遊覽次序: u San Marino 聖瑪力諾 →v 布隆那（Bologna） |
波隆那Bologna是北義大利的重要城市之一，雖然以觀光角度來說，波隆那或許不是初訪義大利的停留選項，但這座充滿中古世紀氛圍的大學城，擁有全世界最早的大學-波隆那大學，值得花一天來好好走走。波隆那景點很集中，半天到一天就能走訪波隆那幾個重要景點。這篇簡單整理波隆納主廣場、海神噴泉、阿奇吉納西歐宮(波隆那大學) 、波隆那諸塔、聖白略托大殿、聖斯德望聖殿等 。讓初次來到波隆那的旅人也能快速認識這座美麗古城。
沿著Rizzoli大街，街底就是波隆那很有代表性的波隆那諸塔。到波隆那不能少的當然就是波隆那斜塔嘍~~~這兩座高塔建在12世紀，當時的貴族會比拼誰家的高塔高誰的勢力就大，所以波隆那當時有非常多的高塔。。。不過現在保留最完整的就這兩座：阿西內里塔和佳利森斜塔。
中世紀的波隆那與其他都市如出一轍，握有權勢的家族之間分為教宗派與皇帝派彼此抗爭，作為要塞使用的高塔多達200座。如今僅殘存兩座斜塔，高97公尺的阿西來利塔，以及稍矮一些的加里森達塔。
阿西來利塔有498級階梯通往頂端。半路上雖然會喘不過氣，不過從塔頂眺望出去的美景會將疲勞一掃而空。以大教堂廣場為中心，紅磚屋頂與象牙色牆壁起伏綿延，四周翠綠的丘陵延伸天邊。大學城波隆那聚集了來自歐洲各地的老師與學生，因此食物水準自然而然提高，成為美食之都。
海神噴泉 Fontana del Nettuno
Piazza del Nettuno, 40124 Bologna BO
無論在造型、構思上，這專海神像都很特別，而且栩栩如生。(上、下)
位在海神廣場上的海神噴泉 Fontana del Nettuno是以海神尼普頓為主題創作的青銅雕像，為文藝復興時代後期的藝術家 Giambologna的作品，緊鄰海神廣場的，就是波隆那主廣場 Piazza Maggiore，波隆那主廣場創建於西元1200年，周邊圍繞著幾棟重要建築：有達古修宮 Palazzo d'Accursio波德斯塔宮 Palazzo del Podestà、公證人宮 Palazzo dei Notai、聖白托略大殿 Basilica di San Petronio站在被古色古香的廣場上，彷彿也回到了文藝復興時期的義大利。
聖白托略大殿 Basilica di San Petronio
Piazza Galvani, 5, 40124 Bologna BO
聖白托略大殿始建於1390年6月7日，這座哥德式教堂是世界第五大教堂，約能容納28000人，據說原先計劃要將此蓋得比聖彼得教堂還大，但在施工百年後，當時的教皇中斷了施工，東面蓋起大學後，聖白托略大殿便成了一棟至今仍未完工的教堂，走進教堂，蠻意外教堂裡沒有華麗的裝飾，反而是給人一種樸實親切的感覺。
同樣也在廣場週邊的還有 波得斯塔宮 與 恩佐王宮 (Palazzo del Podest e Palazzo di Re Enzo)
義大利肉醬麵的故鄉！全義生活品質最高的波隆那，成為美食之都的原因竟是.....
