tag:blogger.com,1999:blog-8323405817801186892024-03-05T21:53:32.496-08:00MUSEO DE LA PASIÓN... ven a conocer la "primera Semana Santa" de la Historia...fundacion aguilar y eslavahttp://www.blogger.com/profile/07700503868166764088noreply@blogger.comBlogger57125tag:blogger.com,1999:blog-832340581780118689.post-498318021213777352019-05-21T12:36:00.006-07:002019-05-21T12:41:55.070-07:00El MUSEO DE LA PASIÓN en -Testigos Hoy- de Canal Sur<div class="separator" style="clear: both; text-align: center;">
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Reportaje sobre el MUSEO DE LA PASIÓN de la Fundación Aguilar y Eslava de Cabra (Córdoba) emitido por Canal Sur en -Testigos Hoy- programa religioso que muestra la realidad de la Iglesia católica en Andalucía a través de entrevistas y reportajes, en sus aspectos espirituales, sociales y culturales...</div>
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En el se da a conocer la realidad actual de la Fundación Aguilar y Eslava y el Museo de la Pasión con ocasión de la presentación del Yacente Sindónico del escultor e investigador Juan Manuel Miñarro y la concesión a la tricentenaria institución egabrense de la Medalla de Oro de Andalucía 2019.</div>
</span>fundacion aguilar y eslavahttp://www.blogger.com/profile/07700503868166764088noreply@blogger.com1tag:blogger.com,1999:blog-832340581780118689.post-28491100755276247602018-06-01T02:07:00.001-07:002018-06-01T02:09:42.901-07:00El Museo de la Pasión en "Un País Mágico" de TVE 2<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Verdana, sans-serif; font-size: large;">El Museo de la Pasión estuvo presente en la emisión del programa televisivo "Un País Mágico" del 26 de mayo de 2018. Su Director, Salvador Guzmán explicó al mago Miguelillo, los atractivos y singularidades de este espacio único donde se da a conocer la "Primera Semana Santa de la Historia"...<br /></span><div>
<span style="font-family: Verdana, sans-serif; font-size: large;">"Un País Mágico" de TVE 2 es un viaje a lugares especiales en los que se respira la magia de España; una charla con cantantes, actores, deportistas, artesanos y artistas locales. <br /><br />España es sin duda un país mágico, y para demostrarlo Miguelillo se ha propuesto recorrerlo de punta a punta, a lomos de su compañera 'Travel', mostrando con detalle parajes singulares, espacios con encanto y personas muy especiales. <br /><br />Su misión no es otra que ir ilusionando a todo aquel con el que se encuentre, dejando una carta en cada una de las provincias visitadas hasta completar así una baraja entera, y dar por concluida su misión repartiendo 52 naipes, uno por cada una de las 52 unidades territoriales.</span><span style="font-family: "verdana" , sans-serif; font-size: large;">
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fundacion aguilar y eslavahttp://www.blogger.com/profile/07700503868166764088noreply@blogger.com0tag:blogger.com,1999:blog-832340581780118689.post-50085354168486920832018-04-07T12:54:00.000-07:002018-04-07T12:57:28.135-07:00Reportaje de TJenlared Rute del MUSEO AGUILAR Y ESLAVA y del MUSEO DE LA PASIÓN<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">Reportaje de la segunda temporada del programa 'A fondo' de TJenlared Rute. </span></div>
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En él se da a conocer el interesante espacio expositivo de la egabrense y centenaria Fundación Aguilar y Eslava, un museo que en 2017 cumplió su décimo aniversario. </div>
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Un museo histórico y cultural del que se hace un repaso, en primer lugar, por los inicios y desarrollo de esta institución a través del tiempo. Igualmente, se muestra una exposición temporal sobre geología y geografía y otra permanente de historia natural, descubriendo ejemplares animales naturalizados, únicos de las sierras subbéticas, entre otras muchas piezas y curiosidades.</div>
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Para finalizar, nos adentraremos plenamente en la Pasión, Muerte y Resurrección de Cristo gracias al apartado más novedoso de la colección, situado en la planta sótano: el MUSEO DE LA PASIÓN, un espacio envolvente apoyado y respaldado incondicionalmente por el Ayuntamiento de Cabra y numerosas personalidades y entidades relevantes. </div>
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Sin duda, una institución singular, hospitalaria y cuidadosa con su historia más cultural, siendo mostrada generosamente al visitante que quiere acercarse hasta sus instalaciones. </div>
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fundacion aguilar y eslavahttp://www.blogger.com/profile/07700503868166764088noreply@blogger.com0tag:blogger.com,1999:blog-832340581780118689.post-64395758732196802142017-09-12T10:35:00.000-07:002017-09-12T11:07:53.034-07:00EL MUSEO DE “TERRA SANTA” DE SANTIAGO DE COMPOSTELA <div style="text-align: center;">
<span style="font-size: large;">Historia, legado y conocimiento franciscano de los Santos Lugares</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUFjZcpwtLmA5Y4gl3kRduD4c4gPPrfU8-SNthF56VGYISg8ic6IqMeW4DFVnDok-EtLi1UGt1KyHj-4ZUN2NZ55C9rIzQzvGUBYUCTzZuHBkwbKA6FTMxTOJo6VpB7J08GASsqXbjzHI/s1600/foto2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="670" data-original-width="984" height="435" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUFjZcpwtLmA5Y4gl3kRduD4c4gPPrfU8-SNthF56VGYISg8ic6IqMeW4DFVnDok-EtLi1UGt1KyHj-4ZUN2NZ55C9rIzQzvGUBYUCTzZuHBkwbKA6FTMxTOJo6VpB7J08GASsqXbjzHI/s640/foto2.jpg" width="640" /></a></div>
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<span lang="ES" style="mso-ansi-language: ES;"><span style="font-size: small;">Recientemente hemos tenido la fortuna de conocer personalmente el Museo de “Terra
Santa” que se encuentra formando parte del conjunto arquitectónico del
monumental e histórico Convento de San Francisco de Santiago de Compostela. <span style="mso-spacerun: yes;"> </span>Siendo este<span style="mso-spacerun: yes;">
</span>monasterio, Colegio de Misioneros para Tierra Santa, se comprende la
especial vinculación que han tenido y tienen los franciscanos con los Santos
Lugares, al ser sus custodios en representación de la Iglesia Católica desde el
siglo XIV.<o:p></o:p></span></span></div>
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<span lang="ES" style="mso-ansi-language: ES;"><span style="font-size: small;">El origen de este museo está especialmente vinculado al Instituto
Arqueológico Franciscano, una de las instituciones culturales más características
que esta Orden posee en Tierra Santa. La gran mayoría de las piezas expuestas son
producto de las excavaciones efectuadas en importantes yacimientos promovidas
por dicha entidad. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
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<span lang="ES" style="mso-ansi-language: ES;"><span style="font-size: small;">Por otra parte, recoge la obra de Bartolomé de las Heras, franciscano
gallego, principal protagonista de<span style="mso-spacerun: yes;"> </span>la
Exposición de Arte Sacro del Año Santo Romano de 1950 y para la que construyó en
madera de ciprés de Getsemaní, una extraordinaria y enorme maqueta de la
Basílica del Santo Sepulcro de Jerusalén, que como una casa de muñecas se puede
abrir en ocho partes permitiéndonos ver su interior. Sin duda, la gran joya de
este museo.<o:p></o:p></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEkrBm5la1z8qr4x3-r9h4aW_sunlUHVLd3C2Hel5wty-zMzeGh1hNV-n7DtEmnAXXGU7AEXXP2sdudhqzxo1IGQ4jpgi2gL4vHe_7fQwy13j4WjWrF5dEdQkJ9Q5PJbfxw1QEXF6-iTI/s1600/foto6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="833" data-original-width="1250" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEkrBm5la1z8qr4x3-r9h4aW_sunlUHVLd3C2Hel5wty-zMzeGh1hNV-n7DtEmnAXXGU7AEXXP2sdudhqzxo1IGQ4jpgi2gL4vHe_7fQwy13j4WjWrF5dEdQkJ9Q5PJbfxw1QEXF6-iTI/s400/foto6.jpg" width="400" /></a></div>
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<span lang="ES" style="mso-ansi-language: ES;"><span style="font-size: small;">Posteriormente esta obra junto a otras numerosas piezas, especialmente las
citadas de carácter arqueológico, participaron en 1954 en una exposición sobre
Tierra Santa en Madrid, de la que surgiría el proyecto de creación de un museo
o muestra permanente. En 1984, muchas de aquellas piezas recalaron en el
convento compostelano de San Francisco; dónde se decidió crear este museo, que,
finalmente, vería la luz en 1993.<o:p></o:p></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNViDKYeQhlUfr_8by8ljxOivMjNvupc5tc2eHxUxpo6fW5_pvb-bPuyzyvyw0QVFbxvI92xAs94xgkKL6ZRxXDAkajulyGLuoBbLNltf1tGtivkdltCRjfwXJmcnsBDKAjzo63I-T8aY/s1600/foto12.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="900" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNViDKYeQhlUfr_8by8ljxOivMjNvupc5tc2eHxUxpo6fW5_pvb-bPuyzyvyw0QVFbxvI92xAs94xgkKL6ZRxXDAkajulyGLuoBbLNltf1tGtivkdltCRjfwXJmcnsBDKAjzo63I-T8aY/s400/foto12.jpg" width="400" /></a></div>
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<span lang="ES" style="mso-ansi-language: ES;"><span style="font-size: small;">La visita a este museo de “Terra Santa” es toda una sorpresa y una oportunidad
de acercarse a la cultura de ese legendario territorio. Un recorrido histórico
que parte desde la Prehistoria, siguiendo por la colonización romana,
dominación bizantina, árabe, turca, hasta la llegada de los ingleses y la
creación moderna del estado de Israel <span style="mso-spacerun: yes;"> </span>después
de la II Guerra Mundial. Un desarrollo cronológico que nos permite conocer las vicisitudes
de aquellas tierras bíblicas, origen de las tres grandes culturas monoteístas.</span></span><br />
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<span lang="ES" style="mso-ansi-language: ES;"><span style="font-size: small;">Por otra parte, la exposición fija una especial atención sobre la historia
de Jerusalén, crisol de culturas y testigo de los acontecimientos pasionistas;
el fenómeno de las Cruzadas; y los caminos de peregrinación a ella. Pues, junto
con Roma y Santiago de Compostela, constituyen los tres grandes centros de
peregrinación más significativos para la Cristiandad.<o:p></o:p></span></span><br />
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<span lang="ES" style="mso-ansi-language: ES;"><span style="font-size: small;">La Jerusalén del siglo I, la de los tiempos de Jesús, aparece perfectamente
identificada urbanísticamente en otra gran maqueta que se ubica en la caja de
escalera que sirve de acceso al museo. </span></span><br />
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<span style="font-size: small;">Curiosamente, el Museo de “Terra santa” gallego presenta una maqueta a
escala reducida de la tumba de Jesús, que coincide al detalle con la recreación
a tamaño natural del Museo de la Pasión de Cabra. Y también cuenta con un apartado
informativo sobre la Sábana Santa, la imagen de la Síndone de Turín y su influencia
en la imaginería cristífera.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFY2vL9o48I3clZnqpaBFlHrjxNgy__I8GqMukLqFjdiaf2odWLt2ghl_rgXkmyh21NJYklpJ7sKP2MI9YwhNgt8ORcfKwjCMUKHii24c8wkcXkp2A3hb1sEZBkAA3GFC0y5WjSvUHASI/s1600/foto3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="815" data-original-width="787" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFY2vL9o48I3clZnqpaBFlHrjxNgy__I8GqMukLqFjdiaf2odWLt2ghl_rgXkmyh21NJYklpJ7sKP2MI9YwhNgt8ORcfKwjCMUKHii24c8wkcXkp2A3hb1sEZBkAA3GFC0y5WjSvUHASI/s400/foto3.jpg" width="386" /></a></div>
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<span lang="ES" style="mso-ansi-language: ES;"><span style="font-size: small;">De la Jerusalén hebrea convertida en la Aelia Capitolina romana se muestran
en este museo numerosas piezas arqueológicas, entre las que destacan las
colecciones numismática y de lucernas y lámparas herodianas que se usaban en
los tiempos de Jesús y sus apóstoles.<o:p></o:p></span></span><br />
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<span lang="ES" style="mso-ansi-language: ES;"><span style="font-size: small;">En forma de maqueta a pequeña escala se pueden ver el Templo de Jerusalén y
unas reproducciones en bronce del Arca de la Alianza, que se encontraba en el
Templo de Salomón, y el Mar de bronce, perteneciente al segundo Templo y que
contenía agua para las abluciones de los sacerdotes. Objetos legendarios sagrados
del Antiguo Testamento, hoy desaparecidos.</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTLxN6odzxg5_FaCrhRpmbgogSJv2aASSMFagJV6aR_j1ArXstvYuVbA5JMti4NdHdX9js1gD1hN_gQuqz-PzzyQZU7piJbjRxK_OadB8oT-TT76lAqYjWBul78uVDV7rvTWS-LCgQVic/s1600/foto11.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="900" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTLxN6odzxg5_FaCrhRpmbgogSJv2aASSMFagJV6aR_j1ArXstvYuVbA5JMti4NdHdX9js1gD1hN_gQuqz-PzzyQZU7piJbjRxK_OadB8oT-TT76lAqYjWBul78uVDV7rvTWS-LCgQVic/s400/foto11.jpg" width="400" /></a></div>
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<span lang="ES" style="mso-ansi-language: ES;"><span style="font-size: small;">En otras salas, se repasan las aportaciones que desde el siglo XIII ha
hecho la comunidad franciscana, especialmente en el campo de la artesanía en
madera de olivo y nácar. Con una amplia exposición de piezas de carácter didáctico,
social y religioso propio de la Orden. Técnicas artesanales que actualmente
realizan familias cristianas en Beit Sahur (el campo de los pastores) junto a
