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quarta-feira, 16 de dezembro de 2015

PONT-SAINT-ESPRIT Les collégiens au musée d’Art Sacré pour parler laïcité

Dans le cadre de la semaine de la laïcité, le musée départemental d’Art Sacré de Pont-Saint-Esprit a accueilli cette semaine trois classes de troisième des collèges George-Ville et Notre-Dame.


Hier, au musée d'Art Sacré de Pont (Photo : Thierry Allard / Objectif Gard)



Hier matin, c’était au tour d’une classe du collège privé Notre-Dame d’arpenter les galeries du musée.

Assis en tailleur dans la première salle du musée, les élèves doivent répondre à une première question, posée par l’animatrice de la conservation départementale Cordelia Delaitre : « qu’est-ce que c’est que l’art sacré ? » Les têtes se grattent. « Des grandes œuvres ? » pas que. « Des œuvres anciennes ? » pas toutes. « De l’art qui fait référence à la religion ? » bingo.

Hier, au musée d'Art Sacré de Pont (Photo : Thierry Allard / Objectif Gard)

On passe au sujet du jour : « qu’est ce que c’est pour vous la laïcité ? » Les réponses fusent, dans le mille : « c’est quand les églises sont séparées de l’Etat », « la tolérance envers toutes les religions » et « l’Etat doit être neutre ». Après leur avoir distribué la charte de la laïcité, Cordelia Delaitre va les amener à la découverte d’une sélection d’œuvres du musée.

« L’idée est de connaître ces objets pour comprendre les religions, faire connaissance, et une fois qu’on a fait connaissance, on est beaucoup plus à même de se respecter », explique l’animatrice.

Hier, au musée d'Art Sacré de Pont (Photo : Thierry Allard / Objectif Gard)

Les collégiens passeront par une sculpture en bois datant de l’époque romaine et représentant un romain qui a adopté les rites religieux égyptiens, un sarcophage, des croix de mariniers, des reliques, des objets amérindiens, les trois livres sacrés ou encore le célébrissime blouson de Johnny Halliday, qui a fait la réputation du musée spiripontain. Réceptifs et impliqués, les ados n’en ont pas raté une miette.

« Pour une première, c’est un bon bilan, se félicite la directrice de la conservation départementale Béatrice Roche. On compte le refaire l’année prochaine. »



fonte: @edisonmariotti #edisonmariotti
Cultura e conhecimento são ingredientes essenciais para a sociedade.

A cultura é o único antídoto que existe contra a ausência de amor.

Vamos compartilhar.


Glass Museum of Hsinchu City

Glass Museum located in the Northwest direction of Hsinchu Park was opened officially on December 18, 1999. 


Glass Museum was reconstructed from the Autonomous Club House, which was built in 1936 for use of lodging and feasting when Japanese royal family and government officials came to Taiwan to make the rounds. 

A home recreational atmosphere pervades both the garden outside and the space and setting inside, much suited to the exquisite and delicate features of glass craft. The job of directing the reconstruction and displaying the planning of the whole Autonomous Club House was appointed to the architect Tieh-Nan Chi and Professor Kuo-Ning Chen. 

The museum has retained the European style of oriental modern architecture through the standing bricks on the southeast corner of the building and the classical image of the foyer. After combining different requirements of diversified users toward the museum as the longitude and analyzing the five service functions of the museum (administration, exhibition, collection, educational learning, and public service) as the latitude, the environment condition of the museum was established according to them. 

The establishment of Glass Museum is aimed at combining cultural and sightseeing resources to help promoting the glass industry of Hsinchu and to let the public and businessmen participate in and understand the exploration and application of the glass industry in Hsinchu. Besides displaying glass artifacts, the museum also promotes workshop learning actively. 

The public can go further by touching and creating their own works besides the visual appreciation,and get another kind of amazement brought by glass creations.



fonte: @edisonmariotti #edisonmariotti
Cultura e conhecimento são ingredientes essenciais para a sociedade.

A cultura é o único antídoto que existe contra a ausência de amor.


