Rila Monastery
Rila Monastery was established in the tenth century by St John of Rila, a loner sanctified by the Orthodox Church. His plain residence and tomb turned into a heavenly site and were converted into a religious complex which assumed a critical part in the otherworldly and social life of medieval Bulgaria. Wrecked by blaze at the start of the nineteenth century, the perplexing was modified between 1834 and 1862. A trademark case of the Bulgarian Renaissance (18th€"19th centuries), the landmark symbolizes the familiarity with a Slavic social personality accompanying hundreds of years of occupation.
Rila Monastery, the most senior in the Slav planet and still the biggest animated religious focus in Bulgaria, is as a matter of first importance an outstandingly fine creative mind boggling, in which building design and painting union agreeably. Separated from this, it has been for a considerable length of time the seat of the improvement, conservation, and dissemination of Slav religious society in all its different signs, incorporating artistic and creative, and it turned into the image of Bulgarian social personality that was consistently debilitated by Turkish command.
The religious community stands something like 120 km from Sofia, in the heart of the Rila Massif, found at the north-western furthest point of the Rodopi Mountains, a bumpy framework with crests that ascent to very nearly 3,000 m. Around there, which was still secured by woods in AD 876-946, existed the loner Ivan Rilski (Saint John of Mila), the evangelizer of the Slavic individuals. He was answerable for the development of the definitive core of the coenobitic group, a short separation from the collapse which he existed as an anchorite; this core was totally crushed in the thirteenth century by fiery breakout.
Another building was built a couple of kilometres from the site of the first establishment, and it was finished in the fifteenth century on account of the gifts of Stefan Hrelyu, an influential nearby ruler who requested in 1355 the development of the tower that still bears his name and a congregation devoted to John of Rila, who had meanwhile been sanctified.
Throughout the Ottoman Turkish mastery of Bulgaria, the religious community undertook the part of rampart of national character despite outside occupation. It turned into a goal for journeys from everywhere throughout the Balkan area, particularly after 1469, when the relics of the holy person were carried there.
The mind boggling pressed on to serve this capacity in the hundreds of years that accompanied, particularly in the eighteenth and nineteenth centuries, when it turned into one of the powerhouses of the Bulgarian Renaissance. This period is archived by the awesome cross that is still safeguarded in the storehouse of the cloister, executed and enhanced with more than 100 bible based scenes by the minister Raphael, one of the heading figures of the development.
The existing structures, with the exemption of the Hrelyu Tower, go again to the nineteenth century building task. They possess an immeasurable territory which shapes an eccentric square, furnished with two doors, both finished with frescoes. The building that encompasses it holds four sanctuaries, a refectory and in the ballpark of 300 cells, a library and spaces for the visitors of the religious community. The intricate has an inner part patio ignored by three- and four-storey developments, decorated by requests of curves set upon stone segments which bind together their veneers and shape breezy loggias. This is animated by the chromatic transaction between the white of the mortar and the red and dark tints of the blocks.
The Hrelyu tower is a conservative building 23 m high, square in arrangement. The most elevated of its five storeys holds a house of prayer devoted to the Transfiguration and beautified by an arrangement of frescoes that were carried out in the second 50% of the fourteenth century: in the nave are delineated stories of Saint John of Rila.
Of the building developed in the nineteenth century, the most critical is the Cathedral of Our Lady of the Assumption, inherent 1833 on the structure of the former building. This congregation houses an eminent cut wooden iconostasis, executed in 1842 by Athanasios Taladuro of Thessalonica, and numerous frescoes.
The social legacy held in the religious community is not restricted to its structures, yet enlarges to the masterpieces and archives that constitute an extremely valuable testimonial to Bulgarian development; they are essentially to be discovered in the exhibition hall and in the
Rila Monastery, the most senior in the Slav planet and still the biggest animated religious focus in Bulgaria, is as a matter of first importance an outstandingly fine creative mind boggling, in which building design and painting union agreeably. Separated from this, it has been for a considerable length of time the seat of the improvement, conservation, and dissemination of Slav religious society in all its different signs, incorporating artistic and creative, and it turned into the image of Bulgarian social personality that was consistently debilitated by Turkish command.
The religious community stands something like 120 km from Sofia, in the heart of the Rila Massif, found at the north-western furthest point of the Rodopi Mountains, a bumpy framework with crests that ascent to very nearly 3,000 m. Around there, which was still secured by woods in AD 876-946, existed the loner Ivan Rilski (Saint John of Mila), the evangelizer of the Slavic individuals. He was answerable for the development of the definitive core of the coenobitic group, a short separation from the collapse which he existed as an anchorite; this core was totally crushed in the thirteenth century by fiery breakout.
Another building was built a couple of kilometres from the site of the first establishment, and it was finished in the fifteenth century on account of the gifts of Stefan Hrelyu, an influential nearby ruler who requested in 1355 the development of the tower that still bears his name and a congregation devoted to John of Rila, who had meanwhile been sanctified.
Throughout the Ottoman Turkish mastery of Bulgaria, the religious community undertook the part of rampart of national character despite outside occupation. It turned into a goal for journeys from everywhere throughout the Balkan area, particularly after 1469, when the relics of the holy person were carried there.
The mind boggling pressed on to serve this capacity in the hundreds of years that accompanied, particularly in the eighteenth and nineteenth centuries, when it turned into one of the powerhouses of the Bulgarian Renaissance. This period is archived by the awesome cross that is still safeguarded in the storehouse of the cloister, executed and enhanced with more than 100 bible based scenes by the minister Raphael, one of the heading figures of the development.
The existing structures, with the exemption of the Hrelyu Tower, go again to the nineteenth century building task. They possess an immeasurable territory which shapes an eccentric square, furnished with two doors, both finished with frescoes. The building that encompasses it holds four sanctuaries, a refectory and in the ballpark of 300 cells, a library and spaces for the visitors of the religious community. The intricate has an inner part patio ignored by three- and four-storey developments, decorated by requests of curves set upon stone segments which bind together their veneers and shape breezy loggias. This is animated by the chromatic transaction between the white of the mortar and the red and dark tints of the blocks.
The Hrelyu tower is a conservative building 23 m high, square in arrangement. The most elevated of its five storeys holds a house of prayer devoted to the Transfiguration and beautified by an arrangement of frescoes that were carried out in the second 50% of the fourteenth century: in the nave are delineated stories of Saint John of Rila.
Of the building developed in the nineteenth century, the most critical is the Cathedral of Our Lady of the Assumption, inherent 1833 on the structure of the former building. This congregation houses an eminent cut wooden iconostasis, executed in 1842 by Athanasios Taladuro of Thessalonica, and numerous frescoes.
The social legacy held in the religious community is not restricted to its structures, yet enlarges to the masterpieces and archives that constitute an extremely valuable testimonial to Bulgarian development; they are essentially to be discovered in the exhibition hall and in the
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