la ciudad de Belén. Y en</span></span><span style="font-size: small;"> otros apartados documentales
la muestra recoge ejemplares de los libros sagrados de las tres grandes religiones:
Biblia, Torá y Corán; así como diversos elementos litúrgicos, como rosarios o
filacterias.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWsoZ3gSp53lhk0K1WekpQVNZT4cNFJG4gl_4PVUy3Fu6FPyxmp-ojSgxOT5rc2UalHdUPxu1PDhDQfjjMhURfxFm7CC6JpgWzXzL-uNz9tspfOKa7Lwu3_VYvdlvE5DofVcSv5zCXg0U/s1600/foto10.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="660" data-original-width="1019" height="258" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWsoZ3gSp53lhk0K1WekpQVNZT4cNFJG4gl_4PVUy3Fu6FPyxmp-ojSgxOT5rc2UalHdUPxu1PDhDQfjjMhURfxFm7CC6JpgWzXzL-uNz9tspfOKa7Lwu3_VYvdlvE5DofVcSv5zCXg0U/s400/foto10.jpg" width="400" /></a></div>
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<span lang="ES" style="mso-ansi-language: ES;"><span style="font-size: small;">Su responsable, Rori Suárez, nos asegura que se trata de <i>“un museo único, dónde,
prácticamente, todas las piezas expuestas son originales”</i>, como el fragmento de
mármol con la antigua estrella de bronce de catorce puntas, del sitio de la Natividad en Belén en
la que se lee la siguiente inscripción: </span></span><span style="font-family: "times";"><span style="font-size: small;">“HIC DE VIRGINE MARIA JESUS CHRISTUS NATUS
EST”. </span></span><br />
<span style="font-family: "times";"><span style="font-size: small;"><br /></span></span>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi53eMPq0ERABfDM6EevQRaMh2zesNErO8VColkT3gfXvhllrU0gvnLAzF9po6eaK5yrXDiFqow4vnY5W-Ogj-X7cp65GgIDjdw1vyy7j3ZVLkfu5MqpgsRHE0-NNP35cY_F52zOnZdrfM/s1600/foto8.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="800" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi53eMPq0ERABfDM6EevQRaMh2zesNErO8VColkT3gfXvhllrU0gvnLAzF9po6eaK5yrXDiFqow4vnY5W-Ogj-X7cp65GgIDjdw1vyy7j3ZVLkfu5MqpgsRHE0-NNP35cY_F52zOnZdrfM/s400/foto8.jpg" width="400" /></a></div>
<br />
<span lang="ES" style="mso-ansi-language: ES;"><span style="font-size: small;">Un extraordinario objeto histórico y piadoso <span style="mso-spacerun: yes;"> </span>de la segunda mitad del S. XII, que arrancaron
los griegos ortodoxos cuando adquirieron los derechos sobre el mantenimiento de
la Basílica de la Natividad a mediados del siglo XVIII, y que fue reemplazada
en 1853 por la que hoy existe. La antigüedad de este fragmento de mármol se
remontaría a la época cruzada, ya que entre 1165 y 1169 los cruzados
restauraron la Basílica con ayuda de Constantinopla y el Obispo de Belén. <o:p></o:p></span></span><br />
<span lang="ES" style="mso-ansi-language: ES;"><span style="font-size: small;"><br /></span></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqvTngw-3QttN5C_6AsDGVqdcC2oT8PW5dUSKdlEo3WpPmT1y7Hl7UF0zid67iu2OPXDwrhhYdAi1uTUfNb_t5P-jgb5O0AXV7L6HnVTxtziFo-xk7XwdIVo5VYf2dd1HYZeMEUBsfeKI/s1600/foto4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="734" data-original-width="906" height="322" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqvTngw-3QttN5C_6AsDGVqdcC2oT8PW5dUSKdlEo3WpPmT1y7Hl7UF0zid67iu2OPXDwrhhYdAi1uTUfNb_t5P-jgb5O0AXV7L6HnVTxtziFo-xk7XwdIVo5VYf2dd1HYZeMEUBsfeKI/s400/foto4.jpg" width="400" /></a></div>
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<span style="font-size: small;">Sin duda, <span style="mso-spacerun: yes;"> </span>el Museo de
“Terra Santa” es un tesoro escondido en Santiago de Compostela, que pasa prácticamente desapercibido
al gran público, a pesar de ser uno de los mejor dotados en piezas
históricas de los Santos Lugares que se conozcan en todo el mundo. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: small;">Una muestra valiosísima, que recorre la historia del país de
Jesús de Nazaret, o, como dice, el conocido franciscano Francisco Javier Castro
Miramontes: <i>“un trozo de Tierra Santa en Compostela”</i>.<o:p></o:p></span><br />
<span style="font-size: small;"><br /></span></div>
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
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<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="21" QFormat="true"
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<w:LsdException Locked="false" Priority="31" QFormat="true"
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<w:LsdException Locked="false" Priority="32" QFormat="true"
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<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
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fundacion aguilar y eslavahttp://www.blogger.com/profile/07700503868166764088noreply@blogger.com0tag:blogger.com,1999:blog-832340581780118689.post-43683795235373918302017-08-04T04:39:00.000-07:002018-04-07T13:46:25.272-07:00JESUS'S TOMB<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzY7ieJxnZTs8vgDmrAZGpQWmM2eOxqhf-QJzxc0EmS5HUcBV7nNljT_ECEzueSYV0jHpm1m3CqR6bHYOYkWcDanPck-G3WS1KEYFVfKq_xjzmESrIa3jAJnSIu2HVQf2CpD3sp4sXcm0/s1600/La+tumba+de+Jes%25C3%25BAs.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1318" data-original-width="1600" height="524" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzY7ieJxnZTs8vgDmrAZGpQWmM2eOxqhf-QJzxc0EmS5HUcBV7nNljT_ECEzueSYV0jHpm1m3CqR6bHYOYkWcDanPck-G3WS1KEYFVfKq_xjzmESrIa3jAJnSIu2HVQf2CpD3sp4sXcm0/s640/La+tumba+de+Jes%25C3%25BAs.jpg" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW8zDI2qFSo-4cW7Cl7F9W9d_tG51LPYJYotoJOm24EXxuKHDcEO2WxhDyIhsHKPrZc5zUSyGn_uJ8JGhBgl80Pdhcn3qhD0xkvbtbQmOJHIp6DcrT0zq4C-24Sn54ucgCb9BbxFV9wxQ/s1600/LOGO+INGL%25C3%2589S2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="548" data-original-width="536" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW8zDI2qFSo-4cW7Cl7F9W9d_tG51LPYJYotoJOm24EXxuKHDcEO2WxhDyIhsHKPrZc5zUSyGn_uJ8JGhBgl80Pdhcn3qhD0xkvbtbQmOJHIp6DcrT0zq4C-24Sn54ucgCb9BbxFV9wxQ/s200/LOGO+INGL%25C3%2589S2.jpg" width="195" /></a></div>
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<span style="font-family: Verdana, sans-serif; font-size: large;"><i>‘At the place where Jesus was crucified, there was a garden, and in the garden a new tomb, in which no one had ever been laid’. (John 19:41).<br /><br />‘Joseph took the body, wrapped it in a clean linen cloth, and placed it in his own new tomb that he had cut out of the rock’. (Matthew 27:59).<br /><br />‘Then he took it down, wrapped it in linen cloth and placed it in a tomb cut in the rock, one in which no one had yet been laid’. (Luke 23:53).</i><br /><div style="text-align: justify;">
Jesus’s sepulchre could be accurately rebuilt thanks to evangelical narratives and historic and archaeological pieces of information. Professor Virgilio Canio Corbo undertook researches in the Church of the Holy Sepulchre of Jerusalem (1981) and several trial excavations were carried out. They prove that the area around the Golgotha was used as a quarry between the 8th and the 1st century B.C. Then, the quarry was abandoned and it became into a garden.</div>
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Jesus’s tomb would be cut out of the limestone known as ‘meleke’, in an isolated place of that quarry. There was a door closed by a rolling stone. Behind this door there was a room with a continuous bench and then a mortuary room could be found, with an arcosolium on the right side, which was the place where the corpse would be laid. Oil lamps (clay lamps) were used in order to light these areas. The lamps would be hung on the walls. Jesus’s tomb is totally distorted from its original shape. Nowadays, it is located inside of an aedicula or a Chapel in the Church of the Holy Sepulchre of Jerusalem.</div>
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First century Jewish tomb.</div>
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Reconstruction of the Jesus’s Sepulchre: There was an entrance (1) closed by a rolling stone (1st). Behind the door there was a room (2) with a continuous bench (2nd) and then a mortuary room (3) could be found, with an arcosolium stone sculpted (3rd).</div>
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Maps of a 1st – 2nd century sepulchre. J. M. Miñarro (2009)</div>
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The Entombment of Christ, Caravaggio (1602). Vatican Museums, Rome (Italy).</div>
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The Egyptian caliph al-Hakim destroyed Jesus’s tomb in 1009. Then, an Aedicula or Chapel was erected there.</div>
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Limestone known as ‘meleke’ or real stone.</div>
</span>fundacion aguilar y eslavahttp://www.blogger.com/profile/07700503868166764088noreply@blogger.com0tag:blogger.com,1999:blog-832340581780118689.post-46202020852323612302017-08-04T03:29:00.005-07:002018-04-07T13:44:45.389-07:00THE MAN OF THE HOLY SHROUD<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7NIhvVUD1xCWljU44HhemGZABzbn2uScybcAj1oiuGR6NHUMZEmdEFMr1jjup_fp24Y3s0CCMwiGD0h9Luuwnr1IqMwWehgNEguXo15y6IkRG8SSeDQkYbYtEr2T3Ffzl9HoMUm6e_Kk/s1600/El+hombre+de+la+S%25C3%25A1bana+Santa.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="970" data-original-width="1600" height="387" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7NIhvVUD1xCWljU44HhemGZABzbn2uScybcAj1oiuGR6NHUMZEmdEFMr1jjup_fp24Y3s0CCMwiGD0h9Luuwnr1IqMwWehgNEguXo15y6IkRG8SSeDQkYbYtEr2T3Ffzl9HoMUm6e_Kk/s640/El+hombre+de+la+S%25C3%25A1bana+Santa.jpg" width="640" /></a></div>
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Doctor Pierre Barbet carried out the first forensic studies about the image of the Man in the Holy Shroud of Turin in the 1930s. Since then many experts on legal medicine recognise that the signs of torture and execution are identical to those which Christ suffered.</div>
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Since 2001 Juan Manuel Miñarro López, professor of Sculpture at the Faculty of Fine Arts of the University of Seville, has made artistic recreation labours which reproduce in a three-dimensional way the features the Holy Shroud shows:</div>
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A tortured man whose face has a strong swelling on the right cheek and the nasal cartilage is broken. There are sweat, tears, blood and saliva. The wounds show venous blood as well as arterial blood. There are more than 60 pricks in the head caused by thorns and many double and parallel wounds which could be provoked by more than 100 blows using a flagrum taxilatum. Furthermore, there is a great bruise and a wound on the left knee. The man was crucified using nails which went through his wrists and his feet. He was also speared on the right side between the 5th and the 6th rib.</div>
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Professor Miñarro has reconstructed the face and the body of the Man of the Holy Shroud in detail, under the supervision of coroners and after a documentary, artistic and anatomical research.</div>
</span>fundacion aguilar y eslavahttp://www.blogger.com/profile/07700503868166764088noreply@blogger.com0tag:blogger.com,1999:blog-832340581780118689.post-83725979074225546522017-08-04T02:20:00.000-07:002018-04-07T13:43:26.222-07:00HOLY SUDARIUM OF OVIEDO<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyun3PxGwWwX7kLBoNYyWYEz57ASSiE3Toz5Q__Ynd7MCPON1b29ek_MdyUlcNNDSWLAVjGj7PgGDEpm5EYSgi3YSEtdxIbRbzrqAbK2QxNMStTMk4f8AQoJQYIL3Iot1-O8S03yTEGm8/s1600/Sudario+de+Oviedo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1568" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyun3PxGwWwX7kLBoNYyWYEz57ASSiE3Toz5Q__Ynd7MCPON1b29ek_MdyUlcNNDSWLAVjGj7PgGDEpm5EYSgi3YSEtdxIbRbzrqAbK2QxNMStTMk4f8AQoJQYIL3Iot1-O8S03yTEGm8/s640/Sudario+de+Oviedo.jpg" width="626" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW8zDI2qFSo-4cW7Cl7F9W9d_tG51LPYJYotoJOm24EXxuKHDcEO2WxhDyIhsHKPrZc5zUSyGn_uJ8JGhBgl80Pdhcn3qhD0xkvbtbQmOJHIp6DcrT0zq4C-24Sn54ucgCb9BbxFV9wxQ/s1600/LOGO+INGL%25C3%2589S2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="548" data-original-width="536" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW8zDI2qFSo-4cW7Cl7F9W9d_tG51LPYJYotoJOm24EXxuKHDcEO2WxhDyIhsHKPrZc5zUSyGn_uJ8JGhBgl80Pdhcn3qhD0xkvbtbQmOJHIp6DcrT0zq4C-24Sn54ucgCb9BbxFV9wxQ/s200/LOGO+INGL%25C3%2589S2.jpg" width="195" /></a></div>
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<span style="font-family: Verdana, sans-serif; font-size: large;"><div style="text-align: justify;">
The holy Sudarium of Oviedo is a funerary linen which was wrapped around the head of a crucified person a few minutes after his death. Researches show that the head was in a vertical position slightly bent forward and right. Then, it was moved by a foreign hand in order to control the blood which flowed from the nose. They put the head in supine position. The Man of the Sudarium suffered a great pulmonary oedema and lost more than one and a half litre of blood type AB as a consequence of the terminal process. According to the forensic haematology, there are more than 70 coincidences between the Sudarium of Oviedo and the Holy Shroud.</div>
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THREE-DIMENSIONAL MODEL of the positioning of the Sudarium. Juan M. Miñarro (2010)</div>
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DIAGRAMS OF STAINS in the Sudarium of Oviedo</div>
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Back stains</div>
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Central stains</div>
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Dot shape stains</div>