Vamos compartilhar.
--


History of Glass in China

Spring and Autumn/Warring States Periods (770~255 BC) 
Glassware was plain and unadorned from the late Western Zhou period through the early Spring and Autumn period. Colors were dark, articles were simple in form, and tubular or cylindrical shapes predominated. The size of articles were irregular, texture was loose and rough, craftsmanship was primitive, and decoration was absent. By the time of the Warring States period, glassware was more abundant and varied in design. While the quality of the glass had not improved, decoration had started to come into fashion, and "dragonfly eye" glass beads had begun to appear. 



Han dynasty (206 BC~220AD) 
Han glassware remained similar in style to that of the Warring States period, but gradually became more diverse in form. 



Wei-Qin-Sui-Tang dynasties (220~907AD) 
The period of the Wei-Qin dynasty and the Northern and Southern dynasties was a major turning point for glass in China. Foreign styles flourished, glassware became thinner, and transparency improved. Glassware was used for display and utilitarian purposes during the Sui dynasty; glass rings and bracelets were popular. Among the glass articles dating back to this period are egg shaped utensils. The Tang dynasty inherited the style of the Sui, and there was little change in the shapes of articles. Quantity did increase, however, and glassware became more diverse. 



Five Dynasties, Song, Yuan (907~1368AD) 
Decoration became more diverse during the Five Dynasties and Song period, and glassware was often adorned with birds, flowers, human figures, landscapes, and geometric designs. Glass craftsmanship stayed at the level of the Tang dynasty, and there were many small, delicate, and colorful articles from this period. Glass hairpins and ear ornaments for women began to become popular. Relatively little glassware from the Yuan dynasty has been unearthed or passed down to the present day. Most glass articles from the period are women's hair ornaments. 
>


Ming and Qing dynasties (1368~1911AD) 
While the making of glassware received official attention during the Ming dynasty, output was limited. Qing dynasty glassware was sharply different from that made during earlier periods, and large quantities were made. The luster, colors, and body of Qing dynasty glass achieved a porcelainized quality unique in the world. The Creative Undertakings office of the Contemplative Hall, established during the Kangxi period, acquired Western glass technology. Among this institution's most distinctive products are snuff bottles. Glassware of the Yongzheng period is noted for its purity and varied colors. Glass production reached a peak during the Qianlong period. However, as the nation's strength weakened during the later years of the dynasty, mediocre glassware and crude craftsmanship predominated. Glass from this late period cannot be compared with the work of the previous three dynasties. 


National Museum of Singapore.

About the National Museum of SingaporeWith a history dating back to its inception in 1887, the National Museum of Singapore is the nation’s oldest museum with a progressive mind. Its galleries adopt cutting-edge and multi-perspective ways of presenting history and culture to redefine conventional museum experience. 

A cultural and architectural landmark in Singapore, the Museum hosts innovative festivals and events all year round—the dynamic Night Festival, visually arresting art installations, as well as amazing performances and film screenings—in addition to presenting thought-provoking exhibitions involving critically important collections of artefacts. The programming is supported by a wide range of facilities and services including F&B, retail and a Resource Centre. 

The National Museum of Singapore re-opened in December 2006 after a three-year redevelopment, and celebrated its 125th anniversary in 2012. The Museum refreshed its permanent galleries and re-opened them on 19 September 2015 for Singapore’s Golden Jubilee.


Year 1823

The first idea for a museum in Singapore was birthed from a meeting convened by Raffles in 1823. It finally took shape in 1849 as the Singapore Library-Museum located at Singapore Institution, later renamed Raffles Institution, at Bras Basah Road.

Year 1863

In 1863, the Library and Museum moved to the Town Hall, today’s Victoria Theatre. It was then handed over in 1874 to the colonial government, who appointed a committee to oversee the formation of the Raffles Library and Museum.

Year 1882

Colonial Engineer Henry McCallum was appointed to design a dedicated building for the Museum, and his final plans were submitted in 1882. The rotunda and neo-Palladian façade remains a highlight of the National Museum today.

Year 1884

Work on the building began in 1884, where the foundation was laid at the foot of Fort Canning. The Governor of the Straits Settlements, Sir Frederick Weld, may be seen standing to the right of the foundation stone.

