#san bonaventura

[cristianesimocattolico]

Bonaventura, la conoscenza di Dio passa dall’amore

Autore di una gran quantità di opere teologiche e spirituali, san Bonaventura da Bagnoregio spiegava che per poter giungere alla conoscenza di Dio l’uomo ha diversi modi. Ma per la conoscenza perfetta serve l’amore. Continue reading Untitled

[lospeakerscorner]

Dal 1337 al 1900

Va in stampa l’ultimo libro di Stanislao Scognamiglio, la cronaca dal 1337 al 1900 del monastero dei Francescani Conventuali di Portici PORTICI | CITTÀ METROPOLITANA DI NAPOLI – Raccontare la storia lunga settecento anni di un complesso monastico non è semplice. Sono necessari, oltre una competenza specifica, una pazienza certosina e l’amore per la narrazione di vicende riguardanti un’istituzione…

[borrominitour]

Fra' Giovanni da San Bonaventura about his favourite architect.

In Paolo Portoghesi, Roma Barocca.

[cavegirl66]

"Is Arestes e S'urtzu Pretistu" Sorgono, Sardinia

Is Arestes and S’Urtzu Pretistu  of Sorgono

Man has always paid his attention to the events that Mother Nature decreed and decrees with cyclical rhythms that can be defined as eternal, and to which he has tied his fears but also his hopes making it a religion towards a god to whom he turned: Dionisio Mainoles, (Maimone in Sardinia) divinity of vegetation and ecstasy, to whom abundant rains were asked so that the earth would bear its fruits. The name of Maimone in Sardinia has remained linked to springs and watercourses. This God, source of life for men and beasts, was highly venerated by shepherds and farmers. In Sorgono and in other inhabited centers when the calends of January arrived, ritual manifestations were held in his honor, representing the most salient moments of his death.

The rite is very ancient, certainly pre-Christian.

The ritual representation took place on the calends of January: men dressed in skins, loaded with animal bones, with their faces blackened by burnt cork or covered with a black mask, capture and sacrifice the predestined victim, who is generally presented in the form of a goat, bull, deer, wild boar, all hypostases or manifestations of Dionysus who manifested himself in these aspects. Whatever the most remote origin of this manifestation, it is certain that in the writings of Saint Augustine (4th century AD) there is certain testimony to the existence of wild and animalistic masks: "What sensible person could believe that there are sane individuals who disguise themselves as deer, changing their clothes for those of beasts? Some wear sheep and goat skins, others put animal heads on their heads, happy and exultant, if they manage to transform themselves into bestial forms so much so that they no longer seem men" and then: "they dress in bestial clothes similar to goats and deer to make themselves in the image of God, and having made themselves similar they make a diabolical sacrifice". Around the 4th century, therefore, there existed feral or animal masks, a tenacious continuation of evident pagan manifestations. Masquerading in the guise of animals appeared to the Fathers of the Church and the representatives of the Christian cult as a sacrilege. In fact, the Council of Auxerre (585 AD) issued a provision that prohibited these ritual manifestations: non licet kalendis ianuarii vetola aut cervolo facere vel strenas diabolicus. Despite the work of evangelization by the ecclesiastical orders, ritual ceremonies were repeated over the centuries, even though many people, despite having converted to Christianity, disguised themselves in animal forms when the calends of January arrived, re-proposing the ancient propitiatory rituals even though they were aware that this ceremony came from a pagan religion.

Even in the 18th century, according to the testimonies of the Jesuit friar Bonaventura Demontis Licheri of Neoneli and the Jesuit father Giovanni Vassallo, these ancestral rites were still celebrated. In many towns in central Sardinia, propitiatory rituals with human sacrifices were practiced on the calends of January. This fact is not surprising if one considers the centuries-old isolation and the resistance of the populations of the internal areas of Sardinia to change their beliefs, as well as the agro-pastoral economy linked to the agricultural years and the spectre of drought. In his writings "Attobios a Santu Mauru d'Ennarzu" (poem in the Sardinian language) on the occasion of the celebrations in honor of San Mauro Abate in Sorgono (Santu Mauru de i Dolos) on January 15, 1767, he describes in a surprisingly clear way the representation and dynamics of the pagan ritual and of those who participate in it. The sanctuary of San Mauro, a few kilometers from Sorgono, stands at the foot of Monte Lisai in a valley rich in evidence of the Neolithic and Nuragic periods; a short distance away is the sacred complex of Bidu 'e Concas with its 200 menhirs (3000 BC) and a place of worship for the populations in the pre-Nuragic and Nuragic periods.