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Butterfly wings stains</div>
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Corner stains</div>
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Diffused stain</div>
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Fold</div>
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Symmetry axis of the main stains</div>
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Diagonal creases</div>
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Accordion stain</div>
</span>fundacion aguilar y eslavahttp://www.blogger.com/profile/07700503868166764088noreply@blogger.com0tag:blogger.com,1999:blog-832340581780118689.post-41266684042841605802017-08-02T03:53:00.003-07:002018-04-07T13:41:47.148-07:00THE CALVARY<div class="separator" style="clear: both; text-align: justify;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3AeD7GCVIU7vpQdRYtj_YYvrUhLt1Huhxg4g0ooxSQQ1rts3A1ik-b6-K7bblf9eskz1-FlmbwY03QGCUsuVwqoLG0-710de1pdWrFCiSwNhFT6R8hv4sAJ3KpsFJ7sdwIZsGmKNirqs/s1600/El+Calvario.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1265" data-original-width="1600" height="504" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3AeD7GCVIU7vpQdRYtj_YYvrUhLt1Huhxg4g0ooxSQQ1rts3A1ik-b6-K7bblf9eskz1-FlmbwY03QGCUsuVwqoLG0-710de1pdWrFCiSwNhFT6R8hv4sAJ3KpsFJ7sdwIZsGmKNirqs/s640/El+Calvario.jpg" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW8zDI2qFSo-4cW7Cl7F9W9d_tG51LPYJYotoJOm24EXxuKHDcEO2WxhDyIhsHKPrZc5zUSyGn_uJ8JGhBgl80Pdhcn3qhD0xkvbtbQmOJHIp6DcrT0zq4C-24Sn54ucgCb9BbxFV9wxQ/s1600/LOGO+INGL%25C3%2589S2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="548" data-original-width="536" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW8zDI2qFSo-4cW7Cl7F9W9d_tG51LPYJYotoJOm24EXxuKHDcEO2WxhDyIhsHKPrZc5zUSyGn_uJ8JGhBgl80Pdhcn3qhD0xkvbtbQmOJHIp6DcrT0zq4C-24Sn54ucgCb9BbxFV9wxQ/s200/LOGO+INGL%25C3%2589S2.jpg" width="195" /></a></div>
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Historians and archaeologists agree that the remains of the Calvary are in the Church of the Holy Sepulchre in Jerusalem. Maps of the Calvary rock were made by the Greek architect Katsimbinis in 1975. Then, Florentino Díez Fernández, a Spanish archaeologist, completed these maps in 1976.</div>
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The Calvary is a white limestone (real stone or meleke) which stood above the slope of mount al-Gareb. It was cracked due to a seismic tremor before its use as a Roman quarry in the 2nd century AD. There is a cavity known as the Cave of Adam or Treasures Cave under the summit, in the eastern face. This cavity is mentioned in the apocryphal literature as the grave of the first man whose bones redeemed the humanity with the Christ’s blood spilt over them in that place. It is probably the most ancient place of Christian worship due to vestiges found there (stuccos and inscriptions).</div>
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<span style="font-family: Verdana, sans-serif; font-size: large;">Doctor Carlos Llorente has made a three-dimensional reconstruction of the Calvary. He says that it would probably have an additional access due to its dimensions and height.</span></div>
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MODEL OF THE CALVARY AND ACCESS STAIRS (SOUTHERN VIEW). Doctor Carlos Llorente (2013).</div>
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GOLGOTHA OR PLACE OF THE SKULL</div>
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1 – Joseph of Arimathea’s garden</div>
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2 – Abandoned former quarry</div>
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3 – Calvary rock</div>
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4 – Slope of mount al-Gareb</div>
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5 – Jerusalem wall</div>
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Topographic map of the Calvary rock by the Greek architect Cristós Katsimbinis (1975).</div>
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<span style="font-family: Verdana, sans-serif; font-size: large;">Calvary rock profile and its connection with the paving of the Constantinian buildings. Sketch by Florentino Díez Fernández (1978).</span></div>
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Detail of the mosaic of the Basilica of Santa Pudenziana in Rome (end of the 4th century). It is considered the most ancient representation of the Calvary rock.</div>
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Archaeologists and workers who completed the archaeological excavation of the Calvary area (1978).</div>
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The cave of the Calvary had been hidden from the second century to 1978.</div>
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Detail of the Crucifixion by Juan de Flandes, Museo Nacional del Prado (1518). The iconography of Adam’s skull became very popular in the painting in the Middle Ages, the Renaissance and even the Baroque. The legend of Adam’s grave in the Calvary is described in the Book of Adam and Eve and the Treasures Cave. It relates that the first man was buried in the same place where Christ was crucified, and it tells when ‘the Messiah obtained the victory wounded by the spear, blood and water flowed from his side to Adam’s mouth and that was his baptism’.</div>
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fundacion aguilar y eslavahttp://www.blogger.com/profile/07700503868166764088noreply@blogger.com0tag:blogger.com,1999:blog-832340581780118689.post-33114269527358776952017-08-02T03:47:00.001-07:002018-04-07T13:39:37.871-07:00ARMA CHRISTI<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Verdana, sans-serif; font-size: large;"><br />Some of the tools used in the Passion of Christ: the coins used by Judas to betray Jesus; the sword which is mentioned in the Gospels; the column and the whip; the crown of thorns; the reed and the sponge used to drink; the lance which provoked the wound on the side; the cross and the elements used for crucifying Jesus: the nails, the mallet, the pincers…<br /><br />COPY OF ROMAN LANCE<br />(Lancea) Jorge Mambrillo (2012)<br /><br />THE WIDOW’S MITE<br />Bronze coin from the Hasmonean Dynasty minted in Judea (1st century B.C.)<br /><br />REED, SPONGE AND CORD (Arundo donax/ Callyspongia plicifera/ Thymelaea hirsuta)<br /></span><div>
<span style="font-family: Verdana, sans-serif; font-size: large;">Reed as sceptre with a sponge soaked in vinegar. Palm leaf cord to tie the crucified person.<br /><br />IBERIAN WEAPONS (first century)<br /><br />Falcata (sword) and tip of spear donated by Mr Juan Leña.<br /><br />Leading Cross. Francisco Ruiz Gijón (1716). Brotherhood of Jesús del Gran Poder, Seville.<br /><br />ROMAN COINS (Tetradrachm from Tyre)<br />Judas thirty silver coins.<br /><br />COPY OF THE NAILS USED FOR THE CRUCIFIXION<br />Juan M. Miñarro López (2008)<br /><br />COPY OF THE ROMAN WHIPS (Flagrum taxilatum) <br />Juan M. Miñarro López (2008)</span></div>
fundacion aguilar y eslavahttp://www.blogger.com/profile/07700503868166764088noreply@blogger.com0tag:blogger.com,1999:blog-832340581780118689.post-21076922850047228032017-07-27T03:09:00.004-07:002018-04-07T13:37:40.883-07:00RELICS<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Verdana, sans-serif; font-size: large;"><br />Relics are historical testimonies, objects of worship or proofs of faith. The canonical law demands that every altar needs to have a relic of a saint or a martyr. It is a way of remembering the masses celebrated by the first Christians, who asked for the intercession of the saints on their graves.<br /><br />Jesus’ relics are the most valued and worshipped ones. The Titulus Crucis of Rome, fragments of the Cross (lignum crucis), the Holy Grail of Valencia, the Shroud of Turin and the Holy Sudarium of Oviedo are the most relevant relics of the Passion of Jesus.<br /><br />The possible inscription of the Cross of Christ is kept in the Roman Basilica of the Holy Cross of Jerusalem, which was built by Saint Helena. It is a rectangular piece of wood in which there are inscriptions in Hebrew, Greek and Latin. This relic has been studied by the researcher Michael Hasemann.<br /><br />There are two relics of the Cross of Christ in Spain, specifically in Liébana (Cantabria) and Caravaca (Murcia). The Holy Grail is in the Cathedral of Valencia. It is a goblet made of eastern carnelian agate which dates from the first century before Christ. A base was added to the cup in the Middle Ages. A group of researchers of the Spanish Centre of Sindonology have elaborated a multidisciplinary study of the grail.<br /><br />Fragment of the Title of the Cross of Rome.<br /><br />Reconstruction of the original text of Titulus Christi by J. Marini.<br /><br />Reliquary of the Titulus Crucis. Basilica of the Holy Cross of Jerusalem in Rome (Italy).<br /><br />Joan de Joanes. The last supper (1562). Museo Nacional del Prado, Madrid.<br /><br />Holy Grail. Cathedral of Valencia.<br /><br />The Lignum Crucis of Liébana is the biggest relic of the Cross which has been admitted by the Church.<br /><br />Cross of Caravaca (Murcia)<br /><br />Saint Helena supervises the excavations in order to find the True Cross. Jan Van Eyck. Miniature of ‘Hours of Notre Dame’ (toward 1424) Turin (Italy). </span>fundacion aguilar y eslavahttp://www.blogger.com/profile/07700503868166764088noreply@blogger.com0tag:blogger.com,1999:blog-832340581780118689.post-21758508885891252552017-07-26T02:32:00.000-07:002018-04-07T13:36:06.352-07:00SECUNDUM SCRIPTURAS<div class="separator" style="clear: both; text-align: center;">
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The historical reality of the Passion of Jesus is collected in four main sources: Pagan Roman, Jewish, Rabbinical and Christian sources.</div>
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The first allusion to Jesus is a Roman letter written by Pliny the Younger to Emperor Hadrian (toward 112 AD). Later, Jesus is also mentioned by Suetonius and Tacitus. There are not many Jewish and Rabbinical testimonies, but the most important one was written by the historian Josephus, who was a Jew at the service of the Roman Empire and the author of ‘Antiquities of the Jews’ (toward 93 AD). There is not another Jewish work before 130 AD that refers to Jesus. There are only Rabbinical sources such as comments about the Talmud (written law) after the second century which make reference to the existence of Christ.</div>
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The most abundant sources would be the Christian ones, specifically the canonical and apocryphal Gospels, the Pauline epistles as well as other quotes originating from literary traditions of the primitive Church.</div>
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<span style="font-family: Verdana, sans-serif; font-size: large;">The Gospels are not history books, but contain a lot of information about events related to Jesus of Nazareth. The evangelists do not try to make an impartial history of the Passion of Jesus, even though they are not fictitious nor false. They only reconstruct and interpret the facts. That is why there are many gospels written in the Antiquity, although four of them were only accepted by the Church and considered as canonical ones.</span></div>
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The Gospels of Matthew, Mark and Luke date from 70 AD, when the temple of Jerusalem was destroyed by Emperor Titus. They are synoptic gospels because they are mutually connected. They have a common source known as ‘Q’, which is a collection of sayings of Jesus. It would be a well-known compilation and each author used and interpreted it in his own way. The Gospel of John dates from the end of the first century and it seems to use a different source –oral or written- about the miracles of Christ.</div>
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The apocryphal Gospels are not accepted by the catholic orthodoxy, although many of them gather aspects which are admitted by the tradition. Most of them date from the third and the fourth centuries. Consequently, historical Christian churches considered that they misinterpreted the meaning of the word ‘Gospel’ (Good News).</div>
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Papyrus manuscript 75, Gospels of Luke and John (toward 175-220)<br /></span></div>
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<span style="font-family: Verdana, sans-serif; font-size: large;">Papyrus manuscript 90, small fragment of the gospel of John (end of the first century)<br /><br />Papyrus manuscript 66, Gospel of John<br /><br />Papyrus manuscript 28, Gospel of John in Greek (end of the third century)<br /><br />Titus Flavius Josephus. Antiquities of the Jews (toward 93. Edition 1466)<br /><br />Papyrus manuscript of Oxyrhynchus. Apocryphal gospel of Thomas written in the middle of the third century.<br /><br />Symbols of the Evangelists Matthew, Mark, Luke and John. Niculoso Pisano (toward 1525) Museum of Fine Arts (Seville)<br /><br />The authors of the Gospels (St Matthew, St Mark, St Luke and St John) are symbolically represented as the four living beings of the Revelation 4, 7: ‘The first living being is a lion; the second one is an ox; the third one is a man; and the four one is an eagle’.</span><div class="MsoNormal" style="text-align: justify;">