Year 1887

The Raffles Library and Museum building was opened on 12 October 1887, in the Jubilee year of Queen Victoria. Officiating the ceremony was outgoing Governor Sir Frederick Weld, who delayed his departure to attend the opening.

Year 1906

The growth of the Museum’s collections meant that its original building soon proved inadequate. Work on a parallel block extension was completed by 1906, an officially opened on 13 February 1907 – the first day of Chinese New Year.

Year 1910s

The Museum’s ethnological gallery included a wide selection of Malayan, Javanese and Dyak related artefacts. Smaller galleries in the Museum showcased its botanical, geological and numismatic (coin) collections.

Year 1916

Further extensions to the building were added in 1916 and 1926. This photograph shows the new Library wing in 1916, known today as the Stamford Office which houses the National Museum’s staff.

Year 1919

The major expansions of the Museum took place under R. N. Hanitsch, Director of the Museum from 1895–1919. He embarked on a major reorganisation, and steered the Museum in the direction of scientific research.

Year 1931

The Museum’s zoological collection also included gifts from Sultan Ibrahim of Johor, who presented an elephant that he had personally shot. The showcase in the photograph’s foreground features a tiger also donated by the Sultan.

Year 1942 to 1945

During the Japanese Occupation of Singapore, the Museum was renamed Syonan Museum. This group portrait includes Museum President Marquis Tokugawa (seated, centre) and Director Dr Yata Haneda (seated, right).

Year 1953

After WWII, the Museum grew as a repository for Singapore’s history. This 1953 photograph shows the newly acquired painting View from Mount Wallich at the entrance hall on the left. It remains on display today at the Museum’s Singapore History Gallery.

Year 1960

The museum separated from the library. It was renamed National Museum to reflect its new pivotal role in nation building.

Year 1970s

Up till the early 1970s when it was transferred to Malaysia, the suspended Indian Fin whale skeleton was a highlight of the Museum. The whale was found near Melaka in 1892, and had been displayed in the Museum since 1907.
Year 1993

The National Museum became part of the National Heritage Board (NHB). The Singapore History Museum is housed in the historically-rich National Museum building.
Year 2003

Commencement of the National Museum of Singapore’s redevelopment project. The Rivertales exhibition at Riverside Point was launched in August to help the Museum maintain its presence.
Year 2004

The Foundation Stone Laying Ceremony of the new Museum was held at the National Museum site on 25 November. First public announcement of the redeveloped museum as the National Museum of Singapore.
Year 2005

On 28 November, the structural completion of the building was celebrated through the Topping-Off Ceremony.
Year 2006

fonte: @edisonmariotti #edisonmariotti


Cultura e conhecimento são ingredientes essenciais para a sociedade.

A cultura é o único antídoto que existe contra a ausência de amor.

Vamos compartilhar.


Restauração da Capela do Santíssimo Sacramento situada dentro da Basílica Nossa Senhora da Assunção anexa ao Mosteiro e ao Colégio de São Bento de São Paulo, Brasil.

A arquitetura desse conglomerado - Basílica, Mosteiro e Colégio _ é em estilo Beuron, assim chamado por ter se originado no mosteiro de Beuron, na Alemanha, no final do século XIX. A construção teve inicio em 1910, sob a direção de Dom Miguel Kruze e durou 4 anos. 


MOSTEIRO DE SÃO BENTO DE SÃO PAULO




video: 41'26''





O projeto foi do arquiteto alemão Richard Berndl. As pinturas, esculturas e demais ornamentos são de autoria de monges-artistas alemães e belgas. As pinturas da capela são do beneditino belga D. Aldalberto Gressnicht, auxiliado pelo irmão Clemente Maria Frischauf. Elas foram feitas de forma espetacular. O artista mesclou diversos simbolos cristãos numa composição única. Cada mínimo detalhe da pintura tem um significado.


2011 – 2012. Esse documentário mostra a restauração da “Capela do Santíssimo” no Mosteiro São Bento em São Paulo, Brasil. 

