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A Chinese ceramic lotus shaped insence burner with a Montblanc. wrist watch.
THE HISTORY OF INCENSE:
The word "perfume" comes from Old Provincial French perfumar - per "through" and fumar "to smoke". This explains the art of perfumery, believed to have begun in the Middle East with the burning of incense. The use of incense dates back to biblical times and may have originated in Egypt, where aromatic trees were imported from Arabia to be used in religious ceremonies.
Ganjin, a Buddhist priest from Tang China, reached Japan in 754 AD. This venerable priest, well known for introducing Buddhist precepts into Japan, should also be remembered for his accomplishment in the history of incense. through medical incense and the skill of nerikoh (blended incense balls), Ganjin introduced a thriving incense culture from Tang dynasty China into Japan.
Takimono, a kind of nerikoh, is made of powdered incense for medical use, together with binding substances such as nectar and treacle. there was no fragrance incense before nerikoh in Japan, and people used to burn medical incense to generate fragrances. As nerikoh is a mixture of ingredients, different mixtures created subtly different fragrances. As a result, people made their own favorite fragrances from original concoctions. In this context, incense was no longer used as a religious offering, but as a tasteful pleasure called soradakimono designed for the enjoyment of graceful aromas. This was the start of the esthetic and artistic world of graceful incense-burning in Japan.
Court nobles in the Heian period (8th to 12th centuries) concocted original takimono in search of graceful and sophisticated fragrances for personal use. Different blends were used for different times, occasions or seasons, according to the mood of the moment. To impregnate their clothes or suffuse their rooms for guests, court people burnt their favorite blend of incense. “Takimonoawase”, an incense game where participants competed to produce better fragrances, also started in this period. Not quite satisfied with the simple fragrances of flowers and fruits in nature, court nobles created fragrances for their pleasure, thus establishing the foundation of a peculiar incense culture that was firmly attached to a keen awareness of the seasons. This is how the essential quality of Koh-Do (“the Way of Incense”) was formed.
Incense is aromatic biotic material that releases fragrant smoke when burned. The term refers to the material itself, rather than to the aroma that it produces. Incense is used for aesthetic reasons, and in therapy, meditation, and ceremony. It may also be used as a simple deodorant or insectifuge.
Incense is composed of aromatic plant materials, often combined with essential oils. The forms taken by incense differ with the underlying culture, and have changed with advances in technology and increasing number of uses.
Incense can generally be separated into two main types: "indirect-burning" and "direct-burning". Indirect-burning incense (or "non-combustible incense") is not capable of burning on its own, and requires a separate heat source. Direct-burning incense (or "combustible incense") is lit directly by a flame and then fanned or blown out, leaving a glowing ember that smoulders and releases a smoky fragrance. Direct-burning incense is either a paste formed around a bamboo stick, or a paste that is extruded into a stick or cone shape.
HISTORY:
The word incense comes from Latin incendere meaning "to burn".
Combustible bouquets were used by the ancient Egyptians, who employed incense in both pragmatic and mystical capacities. Incense was burnt to counteract or obscure malodorous products of human habitation, but was widely perceived to also deter malevolent demons and appease the gods with its pleasant aroma. Resin balls were found in many prehistoric Egyptian tombs in El Mahasna, giving evidence for the prominence of incense and related compounds in Egyptian antiquity. One of the oldest extant incense burners originates from the 5th dynasty. The Temple of Deir-el-Bahari in Egypt contains a series of carvings that depict an expedition for incense.
The Babylonians used incense while offering prayers to divining oracles. Incense spread from there to Greece and Rome.
Incense burners have been found in the Indus Civilization (3300–1300 BCE). Evidence suggests oils were used mainly for their aroma. India also adopted techniques from East Asia, adapting the formulation to encompass aromatic roots and other indigenous flora. This was the first usage of subterranean plant parts in incense. New herbs like Sarsaparilla seeds, frankincense, and cypress were used by Indians.
At around 2000 BCE, Ancient China began the use of incense in the religious sense, namely for worship. Incense was used by Chinese cultures from Neolithic times and became more widespread in the Xia, Shang, and Zhou dynasties. The earliest documented use of incense comes from the ancient Chinese, who employed incense composed of herbs and plant products (such as cassia, cinnamon, styrax, and sandalwood) as a component of numerous formalized ceremonial rites. Incense usage reached its peak during the Song dynasty with numerous buildings erected specifically for incense ceremonies.
Brought to Japan in the 6th century by Korean Buddhist monks, who used the mystical aromas in their purification rites, the delicate scents of Koh (high-quality Japanese incense) became a source of amusement and entertainment with nobles in the Imperial Court during the Heian Era 200 years later. During the 14th-century Ashikaga shogunate, a samurai warrior might perfume his helmet and armor with incense to achieve an aura of invincibility (as well as to make a noble gesture to whoever might take his head in battle). It wasn't until the Muromachi period during the 15th and 16th century that incense appreciation (kōdō) spread to the upper and middle classes of Japanese society.