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<span style="font-family: Verdana, sans-serif; font-size: large;"><br /><b>Apocryphal gospels</b><br />Lost apocryphal gospels<br />Gospel of the Hebrews<br />Gospel of the Egyptians<br />Gospel of Mary<br />Gospel of Judas<br />Gospel of Marcion<br />Apocryphal gospel of John<br />Gospel of Truth<br />Memories of the Apostles<br />Gospel of Apelles<br />Gospel of Eve</span><div class="MsoNormal" style="text-align: justify;">
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<span style="font-family: Verdana, sans-serif; font-size: large;"><b>Apocryphal gospels about the Nativity and the Infancy</b><br />Infancy gospel of Thomas<br />Arabic infancy gospel<br />Armenian infancy gospel<br />Book of the Nativity of Mary<br />Gospel of James<br />Gospel of Pseudo-Matthew</span><div class="MsoNormal" style="text-align: justify;">
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<span style="font-family: Verdana, sans-serif; font-size: large;"><b>Apocryphal gospels about the Passion and the Resurrection</b><br />Gospel of Peter<br />Acts of Pilate or Gospel of Nicodemus<br />Gospel of Bartholomew</span><div class="MsoNormal" style="text-align: justify;">
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<span style="font-family: Verdana, sans-serif; font-size: large;"><b>Others</b><br />Book of Saint John of Thessaloniki<br />Story of Pseudo-Joseph of Arimathea<br />Secret gospel of Mark<br />Gospel of Pseudo-James<br />Cathar gospel of Pseudo-John<br />Gospel of the Hebrews<br />Gospel of the Ebionites<br />Gospel of Barnabas<br />Gospel of Tatian<br />Gospel of the Nazarenes<br />Gospel of Ammonius<br />Gospel of the Vengeance of the Saviour<br />Apocryphal gospel of Galilee</span><div class="MsoNormal" style="text-align: justify;">
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<span style="font-family: Verdana, sans-serif; font-size: large;"><b>Apocryphal gnostic gospels of Nag Hammadi</b><br />Gospel of Philip<br />Gospel of Thomas</span></div>
fundacion aguilar y eslavahttp://www.blogger.com/profile/07700503868166764088noreply@blogger.com0tag:blogger.com,1999:blog-832340581780118689.post-49238325387836855502017-07-21T02:52:00.002-07:002018-04-07T13:29:18.240-07:00HOLY PLACES<div class="separator" style="clear: both; text-align: center;">
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Golgotha is the name the Gospels give to the place where Jesus was executed. The Aramaic term ‘Golgotha’ or the Greek one ‘Kránion’ (skull) refer to the same place. The term Calvary comes from the Latin root ‘calva’ which equally comes from the Greek term. This place is located in the interior of the Church of the Holy Sepulchre in Jerusalem, among architectural structures and under the remains of an old Roman temple which was built after the destruction of Jerusalem (130 AD) and its transformation into Aelia Capitolina by Hadrian. The church is managed by three Christian communities: the Roman Catholic, the Greek Orthodox and the Armenian Orthodox communities. The Calvary would be a flat rock, round at the top, 20 feet high and 23 feet long. The Chapel of the Crucifixion is built on this rock. It can be found a cavity known as the Cave of Adam under the chapel. The east part of the Calvary faces to Jerusalem and the west one is a slope that faces to the sepulchre, which is excavated in the rock 42 yards away.</div>
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Saint Helena of Constantinople -Emperor Constantine the Great’s mother- travelled to Jerusalem in 326 AD. She identified the place of the crucifixion, the grave (‘anastasis’/resurrection) and unearthed the Cross (discovery) and other Christ’s relics. Those places were located under the Temple of Venus, inside the third northern wall of Jerusalem which was built by Herod Agrippa (41-44 AD). However, those locations were outside the second wall, which marked the borders of the city in the first century. These facts were recorded by the historian Eusebius, bishop of Caesarea (Palestine).</div>
<br />Front of the Church of the Holy Sepulchre (Jerusalem)<br /><br />Bulgarian Orthodox icon of Constantine and Saint Helena<br /><br />The Calvary was in a former quarry located outside the second wall, which marked the borders of Jerusalem in the first century. The Sepulchre was a few feet away. The water well was before the Sepulchre and it is the place where Saint Helena found the True Cross and other relics.<br /><br />Cross section of the Church of the Holy Sepulchre (Jerusalem) and locations of the Holy Places<br /></span><div>
<span style="font-family: Verdana, sans-serif; font-size: large;">Chapel of the Holy Sepulchre: funerary chamber<br /><br />Demolished slope for the construction of the temple in the 4th century<br /><br />Sepulchre: burial chamber<br /><br />Calvary rock<br /><br />Cave of Adam</span><span style="font-family: Verdana, sans-serif; font-size: large;"><br />Map of the Chapel of Adam<br /><br />Cracked rock<br /><br /><br />Map of the Church of the Holy Sepulchre<br />A. Atrium<br />B. Unction Stone<br />C. Holy Sepulchre<br />D. Chapel of the Apparition<br />E. Chapel of Saint Helena<br />F. Discovery of the Cross<br />G. Golgotha<br />H. Choir of the Greeks<br /></span></div>
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<span style="font-family: Verdana, sans-serif; font-size: large;">1. Chapel of Saint James<br />2. Chapel of Saint John<br />3. Chapel of the 40 Martyrs<br />4. Convent of Saint Abraham<br />5. Chapel of Saint John<br />6. Chapel of Saint Michael<br />8. Bell tower<br />9. Chapel of the Franks<br />10. Chapel of Saint Mary of Egypt<br />11. Turkish boardroom<br />12. Rock of the Saint Women<br />13. Chapel of the Angel<br />14. Sepulchre of Christ<br />15. Chapel of the Copts<br />16. Chapel of the Syrians<br />17. Grave of Joseph of Arimathea<br />18. Passage<br />19. Water well<br />20. Chapel of Magdalene<br />21. Monastery of Franciscans<br />22. Vestry<br />23. Virgin’s arches<br />24. Prison of Christ<br />25. Ambulatory<br />26. Chapel of Saint Longinus<br />27. Chapel of the Dresses God<br />28. Chapel of the insults<br />29. Chapel of Adam<br />30. Choir of the Franciscans</span><div class="MsoNormal" style="text-align: justify;">
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<span style="font-family: Verdana, sans-serif; font-size: large;">Possessions of<br />Greeks<br />Latin people<br />Armenians<br />Syrians<br />Copts<br /></span></div>
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<span style="font-family: Verdana, sans-serif; font-size: large;">Commons<br />Latin people’s procession<br /><br />Map of the Calvary in the Church of the Holy Sepulchre. Florentino Díez Fernández.<br /><br />Church of the Holy Sepulchre (Jerusalem): Chapel of the Holy Sepulchre<br /><br />Chapel of Adam<br /><br />Altar of the Chapel of the Crucifixion (Calvary)</span></div>
fundacion aguilar y eslavahttp://www.blogger.com/profile/07700503868166764088noreply@blogger.com0tag:blogger.com,1999:blog-832340581780118689.post-18077825748166600322017-07-17T03:53:00.001-07:002018-04-07T13:21:43.718-07:00IBIS AD CRUCEM<div class="separator" style="clear: both; text-align: center;">
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Jesus of Nazareth was arrested in Gethsemane, which was a garden located on the outskirts of Jerusalem, during the night of 14 Nisan in 30 AD. He was taken to the high priest Caiaphas’ palace and he was judged there before the Sanhedrin. This assembly considered him a blasphemous person.</div>
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Jesus was appeared before Pontius Pilate the following morning. He was questioned and he was not found guilty. Thus, he was sent to the king Herod Antipas (Hasmonean palace). But the king did not want to punish Jesus, so he was sent to the Roman Procurator again.</div>
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Jesus would deal with two trials: a religious one (Jewish law) and a political one (Roman law). A political authority was requested to decide and pronounce sentence due to the coexistence of the two laws. Furthermore, it was considered as a criminal process. Pontius Pilate judged that Jesus did not deserve the death according to the Lex Iulia, so he decided to impose a punishment, the flagelatio. In addition, Romans teased and insulted the prisoner crowning him with thorns. Then, Pilate took Jesus before the crowd. The people asked for his crucifixion.</div>
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Pontius Pilate washed his hands in order to express his innocence, because he found himself forced to condemn Jesus. Thus, he conceded his placet to the death sentence asked by the Jewish people. Ibis ad crucem (you will be crucified).</div>
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<span style="font-family: Verdana, sans-serif; font-size: large;">Herod the Great’s palace was the residence of the Roman governor during his stay in Jerusalem. The trial against Jesus took place in this building (Praetorium), as well as the flagellation and the passing of the final sentence. Jesus would leave at noon from there, shouldering the horizontal log. He was dressed, barefoot and wearing a helmet or crown of thorns covering his head.</span></div>
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<span style="font-family: Verdana, sans-serif; font-size: large;">He would go down through tortuous, steep and slippery streets of the hillside where the Herod’s palace was located. He probably fell down many times. He crossed the inner wall through the Gennat gate and passed through a small bridge. He continued walking through a ravine that led to the Tyropoeon Valley and he climbed slightly towards the gate of Ephraim, also known as Judicial Gate, located in the western part of the city. There, Roman soldiers realised that it was impossible the prisoner was able to reach the Calvary due to his physical conditions. That is why a worker, who was there in that moment, helped Jesus.</span></div>
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This final stretch was out of the city in the direction to Emmaus and Jaffa. He would turn right in order to go to the Calvary, beside the mount al-Gareb, where three vertical wooden posts would have been put.</div>
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The Calvary was located in quarry on the outskirts of the city. This hill was useless for quarrying purposes. Model of Jerusalem in the first century. (Holy Land West Hotel. Jerusalem).</div>
<br />Giotto di Bondone, Christ before Caiaphas (1306)<br /><br />Lucas Cranach, The crowning of thorns (1510)<br /><br />Caravaggio, Flagellation (1607)<br /></span></div>
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<span style="font-family: Verdana, sans-serif; font-size: large;">Antonio Ciseri, Ecce Homo (1871)<br /><br />Jesus carrying the Cross, Sebastiano del Piombo (1516)<br /><br />Map of the Way of the Cross (González Echegaray)</span></div>
fundacion aguilar y eslavahttp://www.blogger.com/profile/07700503868166764088noreply@blogger.com0tag:blogger.com,1999:blog-832340581780118689.post-80734577761523103782017-07-12T02:18:00.000-07:002018-04-07T13:19:31.734-07:00SUB PONTIO PILATO<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Verdana, sans-serif; font-size: large;">Judea, Samaria and Idumea became part of the Roman Empire as a province ruled by a governor known as Procurator or Prefect, from the dismissal of Herod Archelaus (6 AD) until the return of the monarchy (41 AD) headed by Herod Agrippa II.<br /><br />The governors of Judea were the following: Coponius, Marcus Ambivulus, Annius Rufus, Valerius Gratus, Pontius Pilate, Marcellus and Marullus. Troops that occupied Judea were not legions but auxiliary troops formed by people from far provinces. The troops took the names of those provinces. The majority of this army were in the capital Caesarea, while a permanent garrison would be in Jerusalem.<br /><br />Auxiliary soldiers were equipped like Roman legionaries but there were some differences. They sometimes used defensive elements such as LEATHER OR METAL BREASTPLATE (lorica segmentata) or COAT OF MAIL (lorica hamata), metal strips hung from a belt (balteus) and metal helmet. They wore a square woollen tunic with slits for the arms and the head, and leather sandals which covered their legs (greaves). They also carried a big rectangular flat shield, a sword (spatha or gladius) hung from belts on the right side and a dagger (pugio) on the left side. They could also carry spear (lancea or pilum).<br /></span><div>
<span style="font-family: Verdana, sans-serif; font-size: large;">Pontius Pilate was the prefect or procurator of the Roman province of Judea from 26 AD to 36 AD. He was in charge of maintaining the order in the province and he also had to run justice and economy. He went down in history as the person who commanded the execution of Jesus of Nazareth. According to the historians Philo of Alexandria and Titus Flavius Josephus, the relationship between Pontius Pilate and the Jewish people were not good enough. This fact is also referred by St Luke (13, 1). It was a turbulent period in Palestine and the governor was characterised by his corruption, violence and abusive behaviour. Executions of prisoners were frequent in those days.<br /><br />Lucius Vitellius, who was governor of Syria, removed Pontius Pilate from his charge and sent him to Rome in order to give reasons for the violent repression against Samarian people in the Mount Gerizim in 35 AD. But Pilate arrived to Rome after the death of Tiberius. According to Eusebius of Caesarea, Pontius Pilate fell out of favour under the reign of Caligula and he finally committed suicide.</span><div class="MsoNormal">