文化、美食、高塔的平靜之都
位於義大利中北部的波隆那是個平靜的城市，義大利人踏踏實實的生活方式根深蒂固。這個城鎮可用三個名詞來描述：「 肥胖、學問、高塔」。（ 譯注： 另有一種說法為「La Dotta, La Grossa, La Rossa（學問、肥胖、紅色）」）
波隆那受波河流域肥沃土壤之賜擁有豐富食材，是座美食之都，也是擁有創立於1088年歐洲最古老大學的大學城，街上聳立著許多中世紀高塔。
聖彼得尼歐大教堂（Duomo）位於城鎮中心地帶的馬焦雷廣場，下半部是玫瑰色大理石，然而上半部卻直接露出黑色石塊，建築尚未完成。一三八八年，當時打掉附近房舍，開始修建一座與羅馬的聖彼得大教堂匹敵的大型建築，但不知為何工程中斷。雖然有這一段往事，這座城鎮象徵仍展現出靜謐的存在感。
為波隆那市街增添魅力的是綿延不絕、連通建築物一樓部分的連拱廊（Portico）。
連拱廊由石柱與圓拱組成，看起來古典又靜謐，不過受平民愛戴的原因是方便躲雨和遮陽。1732年為止修築長達四十公里的連拱廊，而且還綿延到環繞城牆外山丘上的聖路加的聖母朝聖地。
波隆那大學創立之初以法學研究為中心，到了13世紀開始有哲學、醫學、拉丁文、神學等課程。大學採用獨有的方式，學生們選擇教授，直接支付學費，非常自由。過去有但丁、彼得拉克、哥白尼，近來則有安伯托．艾可等，形形色色的文化人士輩出。目前大學分為23個學系，容納學生有10萬人之多。
位於馬焦雷廣場一隅、1563年設立的阿奇吉納西歐宮，19世紀初之前這裡一直是大學本部校區。這一區尚留存進行世界上首次人體解剖的解剖劇場（Teatro Anatomico）。
階梯形室內的正中間是講台，排列著波隆那大學知名醫生的胸像，天井上裝飾著醫術之神與阿波羅神像，旁邊環繞星座符號。
執政官官邸與 Torre dell‘Arengo 塔
義大利傳統鄉間菜餚之一波隆那肉醬（Bolognese sauce）便發源於此，而日本式的名字是番茄肉醬。
香腸與沙拉米、千層麵、像扁麵的平坦義大利麵、寬扁麵、塞滿肉與乳酪的義大利餃子等，在號稱義大利美食寶庫的波隆那可以盡情享用各種當地特有的菜餚。
Named in honour of Bologna patron Saint Petronius - 8th bishop of the city from 431 to 450 - the Basilica is the most imposing and important church in Bologna (132m long, 66m wide, 47m high). The construction started in 1390 under the supervision of architect Antonio di Vincenzo. In 1514, Arduino degli Arriguzzi designed a new Latin-cross layout that would overtop St Peter's Church in Rome. According to the legend, Pius IV stopped the construction of this megalomaniac dream and pushed for the construction of the Archiginnasio instead. Even the facade remained incomplete. The central nave covering and the apse shooting, designed by Girolamo Rainaldi and directed by Francesco Martini, were completed only in 1663, while the lower naves were closed by rectilinear walls.
Built in 1470 by Lorenzo da Prato and featuring the most prestigious and oldest functioning organ in the world, the Bologna musical Chapel was once very famous. Another more recent organ (1596) belongs to Baldassarre Malamini, which is also still functioning despite being 400 years old.
In 1894, the Museo di San Petronio designed by T. Azzolini opened.
There are then four stone crosses between the chapels 1-2, 9-10, 13-14, 21-22 that, according to legend, were placed by St Petronio at the corners of the city limit, which was then defined over the following centuries with selenite walls.
Façade - In 1538, Giacomo Ranuzzi started the marble facing designed by Domenico da Varignana, which though remained incomplete. The finished part was decorated with works by sculptors Jacopo della Quercia, Amico Aspertini and Alfonso Lombardi.
Main doorway - Dating back from 1425, the central door is a masterpiece by Jacopo della Quercia. Old Testament's scenes are represented on the pillars as well as 18 prophets on the archivolt. New Testament's scenes are instead represented on the architrave, then a beautiful Madonna and Child and Saint Ambrose and Saint Petronio on the tympanum. The centre of the tympanum's arch is by Amico Aspertini.
Side doors - Alfonso Lombardi’s "Resurrection" on the left door and Amico Aspertini’s "Deposition" on the right one are both noteworthy.
