دير مار بطرس وبولس - قطّينبناه المطران سمعان عوّاد الحصروني سنة ١٧٣٦ أيّام حبريّة البطريرك يوسف ضرغام الخازن، وكان مزرعةً صغيرة. سلّم المطران الدّير للرهبانيّة الأنطونيّة المارونيّة سنة ١٧٦٠، فبنى الرهبان الكنيسة ووسّعوا الدّير واستُخدم فترة قصيرة كدير للراهبات العابدات الأنطونيّات. سنة ١٨٦٠ تعرّض الدّير للتخريب إبّان الأحداث الطائفيّة. أعيد ترميمه ليخدم رسالته وجلبت للكنيسة لوحة إيطاليَة لمار بطرس وبولس مع الذخيرة الرسوليّة. سنة ٢٠١٧ بنيت بقرب الدّير محبسة مكرّسة لمار يوسف حارس الفادي.The monastery of Sts Peter and Paul - QattynThe monastery was built in 1736 by bishop Gebrayel Awad from Hassroun, and consisted of a small farm. In 1760 the bishop handed over the monastery to the Antonine Maronite Order, who enlarged the building and built the church. The monastery was shortly used as a nunnery for solitary Antonine nuns. The monastery was devastated in the war of 1860. After the war it was renewed, an Italian painting and the apostolic relic where brought from Rome and enshrined in the church. In 2017 a hermitage dedicated to St Joseph the guardian of the Redeemer was built near the monastery.
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.
سنة ١٧٠٣ جاء قرار بناء دير مار روحانا، وكان ديرًا مشتركًا للرهبان والعابدات، في موضع مدرسةٍ قديمة لتعليم الأحداث على اسم السيّدة. وسّعه البطريرك طوبيّا الخازن ليكون مقرًّا له خلال إقامته في كسروان. سنة ١٧٧٥ ترهّب في الدير قيس بن رامح الخازن وهو المطران جرمانوس الخازن رئيس أساقفة دمشق. في ٢٥ أيلول ١٨٢٦ فصل البطريرك يوسف حبيش الرهبان عن الدير. رُمّم الدير على عدّة مراحل آخرها سنة ٢٠١٦ حين كُرّس المذبح الجديد. الدير وقف بعناية آل زوين تحت ولاية البطريركيّة المارونيّة.
The Monastery of St. Rouhana is located in Al Baqi'a - Aramoun.
In 1703, a decision was made to build a joint monastery for monks and nuns on the site of an old school dedicated to the Virgin Mary. Patriarch Tobia El Khazen renovated it to use as his residence during his stay in Keserwan. On September 25, 1826, Patriarch Youssef Hobeish separated the monks from the monastery. The monastery underwent several stages of renovation, with the last one in 2016 when the new altar was consecrated. The monastery is under the jurisdiction of the Maronite Patriarchate and is entrusted to the care of the Zwein family.
لما ازداد عدد سكّان بشرّي اواخر القرن الثامن عشر، طلب الاهالي والمشايخ من البطريرك يوسف التيّان، بناء كنيسةٍ جديدةٍ في بشرّي، فبنوا كنيسةً على اسم السيّدة العذراء. أوتي بِبَنّائَين من حلب لبناء الكنيسة. سنة ١٨٧٥، عُيِّن الخوري يوسف عريضه رئيس كهنة بشري، وكيلاً على كنيسة السيدة، وقد أضاف الى البناء القديم جناحًا للجهة الجنوبيّة، كما شيّد مدرسة في الجهة الشرقية. مذبح الكنيسة الرئيسيّ أهداه الى الكنيسة يوسف بك كرم سنة ١٨٦٩. كذلك ضمّت الكنيسة مصلوبًا قدّمه الخوري أنطون عريضه الأوّل من مدرسة ميكل انج. سنة ١٩٧٠ بُنيت الكنيسة بشكلها الحاليّ في عهد البطريرك بولس بطرس المعوشي: نمط بازيليكيّ بثلاث أروقة، وزيّنها بالجداريّات الفنّان أسعد رنوّ.
Our Lady Church - Bcharre
As the population of Bcharreh experienced a notable increase in the late eighteenth century, both the local community and the sheikhs approached Patriarch Youssef Al-Tyan with a request to construct a new church in Bcharre. Consequently, a church was erected in honor of the esteemed Virgin Mary. In order to bring this vision to fruition, two skilled builders were sourced from Aleppo to undertake the construction of the church. Subsequently, in the year 1875, Youssef Arida, a prominent clergyman in Bcharre, was appointed as the custodian of Our Lady Church. Under his stewardship, a wing was added to the existing structure on the southern side, and a school was erected on the eastern side. The principal altar within the church was generously donated by Youssef Bey Karam in 1869. Additionally, Father Anton, in his first entreaty from Mikkeleng School, contributed a crucifix that became an integral part of the church. Then, in 1970, during the reign of Patriarch Boulos Boutros Al-Maoushi, the church was reconstructed in its present form—a magnificent basilica-style edifice featuring three aisles. Notably, the gifted artist Asaad Ranno adorned the interior with captivating murals, further enhancing its aesthetic appeal.
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