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<b><span lang="EN-GB"><span style="font-family: "verdana" , sans-serif; font-size: large;">Roman cohorts in Judea (1<sup>st</sup> century):<o:p></o:p></span></span></b></div>
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II ITALICA VOLUNTARIORUM CIVIUM ROMANORUM (Italic people)</span></span></li>
<li><span style="font-family: "verdana" , sans-serif; font-size: large;"><span style="text-indent: -18pt;">Cohors I AUGUSTA PRAETORIA LUSITANORUM (Lusitanians)</span></span></li>
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<span style="font-family: Verdana, sans-serif; font-size: large;">Trajan’s Column (Rome) 114 AD</span></div>
<span style="font-family: Verdana, sans-serif; font-size: large;"><br />Roman centurion tombstone from Colchester (England)<br /><br />(Pilate’s stone. Israel Antique Collection, Museum of Israel, Jerusalem). Latin stone inscription found in Caesarea, which was a Roman city founded by Herod the Great in the first century in the Emperor Augustus’s honour.<br /><br />Pilate washing his hands. Luca Giordano – 1660. Museo Nacional del Prado (Madrid)<br /><br />Prutah (26-36 AD). PONTIUS PILATE. – JUDEA. Head: three ears and legend. Reverse: prow of ship.</span><div>
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fundacion aguilar y eslavahttp://www.blogger.com/profile/07700503868166764088noreply@blogger.com0tag:blogger.com,1999:blog-832340581780118689.post-18381513736402752922017-07-07T04:47:00.000-07:002018-04-07T13:16:56.621-07:00IN THE DAYS OF JESUS<div class="separator" style="clear: both; text-align: center;">
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Pompey the Great conquered Jerusalem in 63 BC, and consequently Palestine was under the control of Rome. Thus, Judea became part of the Roman province of Syria during the first century, which was the eighth century of the Roman foundation. Rome tried to preserve the local traditions. It controlled the foreign affairs and the currency and imposed taxes. This region was ruled by a Roman procurator who coexisted with the former Royal Jewish family represented by Herod the Great and his son, Herod Antipas. They ruled as vassal kings from 37 BC to 39 AD.</div>
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Palestine was a mix of different cultures in the days of Jesus. Jewish culture was the main one. Jewish people spoke in Aramaic and the most educated ones spoke in Hebrew. There were also Greeks who spoke in a dialect called ‘Koine’. The language Jesus spoke would be the Aramaic Galilee dialect. It is possible that he would also speak in Greek and Hebrew.</div>
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Hispania was completely romanised during the first century. Its three provinces –Tarraconensis, Baetica and Lusitania- were benefited from great development and prosperity. The presence of Roman soldiers and traders and the involvement of Hispanic people in the Roman army meant the establishment of important Roman colonies such as Tarraco, Italica, Corduba, Emerita Augusta.</div>
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Jerusalem is sieged and destroyed by the Romans under the command of Titus in 70 AD. David Roberts (1850)<br /><br />Reconstruction of Jerusalem and Herod’s Temple. James Tissot (1886)<br /><br />Map of Jerusalem in the days of Christ. (1584)<br /><br />Model of Herod’s Temple in Jerusalem. (Israel Museum)<br /><br />Map of Palestine in the days of Jesus. (Places quoted in the Gospels)<br /><br />Sestertius of Vespasian which commemorates the conquest of Judea (66 AD)<br /><br /> John the Baptist before Herod, Martínez Montañés. (1610-1620) Iglesia de la Anunciación (Seville)</span>fundacion aguilar y eslavahttp://www.blogger.com/profile/07700503868166764088noreply@blogger.com0tag:blogger.com,1999:blog-832340581780118689.post-52346904283162167822017-07-05T04:13:00.000-07:002018-04-07T13:13:43.634-07:00HOLY LINENS<div class="separator" style="clear: both; text-align: center;">
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The House of Savoy used to provide copies of the Holy Shroud to the Pope. More copies were also given to distinguished pilgrims who visited Turin. Consequently, there are more than a hundred copies of the Holy Shroud spread around the world: Italy, Spain, France, Belgium, Portugal, Czech Republic, Malta, Mexico, Argentina, United States and Canada.</div>
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Linens were used in order to make, wrap and protect the Shroud before rolling it up using a wooden cedar roller. Many copies of the Shroud are kept in Spanish churches, convents and shrines. They are copies which date from the 15th century. They were considered relics, so they should have come in contact with the original one of Turin. In that way, the copies would acquire their miraculous properties.</div>
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The memory of this contact is commonly reflected on the copies or their documents. Thus, it can be read expressions like ‘Extractum ex originali’, ‘accurate copy from the original one’, ‘copy obtained in a miraculous way’ or ‘true portrait from the original one’.</div>
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Allegory of the Holy Shroud and the Virgin (18th century). Brotherhood of María Santísima de Araceli. Lucena (Córdoba).</div>
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Copy of the Holy Shroud given by the Pope to the Spanish ambassador in the Vatican, Enrique Guzmán y Rivera, 2nd Count of Olivares (17th century). Basilica of La Caridad, Sanlúcar de Barrameda (Cádiz).</div>
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Reliquary of the Holy Shroud with the original frame made of ebony and tortoiseshell and silver corner pieces. It was donated to the shrine by the MARCHIONESS OF LOS VÉLEZ, MRS MARÍA OF ARAGÓN, VICEROY OF NAPLES AND SARDINIA. Brotherhood of María Santísima de Araceli. Lucena (Córdoba).</div>
<br /><b>COPIES OF THE HOLY SHROUD IN SPAIN</b><br /><br /><u>15th century</u><br /><ul>
<li>Sant Feliu de Guíxols (Girona), parish church.</li>
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<br /><u>16th century</u><br /><ul>
<li>Noalejo (Jaén), Church of La Asunción.</li>
<li>Valladolid, Convent of Santa Catalina de Siena.</li>
<li>Guadalupe (Cáceres), Monastery of Guadalupe.</li>
<li>Navarrete (La Rioja), parish church.</li>
<li>Alcoy (Alicante), Convent of Santo Sepulcro.</li>
<li>Toledo, Convent of Las Comendadoras.</li>
<li>El Escorial (Madrid). Royal Site of San Lorenzo de El Escorial.</li>
<li>Porreras (Balearic Islands). Clergy House.</li>
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<br /><u>17th century</u><br /><ul>
<li>Torres de la Alameda (Madrid), Church of La Asunción.</li>
<li>Logroño, Cathedral of Santa María de la Redondela.</li>
<li>Castillo de Garcimuñoz (Cuenca), parish church.</li>
<li>Escamilla (Guadalajara), parish church.</li>
<li>Silos (Burgos), Abbey of Santo Domingo.</li>
<li>Campillo de Aragón (Zaragoza), parish church.</li>
<li>La Cuesta (Soria), Church of Nuestra Señora de los Valles.</li>
<li>Salamanca, Convent of Las Agustinas.</li>
<li>Escalona del Prado (Segovia), parish church.</li>
<li>Sanlúcar de Barrameda (Cádiz), Basilica of La Caridad.</li>
<li>Badolatosa (Seville), parish church.</li>
<li>Lucena (Córdoba), Shrine of Virgen de Araceli.</li>
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</span>fundacion aguilar y eslavahttp://www.blogger.com/profile/07700503868166764088noreply@blogger.com0tag:blogger.com,1999:blog-832340581780118689.post-58502228715062952672017-07-05T04:11:00.000-07:002018-04-07T13:09:03.414-07:00ROME, CAPUT MUNDI<div class="separator" style="clear: both; text-align: center;">
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The birth of the Roman Empire was preceded by the expansion of Rome’s power. It was difficult to rule such a vast empire. Moreover, the growing army demanded a principal military and political authority. In that way, well-known people such as Julius Caesar emerged. His main goal was the power and he died because of daring the authority of the Roman Senate. The Empire, as a political system, appeared after civil wars that followed Julius Caesar’s death, at the end of the Roman Republic.</div>
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Augustus, Julius Caesar’s adopted son, defeated the alliance between Mark Antony and Cleopatra, and secured his imperial power by undertaking important reforms. He also consolidated a political and cultural unity which occupied the Mediterranean lands. This supremacy would last five centuries. Only their names are enough to evoke the power of the Empire.</div>
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<span style="font-family: "verdana" , sans-serif; font-size: large;"><b>Augustus</b><br />(63 BC/14 AD)</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3OnVm8dgK9zX81eJ65HAVSIsKhR5J1VrCBETLdnMjj8Ptnfrp-W0H5luJEChsdWZe79EBdXOlrMDg_zzuIgUBlwP40rbgaj_3UhtGyeZc_ZMYd-R5MvImc9OaUqkORUkishu1pup6tEM/s1600/Tiberius1.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><br /></a><span style="font-family: "verdana" , sans-serif; font-size: large;"><br />He was the first emperor of Rome. His reign was the longest one. He ordered to take a census of the Roman Empire when Jesus of Nazareth was born.</span><br />
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<span style="font-size: large;"><br /></span><span style="font-size: large;"><br /><br /><br /><span style="font-family: "verdana" , sans-serif;"><b>Tiberius</b></span><br /><span style="font-family: "verdana" , sans-serif;">(42 BC/37AD)</span><br /><br /><span style="font-family: "verdana" , sans-serif;">He was the second emperor of Rome. The Gospels say that Jesus of Nazareth was executed during his reign due to Pontius Pilate’s commands, who was his governor in Judea.</span></span><br />
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<span lang="EN-GB"><span style="font-family: "verdana" , sans-serif; font-size: medium;">From 27 BC to 14 AD<o:p></o:p></span></span></div>
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<span lang="EN-GB"><span style="font-family: "verdana" , sans-serif; font-size: medium;">Augustus<o:p></o:p></span></span></div>
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FILIVS AVGVSTVS<o:p></o:p></span></div>
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<span lang="EN-GB"><span style="font-family: "verdana" , sans-serif; font-size: medium;">GAIVS CAESAR AVGVSTVS GERMANICVS<o:p></o:p></span></span></div>
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<span lang="EN-GB"><span style="font-family: "verdana" , sans-serif; font-size: medium;">From 41 AD to 54 AD<o:p></o:p></span></span></div>
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<span lang="EN-GB"><span style="font-family: "verdana" , sans-serif; font-size: medium;">Claudius<o:p></o:p></span></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: medium;">TIBERIVS CLAVDIVS
CAESAR AVGVSTVS GERMANICVS<o:p></o:p></span></div>
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<span lang="EN-GB"><span style="font-family: "verdana" , sans-serif; font-size: medium;">From 54 AD to 68 AD<o:p></o:p></span></span></div>
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<span lang="EN-GB"><span style="font-family: "verdana" , sans-serif; font-size: medium;">Nero<o:p></o:p></span></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: medium;">NERO CLAVDIVS CAESAR
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fundacion aguilar y eslavahttp://www.blogger.com/profile/07700503868166764088noreply@blogger.com0tag:blogger.com,1999:blog-832340581780118689.post-71028813737066123252017-07-05T01:04:00.001-07:002018-04-07T13:03:32.258-07:00AND HE WAS CRUCIFIED<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Verdana, sans-serif; font-size: large;">Jesus was stripped naked when he arrived at the Calvary. As a condemned man, they offered him wine mixed with myrrh (narcotic mixing). Then, the horizontal log was put behind his head and his arms were tied up in order to facilitate the crucifixion.</span></div>
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<span style="font-family: Verdana, sans-serif;">The executioners made sure that the prisoner did not move while they were nailing his hands. An iron mallet was used to hit the nails, which went through the bones of the wrists and then through holes of the wood. Once the nails were completely nailed, they stuck out a little and consequently were riveted.</span></div>
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<span style="font-family: Verdana, sans-serif;">Next, the log was raised while Jesus’s hands were nailed. At the same time, other executioners waited for the lifting of the horizontal log (patibulum) in order to fix it with the vertical one (stipes). Finally, they held his feet and bent his knees in order to pierce his feet with a longer nail. According to the Gospels, it can be deduced that the low-level cross would be ‘immissa’ or ‘capitata’, and a ‘titulus’ above it would have been put as usual, in order to express the cause of the sentence.</span></div>