O vídeo tem uma introdução de D. Eduardo Uchôa, falando da parte histórica; o restauro propriamente dito, explicado didaticamente (fixação da camada pictórica, limpeza com a utilização e formulação de soluções aquosas com parâmetros controlados, reintegração cromática, etc.) e as investigações científicas sobre os materiais constituintes da obra e os processos de degradação. 

A restauração da capela foi feita pela MRIZZO RESTAURAÇÕES LTDA, sendo o projeto e a coordenação do trabalho da Profª Ms Sc Marcia de Mathias Rizzo. O trabalho durou 10 meses e contou com uma equipe de até 24 membros.

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Descrição do Conglomerado – Basílica, Mosteiro e Colégio:
Arquitetura em estilo Beuron, assim chamado por ter se originado no mosteiro de Beuron, na Alemanha, no final do século XIX. A construção teve início em 1910, sob a direção de Dom Miguel Kruse e durou 4 anos. 

O projeto foi do arquiteto alemão Richard Berndl. As pinturas, esculturas e demais ornamentos são de autoria de monges-artistas alemães e belgas. As pinturas da igreja são do beneditino belga D. Adalberto Gressnicht, auxiliado pelo irmão Clemente Maria Frischauf. 

Elas foram feitas de forma espetacular. O artista mesclou diversos símbolos cristãos numa composição única. Cada mínimo detalhe da pintura tem um significado.



fonte: @edisonmariotti #edisonmariotti


http://www.mrizzo.com.br/projetos.php?p=12&pg=1


Cultura e conhecimento são ingredientes essenciais para a sociedade.

A cultura é o único antídoto que existe contra a ausência de amor.

Vamos compartilhar.




--in via tradutor do google
Restoration of the Blessed Sacrament Chapel located inside the Basilica of Our Lady of the Assumption attached to the Monastery and the College of St. Benedict of São Paulo, Brazil.

The architecture of this conglomerate - Basilica Monastery and College _ is in Beuron style, so called because it originated in Beuron monastery in Germany in the late nineteenth century. The construction began in 1910 under the direction of Don Miguel Kruze and lasted four years.


MONASTERY OF SAINT BENEDICT OF ST PAUL




Video: 41'26 ''




https://www.youtube.com/watch?v=0gqdOg0pt-c&feature=youtu.be


The project was the German architect Richard Berndl. The paintings, sculptures and other ornaments are by German and Belgian artist-monks. The Chapel paintings are the Belgian Benedictine D. Aldalberto Gressnicht, aided by his brother Clement Mary Frischauf. They were made spectacularly. The artist blended several Christian symbols into a single composition. Every last detail of the painting has a meaning.


2011 - 2012. This documentary shows the restoration of the "Chapel of the Blessed" in São Bento Monastery in Sao Paulo, Brazil.

The video is an introduction of D. Eduardo Uchôa, speaking of the historical part; the restoration itself, explained didactically (fixing of the pictorial layer, cleaning with the use and formulation of aqueous solutions with controlled parameters, chromatic reintegration, etc.) and the scientific research on the material composition of the work and degradation processes.

The restoration of the chapel was made by MRIZZO RESTORATION LTD, and the design and coordination of the work of Prof. Sc Ms Marcia Mathias Rizzo. The work lasted 10 months and involved a team of up to 24 members.

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Description Conglomerate - Basilica Monastery and College:
Beuron style architecture, so named because it originated in Beuron monastery in Germany in the late nineteenth century. Construction began in 1910 under the direction of Don Miguel Kruse and lasted four years.

The project was the German architect Richard Berndl. The paintings, sculptures and other ornaments are by German and Belgian artist-monks. The church paintings are the Belgian Benedictine D. Adalberto Gressnicht, aided by his brother Clement Mary Frischauf.

They were made spectacularly. The artist blended several Christian symbols into a single composition. Every last detail of the painting has a meaning.




--ua
Відновлення каплиці святого причастя знаходиться всередині базиліки Богоматері Успіння, прикріпленою до монастиря та коледжу Святого Бенедикта в Сан-Паулу, Бразилія.