Sides and Bell tower - The sides are made of red bricks arranged to create cuspidate chapels. The ornaments of the first two windows (1393) were designed by Antonio di Vincenzo with the collaboration of Francesco di Simone, Domenico da Milano, Pagno di Lapo Portigiani and Antonio di Simone. The bell tower was designed by Giovanni da Brensa. (1481-1487);
Interior - Even though the interior of the temple was built up over different periods, it has marvellous classical features, far from the Gothic beyond the mountains. It is divided in 3 naves supported by ten pillars with polygon ribs overlooked by arches and vaults: the bays of the main nave have a square shape. In the smaller naves there are twenty-two chapels:
St Abbondio Chapel (I) - formerly dei Dieci di Balia In 1865, Albino Riccardi restored it in the false Gothic style. The only older element is the ornamental decoration with the patrons’ coats of arms (1397) as well as two large frescoes touched up by Giovanni da Modena (around 1420): "Trionfo della chiesa cattolica sull'eresia" (Triumph of the Catholic Church over Heresy) is on the right while "Redenzione del peccato originale" (Redemption from the Original Sin) is on the left. In 1530, Charles V was crowned emperor by Pope Clement VII in this chapel.
St Petronius Chapel (II) - formerly Cospi and Aldrovandi Designed by Alfonso Torreggiani to contain the relic of St Petronius' head. The vault was decorated by Stefano Orlandi and Vittorio Bigari.
St Ivo Chapel (III) - formerly di S.Brigida dei Foscherari Statues by Angelo Piò, an altarpiece depicting the "Madonna di S: Luca e Santi Emidio e Ivo" (Madonna of St Luca, St Emidio and St Ivo) by Gaetano Gandolfi and on its walls there are illusionistic quadrature by Prospero Pesci, “S. Carlo Borromeo” by Francesco Bizzi and "L'apparizione della Vergine a S. Francesca Romana" (The Apparition of the Virgin to St Francesca Romana) by Alessandro Tiarin (1615) can be found in this chapel.
Two of the first clocks made with pendulum correction in Italy, designed by Domenico Maria and Cristino Fornasini (1758), cover part of the following pillar;
Three Kings’Chapel (IV) - formerly Bolognini and Salina Amorini This is the only chapel that features almost intact original ornaments. The marble Gothic railing was designed by Antonio di Vincenzo (1400). The "Wooden Polyptych” and polychromatic windows were painted by Jacopo di Paolo. The walls were sumptuously frescoed by Giovanni da Modena with a cycle depicting " Heaven" and " Hell" on the left side, "Le storie dei Re Magi" (The Stories of the Three Kings ) on the right wall and"Consacrazione di San Petronio" (The Consecration of St Petronio) with scenes from his life on the back wall;
St Sebastian's Chapel (V) - formerly Vaselli - In this chapel, you can admire the large temperra painting "St Sebastian's Martyrdom", "Our Lady of the Annunciation" and the twelve "Apostles" designed on canvas by Lorenzo Costa; "The Annunciation Angel" painted by Francesco Francia;
St Vincenzo Ferrer's Chapel (VI) - formerly Griffoni, Cospi and Ranuzzi - You can admire the large painting with the Saint by Vittorio Bigari (on the right)
St James Chapel (VII) - formerly Rossi and Baciocchi Lorenzo Costa's wonderful masterpiece "Madonna in Trono" (Madonna on the Throne) (1492) can be found on the altar. The polychromatic large windows are also attributed to him. The tomb on the right-hand side was designed by Antonio Serra (1845) and contains the remains of Prince Felice and of his wife Elisa Bonaparte;
St Rocco’s Chapel (VIII) - formerly Malvezzi Ranuzzi - On the altar you can find the Parmigianino "St Rocco" (1527). The large windows were designed by Achille Casanova (1926);
St Michael Chapel (IX)- formerly Barbazzi and Manzoli " L'Arcangelo Michele che scaccia il demonio" (Michael the Archangel crushing the Devil) " by Donato Creti (1582) is found on the altar, with the terracotta bust of Andrea Barbazza by Vincenzo Onofri (1479) on the left;
St Rosalia Chapel (X) - formerly Sedici del Senato, now del Municipio The altar piece depicts "Gloria di S. Barbara e punizione del padre omicida" (St. Barbara’s Glory and the punishment of her murderer father) by Alessandro Tiarini. The Neo-Gothic walls and the frescoed walls are by Gioacchini Pizzoli (1723).