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<span style="font-family: Verdana, sans-serif;">The crucifixion would be carried out in a few minutes. Jesus’s death would take place due to asphyxia and a multiple organ failure. In addition, he was finished off with a spear thrust on the side…</span></div>
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</span>fundacion aguilar y eslavahttp://www.blogger.com/profile/07700503868166764088noreply@blogger.com0tag:blogger.com,1999:blog-832340581780118689.post-43848663700815904352017-07-04T01:12:00.000-07:002017-07-26T04:22:58.649-07:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7iHiG2y0JR-eB3O3eb6cADTloVhMVrQTo2S8mqdw8XBerv2T-SJ5heMPYQH2wMsyxzZRbs85AQ8vmpLCEIwjMmzbrZnid6mfLv2DFjty_uL0Ve2TEkU1oAK8J2nprym-8qfRqPRjsNBk/s1600/MDHF00020_SEQ_002_P.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="525" data-original-width="383" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7iHiG2y0JR-eB3O3eb6cADTloVhMVrQTo2S8mqdw8XBerv2T-SJ5heMPYQH2wMsyxzZRbs85AQ8vmpLCEIwjMmzbrZnid6mfLv2DFjty_uL0Ve2TEkU1oAK8J2nprym-8qfRqPRjsNBk/s640/MDHF00020_SEQ_002_P.JPG" width="466" /></a></div>
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<span style="letter-spacing: -0.24px;">Desde el siglo XIII se extiende por Occidente una sorprendente e impactante iconografía cristífera: la del<i> Varón de Dolores, Ecce Homo </i>o según la profesora italiana Laura Stagno, la imagen del <i>Vir Dolorum, </i>que </span><span style="letter-spacing: -0.24px;">constituye uno de los puntos cardinales en los que se basa el argumento de la evolución de la <i>Imago pietatis</i> entre Oriente y Occidente. </span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="font-size: large; letter-spacing: -0.24px;">Stagno (2007) plantea que esta iconografía refleja una variación del motivo original presente en ámbito bizantino en la primera mitad del</span><span style="font-size: large; letter-spacing: -0.24px;"> </span><span class="text_exposed_show" style="display: inline; font-size: large; letter-spacing: -0.24px;">siglo XIII y adoptada por el arte occidental, que extiende la figura de Cristo de manera que representa las manos del Salvador cruzadas delante del cuerpo. Un cambio que la profesora italiana asocia a la influencia del culto de la Sábana Santa, venerada entonces en Constantinopla, en la cual aparece esa posición de las manos.</span></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: large;">En las crónicas de Robert de Clary (1204), historiador francés y testigo presencial,
dice clara y textualmente: “Había otro monasterio que se llamaba Santa María de
Blanquerna donde estaba la Síndone en la que nuestro Señor fue envuelto. Sobre
cada uno de los lados aparecía como si estuviera de pie, de manera que se podía ver
perfectamente la figura de Nuestro Señor”.</span><br />
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<span style="font-family: "verdana" , sans-serif; font-size: large;">Esta IV Cruzada terminó con el saqueo de Constantinopla y el robo de riquezas y
de reliquias, entre ellas la Sábana Santa. En un documento de queja al Papa
Inocencio III, fechado en 1205, escrito por el hermano del emperador bizantino
depuesto, aparece la mención a que los galos habían
robado el lienzo que envolvió el cuerpo de Jesús en el sepulcro. </span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: large; letter-spacing: -0.24px;">La iconografía de la Imago o Varón de Dolores, especialmente simbólica, aparecería en Occidente a partir de mediados del siglo XIII, sobre todo en el ámbito francés e italiano. Considerándose relevante que fueran, precisamente, franceses quienes se llevaron la Síndone de Constantinopla y los que a partir del siglo XIV la expondrán de nuevo de forma pública en la ciudad francesa de Lirey... </span></div>
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<div style="color: #1d2129; font-family: inherit; margin-bottom: 6px; margin-top: 6px; text-align: justify;">
STAGNO, L. (2007). Culto de sangre, compartir la pasión y la emoción del sacrificio
eucarístico: la iconografía del vir dolorum en Génova y Liguria, en El arte sacro. El
conocimiento de lo divino a través de los sentidos, Actas de la conferencia, editado por
L. Estanque, Génova, Naturaleza y artificio - MicroArt de 2009, 151-168.</div>
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<span style="letter-spacing: -0.24px;">(Extraído del artículo <a href="http://www.anpebadajoz.es/autodidacta/autodidacta_archivos/numero_7_archivos/m_a_maesa.pdf" target="_blank">"La influencia de la Síndone en el arte. Una hipótesis de trabajo histórico-iconográfico" de Marta Alvárez Maesa, en AUTODIDACTA, Revista de la Educación en Extremadura</a>)</span></div>
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fundacion aguilar y eslavahttp://www.blogger.com/profile/07700503868166764088noreply@blogger.com0tag:blogger.com,1999:blog-832340581780118689.post-78738742824882262552017-04-25T00:29:00.003-07:002017-04-25T03:41:04.686-07:00Clausura del curso de formación de profesorado "Diálogo ciencia y religión: la Síndone de Turín" en el Museo de la Pasión<div style="text-align: justify;">
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<span style="font-family: "verdana" , sans-serif; font-size: large;">El pasado día 22 de abril tuvo lugar la clausura del curso de formación del profesorado "Diálogo ciencia y religión: la Síndone de Turín" que han realizado 30 profesores de religión de Granada. El acto final consistió en la visita al Museo de la Pasión de Cabra (Córdoba). </span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: large;">En esta visita, los profesores participantes han visto y experimentado lo estudiado y trabajado a lo largo de 15 horas de formación. Al concluir la visita expresaron su satisfacción por la muestra que ofrece la Fundación Aguilar Eslava en todo el Museo, y especialmente en el apartado dedicado al Museo de la Pasión. Quedaron encantados con la ciudad de Cabra y manifestaron las oportunidades didácticas que ofrece la Fundación a través del Museo".</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUiIJR_UHmqrFwuZj4aAHgr4N9n2_1lEvvXVzOGoLsKyeJS0ZPI35dR9KtcAGpbU7e90H208zA_vjFnDy-6-Imn5mg25YB3sPw_7g56Le2xJKUMNwU7Zbf219e85c8lv7KXYt223h3eME/s1600/cep2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUiIJR_UHmqrFwuZj4aAHgr4N9n2_1lEvvXVzOGoLsKyeJS0ZPI35dR9KtcAGpbU7e90H208zA_vjFnDy-6-Imn5mg25YB3sPw_7g56Le2xJKUMNwU7Zbf219e85c8lv7KXYt223h3eME/s400/cep2.jpg" width="400" /></a></div>
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<span style="font-family: "verdana" , sans-serif; font-size: large;">El curso de formación del profesorado "Diálogo ciencia y religión: la Síndone de Turín" desarrollado en el CEP de Granada ha estado dirigido al profesorado de Religión de tercer ciclo de primaria, secundaria y bachillerato sobre un tema muy actual como es el diálogo ciencia-religión, desde su propia autonomía pero hacia el diálogo y la complementariedad. El hilo conductor de las sesiones ha sido la "Síndone de Turín". Además de los contenidos teóricos, se han ofrecido estrategias metodológicas clave para la elaboración de recursos que se puedan aplicar en el aula. De tal manera que se fomente la creatividad, iniciativa e innovación a través del intercambio de información y experiencia entre los docentes para la mejora de la práctica docente siguiendo las líneas básicas del III Plan Andaluz de Formación Permanente del profesorado.</span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: large;">Entre sus objetivos:</span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: large;">- FOMENTAR EL CONOCIMIENTO COMPARTIDO Y LA INVESTIGACIÓN, A TRAVÉS DEL INTERCAMBIO DE INFORMACIÓN Y EXPERIENCIA DE LOS/AS DOCENTES.</span></div>
<div style="text-align: left;">
<span style="font-family: "verdana" , sans-serif; font-size: large;">- CAPACITAR A LOS DOCENTES PARA UNA MAYOR CALIDAD DE LA ENSEÑANZA.</span></div>
<div style="text-align: left;">
<span style="font-family: "verdana" , sans-serif; font-size: large;">- CONOCER LA ACTUALIDAD DEL DIÁLOGO CIENCIA-RELIGIÓN.</span></div>
<div style="text-align: left;">
<span style="font-family: "verdana" , sans-serif; font-size: large;">- ANALIZAR LOS ÚLTIMOS ESTUDIOS SOBRE LA SÍNDONE DE TURÍN.</span></div>
<div style="text-align: left;">
<span style="font-family: "verdana" , sans-serif; font-size: large;">- VISITAR VIRTUALMENTE EL MUSEO DE LA PASIÓN DE CABRA (CÓRDOBA).</span></div>
<div style="text-align: left;">
<span style="font-family: "verdana" , sans-serif; font-size: large;">- ELABORAR ACTIVIDADES PARA APLICARLAS EN EL AULA QUE INCITEN A LA CREATIVIDAD, INICIATIVA, INNOVACIÓN, INVESTIGACIÓN Y EXPERIMENTACIÓN.</span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: large;">Y entre los contenidos desarrollados:</span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: large;">- CIENCIA Y RELIGIÓN: DOS FORMAS DE ACERCAMIENTO A LA REALIDAD.</span></div>
<div style="text-align: left;">
<span style="font-family: "verdana" , sans-serif; font-size: large;">- ANÁLISIS Y REFLEXIÓN SOBRE EL DIÁLOGO CIENCIA-RELIGIÓN.</span></div>
<div style="text-align: left;">
<span style="font-family: "verdana" , sans-serif; font-size: large;">- LA SÍNDONE DE TURÍN.</span></div>
<div style="text-align: left;">
<span style="font-family: "verdana" , sans-serif; font-size: large;">- MUSEO DE LA PASIÓN DE CABRA (CÓRDOBA).</span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: large;">Asesor/a Responsable: Óscar Álvarez Rosales.</span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: "verdana" , sans-serif; font-size: large;">Personal agregado a la actividad y Ponente: Ignacio Huertas Puerta.</span></div>
fundacion aguilar y eslavahttp://www.blogger.com/profile/07700503868166764088noreply@blogger.com1tag:blogger.com,1999:blog-832340581780118689.post-90715145659739303002017-04-05T11:55:00.000-07:002017-04-05T11:55:23.980-07:00Informe forense sobre la muerte del Hombre de la Sábana Santa.<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh976ynh3wIFxAW2n0L4tHBYKvRLnfYm9s8HlqIeJ9fKx36FT_Bd5EmarpcyzAAPubplgqxpTvH2ntz-zbZXh99ddOVN-2KbcXgn3lHznpZdZD8ypQgc9CDH-xe5JZ2AxQd1Tx56jDc0Vo/s1600/forense1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="388" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh976ynh3wIFxAW2n0L4tHBYKvRLnfYm9s8HlqIeJ9fKx36FT_Bd5EmarpcyzAAPubplgqxpTvH2ntz-zbZXh99ddOVN-2KbcXgn3lHznpZdZD8ypQgc9CDH-xe5JZ2AxQd1Tx56jDc0Vo/s640/forense1.jpg" width="640" /></a></div>
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<span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
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<span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;">La medicina legal tiene
como objeto determinar las causas de una muerte y para ello realiza el estudio pormenorizado
del cuerpo cadáver de la persona fallecida o de sus restos. En el caso de Jesús de Nazaret, no disponemos
de su cuerpo, pero sí de una imagen supuestamente suya impresa en la Síndone de
Turín, con manchas de sangre con detalles suficientes para su interpretación. <o:p></o:p></span></div>
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<span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
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<span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;">En el Museo de la Pasión que
se encuentra en el Museo Aguilar y Eslava de Cabra, se presenta en una sus
salas (Sala Forense) la recreación de la autopsia virtual al Hombre de la
Sábana Santa y la exposición de su informe forense.<o:p></o:p></span></div>
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<span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
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<span class="texto"><span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;">La
medicina nos dice que la vida se soporta sobre un trípode vital garantizado por
las funciones cardiaca, respiratoria y nerviosa. Y que la causa de la muerte,
en el contexto médico-legal, tiene dos tipologías: la causa inmediata y la
causa fundamental.<o:p></o:p></span></span></div>
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<span class="texto"><span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></span></div>
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<span class="texto"><span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;">La
causa inmediata de la muerte, sería el motivo por el cual cesando, al menos una de las tres funciones referidas,
se produciría el óbito. Aunque esta causa inmediata, a su vez suele estar
producida por otras alteraciones, que serían la causa fundamental.<o:p></o:p></span></span></div>
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<span class="texto"><span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></span></div>
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<span class="texto"><span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;">Así,
una persona que muere por un infarto de miocardio tendría como causa inmediata el
ataque al corazón (la isquemia cardiaca con necrosis miocárdica), pero como
causa fundamental, por ejemplo, una patología circulatoria, como una grave
ateroesclerosis con reducción drástica del diámetro de sus arterias coronarias.
