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    WINE&BEER
    Something special for a discerning eye and a sophisticated taste
    WEINGUT BOBBE
    Kloster.Land - an inclusive, accessible, friendly platform for all lovers of monastic culture and lifestyle.

    Welcome to the Club!

    The Palatine Wine Club offers selection from the best, family-owned vineyards of the Saale-Ustrut region. Delivered to you monthly from the one thousand years old cellars of Kloster Zscheiplitz!
    HISTORY
    Zscheiplitz began its life as a small Slavonic settlement on top of the hill overlooking the river valley – some time in the 7-9th century AD.
    Subjugated by the Frankish military might, it became a residence of the Imperial palatine count Friedrich of Saxony. In 1041 he built his Weissenburg residence here.

    In 1085 Friedrich's widow Adelheid donated the estate to the church. In 1089 Zscheiplitz became the Benedictine monastery. Saint Martin of Tour was its patron saint; the church, dedicated to him was erected soon thereafter and is the oldest one in the region of Unstrut valley.

    After the Reformation and subsequent dissolution of the monastery in the mid 16th century the estate passed to the hands of private owners. Fields and forests, churches, vineyards and mills – all together the property formed a unique socio-economic universum, preserved despite political turbulence and wars.

    Napoleon was an unwelcome guest here in October 1813, turning Zscheiplitz into a fortified artillery position in support of his retreating armies. Perhaps the biggest challenge to the village since the times of marauding Magyars in the 10th century was the neglect and disrepair of the Communist times. Deprived of any sort of repair over the period of more than fifty years it became almost totally ruined, with hollowed roofs, crumbling plaster and declining population. With virtually no one willing to take the responsibility for its future the castle was in danger of disappearing from the map of cultural and architectural heritage altogether.

    HISTORICAL PERIODS OF THE KLOSTER ZSCHEIPLITZ
    10 th.B.C. 900 A.D.
    920 A.D. 1085 A.D.
    1085 A.D. 1560 A.D.
    Archeological data shows, that the first human settlement appeared here in late Neolith, some 10 thousand years ago.
    In early 9th century the first wave of the Frankish colonisation has reached Unstrut – by then a Slavonic land, inhabited by peoples with cultural, ethnic and genetic identity similar to that of today's Sorbs and Czechs.

    Zscheiplitz was destined to become a central point of Frankish expansion in the area East of Thuringia. Sometime in early 10th century it became a place of permanent residence of the family, which ruled the area on behalf of German Kings and Holy Roman Emperors of the Ottoman dynasty – the counts of Goseck, Counts Palatine of Saxony, a cadet branch of the Wettin dynasty.
    Named Weissenburg – White Fortress – the residence remained in the hands of the Goseck family until the death of Friedrich III. According to the Reinhardsbrunn Chronicle he was murdered by the orders of his rival for power, wealth and influence – count Ludwig of Thuringia. After his brief imprisonment Ludwig has wed Friedrich's wife Adelheid, who, in atonement of her sins, donated the residence and the land around it to the order of St. Bernard.
    2008 A.D. 2021 A.D.
    1945 A.D. 2008 A.D.
    1560 A.D. 1945 A.D.
    The ruins of the manor was acquired by the von Hahn family, direct descendants of count Burchard I von Goseck through maternal line and thus related to both Count Palatine Friedrich III and count Ludwig of Thuringia.
    Before the land reform of 1949 the manor was owned by the Bila family, then, collectively, by 12 refugee families from the eastern parts of Germany.
    By early 2000s the manor was on the brink catastrophe having lost two of its five roofs, all of its facade-and interior decorations, ovens and fire places, with dilapidated electric cabling, broken water pipes, rotten floors, broken windows and doors.

    The Nunnery of Zscheiplitz was dissolved in 1540-s, with the death of its last inhabitant. The village and the estate became a property of prince Moritz of Saxony who created Zscheiplitz Manor to be owned exclusively by the nobility of the land (RITTERGUT). Only slightly affected by the retreat of Napoleon of France, who positioned his artillery on Zscheiplitz hill to cover his retreat from Leipzig on October 20 1813, the village was almost untouched by the 20-s century two world wars.

    from the history of the castle
    Zscheiplitz, Manor of wine,
    jewelry, history, and Hamlet…
    01
    At Kloster Zscheiplitz we are committed to helping you to make memories that will last a lifetime. Whether it is planning your picturesque wine country wedding, scheduling a private wine testing with your friends and family, or booking your corporate event at a location that can accommodate up to fifty people, Kloster Zscheiplitz is the perfect location for you.
    02
    Welcome, or you are welcome!
    Continuing our conversation about summer vacations and vacations - a page on our website about routes and tours in Germany and neighboring countries. For a day, two, and - who will not resist the pressure of our architectural, wine and other delights - for the rest of their lives. For prices, accommodation and any other information, please write in a personal message.
    03
    Kloster Zscheiplitz is a family-owned residence, garden, art & event, and contemplation centre. All events, exhibitions, seminars, lectures, etc. are conducted and financed privately. We receive no government/ state support. Your gift will allow us to carry our work further, reach wider auditorium and to guarantee the future of a thousand-year old historical and architectural monument.
    04
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    CONTACTS
    Kloster Zscheiplitz 2008-2020