St Bernardino Chapel (XI),
Main Chapel The four Veronese marble columns belong to the large tabernacle designed by Vignola. The large wooden "Crucifix" with cherub heads on the altar was made by an unknown artist in the 15th century. On the back of the apse, there is an imposing fresco depicting "Madonna with St Petronio" by Marcantonio Franceschini and Luigi Quaini on models by Cignani (1672);
The relics’ Chapel (XII) - formerly Zambeccari - The bell tower is on it.
St Peter Martyr Chapel (XIII) - formerly della Società dei Beccari the marble transenna with cherub heads (late 15th century) is by Francesco di Simone while the altar piece is by Passerotti;
St. Cross Chapel (XIX) - formerly Rinaldi There are frescoes by Francesco Lola, Giovanni da Modena and Pietro Lianori The magnificent large window was created by the blessed brother Giacomo da Ulma according to Michele di Matteo’s design.
Santissimo Chapel (XV) - formerly Malvezzi Campeggi The current appearance dates back to 1814 (Angelo Venturoli). On the altar, in a niche designed by Vignola, there is the "Trono del Santissimo" (Santissimo’s Throne) by Alessandro Algardi, who took the marble from the ruins of Ancient Rome;
Immacolata’s Chapel (XVI) - formerly Fantuzzi - Fully decorated by Achille Casanova and by Renato Pasqui;
St Girolamo’s Chapel (XVII) - formerly Castelli - The Saint on the altar is by Lorenzo Costa;
St Lorenzo’s Chapel (XVIII) - formerly Garganelli, Ratta and Pallotti - You can find the "Pity" by Amico Aspertini;
St. Cross Chapel (XIX) - formerly Rinaldi - You can find Francesco Lola, Giovanni da Modena and Pietro Lianori’s frescoes. The magnificient large window was created by the blessed brother Giacomo da Ulma according to a Michele di Matteo’s design.
St Ambrose Chapel - formerly Marsili The altar features a frescoed polyptych found during the restoration depicting St Ambrose, two warrior saints, Pity and the Annunciation. The style resembles that of Vivarini (mid- 15th century);
St Brigida Chapel - formerly Pepoli The polyptych on the altar is by Tommaso Garelli (1477). The polychromatic bust depicting the Saint was made by Giovanni Romagnoli;
The counter facade – Starting from the left, there is the smaller door ornament created by Francesco da Milano and designed by Alfonso Lombardi, a Lombardi relief of the "Incontro di Gioacchino" (Gioacchino’s Encounter) on the golden door, and a sepulchral brick-work monument by Zaccaria Zacchi (1526). The ornament of the other smaller door is by Alfonso Lombardi;
St Petronius Meridian In 1656, after Egnazio Danti’s meridian was destroyed during the extension of the church, Gian Domenico Cassini, a teacher in Bologna, invented and created a new one. In order to calculate it, Cassini used some instruments now on show at the Museum. St Petronius’ Meridian is the longest in the world (length: 67.72m, light hole: 27m from the ground, distance between solstices: 56m); its length corresponds to the 600000th part of the earth meridian. In 1775, it was restored by astronomer Eustachio Manfredi, who substituted the iron line with a brass one.