<o:p></o:p></span></span></div>
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<span class="texto"><span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></span></div>
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<span class="texto"><span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;">En
el Museo de la Pasión, sobre la fría losa de mármol blanco, de una mesa de
autopsias decimonónica, se encuentra el esqueleto de un varón de aproximadamente
30 a 35 años de edad. Y junto a él, un dibujo reconstrucción del cuerpo del
Hombre de la Síndone, con todos los detalles antropométricos, heridas y manchas
de sangre que aparecen en la Síndone de Turín.<o:p></o:p></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDq1dlW9TX6wXuodpMgeClmxt_VObxhoXC6gm2mI0Dpzi1nBgh__9Ht5gyhqzez42TxScSAMV993ATkbHu0moKJnskCv7E0iwb76ZOKaZxejQGXQR3Fj3dn5pRuGtM9QqbKy81TMxvgV0/s1600/forense2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="369" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDq1dlW9TX6wXuodpMgeClmxt_VObxhoXC6gm2mI0Dpzi1nBgh__9Ht5gyhqzez42TxScSAMV993ATkbHu0moKJnskCv7E0iwb76ZOKaZxejQGXQR3Fj3dn5pRuGtM9QqbKy81TMxvgV0/s640/forense2.jpg" width="640" /></a></div>
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<span class="texto"><span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;">Así
pues, conducidos por la mano experta del médico forense </span></span><span class="MsoFootnoteReference"><span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;"><span class="MsoFootnoteReference"><span style="font-size: 12pt; line-height: 115%;"><span style="color: purple;"><b>[1]</b></span></span></span></span></span><span class="texto"><span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;">
iniciamos la exploración:</span></span></div>
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<span class="texto"><span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></span></div>
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<span class="texto"><span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;">En
la cabeza se observan más de 50 pequeñas heridas punzantes (pinchazos), incisas
(cortes) e inciso-contusas, de disposición en forma de coronal, que abarca la
parte superior de la frente y se continúa hacia atrás por ambos lados de la
cabeza, afectando a toda las superficie cráneal, especialmente los huesos
parietales, temporal y occipital.</span></span><span class="apple-converted-space"><span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;"> </span></span><span class="texto"><span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;">Las
heridas son profundas, afectando a toda la galea capitis (cuero cabelludo) y
llegando hasta la tabla externa de los huesos mencionados. A consecuencia de
las profusas hemorragias provocadas por estas heridas, es de mencionar que casi
todo el cabello se encuentra, en toda su longitud, empapado en sangre húmeda o
con costras producidas al secarse. Todas las lesiones sufridas son compatibles
con las que produciría un casco de espinas vegetales como se sabe que llevó el
finado.</span></span><span class="apple-converted-space"><span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;"> <o:p></o:p></span></span></div>
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<span class="apple-converted-space"><span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></span></div>
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<span class="apple-converted-space"><span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;">En el rostro se determinaría el
aplastamiento de la nariz con rotura y desplazamiento del cartílago nasal y
tumefacción del pómulo y ojo derecho, compatible con los daños que produciría
un golpe con un palo o bastón de madera como el que describen los evangelios le
</span></span><span class="texto"><span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;">propició un criado de Caifás poco después
de su detención</span></span><span class="apple-converted-space"><span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;">.<o:p></o:p></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-2Ig3Yu8B-BOCTReg0e39ToGjVVsACs-5CM-arPdEvz4mQv1rQnI-Clym59R9ArA4suKgwSGf-G1iJLLzGlkCNvZ6g1LjC2mTt-zrLuWmy74VoMZicYwo-nrIrYF7zUT4_DtKwaUeReM/s1600/forense5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="370" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-2Ig3Yu8B-BOCTReg0e39ToGjVVsACs-5CM-arPdEvz4mQv1rQnI-Clym59R9ArA4suKgwSGf-G1iJLLzGlkCNvZ6g1LjC2mTt-zrLuWmy74VoMZicYwo-nrIrYF7zUT4_DtKwaUeReM/s640/forense5.jpg" width="640" /></a></div>
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<span class="texto"><span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;">En
el tronco, tanto en su parte anterior (pecho) como en la posterior (espalda) se
aprecian múltiples lesiones y contusiones en forma de equimosis, equimomas y
hematomas (cardenales), de carácter longitudinal en forma pareada como las que
producirían los taxiles o extremos metálicos de uno o varios flagrum (látigo).
Por la violencia de estos latigazos y/o por la reiteración de los mismos, en
ciertas zonas, se han producido soluciones de continuidad, apareciendo heridas
contusas longitudinales, erosiones (arañazos superficiales) y excoriaciones
(arañazos profundos, donde aparece sangre).</span></span><span class="apple-converted-space"><span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;"> </span></span></div>
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<span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;"><br />
<span class="texto">En algunas zonas las heridas contusas son especialmente
profundas, produciendo un gran desgarramiento muscular y también hemorragias
profusas. Estas lesiones predominan sobre todo en la parte posterior del tronco
y extremidades (espalda y piernas). Finalmente, en la zona costal derecha,
anterolateralmente, entre la 5ª y 6ª costilla, se observa una gran herida
incisa profunda, con evidentes signos de haber producido una abundante
hemorragia post-morten (“exactus mortis”), y que habría sido producida por un
objeto punzante y cortante que coincidiría en dimensiones y forma con una lanza
romana (lancea).<o:p></o:p></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbOadFjVeQKmb38LJJzgeTFdh4DHFI_uJZQ-bpR2oJdHlmykmRhI0SeFPKg8gi3B42HRrtVZL4dVWm7GqAc1nnTaKevvzr3FlS6DTfys_zxP1M7TuF1Rf3FS-vtDFvo0juH3ZIkQ3TKxs/s1600/forense4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbOadFjVeQKmb38LJJzgeTFdh4DHFI_uJZQ-bpR2oJdHlmykmRhI0SeFPKg8gi3B42HRrtVZL4dVWm7GqAc1nnTaKevvzr3FlS6DTfys_zxP1M7TuF1Rf3FS-vtDFvo0juH3ZIkQ3TKxs/s400/forense4.jpg" width="300" /></a></div>
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<span class="texto"><span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;">En
ambas extremidades superiores, por encima de las manos, en la zona carpiana, se
aprecia una herida punzante transfixiante (que atraviesa), con bordes contusos
y signos de desgarramiento por haber soportado gran peso, probablemente el del
cuerpo. Los pulgares aparecen replegados sobre las palmas, probablemente por
lesión del arco nervioso palmar. En las extremidades inferiores se apreciaría,
en ambos pies, otra herida punzante perforante de bordes contusos. Se sitúa en
el punto de confluencia del calcáneo, astrágalo escafoides y cuboides, espacio
que conduce al seno del tarso. Las rodillas aparecen con erosiones y
excoriaciones, probablemente por haberse caído y golpeado sobre las mismas.</span></span><span class="apple-converted-space"><span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;"> En ellas se han encontrado restos de
aragonito, mineral que es común en Judea.</span></span></div>
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<span class="apple-converted-space"><span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></span></div>
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<span class="texto"><span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;">Antes
de concluir con las circunstancias de la muerte, se hace necesario realizar una
serie de razonamientos o consideraciones médico-legales. En primer lugar, las
lesiones descritas, ya que la lanzada es posterior a la muerte, no afectarían a
órganos o funciones vitales, por lo que no son causa inmediata y fundamental de
muerte. Lo que nos llevaría a considerar que la muerte del Hombre de la Síndone
sería el resultado de un largo proceso agónico.</span></span><span class="apple-converted-space"><span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;"><o:p></o:p></span></span></div>
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<span class="texto"><span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;">Muchas
de las lesiones comentas provocarían hemorragias que en principio no serían muy
profusas al no ser profundas, pues no afectarían a grandes arterias y venas.</span></span><span class="apple-converted-space"><span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;"> </span></span><span class="texto"><span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;">Sin
embargo, al ser una extensión muy amplia del cuerpo, la pérdida sanguínea se iría
acumulando y podría llegar a ser significativa.<o:p></o:p></span></span></div>
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<span class="texto"><span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;">Una
hemorragia produce una pérdida del volumen de sangre (volemia), por lo que la
pérdida de sangre se llama hipovolemia. Una gran hipovolemia originaría una
crisis o shock en el funcionamiento del organismo, que en este caso se llama
shock hipovolémico.</span></span><span class="apple-converted-space"><span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;"> </span></span><span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;"><br />
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<span class="texto">Por otra parte, habida cuenta de la gran cantidad de golpes
que impactan en los mismos lugares, se producen una serie de graves lesiones
similares a las de un aplastamiento o machacamiento, lo que se conoce en
medicina como síndrome de aplastamiento (crush syndrome) y que implica la
liberación de sustancias al interior de la sangre, entre ellas mioglobina
procedente de los músculos, que provocarían alteraciones en los procesos
renales de filtración.</span><span class="apple-converted-space"> </span><br />
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<span class="texto">Además, esta masiva cantidad de golpes en el cuerpo es
también causa de un gran dolor. Entre los mecanismos de defensa que de modo
automático o inconsciente utiliza el organismo para paliar el dolo, está el de reducir la movilidad. La reducción
de la movilidad en el tórax se traduciría en respiraciones superficiales o
contenidas que originarían una hipoxia (falta de oxigenación de la sangre por
no respirar adecuadamente), que se asocia a una hipercapnia (exceso de dióxido
de carbono, por el mismo motivo) y a una serie de alteraciones del equilibrio
ácido-base.</span><span class="apple-converted-space"> </span><span class="texto">A esto hay que unir que, por la postura que presentaría el cuerpo en
la cruz, donde el cuerpo cuelga literalmente de las extremidades superiores, se
dificultaría enormemente los movimientos respiratorios.<o:p></o:p></span></span></div>
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<span class="texto"><span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;">Las
graves lesiones traumáticas en el tórax, pudieron producir una irritación de
las membranas que rodean los pulmones (pleuras), ocasionando una pleuritis con
una acumulación de líquido llamado exudado en el espacio interpleural. Esto
explicaría por qué salió “sangre y agua” al atravesar la lanza el costado;
sangre de las lesiones propias de las arterias y venas de la zona, y “agua” que
sería el exudado acumulado entre las pleuras.</span></span><span class="apple-converted-space"><span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;"> </span></span></div>
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<span class="texto"><span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;">Después
de una lenta agonía, con el mantenimiento de la conciencia casi hasta el último
instante, las conclusiones del informe forense del Hombre de la Sábana Santa, en base a todas
las consideraciones anteriormente expuestas, sería las siguientes:<o:p></o:p></span></span></div>
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<span class="texto"><b><span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;">Causa inmediata de la muerte:</span></b></span><span class="texto"><span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;">
Hipoxia-anoxia cerebral (hipoxia es disminución de la concentración de oxígeno
en la sangre, y anoxia es la ausencia total de oxígeno en la misma)
consecuencia de hipovolemia (disminución del volumen de sangre)
post-hemorrágica, de insuficiencia respiratoria mecánica (incapacidad para
respirar adecuadamente por falta de movilidad) por graves lesiones en músculos
intercostales y de insuficiencia cardiaca.<o:p></o:p></span></span></div>