Licheri calls the masks “Sos Arestes” the rustic, the wild ones.

Sos Arestes, they wear a goat, sheep and cow skin, on their backs they carry animal bones, their head is covered by a cork headdress called su casiddu, completely lined with woolly skin and surmounted by goat, fallow deer, red deer and bull horns, with their faces and arms blackened by soot produced by the burnt cork. They are armed with mighty sticks, wooden clubs and pitchforks, they move with a haughty attitude, causing with little jumps the apotropaic sound of the bones tied to their shoulders, some of them are equipped with an ox horn, which they play for the entire duration of the ceremony.

They advance in a group in an apparently disorderly manner, miming clashes evoking fights or dances typical of the courtship of goats or animals present, in reality these are ancient propitiatory rites to solicit the beneficial rain. The elderly Shepherds claimed that when the goats clashed, the weather was about to change and turn to rain.

At the head of the procession one or two Arestes hold the victim destined for sacrifice tied with a chain: S'Urtzu, a man wearing an entire sheep, goat or bull skin, with the headdress surmounted by majestic bull horns but who unlike the Arestes, has no bones on his shoulders and will be beaten and prodded by all the Arestes of the group.

The ritual of sacrifice culminates with the killing of S'Urtzu, struck to death by the sticks, pitchforks and wooden clubs of the Arestes.

At the signal of the pack leader, the Arestes perform thirteen jumps around the victim, now defenseless, the number of lunar phases in a year, punctuated by the sound of the ox horn; at the new signal of the pack leader, who in the meantime holds the victim tied to the center of the circle, they remove their particular headdress, highlighting their face blackened by the soot of the burnt cork.

Under pressure from the church, the rite performed by adults has been progressively reduced to a banal masquerade whose true meaning had been lost.

In Sorgono, the last testimonies of men dressing up in animal skins and with the entire head of a bull date back to the years 1925-30.

Some old people today still remember and tell of men dressed in sheepskin who chained a man dressed in cowhide with the entire head of a bull on their head who tried to wriggle and resist.

A repetition, a continuation devoid of meaning. It is done because it is known. In the repetition of the ancient rites of the early 1900s, the deep, internal, original and truly significant reason is now missing. A tradition is maintained, a way of acting is preserved, but the way of being, the true essence has now transformed. The Church, the innovations, the changing isolation of these areas, the arrival of external elements, often even to Sardinia, in the administration, in the control of the territory, in the management of religious matters, the arrival of a more widespread culture with a slow but inexorable increase in schooling, produce a physiological and normal abandonment of what was linked to antiquity, to myth and legend. The cultural transition from rite to myth is also marked by the carnivalization (in a playful and ludic sense) of a rite. This transition occurs only when the rite has lost all contact and all meaning with the social life of the community that expresses it. Only when many of those who are part of the same community no longer recognize what was a founding segment of the common identity, and only then, that segment "falls" or "expires" at a playful level and then disappears completely.

[cvbarroso]

Hodie XIV julii... Sancti Bonaventurae, Cardinalis et Episcopi, Confessoris et Ecclesiae Doctoris.

#st.bonaventure #san buenaventura

[covercyano]

Giacomo Bonaventura of Italy celebrates with his teammate after scoring his team's first goal during the UEFA EURO 2024 European qualifier match between Italy and Malta at Stadio San Nicola on October 14, 2023 in Bari, Italy. (Photo by Maurizio Lagana/Getty Images)

[nardonews24]

LA COMUNITÀ ANTONIANA IN FESTA PER LA LINGUA INCORROTTA DI SANT’ ANTONIO

È il ricordo di un evento prodigioso avvenuto nel 1263, quando san Bonaventura, nella ricognizione dei resti mortali di sant’Antonio, a 32 anni dalla sua morte, ne ritrovò la lingua incorrotta. Continue reading LA COMUNITÀ ANTONIANA IN FESTA PER LA LINGUA INCORROTTA DI SANT’ ANTONIO

[scifi4wifi]

Transformers One | Trailer 2

“If we did this as a live-action movie, it would probably cost $500M,” said Transformers One producer Lorenzo di Bonaventura about the Paramount Animation and Hasbro title that kicked off San Diego Comic-Con 2024. They showed a clip to a packed Hall H featuring a race at the Olympics of Cybertron, illustrating what life is like on the planet. Orion Pax aka Optimus Prime (Chris Hemsworth) wants…