遊覽聖白托略大殿 Basilica di San Petronio，就不禁想起意大利的宗教藝術家但丁。
但丁·阿利吉耶里（1265-1321）他誕生於佛羅倫斯的上流社會。他所受的教育是當時最好的，學了好多經院神學、亞里斯多德的邏輯學和一些拉丁文古典文學——開拓了他對不同事物領域的深刻洞察力。但丁天性認真聰明，我們可以確信他所學的已超過了絕大部分可以學到的東西。他有一種高度明晰的理解力，而且非常敏銳，這種優秀的成果是來自他對經院哲學的努力學習。
在佛羅倫斯的但丁的故居，有一份1302年3月法庭對他的於判決書。但丁年輕的時候熱衷於政治，但他的所屬黨派在鬥爭中失利，但丁也遭到了流放，他永遠不得回到故鄉，否則將被處以火刑。《神曲》創作於1304至1321年，是但丁在流放過程中寫就的。
《神曲》全詩共分為《地獄篇》、《煉獄篇》、《天堂篇》三個部分，每部33篇，加上《地獄篇》前面有一首序詩，總共是100篇。詩句三行一段，連鎖押韻，各篇長短大致相等，每部也 基本相等。全書以第一人稱的角度，描述了但丁在地獄、煉獄和天堂遊歷的經過。一開始主人公是由古羅馬詩人維吉爾引導的，後來其引導者換作他的心上人貝緹麗 彩·坡提納裡。
在旅途中，但丁遇到了許多名人的靈魂，並與之交談，這其中包括歷史上許多著名人物，教皇、皇帝、詩人、哲人、科學家、聖人等。《神曲》對中世紀 政治、哲學、科學、神學、詩歌、繪畫、文化等都作了藝術性的闡述和總結。因此，它不僅在藝術性上是一座劃時代的里程碑，而且是一部反映社會生活狀況、傳授 知識的百科全書式的鴻篇巨制。
在這一悠長的關於《神曲》的藝術史的序列中，達利也擁有自己獨特的一席之地，他的標誌性的超現實主義風景時刻存在於畫面之中。針對《神曲》，他 運用了“偏執狂的批判法”和強烈的精神分析的視角。事實上，在《地獄篇》和《煉獄篇》中，人類的罪惡和弱點本來就常常以無意識的方式顯現出來。如是，達利 呈現了一個非典型的地獄形象。儘管充滿了恐怖的暴行以及扭曲的軀體，但是其插畫又充滿了光與色彩。在畫面中，但丁身穿紅色衣裝，維吉爾則是一身藍色。
很多我們所熟悉的達利的標誌性符號同樣穿插於《神曲》之中。首先是天使以各種不同的形式出現，還有達利所鍾愛的“拐杖”形象。拐杖代表著死亡和 復興，以及世人的弱點，同時它也代表了身體和靈魂的支撐和穩定。在《地獄篇》第28歌，穆罕默德的身體被撕裂開來，他的內臟裸露在外，而正是拐杖支撐著他 的內臟。
個人感受或經歷：
遊覽聖白托略大殿 Basilica di San Petronio，就不禁想起意大利的宗教藝術家但丁。
但丁·阿利吉耶里（1265-1321）他誕生於佛羅倫斯的上流社會。他所受的教育是當時最好的，學了好多經院神學、亞里斯多德的邏輯學和一些拉丁文古典文學——開拓了他對不同事物領域的深刻洞察力。但丁天性認真聰明，我們可以確信他所學的已超過了絕大部分可以學到的東西。他有一種高度明晰的理解力，而且非常敏銳，這種優秀的成果是來自他對經院哲學的努力學習。
在佛羅倫斯的但丁的故居，有一份1302年3月法庭對他的於判決書。但丁年輕的時候熱衷於政治，但他的所屬黨派在鬥爭中失利，但丁也遭到了流放，他永遠不得回到故鄉，否則將被處以火刑。《神曲》創作於1304至1321年，是但丁在流放過程中寫就的。
《神曲》全詩共分為《地獄篇》、《煉獄篇》、《天堂篇》三個部分，每部33篇，加上《地獄篇》前面有一首序詩，總共是100篇。詩句三行一段，連鎖押韻，各篇長短大致相等，每部也 基本相等。全書以第一人稱的角度，描述了但丁在地獄、煉獄和天堂遊歷的經過。一開始主人公是由古羅馬詩人維吉爾引導的，後來其引導者換作他的心上人貝緹麗 彩·坡提納裡。
在旅途中，但丁遇到了許多名人的靈魂，並與之交談，這其中包括歷史上許多著名人物，教皇、皇帝、詩人、哲人、科學家、聖人等。《神曲》對中世紀 政治、哲學、科學、神學、詩歌、繪畫、文化等都作了藝術性的闡述和總結。因此，它不僅在藝術性上是一座劃時代的里程碑，而且是一部反映社會生活狀況、傳授 知識的百科全書式的鴻篇巨制。
在這一悠長的關於《神曲》的藝術史的序列中，達利也擁有自己獨特的一席之地，他的標誌性的超現實主義風景時刻存在於畫面之中。針對《神曲》，他 運用了“偏執狂的批判法”和強烈的精神分析的視角。事實上，在《地獄篇》和《煉獄篇》中，人類的罪惡和弱點本來就常常以無意識的方式顯現出來。如是，達利 呈現了一個非典型的地獄形象。儘管充滿了恐怖的暴行以及扭曲的軀體，但是其插畫又充滿了光與色彩。在畫面中，但丁身穿紅色衣裝，維吉爾則是一身藍色。
很多我們所熟悉的達利的標誌性符號同樣穿插於之《神曲》中。首先是天使以各種不同的形式出現，還有達利所鍾愛的“拐杖”形象。拐杖代表著死亡和 復興，以及世人的弱點，同時它也代表了身體和靈魂的支撐和穩定。在《地獄篇》第28歌，穆罕默德的身體被撕裂開來，他的內臟裸露在外，而正是拐杖支撐著他 的內臟。
"If Islam is a religion of peace, why is there no peace in the Middle East?"
Peace in the Middle East by Pat Condell. This is harsh but the truth needs to be put out.