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<span class="texto"><b><span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;">Causa fundamental de la muerte:</span></b></span><span class="texto"><span style="font-family: "Verdana","sans-serif"; font-size: 12.0pt; line-height: 115%;">
Múltiples heridas inciso-contusas, equimosis, erosiones, excoriaciones y
hematomas en la parte anterior y posterior del tronco.<o:p></o:p></span></span></div>
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<br /><div style="text-align: right;">
<span style="font-family: Verdana, sans-serif;"><b>Salvador Guzmán Moral</b></span></div>
<span style="font-family: Verdana, sans-serif;"><div style="text-align: right;">
<b>Publicado en la revista TORRALBO 2017. </b></div>
<div style="text-align: right;">
<b>Agrupación de Cofradías de Lucena.</b></div>
<div style="text-align: right;">
<b>Lucena (Córdoba), 2017. Págs. 147-152.</b></div>
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<span style="color: purple; font-family: Verdana, sans-serif; font-size: 16px;"><b>[1]</b></span> <span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: Verdana, sans-serif;">Este informe se basa en diferentes estudios
realizados por médicos forenses, como e<span class="texto"><span style="color: #333333;">l del doctor José Antonio Lorente Acosta, especialista en
Medicina Legal y Forense y profesor titular de Medicina Legal de la Universidad
de Granada.</span></span></span><o:p></o:p></span></div>
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fundacion aguilar y eslavahttp://www.blogger.com/profile/07700503868166764088noreply@blogger.com0tag:blogger.com,1999:blog-832340581780118689.post-60167216274925834092016-12-14T04:58:00.002-08:002016-12-15T14:32:30.541-08:00El presidente del Consejo General de Hermandades y Cofradías de Sevilla visita el Museo de la Pasión<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "verdana" , sans-serif; font-size: large;">El pasado martes, 13 de diciembre visitó la Fundación Aguilar y Eslava y su Museo, D. Joaquín Sainz de la Maza Conesa, actual presidente del Consejo General de Hermandades y Cofradías de Sevilla. Su visita responde al interés que los contenidos del Museo de la Pasión han despertado en el mundo cofrade sevillano.</span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: large;">Durante su visita le acompañó el presidente de la Fundació Aguilar y Eslava, Salvador Guzmán, quien fue comentándole todos los detalles de los contenidos expositivos del Museo de la Pasión, en los que se hace especial atención en explicar cómo sería aquella "Primera Semana Santa de la Historia".</span><br />
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Joaquín Sainz de la Maza, licenciado en Derecho, ex directivo de SAIMAZA y también presidente de CARITAS- Sevilla. Recientemente llegó a ocupar la presidencia la principal institución cofradiera sevillana, siendo su faceta más conocida en este ámbito la de ser Hermano Mayor de la Macarena desde el 1993 a 2001, época en la que consiguió la incorporación de las mujeres a las filas de nazarenos. </div>
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Pero su actividad profesional, ciudadana y solidaria no solo se reduce al ámbito cofrade, desde hace tres años y por designación del Arzobispo de Sevilla, Sainz de la Maza es Presidente-Delegado de Manos Unidas en Sevilla.</div>
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</span>fundacion aguilar y eslavahttp://www.blogger.com/profile/07700503868166764088noreply@blogger.com0tag:blogger.com,1999:blog-832340581780118689.post-67118559490395531612016-11-26T12:44:00.000-08:002016-11-26T14:27:43.528-08:00EL MUSEO DE LA PASIÓN EN EL PROGRAMA DE ONDA LUZ SEVILLA<div style="text-align: justify;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4Kb_6XI2aXG4HrCF30SY1xxJ_UUeiOgVhkxM0pMXUUhAHvrE8EBkCP7kzRdDOQI8KSxdet5rKsBS_sL11N9a4HIxedsHufzCqRHHmwHiLwQf9D33qjU8ks_Zq1uipGG2TfLkD4Rulyco/s1600/foto.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="332" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4Kb_6XI2aXG4HrCF30SY1xxJ_UUeiOgVhkxM0pMXUUhAHvrE8EBkCP7kzRdDOQI8KSxdet5rKsBS_sL11N9a4HIxedsHufzCqRHHmwHiLwQf9D33qjU8ks_Zq1uipGG2TfLkD4Rulyco/s640/foto.jpg" width="640" /></a></div>
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<span style="font-family: "verdana" , sans-serif; font-size: large;">El jueves, 24 de noviembre tuvo lugar la emisión de EL PROGRAMA de Onda Luz Sevilla, magazine televisivo que aborda los asuntos de actualidad relacionados con el mundo de las hermandades y cofradías de Sevilla.</span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: large;">EL PROGRAMA presentado por Moisés Ruz, abordó los aspectos que relacionan la obra de Juan Manuel Miñarro y la Sábana Santa de Turín.</span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: large;">Y es que el misterio de la Sábana Santa centró la atención de El PROGRAMA con una interesante y larga entrevista al profesor y escultor Juan Manuel Miñarro.</span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: large;">A continuación, el redactor Álvaro Carmona que se trasladó para la ocasión a Valencia, ahondó en las funciones de investigación del Centro Español de Sindonología (CES) con su presidente, Jorge Manuel Rodríguez.</span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: large;">Posteriormente, con la participación del presidente del Museo de la Pasión de Cabra, Salvador Guzmán y el teniente hermano mayor de la Hermandad Universitaria de Córdoba, Alberto Villar, junto al propio Miñarro y las nociones historicistas del periodista Carlos Cabrera, abordaron en profundidad los detalles más concretos de las referidas instituciones y de el Hombre de la Síndone, que sin duda es uno de los principales misterios para la fe y la ciencia.</span><br />
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<span style="font-family: "verdana" , sans-serif; font-size: large;">Dos meses antes, habíamos recibido en la Fundación Aguilar y Eslava a los periodistas Álvaro Carmona y Moisés Ruz, que estuvieron grabando imágenes del Museo de la Pasión en Cabra y también de la imagen del Stmo. Cristo de la Universidad en Córdoba.</span><br />
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<span style="font-family: "verdana" , sans-serif; font-size: large;">En sus intervenciones Guzmán subrayó el interés del Museo de la Pasión y su objetivo de contar "la primera Semana Santa de la Historia", apoyando su discurso museográfico con contenidos basados en la historia, la arqueología y el arte.</span><br />
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<span style="font-family: "verdana" , sans-serif; font-size: large;">De esta forma la Fundación Aguilar y Eslava y el Museo de la Pasión, han conseguido un reto importante, llegar a ser protagonistas en un programa cofrade de Sevilla.</span></div>
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<span style="font-family: "verdana" , sans-serif;">EL PROGRAMA (ONDA LUZ SEVILLA )</span></div>
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<span style="font-family: "verdana" , sans-serif;"> Temporada 2 / Número 157 / 24/11/2016 </span></div>
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fundacion aguilar y eslavahttp://www.blogger.com/profile/07700503868166764088noreply@blogger.com0tag:blogger.com,1999:blog-832340581780118689.post-3253004601455538032016-02-11T02:05:00.000-08:002016-02-11T02:05:41.972-08:00El Centro de Iniciativas Turísticas de Mérida entrega un busto del Genio de la Colonia al Museo Aguilar y Eslava de Cabra<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: large;"><span style="font-family: Verdana,sans-serif;">En presencia de la delegada de Cultura del Ayuntamiento de Mérida, Ana Aragoneses, el presidente del Centro de Iniciativas Turísticas , Ángel Teixeira, ha hecho entrega del busto del Genio de la Colonia al presidente de la Fundación Aguilar y Eslava, Salvador Guzmán, que estaba acompañado de Francisco Ortiz, director del Instituto y secretario de su fundación. Esta réplica romana emeritense se expondrá en el Museo de la Pasión en el Museo Aguilar y Eslava, completando los contenidos que esta exposición tiene sobre la presencia romana en los acontecimientos pasionistas.<br /> <br /> El Genio de la Colonia Augusta Emerita es una de las más importantes esculturas de la colección del Museo Nacional de Arte Romano de Mérida, y fue encontrada en las inmediaciones del conocido Templo de Diana de la ciudad extremeña. La obra está fechada en el S. II d.C. y fue realizada en mármol blanco.<br /> <br /> Representa a un espíritu protector que cada ciudad o colonia romana contaba y algunos investigadores sostienen que fue importada de la península Itálica. En la actualidad, el Genio de la Colonia Augusta Emerita se expone en la sección dedicada a las religiones de la planta baja del Museo Nacional de Arte Romano de Mérida.<br /> <br /> Durante la rueda de prensa de su presentación, Texeira explicaba que se trata de una pieza realizada en escayola y resina, que puede ser utilizada como modelo para cualquier otro material. Mientras por su parte Guzmán, agradecía esta cesión que pasará a formar parte del Museo de la Pasión y reiteraba su satisfacción por seguir la colaboración con la ciudad de Mérida y la presencia de piezas principales de su legado romano en la ciudad de Cabra.<br /> <br /> Guzmán y Ortiz, en correspondencia con la obra recibida, hicieron entrega a la delegada de Cultura emeritense de documentación relacionada con el Museo Aguilar y Eslava y el Museo de la Pasión, y a Ángel Teixeira de una foto recuerdo de la cabeza del Emperador Augusto velado que se expone en Cabra. Cabe recordar que las relaciones entre Mérida y Cabra se iniciaron en 2011, cuando Texeira y el CIT entregaron a la Fundación Aguilar y Eslava una réplica del Augusto Ceśar de Mérida.<br /> <br /> <br /> </span></span><br />
fundacion aguilar y eslavahttp://www.blogger.com/profile/07700503868166764088noreply@blogger.com0tag:blogger.com,1999:blog-832340581780118689.post-49142195395151058122015-07-15T00:13:00.000-07:002015-07-15T00:14:07.342-07:00La Plaza de Aguilar y Eslava recupera su aspecto original<div style="text-align: center;">
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Concluidos los trabajos de restauración de la Plaza de Aguilar y Eslava, el alcalde de Cabra, Fernando Priego visitaba el pasado jueves 9 de julio la glorieta diseñada y realizada por el arquitecto Luis Berges Martínez en 1932 y que da acceso al antiguo colegio de la Purísima Concepción, sede actual del instituto de secundaria Aguilar y Eslava y su Fundación. La recuperación de este rincón emblemático de nuestra ciudad ha sido posible gracias al Ayuntamiento de Cabra.<br /><br />Como señalaba en rueda de prensa el Alcalde de Cabra, la iniciativa para intervenir en esta plaza surgió tras la renovación de la colindante calle Pepita Jiménez, y en virtud a la petición cursada por la Fundación Aguilar y Eslava, que planteó la posibilidad de devolver a su estética original esta glorieta tan sólo unos meses después de que concluyeran los trabajos de modernización de este instituto histórico, por parte de la Junta de Andalucía. <br /><br /><div style="text-align: center;">
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La idea "nos gustó mucho", comentó el primer edil, quien durante la visita al lugar recordó que se ha conseguido "recuperar el sabor de antes, el diseño arquitectónico original que la plaza tenía" allá por el año 1932. Del proyecto de Luis Berges Martínez destacan su trazado con un ajedrezado en piedra caliza y enchinado cordobés, y la fuente monumento central donde con la estatua de D. Luis de Aguilar y Eslava en mármol, obra del artista local Antonio Maíz Castro, y que también se ha restaurado.<br /><br /><div style="text-align: center;">
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Para ello ha sido precisa la participación de uno de los mayores conocedores de la historia local, y a la sazón presidente de esta fundación, Salvador Guzmán. La institución no sólo aportó los planos primitivos del recinto sino que también consiguió "contactos con personal responsable de la obra original", algo que ha ayudado a que el resultado sea lo más fiel a su primitivo aspecto. <br /><br /><div style="text-align: center;">
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</span><span style="font-family: Verdana, sans-serif; font-size: large;"><br />Entre los principales elementos recuperados se incluyen los jardines de las esquinas, las réplicas de los antiguos bancos de piedra y el pavimento. La obra, no obstante, presta especial atención a la puesta en valor del monumento, que durante las últimas décadas había sido objeto de diversos actos vandálicos y se integra dentro de las obras acometidas en la calle Pepita Jiménez y en el paso de cebra que da acceso al Paseo Alcántara Romero. La inversión total ha sido de 232.553€, de los cuales 124.973€ han ido destinados a mano de obra, permitiendo por tanto ofrecer 1.470 jornales que han servido para ayudar, aunque sea de manera transitoria y temporal, a las personas inscritas en los programas de empleo.</span><br />
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fundacion aguilar y eslavahttp://www.blogger.com/profile/07700503868166764088noreply@blogger.com0