[cooperatoresveritatisinfo]

Benedetto XVI racconta e spiega San Bonaventura da Bagnoregio

[incamminoblog]

DALL'OPUSCOLO «ITINERARIO DELLA MENTE A DIO» DI SAN BONAVENTURA, "LA MISTICA SAPIENZA RIVELATA MEDIANTE LO SPIRITO SANTO"

Dall’opuscolo «Itinerario della mente a Dio» di san Bonaventura, vescovo(Cap. 7, 1. 2. 4. 6; Opera omnia, 5, 312-313).La mistica sapienza rivelata mediante lo Spirito Santo     Cristo è la via e la porta. Cristo è la scala e il veicolo. È il propiziatorio collocato sopra l’arca di Dio (cfr. Es 26, 34). È «il mistero nascosto da secoli» (Ef 3, ). Chi si rivolge a questo propiziatorio con…

[cristianesimocattolico]

Maria Corredentrice in San Bonaventura da Bagnoregio

Tra gli autori che hanno trattato della mediazione e della corredenzione alla salvezza di Maria Santissima, san Bonaventura è da menzionare in modo speciale, non solo in quanto dottore serafico della Chiesa, ma perché è stato capace di dare la soluzione più elegante, profonda e semplice alla questione. Continue reading Untitled

[saveriopepe]

Facoltà Agraria di Quaracchi. La Bellezza fiorisce in periferia.

Il progetto di trasferire l’intera Facoltà di Agraria al polo scientifico di Sesto va avanti. La sede di Via San Bonaventura a Quaracchi e i suoi vasti terreni circostanti, non devono diventare l’ennesimo contenitore storico abbandonato o commercializzato. L’intera zona è un puzzle poco armonico tra villette antiche e case popolari, sorvolato dagli aerei e assediato dal traffico di Via Pistoiese.…

[delectablywaywardbeard-blog]

Viterbo, i ragazzi speciali Juppiter ringraziano Bagnoregio

La manifestazione si chiamava “Semplicemente Grazie” e si è tenuta venerdì scorso nella cattedrale San Donato e San Bonaventura di Bagnoregio, in provincia di Viterbo.     La serata organizzata dall’associazione per l’inclusione giovanile Juppiter, era stata ideata allo scopo di permettere ai suoi ragazzi speciali, di esprimere riconoscenza a chi, in tanti modi, si prende cura di loro ogni…

[cavegirl66]

:::: Enzo Favata Cuncordu di Castelsardo Simone Zanchini ::::

::: Kyrie ::::

In 1999 Enzo Favata, a Great Jazz Sardinian musician, decides to work on a new musical project dedicated to the sacred music of Sardinia. A repertoire sung by four male voices from choirs called "a cuncordu".

Starting from that inspiration Favata decides to develop a new sound path starting from the materials of the sacred polyphonic music of Sardinia,

The project will be called "Boghes and Voices" uniting instruments that produced the sound through a flow of air the voices, the saxophone and the bandoneon.

accordion and again bandoneon.

Enzo calls Simone Zanchini an extraordinary jazz musician a country church in Sardinia San Giorgio a Perfugas after a series of successful concerts Favata decides to return to the original instrument the Bandoneon and the choice goes to Daniele Di Bonaventura, (their collaboration had started with the albums Voyage en Sardaigne and Atlantico) many concerts followed.

The digital recording project aims to document these three periods divided over a decade, starting from the official album Boghes and Voices

original text of the booklet follows

Boghes and Voices (2001)

The material collected in this recording session has the aim of bringing together the ancient sacred music of my island and the cosmopolitan music that I encounter every day through my work as a jazz musician. For this project I called and involved musicians such as Simone Zanchini, an all-round musician in which virtuosity and expressive intelligence coexist with the extraordinary four voices of the singers of Castelsardo.

Boghes and Voices is a tribute to the tradition of religious polyphony of Sardinia, a music that I have listened to since I was a child and from which I have often drawn inspiration.

The idea of ​​being able to make the language of improvised music coexist with the religious chant a cuncordu was born from my passion and study of the penitential repertoire of the Cantori di Castelsardo and developed around those chants for four voices (basciu, contra, bogi, falsittu), performed with rigorous respect for tradition in a practice handed down orally for centuries through the brotherhoods and the tradition of Holy Week.

