Friday, October 8, 2010

AGKOR ROLUOS BAKONG TEMPLE

In 802 A.D., the first king of Angkor Jayavarman II declared the sovereignty of Cambodia. After ups and downs, he established his capital at Hariharalaya. Few decades later, his successors constructed Bakong in stages as the first temple mountain of sandstone at Angkor. The inscription on its stele (classified K.826) says that in 881 King Indravarman I dedicated the temple to the god Shiva and consecrated its central religious image, a lingam whose name Sri Indresvara was a combination of the king's own and the suffix "-esvara" which stood for Shiva ("Iśvara"). According to George Coedes, the devarāja cult consisted in the idea of divine kingship as a legitimacy of royal power, but later authors stated that it doesn't necessarily involve the cult of physical persona of the ruler himself
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Bakong enjoyed its status as the state temple of Angkor for only a few years, but later additions from the 12th or 13th centuries testify that it was not abandoned. Toward the end of the 9th century, Indravarman's son and successor Yasovarman I moved the capital from Hariharalaya to the area north of Siem Reap now known as Angkor, where he founded the new city of Yasodharapura around a new temple mountain called Bakheng.






Sunday, October 3, 2010

La Gloire de Saint Ignace d'Andrea Pozzo







L'église Saint-Ignace-de-Loyola fut édifiée dès 1622 à destination des étudiants du collège jésuite. Cette église est emblématique de la Contre-Réforme et du baroque italien. A l'intérieur, afin de transporter le visiteur, le frère jésuite Andrea Pozzo, maître de la perspective, a peind, en 1685, un trompe l'oeil gigantesque qui couvre l'ensemble de la nef : La Gloire de Saint Ignace, monument à la mémoire du fondateur de l'ordre.Cette fresque exalte l'esprit missionnaire des frères jésuites partis aux quatres coins du monde.A chaque angle, des divinitées majestueuses figurent les quatres continents. Au centre, le saint soutenu par des anges monte au ciel.

La maîtrise parfaite de la perspective crée une illusion totale ; l'architecture de l'église se prolonge jusqu'au ciel et la multitude de personnages surgie naturellement du décor.Le Baroque est ici au sommet de son développement, l'exaltation, l'émotion, la surprise prime sur tout. L'amour de dieu passe par une sur-réprésentation des saints, des miracles, de l'éternel : rien n'est réel, on est dans l'imaginaire pur.