The Muslims who call themselves "Palestinians" are waging a jihad war against Israel.
The Western world has abandoned Israel and stand with the Muslim world against the only democratic Western and Civilized nation in the entire Middle East.
Please watch and share this video, help us spread the truth about the conflict in the Middle East.
The UN is silent when Muslims who call themselves "Palestinians" attack Israel but scream when Israel defends itself. Israel, like any other country, has a right to defend itself.
Liberals and leftists in the West use the made up term "Islamophobia" to portray anyone who criticizes Islam as a "racist".
Radical Muslim terrorists all over the world carry out terror attacks "in the name of Allah".
They justify their violence by quoting verses from the Quran.
Islamophobia is a made up word created by the Muslim Brotherhood specifically to silence debate.
Liberals and leftists ignore the fact that Islam is an ideology that has nothing to do with race.
Islamophobia is a neologism created to silence any possible debate about the problems Islamic extremism has got with modernity, with the intention of using the collective post-colonial "guilt" to exempt a particular set of beliefs from scrutiny, analysis and criticism.
It's a buzzword used in an attempt to silence anyone, whenever had legit questions or criticisms about the religion.
Islam is not a race. It's a religion.
There is an attempt in the West to impose a sharia-blasphemy law to criminalize criticism of Islam.
It started when Saudi Arabia and Muslim countries tried to pass a UN resolution to force Western states to criminalize criticism of Islam.
The Parliament in Canada passed "Motion M-103" to condemn the so-called "Islamophobia (Fear of Islam)" in a preparation for a blasphemy law in Canada.
According to the sharia blasphemy law anyone who criticizes Islam or the Prophet Muhammad should be killed.
Under Sharia blasphemy law in Saudi Arabia and Iran Muslims are executed if they are accused of blasphemy. (褻瀆)
In Pakistan, the situation is even worse, radical Muslims use the blasphemy law to persecute the Christian minority.
Is this the law the liberals in the West want to adopt?