Архітектура цього конгломерату - Базиліка монастиря і коледж _ знаходиться в Beuron стилі, так званий, тому що вона виникла в Beuron монастиря в Німеччині в кінці дев'ятнадцятого століття. Будівництво почалося в 1910 році під керівництвом Don Miguel Крузе і тривала чотири роки.


Монастир Святого Бенедикта ST PAUL




Відео: 41'26 ''




https://www.youtube.com/watch?v=0gqdOg0pt-c&feature=youtu.be


Проект був німецький архітектор Річард Berndl. Картини, скульптури та інші прикраси німецькими та бельгійськими художниками-ченців. Каплиця картини бельгійського бенедиктинського Д. Aldalberto Gressnicht, спираючись на свого брата Климент Марія Frischauf. Вони були зроблені ефектно. Художник змішані кілька християнські символи в єдину композицію. Кожна деталь картини має сенс.


2011 - 2012. Цей документальний фільм показує відновлення "Каплиця Пресвятої" в Сан-Бенту монастиря у Сан-Паулу, Бразилія.

Відео є введення Д. Едуардо Uchôa, кажучи історичній частині; сам відновлення, пояснив повчально (фіксацію образотворчого шару, очищення з використанням та розробці водних розчинів з контрольованим параметрам, хроматичні реінтеграції, і т.д.) і наукових досліджень на речового складу робітників і процесів деградації.

Відновлення каплиці було зроблено MRIZZO ВІДНОВЛЕННЯ LTD, а також розробка і координація роботи проф наук пані Марсии Матіас Ріццо. Робота тривала 10 місяців і бере участь команда до 24 членів.

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Опис Конгломерат - Базиліка монастиря і коледж:
Бойрон архітектури стилю, названа так тому, вона виникла в Beuron монастиря в Німеччині в кінці дев'ятнадцятого століття. Будівництво почалося в 1910 році під керівництвом Don Miguel Крузе і тривала чотири роки.

Проект був німецький архітектор Річард Berndl. Картини, скульптури та інші прикраси німецькими та бельгійськими художниками-ченців. Церковні картини бельгійського бенедиктинського Д. Adalberto Gressnicht, спираючись на свого брата Климент Марія Frischauf.

Вони були зроблені ефектно. Художник змішані кілька християнські символи в єдину композицію. Кожна деталь картини має сенс.

CASA SAN MIGUEL: Museum of Community Heritage in San Antonio, Zambales. -- CASA SAN MIGUEL: Museu da Herança Comunidade em San Antonio, Zambales

Over the past decade, the sleepy town of San Antonio, Zambales, has been rattled by a sudden surge in tourism as more of its secluded coves become more known to the beach-chasing urbanites. Barangay Pundaquit in particular cashed in on this new opportunity. It has transformed fishing boats into passenger vessels, ferrying tourists to paradise. It has made resorts and guesthouses sprout along the streets as fast as lightning encourages mushrooms to flourish. And amid the scenic landscape and the overwhelming natural beauty of San Antonio, it is quite easy to walk past without a glance a side to the town that is equally fascinating — its cultural heritage.





Casa San Miguel aims to highlight just that. Since its completion in 1921, this family retreat house in a 15-hectare mango orchard has sheltered and nurtured generations of talent including acclaimed concert violinist Alfonso “Coke” Bolipata. In 1993, he established the Casa San Miguel Foundation, which aims to “integrate culture and community development” in Zambales. The group has initiated several programs and workshops to hone and showcase artistry of the locals.

Little children playing around a small fountain greeted me when I hopped out of the tricycle. It was almost midday but the trees, adorned with ripe mangoes, breathed cool winds. I walked around the chateau-style brick and wood house only to find the entrance closed. Right on cue, a staff member showed up, opened it, and welcomed me with a bright smile.

Casa San Miguel Foundation was founded by renowned violinist Coke Bolipata







Even the washroom signs look impressive.

The short staircase and the door led me to the Museum of Community Heritage, which features the rich heritage of Barangay San Miguel and the town of San Antonio as a whole. The museum offers a look into the long history of the town that has enriched its culture.

