كنيسة مار يوحنّا المعمدان - كفركخلي عمشيت
بُنيت كنيسة أولى في الموضع سنة ١٧٥٠ على اسم مار روحانا. أواخر القرن التاسع عشر وُسِّعت على شكل عقدٍ مُصالبٍ وكُرّست على اسم مار يوحنّا المعمدان لتُصبح كنيسةً رعائيّة. تضمّ الكنيسة ثلاث لوحات محليّة الصنع: عماد المسيح، مار روحانا ومار يوسف.
The church of St John the Baptist - Kfarkekhly Amchit
The first church was built in 1750 and dedicated to St Rouhana. The current large crossed vaulted structure was built in the late XIXth century and dedicated to St John the Baptist as a parochial church. The church holds three locally made paintings: The Theophany, St Rouhana, St Joseph.
كنيسة مار إسطفانوس رئيس الشمامسة وأوّل الشهداء - بحديدات هي بقايا لكنيسةٍ أثريّةٍ مكرّسة على اسم مار إسطفانوس، بُنيت على أنقاض رومانيّة أواسط القرن الثاني أو الثالث عشر. تتميّز بشكلها الدائريّ.
The ruins of St Stephen’s church in Bhdeidat belong to and old medieval church that dates back to the twelfth or thirteenth century. The church is built on top of roman ruins, and it is unique with its rotunda shape
تعود رسالة الآباء الكرمليّين في منطقة بشرّي إلى أواخر القرن السابع عشر. سكنوا أوّلاً دير مار أليشاع القديم وانتقلوا سنة ١٧٠٤ إلى دير مار سركيس. في ٩ آذار سنة ١٩٠٥، قام الأب سيريل دي سانتا ماريا، النائب الرسولي لجبل الكرمل، بزيارة بشرّي فاستقبله الأهالي وطالبوه بتوسيع الرسالة وإقامة مدارس. بدأ أبناء بشرّي البناء بمساعدات من فرنسا وبلجيكا وألمانيا سنة ١٩٠٨. سنة ١٩١٠ أكمل الأب جيوسيبي داربينو الجناح بناء الدّير والكنيسة، بمساعدة الكاردينال غوتي. الكنيسة كناية عن سوقٍ واحد بحنية نصف دائريّة وسقفٍ بغداديّ. الكنيسة مزيّنة بجدرانيّات للرسّام جرجس ديب الأورشليميّ وتمثل عدّة مشاهد من وحي روحانيّة الكرمل. يُعرف الدّير محليًّا "بالبادريّة" وهي تعريب لكلمة بادري أي الأب.
The Carmelite Convent of St Joseph - Bcharreh
The Carmelite mission Bcharreh goes back to the late XVIIth century. The fathers resided in St Elishah and moved in 1704 to St Sergius. On the 9th of March 1905 the Carmelite provincial Cyril Da Santa Maria visited the town and was demanded by the locals to enlarge the mission and build schools. After that the locals began building with financial help from France, Belgium, and Germany in 1908. Construction was completed in 1910 with Padre Joseppe Darbino who completed the building with the church with the help of Cardinal Gotti. The church consists of a single roofed nave with a semi circular apse. The church is decorated with frescoes by Gerges Dib from Jerusalem.
سنة ١٧٠٨ وصل ثلاثة رهبان أرمن إلى لبنان لتأسيس رهبانيّة أرمنيّة، فأوقف لهم الشّيخ صخر الخازن، أراضًا في وادي غوسطا سنة ١٧١٦. فأنشىء الرهبان إكليريكيّة وامتدّ بناء الدير والكنيسة إلى سنة ١٧٣٣. سنة ١٨٦٥ اشترى الخوري يوحنّا حبيب (المطران لاحقًا)، الدّير من الرّهبان الأرمن حيث انتقل هؤلاء إلى بزمّار، وأسّس جمعيّة المرسلين اللّبنانيّين في الدّير مع العديد من الكهنة وفي مقدَّمهم الخوري إسطفان قزاح، الرّئيس العام الأوّل. إهتمّ الكريميوّن ووسّعوه.. وقد كان هذا الدّير ملجأً للعديد من المهجّرين والمشرّدين والجياع والهاربين من ظلم السّلطات العثمانيّة. خضع البناء لعدّة عمليّات ترميم كان آخرها سنة ٢٠١٣. كان الدّير مركزًا للرّئاسة العامّة للجمعية حتّى العام ١٩٢١، وهو حاليًّا ديراً للابتداء، توجد فيه كنيسة المُخلّص وتحوي لوحةً زيتيّةً قديمة،، تدعى "الثّالوث المتألّم"، ولوحة أخرى أرمنيّة للميلاد. وفي الكنيسة أيضًا مدافن عائدة إلى كلّ من المطران يوحنّا الحبيب مؤسّس الجمعيّة، والخوري اسطفان قزاح رئيسها العام الأوّل، والمطران شكرالله خوري، .
The Holy Savior Monastery - Kreim Ghosta
The monastery was established in 1708 by three Armenian monks who arrived in Lebanon with the intention of creating an Armenian monastic order. Located in Wadi Ghosta, Lebanon, the monastery's history is intertwined with various events and figures over the centuries. In 1716, Sheikh Sakhr al-Khazen granted the Armenian monks lands in Wadi Ghosta, enabling them to establish their monastic order. The construction of the monastery and church complex took several decades, finally extending until 1733. It served as a seminary, providing education and spiritual guidance to the community. Fast forward to 1865, and the ownership of the monastery changed hands. Father John Habib, who later became a Bishop, purchased the monastery from the Armenian monks. With this transaction, the Armenian monks relocated to Bzommar, and Father John Habib initiated the Lebanese Missionaries Congregation within the monastery. Many priests were part of this association, and Father Stephen Qazah became its first superior general. Throughout its history, the Holy Savior Monastery played a crucial role in the local community. It served as a refuge for the displaced, homeless, hungry, and those seeking refuge from the oppression of the Ottoman authorities. The monastery experienced several periods of restoration to preserve its historical significance and structural integrity. The last restoration took place in 2013, ensuring that the monastery continued to stand as a testament to its enduring history and cultural importance. The Holy Savior Monastery, historically serving as the center of the general presidency of the association until 1921, has evolved into a monastery dedicated to novices in the present day. Nestled within its walls is the sacred Church of the Savior, housing cherished relics from the past. One of the notable treasures preserved within the church is an ancient oil painting named "The Suffering Trinity." This artwork carries profound emotional depth and holds a place of reverence within the community, reminding all who behold it of the timeless spiritual journey. Adding to the artistic splendor, another precious possession within the church is an Armenian painting depicting the Nativity. This painting enriches the spiritual ambiance of the sanctuary, reflecting the shared heritage and faith of those who seek solace and inspiration within its halls. Moreover, the church stands as a memorial to the esteemed figures who have shaped the legacy of the monastery and the association it represents. The burials of Bishop Youhanna Al-Habib, the visionary founder of the Lebanese Missionaries Association, Father Estephan Qazzah, the dedicated first general president, and Bishop Shukrallah Khoury, a revered spiritual leader, grace the church grounds. As the monastery continues to embrace novices and nurture their spiritual growth, it remains an enduring symbol of devotion, compassion, and hope. The presence of these sacred artifacts and burials serves as a constant reminder of the monastery's illustrious past and the profound impact it has had on the lives of those who seek solace and enlightenment within its sanctuary.
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