回教還有其他的錯誤:
回教是個徹頭徹尾的爛教，信仰它的人，要麽被迫，要麽沒腦筋白痴
回教的問題：
🖤沒有愛；
🖤當別人指出他們的問題時，永遠反指別人有什麼什麼問題，自己永遠不拿出勇氣說：是的，我們回教世界的問題就是這樣，我們願意改過；
🖤單靠嚴刑峻法，沒有教化，孔子墨子尚且懂愛；
🖤排他性強，在回教世界裡，他教永遠是被排斥的對象，新鮮熱辣的是斯里蘭卡自殺式爆炸，伊朗的高官只由穆斯林擔任，馬來西亞跟回教徒結婚一定要歸依回教，離婚時，孩子只會判給婚前已信回教那一方；但反過來，當他們在非回教國家生活，卻投訴當地的措施沒有照顧他們；
🖤沒有神學進步的觀念，導致社會和教義脫節，影響履行使命把，往往使形式放在高於精神所在；
🖤永遠不會參與社會事務，就算政府有不公義也不發聲，甚至自己教胞在他國被迫害，也不理會，更甚的會質疑新聞的可信性，所以回教不是實踐性的宗教，得個空泛的信字而已。🤣😂😅😳☹😕😔😞🤢🤢🤢🤮🤮
🖤回教把小偷斬手，信耶穌主張寬恕，就算中國成語的主人公對孩子說，該小偷只是樑上君子而已，非但沒有傷害他的自尊心，而且後來更「斥資」給樑上君子做生意。所以千萬別相信殘暴的回教，牠們的立教宗旨就是以牙還牙，那麼跟世俗的人有什麼分別呢？
🖤回教世界另一令人卑鄙的地方，是男人非常無禮！現在在下吃早餐，剛拿起杓子舀完後，後邊有一回教男人，本來在下好心，拿著等待他接，豈料他接後放回原處，自己重新拿起再舀，可見回教世界的男人真的很大男人。同樣事情發生在比起香港遜色的大陸男人也懂的禮貌，回教卻不懂，他們實在需要教化！！！！
事實上，天主教會對於「教外人仕可否得救」的問題，近年來（尤其是在梵二前後）在神學和教理上都有了進一步的反思和演進，現簡單綜合一下現時教會訓導對這問題的一些要點，可供各位參考：
- 梵二的教會憲章仍然強調，信德及聖洗為得救的必要性，即是說：如明知天主藉耶穌基督所創立的天主公教為得救必經之路，而不願加入，或不願在教會內堅持到底，便不能得救。（LG14）
- 另一方面，一些人雖已參加教會卻不堅守愛德，身在教內而心卻在教外，仍舊不能得救。
- 與此同時，梵二會議也承認：在天主教這個有形教會以外，也有救恩。
- 一個人若非因己罪，而不認識基督的福音及其教會，卻能真心誠意地尋求天主，在天主恩寵的感召下，按照良心的指示，努力承行天主旨意，也能獲得永遠的救恩（LG16）。
- 天主有祂自己知道的方法，能夠引導那些非因己罪而不認識福音的人，獲得那為中悅天主所不可缺少的信德（AG7）。聖神替所有的人提供參加逾越奧蹟的可能性，其方式只有天主知道。事實上，教會與每個人的得救有不可或缺的關係。公教信徒，其他信奉基督的人，以及天主聖寵所要拯救的全體人類，都以不同方式屬於或導向這個教會。到了公元年，教廷信理部因應時代的需要和當時的情況，發表了一份名為「主耶穌宣言」的文件，再次討論和補充了「有形教會以外的救恩」這個問題。宣言中強調：耶穌基督是全部啟示的中介和滿全。基督宗教就是建基於天主這個完滿的啟示之上，即天主的慈愛和祂對人的自我通傳。
- 天主教會不否定其他宗教也有真理的要素，可為福音鋪路。但基督信仰與其他宗教在本質上，有著顯著的分別。基督宗教是啟示性的宗教，有完滿的啟示（真理）和得救的方法（聖經、聖事）。
其實回教的罪行素來罄竹難書，但丁表達出回教穆罕默德在地獄何錯之有?
可是，回教徒就是這樣蠻不講理，認為天主教針對他們，聖堂因而面對恐襲的威脅，所以意大利警方的軍車，需要不斷巡邏。
告訴你們，天主教國家意大利的布隆那街頭，有龐大的避孕套自助機，內裡的避孕套種類繁多。這啟示了香港人，不要再在教會食古不化的倫理上極端保守了。總之，生到夠皮就必須節育，好嗎？😗😙☺️🤔😛😝😝🤗🤗🤗😎🤔🤔🤔
請先 登入 以發表留言。