In the recorded musical material coexist the human voice of the Cuncordu di Castelsardo, my reed instruments soprano sax, tenor and bass clarinet, the duduk (Armenian reed instrument); the accordion, played by Simone Zanchini in a style not far from its liturgical relationship with the organ.

The repertoire reinterprets the models of tradition while still respecting their contents, it develops with compositions written by me and Zanchini, improvisations inspired by the models of the polyphonic tradition: songs such as the Gosos (hymns to the saints and to the Madonna) take on a joyful atmosphere with the inclusion and improvisations of the accordion and the soprano sax, the complex song of the Miserere di Castelsarado is incorporated into a suggestive piece where they intertwine in a particular arrangement together with the duduk and the accordion.

Pieces for solo choir dating back to 1600 are also performed such as: Kyrie, Magnificat or more recent Sett'ispadas de dolore.

[jacopocioni]

Il Tabernacolo del Bargello

Nel carcere del Bargello era antica consuetudine, già nel Cinquecento, che il giorno di San Bonaventura, il 15 luglio, le porte del Palazzo venissero aperte alle Confraternite e alle Compagnie di Carità per la visita ai carcerati, e in quell'occasione chiunque poteva portare cibo e vestiti ai prigionieri. I carcerati, a quei tempi, non venivano mai mantenuti con il denaro pubblico ed era un'opera assistenziale curata dai cittadini quella di provvedere con cibo ed altri beni di prima necessità al sostentamento di coloro che erano incorsi in problemi con la giustizia.

Per ricordare questa antica usanza, nel 1588 Fabrizio Boschi, appena diciottenne, dipinse l'affresco oggi racchiuso nel tabernacolo posto all'angolo tra via dell'Acqua e Via Ghibellina. Il Tabernacolo risale al 1859, quando il Governo Provvisorio Toscano stabilì che all'interno del Palazzo del Podestà, che nel Cinquecento era stato destinato a sede del Capitano di Giustizia (il cosiddetto Bargello), fossero raccolte tutte le opere scultoree minori, medioevali e moderne che avevano fatto parte della Galleria degli Uffizi, e tutte le opere provenienti sia chiese che da edifici civili, da cui si era ritenuto opportuno toglierle. Il Tabernacolo fu costruito a protezione dell'affresco del Boschi, già notevolmente deteriorato dagli agenti atmosferici. Il dipinto rappresenta San Bonaventura nell'atto di visitare i carcerati, porgendo loro del pane da un cesto. Attorno al santo vi sono i membri delle Compagnie di Carità e due persone del popolo che osservano la scena, mentre i carcerati attraverso le sbarre ricevono il pane. L'alluvione del 1966 danneggiò ulteriormente l'affresco, che venne staccato e restaurato nel 1996.

Gabriella Bazzani Read the full article

[edwin--artifex]

THE ENIGMA OF THE MASTER OF SAINT FRANCIS - The Stil Novo in Thirteenth-Century Umbria

Perugia, National Gallery of Umbria (Corso Pietro Vannucci, 19)

10 March – 9 June 2024

For the first time, sixty masterpieces reveal the secrets of the most important artist to have worked in Central Italy after Giunta Pisano and before Cimabue. The exhibition is being held in the framework of the celebrations marking the eighth centennial of the appearance of the stigmata on Saint Francis of Assisi.

Following the record-breaking exhibition dedicated to Perugino in 2023, from 10 March to 9 June 2024 the National Gallery of Umbria in Perugia will host another prestigious undertaking, introducing the general public to the figure of the Master of Saint Francis, one of the most important artists of the thirteenth century after Giunta Pisano and before Cimabue.

Curated da Andrea De Marchi, Veruska Picchiarelli and Emanuele Zappasodi as part of the celebrations marking the 800th anniversary of the appearance of the stigmata on the body of Saint Francis of Assisi, this exhibition brings together for the first time 60 masterpieces from some of the world’s most prestigious museums, from the Louvre in Paris and the National Gallery in London to the Metropolitan Museum in New York and the National Gallery of Art in Washington.

From the National Gallery of Umbria, which holds the most substantial nucleus of the works on panel by the Master of Saint Francis, the exhibition extends ideally to feature the cycle of Stories from the Life of Christ and Stories of Saint Francis painted by the artist in the Lower Basilica of Saint Francis in Assisi, one of the consequences of the agreement of valorisation concluded between the Franciscan friary of the Sacro Convento and the museum in Perugia.