    Europe's oldest aristocratic residence
    DER ÄLTESTE EAUROPÄISCHE
    ADELSSITZ
    CONTACT US
    Call: +49 176 31589629
    Send: Kloster Zscheiplitz Auf dem
    Gut 5 06632 Zscheiplitz Germany


    zscheiplitz_news

    Ines Hildur - Malerei

    Non-color [MEETS] color nuances

    "Nicht die offenkundige Schönheit ist das Höchste, sondern die verhüllte, nicht der unmittelbare Glanz der Sonne, sondern der gebrochene des Mondes. Der bemooste Fels, das grasbewachsene Strohdach, die knorrige Kiefer, der leicht berostete Teekessel, das und Ähnliches sind die Symbole dieses Schönheitsideals. Es geht um die Hoheit, die sich in der Hülle des Unscheinbaren verbirgt, die herbe Schlichtheit, die dem Verstehenden doch alle Reize des Schönen offenbaren." (W. Gundert)

    Meine Sehnsucht nach einer ganz eigenen Ästhetik stellt mich immer wieder vor die neue Herausforderung, Bruchstückhaftes zu einer eigentümlich anmutenden Poesie zu verschmelzen, zu einer Schönheit, die Opulenz zulässt, aber auch karg und unbearbeitet bleiben darf – in der Kunst wie im Leben.

    „Absichtsloses Wollen“

    Vom 102-jährigen französischen Maler Pierre Soulages stammt die Einsicht: Ein Handwerker weiß, was er herstellen möchte, ein Künstler kennt nur den Anfang…

    Ich erzähle in dieser Ausstellung freie, assoziative Bildgeschichten mit meinem besonderen Gefühl für Rhythmus und subtile Farbklänge: in der Gegenüberstellung von Unbunt und Farbe in Zwischentönen. Das Besondere an dieser Exposition ist jedoch das Zusammenspiel und der besondere Klang mit den figurativen Skulpturen aus gebrauchtem Holz von Matthias Trott sowie den historischen Porträts im Roten Salon. Ein einzigartig neues und zauberhaftes Universum entsteht zudem durch den magischen Ort Kloster Zscheiplitz mit seiner tausendjährigen Geschichte – die Bilder kommunizieren auf vielfältige Weise mit den ursprünglich belassenen Wänden, den raffiniert hinzugefügten Ergänzungen – überraschend und charmant.

    Entstanden sind die Bilder nicht nach einem fertigen Plan sondern aus der Entfaltung des künstlerischen Tuns – gespeist aus Intuition und bewusstem Reflektieren.
    Ich entdecke im scheinbar Alltäglichen die besondere Schönheit. Das kann abbröckelnder Putz an einer Häuserwand sein, Moos zwischen gerissenen Betonplatten – Spuren der Vergänglichkeit. Ihre Arbeiten strahlen Ruhe, Klarheit, Kraft und Sinnlichkeit aus. Bei der Übertragung in die Begriffe der Sprache bleibt aber immer etwas Unübersetzbares, Rätselhaftes.
    Das Prozesshafte der Bildentstehung lasse ich bewusst sichtbar stehen: glatte und pudrige Farbschichten (unter Verwendung von wässrig gebundener Farbe oder auch aufgestäubten Stein- und Kreidemehlen sowie Asche) überlagern sich.

    Ein komplexer Entwicklungsprozess in Schichten mit differenzierten Oberflächen und Patina als stoffliche Qualität – der Ausdruck von Wachsen und Vergehen. eine experimentelle experimentelle Annäherung an die Vielfalt der Töne – geheimnisvoll und mit Rafinesse komponiert …

    In einer reizüberfluteten Umwelt will ich das Wahrnehmungsvermögen schulen, Dinge neu zu sehen.


    Seit etlichen Jahren arbeite ich eher im Spektrum der unbunten Schattierungen.

    Ich gehöre zu den Grenzgängern, denen man einen besonders freien Blick durch meine unterschiedlichen Tätigkeitsfelder als Architektin, Interiordesignerin, Künstlerin bescheinigt.

    ---
    VITA

    geboren in Freiberg/Sachsen

    Studium der Architektur an der TU Dresden

    Arbeit als Architektin in Dresden, Saarbrücken, Salzburg und Leipzig seit 1982

    Gasthörerschaft Hochschule der Künste Saar, Saarbrücken 1991

    Internationale Sommerakademien der bildenend Künste in Salzburg u.a. bei Strawalde

    Ausstellungen und Projekte im In- und Ausland seit 1994

    Dozententätigkeit im Bereich Freie Malerei seit 2002

    lebt und arbeitet freischaffend als Grenzgängerin zwischen Angewandter und Freier Kunst in Leipzig
    Ines Hildur is, what can be called - ‘a classical abstract painter’.

    Her works are free of recongnisable, known forms. They are created not to please, not to attract. But, equally, not to distract, not to repulse.

    Abstract from form they are not abstract from meaning. These works are there to make you think. Get into. Fall into, if you dare. They are about freedom from form, but also freedom from fear of form -- of confinement of and into the known.

    Not paintings, but compositions. Almost always square — symmetry makes the outer perimeter irrelevant, futile. Each work is just a fragment — of the surface of our perceptions. Each painting is just an echo — of the depth of our curiosity. How far can we go? How deep can we dive?…

    Alexander von Hahn-Weissenburg
    ---

    Kloster Zschieplitz dankt Frau Stephanie Heiduk für die Unterstützung bei der Organisation der Ausstellung
    Events