Sanctuary of Bom Jesus do Congonhas

Sanctuary of Bom Jesus do Congonhas

This sanctuary in Minais Gerais, south of Belo Horizonte was built in the second half of the 18th century. It consists of a church with a magnificent Rococo interior of Italian inspiration; an outdoor stairway decorated with statues of the prophets; and seven chapels illustrating the Stations of the Cross, in which the polychrome sculptures by Aleijadinho are masterpieces of a highly original, moving, expressive form of Baroque art.

Sanctuaire du Bon Jésus à Congonhas

Construit pendant la seconde moitié du XVIIIe siècle, le sanctuaire, situé dans le Minas Gerais, au sud de Belo Horizonte, se compose d’une église au somptueux décor intérieur rococo d’inspiration italienne, d’un escalier en terrasse décoré de statues de prophètes et de sept chapelles abritant un chemin de croix où les groupes polychromes sculptés par l’Aleijadinho sont le chef-d’œuvre d’un art baroque original, pathétique et hautement expressif.

معبد بون جيسوس في كونغونياش

شُيّد المعبد الذي يقع في ميناس جيراييس، جنوب بيلو أوريزونتي، إبّان النصف الثاني من القرن الثامن عشر، وهو يتألف من كنيسة تتميّز بتصميمها الداخلي الفخم وبزخرفتها المثقلة من النفحة الإيطالية، وكذلك من سلّم خارجي مزيّن بتماثيل الرسل ومن سبعة معابد تجسّد درب الصليب وحيث المنحوتات المتعددة الألوان التي أنجزها أليجادينيو تشكّل تحفة من الفن الباروكي الأصلي والمؤثر والمعبّر للغاية.

source: UNESCO/ERI

孔戈尼亚斯的仁慈耶稣圣殿

孔戈尼亚斯耶稣圣殿位于贝洛奥里藏特(Belo Horizonte)南部的米耐斯格莱斯(Minais Gerais),建于18世纪下半叶。这个圣殿由多个部分组成:一个受意大利影响采用洛可可风格进行内部装饰的教堂、饰以先知雕像的室外楼梯,以及七座小教堂,在这些小教堂里展示有耶稣受难像,亚历昂德里诺(Aleijadinho)创作这些多彩雕像表现出非常新颖、生动和富有特色的巴洛克艺术风格。

source: UNESCO/ERI

Церковный комплекс Бон-Жесус-ду-Конгоньяс

Этот церковный комплекс, построенный во второй половине XVIII в. в штате Минас-Жераис к югу от Белу-Оризонте, состоит из церкви с роскошным интерьером в стиле рококо, наружной лестницы, украшенной статуями пророков, и семи часовен, посвященных остановкам на пути к месту распятия Христа. Их многоцветные скульптуры работы Алейжадинью являются яркими примерами оригинальных экспрессивных форм искусства барокко.

source: UNESCO/ERI

Santuario del Buen Jesús de Congonhas

Construido en la segunda mitad del siglo XVII, este santuario está situado en el Estado de Minas Gerais, al sur de Belo Horizonte. Consta de una iglesia con una suntuosa decoración interior al estilo rococó italiano, una escalinata ornada con estatuas de profetas y siete capillas de un vía crucis con grupos escultóricos polícromos del Aleijadinho, que son obras maestras de un arte barroco, expresivo y patético, de gran originalidad.

source: UNESCO/ERI

ボン・ジェズス・ド・コンゴーニャスの聖所

source: NFUAJ

Heiligdom van Bom Jesus do Congonhas

Dit heiligdom in Minais Gerais ten zuiden van Belo Horizonte, werd gebouwd in de tweede helft van de 18e eeuw. In 1712 beleefde het heiligdom zijn glorietijden met meer dan 30.000 goudzoekers. De aanbidding van het heiligdom door deze pioniers zorgde voor een bloei van religieuze kunst die beïnvloedt werd door stijlkenmerken uit de barok, rococo en modern expressionisme. Het complex bestaat uit een kerk met een indrukwekkende rococo inrichting, een buitentrap versierd met beelden van de profeten en zeven kapelletjes die de kruiswegstaties van Jezus weergegeven. De polychrome beelden van Aleijadinho gelden als meesterwerken van hoogst originele, ontroerende en expressieve Barokkunst.