The thirteenth was a century of enormous social, economic and cultural upheavals. Umbria was to prove itself the region that was best capable of absorbing and developing on the religious and cultural revolution generated by the birth of the mendicant orders, in particular the Franciscans, transforming it into positive energy. Umbria and Assisi, where some of the most singular works of the art of the age were created, became the new fulcrum in the system of European arts, where the mysterious figure emerged of the Master of Saint Francis, to whom scholars are still incapable of giving a name. Indeed, this is why he is known after the panel with the effigy of Saint Francis painted on the same board on which tradition tells us that the saint passed away, now preserved in the Museum of the Porziuncola at the church of Santa Maria degli Angeli, in Assisi, and exceptionally on show in the exhibition in Perugia.

It was to him that the friars minor turned, first to work on the stained glass in the Upper Basilica, flanking the master craftsmen from Germany and France, then to decorate the entire Lower Basilica. Creating myriad different friezes, in imitation of enamels and the fine work of goldsmiths, the Master set the first cycle of Stories of the Life of Saint Francis in the basilica’s single nave, telling them in parallel with those of the Life of Christ, as specified by Bonaventura da Bagnoregio, then the General of the Order: for the first time, the saint was identified as Alter Christus, a man whose similarity to Christ himself also extended to his body, with the gift of the stigmata.

Employing relief scans made using 3D lasers for the occasion, the exhibition will include an immersive room using new technologies to reconstruct the mural paintings by the Master in the Lower Basilica in Assisi, some of which suffered as a result of subsequent work executed at the end of the thirteenth century, in particular after the arrival of Giotto.

The exhibition will hinge around the Crucifix, dated 1272 and coming from the church of San Francesco al Prato in Perugia, one of the most important pieces of all the works housed in the Gallery, providing a focus for the majority of the painter’s works, which are returning to Umbria from various museums all over the world. A climate-controlled showcase will house the surviving section of the double-sided reredos that used rise above the high altar in the church of San Francesco al Prato, visually completing the great Crucifix, of which the National Gallery of Umbria now houses the largest number of fragments.

The exhibition will also attempt to furnish an articulated and as systematic as possible documentation of all painting produced in Umbria in the period when the Master of Saint Francis was active, from the middle of the century to the inauguration of the project to adorn the Upper Basilica of Assisi under Pope Nicholas IV. The symbolic starting point will in any case be the work in Umbria of Giunta Pisano, attributing the new, later dating of approximately 1230 to the reredos with Saint Francis of Assisi and the Four Post-Mortem Miracles from the Museum of the Treasury of the Pontifical Basilica of Saint Francis in Assisi, one of the century’s masterpieces, and comparing it with the other version now in the Vatican Museums and with the signed Crucifix of the Porziuncola. Of no less significance is the possibility to appreciate the works probably by Gilio di Pietro from Pisa, who was active in Siena and Orte in the middle of the century.

Alongside the Master of Saint Francis, reconstructions will also be ventured of some of his contemporaries, such as the Master of the Franciscan Crucifixes and the Master of Santa Chiara, the latter case made possible by the exceptional loan of the hagiographic altarpiece from the Basilica of Saint Clare, dated 1283, and of the monumental painted crucifix from the Rocca Flea Civic Museum in Gualdo Tadino. The production of the Master of the Marzolini Triptych, which has some singular affinities with Armenian miniature painting, will provide eloquent evidence of the extraordinary polyphony of works and of artists in Umbria in the second half of the thirteenth century, grown to maturity in the shadow of the international construction project in Assisi.

The region unquestionably constitutes a privileged observatory for understanding the nature of the intense exchanges that criss-crossed the Mediterranean trading routes in that period, between the Holy Land and central Italy, the cradle of the Franciscan movement, and of the epoch-making artistic revolutions that would have been inconceivable in the absence of the climate created in the Basilica of Saint Francis.

The exhibition is the result of a partnership between the National Gallery of Umbria, the Ministry of Culture, the Pontifical Basilica and Franciscan Friary of the Sacro Convento of Saint Francis in Assisi and the “San Francesco d’Assisi” Seraphic Province of the Friars Minor of Umbria, with the support of the Perugia Foundation and in synergy with the Region of Umbria.

The Enigma of the Master of Saint Francis. The Stil Novo in Thirteenth-Century Umbria

Perugia, National Gallery of Umbria (Corso Pietro Vannucci, 19)

10 March – 9 June 2024

Edwin Alexander Francis is the audioguide narrator. Produced by OrpheoGroup. Recorded at StudioColosseo, Rome