the Excavation Of
Underground Jerusalem The excavation of tunnels, channels, and underground spaces in the Historic Basin 2015 >> Introduction >> Underground excavation in Jerusalem: From the middle of the 19th century to the Six Day War >> Tunnel excavations following the Six Day War >> Tunnel excavations under archaeological auspices >> Ancient underground complexes >> Underground tunnels >> Tunnel excavations as narrative >> Summary and conclusions >> Maps >> Endnotes Emek Shaveh (cc) | Email: [email protected] | website www.alt-arch.org Emek Shaveh is an organization of archaeologists and heritage professionals focusing on the role of tangible cultural heritage in Israeli society and in the Israeli-Palestinian conflict. We view archaeology as a resource for strengthening understanding between different peoples and cultures. September 2015 Introduction Underground excavation in Jerusalem: From the middle of the The majority of the area of the Old City is densely built. As a result, there are very few nineteenth century until the Six Day War open spaces in which archaeological excavations can be undertaken. From a professional The intensive interest in channels, underground passages, and tunnels, ancient and modern, standpoint, this situation obligates the responsible authorities to restrict the number of goes back one 150 years. At that time the first European archaeologists in Jerusalem, aided excavations and to focus their attention on preserving and reinforcing existing structures. by local workers, dug deep into the heart of the Holy City in order to understand its ancient However, the political interests that aspire to establish an Israeli presence throughout the topography and the nature of the structures closest to the Temple Mount. Old City, including underneath the Muslim Quarter and in the nearby Palestinian village The British scholar Charles Warren was the first and most important of those who excavated of Silwan, have fostered the decision that intensive underground excavations must be underground Jerusalem.