Some of the exhibits on display were the Ming Dynasty earthenware taken from shipwrecks in nearby villages of Pundaquit and Santa Cruz, photographs of local fisherman by Filipino veteran photojournalist Nico Sepe, and old photographs of Aetas taken by American anthropologist William Allen Reed. Also worth a look is the collection of traditional fishing equipment and other artifacts.









Casa San Miguel also houses a guest rooms (bed and breakfast), a restaurant, a pre-school, and a concert hall.

Casa San Miguel
Evangelista St., Brgy. San Miguel, San Antonio, Zambales
Contact No.: +63 915 6220335
Email Address: info@casasanmiguelph.com
Casa San Miguel Entrance Fee: P125 (adult), P75 (kid)

How to get to Casa San Miguel: From Manila, ride a Victory Liner bus to Iba, Zambales, and tell the driver to drop you off in front of San Antonio Public Market (P250, 3-4 hours). Take a tricycle to Casa San Miguel (P60 per 2 pax, or P30 per pax). If you’re in San Antonio for its beaches (Anawangin Cove, Nagsasa Cove), you may drop by on your way back to Manila.



EXPENSES
Bus Fare (Manila-San Antonio): P250
Tricycle Fare (San Antonio-San Miguel): P60 per 2 pax, or P30 per pax
Casa San Miguel Entrance Fee: P125 (adult), P75 (kid)




fonte: @edisonmariotti #edisonmariotti
Cultura e conhecimento são ingredientes essenciais para a sociedade.

A cultura é o único antídoto que existe contra a ausência de amor.

Vamos compartilhar.





--br via tradutor do google 

CASA SAN MIGUEL: Museu da Herança Comunidade em San Antonio, Zambales

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Ao longo da última década, a pacata cidade de San Antonio, Zambales, foi abalado por um aumento repentino no turismo como mais de suas enseadas isoladas tornam-se mais conhecido para os habitantes urbanos-perseguindo praia. Barangay Pundaquit em particular creditadas em esta nova oportunidade. Ele transformou barcos de pesca em navios de passageiros, transportando turistas para o paraíso. Ele fez resorts e pousadas brotam ao longo das ruas o mais rápido como um relâmpago incentiva cogumelos para florescer. E no meio da paisagem cênica e da beleza natural esmagadora de San Antonio, é muito fácil de andar passado sem olhar para um lado da cidade que é igualmente fascinante - o seu património cultural.


Casa San Miguel tem como objetivo destacar exatamente isso. Desde a sua conclusão em 1921, esta casa de retiro da família em um pomar de mangueiras de 15 hectares abrigou e alimentou gerações de talentos, incluindo o aclamado violinista Alfonso "Coke" Bolipata. Em 1993, ele estabeleceu a Casa San Miguel Foundation, que visa "integrar a cultura ea comunidade de desenvolvimento" em Zambales. O grupo iniciou vários programas e workshops para aprimorar e mostrar talento artístico dos moradores.

Crianças pequenas que jogam em torno de uma pequena fonte cumprimentou-me quando eu pulei para fora do triciclo. Era quase meio-dia, mas as árvores, adornados com mangas maduras, soprou ventos frescos. Eu andava pela casa de tijolos e madeira em estilo de castelo só para encontrar a entrada fechada. Logo em seguida, um membro do pessoal mostrou-se, abriu-a e me acolheu com um sorriso brilhante.
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A escadaria curta ea porta me levou para o Museu da Herança Comunidade, que apresenta o rico património de Barangay San Miguel e da cidade de San Antonio como um todo. O museu oferece um olhar para a longa história da cidade que enriqueceu sua cultura.

Algumas das exposições em exposição foram o produto de cerâmica da dinastia Ming tomado de naufrágios em aldeias vizinhas de Pundaquit e Santa Cruz, fotografias de pescador local por Filipino veterano fotojornalista Nico Sepe, e fotografias antigas de Aetas tomadas pelo antropólogo americano William Allen Reed. Também vale uma olhada é a coleção de equipamentos de pesca tradicional e outros artefatos.