Source: unesco.nl

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Santuario de Bom Jesus de Matosinhos in the city of Congonhas, state of Minas Gerais, Brazil; Masterpiece of artist Aleijadinho (1738-1814); UNESCO World Heritage site; Santuario de Bom Jesus de Matosinhos dans la ville de Congonhas, état de Minas Gerais, Brésil; Pièce maitresse de l’artiste Aleijadinho (1738-1814); Site du Patrimoine mondial de l’UNESCO; Santuario de Bom Jesus de Matosinhos in der Kolonialstadt Congonhas, Staat Minas Gerais, Brasilien; Meisterwerk des Artisten Aleijadinho (1738-1814); Welterbe UNESCO; © M & G Therin-Weise
Long Description

In the 18th century, Minas Gerais was in its heyday - there were more than 30,000 prospectors in 1712. Moreover, the devotion of these pioneers was responsible for a remarkable blossoming of religious art, full of Baroque reminiscences, influenced by Rococo currents and pregnant with modern Expressionist invention.

At Congonhas de Campo, the wish of a Portuguese immigrant who had been miraculously cured of a crippling infirmity was the impetus for the construction of one of Christian art's most amazing groupings of monuments. Buried in the still luxuriant nature of the Brazilian highlands, the Sanctuary is an integral part of the landscape, constituting the full attainment of the union of nature, man, and deity of Brazilian culture. The ensemble includes Bom Jesus Church, completed in 1772 and built on the peak of the Morro do Maranhão. Inspired by the Sanctuaries of Bom Jesus do Motosinhos, not far from Oporto, and Bom Jesus de Braga, both in Portugal, the complex was completed in a little more than 60 years of hard work, and constituted an original creation, unique in its style, of the best-known Brazilian artists and artisans of the time.

The church is a simple construction in the tradition of the first religious edifices in Minas Gerais. However, after the death of its founder, Feliciano Mendes, in 1765 it was given a sumptuous interior decor of rocaille and Rococo style inspired by Italian models, transforming its original appearance.

The church was the creation of the architect Francisco Lima Cerqueira and the master builders Domingos Antonio Dantas and Antonio Rodrigues Falcado, who completed the building in 1773. Cerqueira was responsible, in particular, for the remarkable innovations incorporated in the architecture of the church, which were sufficient to create a regional school of architecture in its own right. The plan of the building develops along a single and broad aisle, terminating in a principal chapel where the altar is located. On either side of the central structure stand two tall bell towers, recessed from the main line of the facade, and covered with domes similar to those on the other chapels, but smaller in size. The facade is a simple square opened by a portal with its jambs finely adorned, as well as by two windows. The upper part terminates in a pediment with an undulating silhouette. Externally, the complex is rendered in bright white plaster, broken only by the reliefs in soapstone that mark its profile along the parapet of the staircase, the corners of the towers, the jutting consoles that divide the main part of the facade from the pediment, the reliefs of the portal, and the pediment itself. The motifs are repeated in slightly simpler form for the chapels.

Whereas the exterior represents the Brazilian Baroque style, the interior harks back to Italian culture with the decoration in a luxuriant Rococo style that covers the walls and ceilings and clearly inspires the carvings on the altar, the statues and the paintings that cover the walls of the hall and the principal tribune.

The parvis, the arrangement of which began in 1770, is decorated with twelve statues of the Prophets by Aleijadinho between 1800 and 1805. The Passos, seven Stations of the Cross which are housed in small chapels were also sculpted by Aleijadinho between 1796 and 1800. Christian art in Latin America reached its unquestioned zenith with those multicoloured groups whose scenographic presentation strengthens the pathetic character. As has been pointed out on numerous occasions, with Aleijadinho, a half-breed born in Vila Rica, Baroque sculpture takes on an aesthetic dimension that is unknown to Europe.

Source: UNESCO/CLT/WHC