Enfeh – Deir Saydet el Natour

Deir Saydet el Natour, Hraiche, Lebanon

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سيدة الناطور

Enfeh

Koura

North

The convent’s ancient origin is attached to a legend. A rich man of the region committed adultery; filled with remorse, he attached a padlocked iron chain to his ankle and threw the key into the sea-shore and survived on the fish brought to him by local fishermen, who called him the guardian of the cavern. One day, a fisherman brought him a fish, in whose entrails the hermit found the key of the padlock. He knew then that God had delivered him from his suffering, and he built a convent above the cavern. He dedicated it to The Mother of God, but it also took the name of the Guardian. The daily life of the convent is regulated by the flow of visitors who come to fulfill vows and make prayers. Sister Catherine al-Jamal is the principal resident of Dayr al-Natour, and she has done everything within her power to restore it. According to the Crusader document, the Monastery of the Presentation of Our Lady Natour was built by Cistercians. Indeed, the Church interior resembles that of the Cistercian Church of Balamand, built in 1157. Otherwise, the history of Dayr al-Natour is hidden in obscurity, although it is said that the local Orthodox community took it over after the departure of the Crusaders. Its name is almost unmentioned by historical sources during the Mamluk and most of the Ottoman period, although it is reported that French corsairs attacked the Monastery at the beginning of the eighteenth century and killed a monk. In 1838, the Ottoman authorities gave permission to the Monastery to be rebuilt. In the second half of the nineteenth century, it contained several monks and a superior, and it possessed fifteen dunums of land. During the First World War, it was bombarded by a Russian ship. A few years later, the Monastery lost its last Superior, Basilios Debs, who became Archbishop of Akkar. After his departure, monastic life ended at Dayr al-Natour. During the twentieth century, the deserted monastery became a refuge for shepherds from the neighboring regions. In 1973, Sister Catherine al-Jamal moved to Dayr al-Natour and began to restore it from its ruin.

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هي الكنيسة الرئيسيّة في البلدة. إنتهت عمليّة البناء بشكلها الحاليّ في ١٧ أيّار ١٩٧٠. إنّ الموقع الذي بُنيت فيه الكنيسة، له تاريخ مهمّ في التّراث المسيحيّ للبلدة؛ ففي القرون المسيحيّة الأولى، كانت تلك المنطقة مليئة بالقبور المحفورة بالصخر، و بعد ذلك بُني في العهد البيزنطيّ كنيسة في الموقع، تتضارب المعلومات حولها، فالبعض يتحدّث عن وجود ديرٍ على اسم القدّيس جاورجيوس، و البعض الآخر يتحدّث عن ثلاث كنائس تحمل احداها اسم القديس جاورجيوس. سنة ١٩٥٤، قرّر راعي الأبرشيّة هدم البناء القديم و اقامة كنيسة كبيرة مكانه بإسم كنيسة القدّيس جاورجيوس. رُمّمت الكنيسة سنة ٢٠٠٩ وزُيّنت بالجداريّات.

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It is the main parish church of the village, consecrated on the 17th of may 1970. The site has paleo Christian roots as it was a stone necropolis. Later on, during the Byzantine era, a monastery of St George was erected on the site. According to other sources, three churches one of them dedicated to St George were on the site. In 1954 the local bishop decided to build a bigger church on the site and dedicate it to St George. The church was restored in 2009 and decorated with Byzantine frescoes.

Hrajel – The church of Our Lady of the Rosary

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كنيسة سيّدة الورديّة

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عام ١٧٢٢، بُنيَت كنيسة سيّدة الورديَّة على أنقاض معبدٍ وثنيّ. وفي العام ١٨٢١، بُنيَت كنيسةٌ أكبر حول الكنيسة القديمة. ولـمّا انتهى البناء هُدمَت الكنيسة القديمة، وكان ذلك في العام ١٨٦٢. العام ١٩٥٥ وُسِّعت الكنيسة وأُضيف عليها قسمٌ جديدٌ وأصبَحَتْ على ما هي عليه اليوم. اللوحة التصويريّة من عمل كنعان ديب الدلبتاوي.

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مار جرجس اده جبيل

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The church dates back to the Phoenician era with a high vault. The great frensh orientalist Ernest Renan retraced its history with its huge stone pillars. The church had a great Phoenician tympant with two snakes revolving around a globe. The huge stone was taken to the Louvre museum by Renan.
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تعود الى العهد الفينيقي لأنها مبنيّة بعقد قصبة مرتفعة وكانت معبدًا وثنيًّا.
أشار إرنست رينان الى وجود اعمِدة أثريّة استُعملت في مداميك البناء. رُمّمت وزيد عليها مع تعاقب المراحل التاريخيّة.
رينان انتزع عتبة الكنيسة وأرسلها الى متحف اللوفر في باريس، وهي تحمل نقشًا من الرموز التي كانت شائعةً في الدين الفينيقي يمثّل كرةً تلتفُّ حولها حيّاتٌ مجتمعة الأذناب في أعلاها
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