COMPOSITION:
A variety of materials have been used in making incense. Historically there has been a preference for using locally available ingredients. For example, sage and cedar were used by the indigenous peoples of North America. Trading in incense materials comprised a major part of commerce along the Silk Road and other trade routes, one notably called the Incense Route.
Local knowledge and tools were extremely influential on the style, but methods were also influenced by migrations of foreigners, such as clergy and physicians.
COMBUSTIBLE BASE:
The combustible base of a direct burning incense mixture not only binds the fragrant material together but also allows the produced incense to burn with a self-sustained ember, which propagates slowly and evenly through an entire piece of incense with such regularity that it can be used to mark time. The base is chosen such that it does not produce a perceptible smell. Commercially, two types of incense base predominate:
Fuel and oxidizer mixtures: Charcoal or wood powder provides the fuel for combustion while an oxidizer such as sodium nitrate or potassium nitrate sustains the burning of the incense. Fragrant materials are added to the base prior to shaping, as in the case of powdered incense materials, or after, as in the case of essential oils. The formula for charcoal-based incense is superficially similar to black powder, though it lacks the sulfur.
Natural plant-based binders: Gums such as Gum Arabic or Gum Tragacanth are used to bind the mixture together. Mucilaginous material, which can be derived from many botanical sources, is mixed with fragrant materials and water. The mucilage from the wet binding powder holds the fragrant material together while the cellulose in the powder combusts to form a stable ember when lit. The dry binding powder usually comprises about 10% of the dry weight in the finished incense. These include:
Makko (incense powder) made from the bark of various trees in the genus Persea (such as Persea thunbergii)
Xiangnan pi (made from the bark of trees of genus Phoebe such as Phoebe nanmu or Persea zuihoensis.
Jigit: a resin based binder used in India
Laha or Dar: bark based powders used in Nepal, Tibet, and other East Asian countries.
Typical compositions burn at a temperature between 220 °C and 260 °C.
TYPES:
Incense is available in various forms and degrees of processing. They can generally be separated into "direct-burning" and "indirect-burning" types. Preference for one form or another varies with culture, tradition, and personal taste. The two differ in their composition due to the former's requirement for even, stable, and sustained burning.
INDIRECT-BURNING:
Indirect-burning incense, also called "non-combustible incense", is an aromatic material or combination of materials, such as resins, that does not contain combustible material and so requires a separate heat source. Finer forms tend to burn more rapidly, while coarsely ground or whole chunks may be consumed very gradually, having less surface area. Heat is traditionally provided by charcoal or glowing embers. In the West, the best known incense materials of this type are the resins frankincense and myrrh, likely due to their numerous mentions in the Bible. Frankincense means "pure incense", though in common usage refers specifically to the resin of the boswellia tree.
Whole: The incense material is burned directly in raw form on top of coal embers.
Powdered or granulated: Incense broken into smaller pieces burns quickly and provides brief but intense odor.
Paste: Powdered or granulated incense material is mixed with a sticky incombustible binder, such as dried fruit, honey, or a soft resin and then formed to balls or small pastilles. These may then be allowed to mature in a controlled environment where the fragrances can commingle and unite. Much Arabian incense, also called "Bukhoor" or "Bakhoor", is of this type, and Japan has a history of kneaded incense, called nerikō or awasekō, made using this method. Within the Eastern Orthodox Christian tradition, raw frankincense is ground into a fine powder and then mixed with various sweet-smelling essential oils.
DIRECT-BURNING:
Direct-burning incense, also called "combustible incense", is lit directly by a flame. The glowing ember on the incense will continue to smoulder and burn the rest of the incense without further application of external heat or flame. Direct-burning incense is either extruded, pressed into forms, or coated onto a supporting material. This class of incense is made from a moldable substrate of fragrant finely ground (or liquid) incense materials and odourless binder. The composition must be adjusted to provide fragrance in the proper concentration and to ensure even burning. The following types are commonly encountered, though direct-burning incense can take nearly any form, whether for expedience or whimsy.
Coil: Extruded and shaped into a coil without a core, coil incense can burn for an extended period, from hours to days, and is commonly produced and used in Chinese cultures.
Cone: Incense in this form burns relatively quickly. Incense cones were invented in Japan in the 1800s.
Cored stick: A supporting core of bamboo is coated with a thick layer of incense material that burns away with the core. Higher-quality variations have fragrant sandalwood cores. This type of incense is commonly produced in India and China. When used in Chinese folk religion, these are sometimes known as "joss sticks".
Dhoop or solid stick: With no bamboo core, dhoop incense is easily broken for portion control. This is the most commonly produced form of incense in Japan and Tibet.
Powder: The loose incense powder used for making indirect burning incense is sometimes burned without further processing. Powder incense is typically packed into long trails on top of wood ash using a stencil and burned in special censers or incense clocks.
Paper: Paper infused with incense, folded accordion style, is lit and blown out. Examples include Carta d'Armenia and Papier d'Arménie.
Rope: The incense powder is rolled into paper sheets, which are then rolled into ropes, twisted tightly, then doubled over and twisted again, yielding a two-strand rope. The larger end is the bight, and may be stood vertically, in a shallow dish of sand or pebbles. The smaller (pointed) end is lit. This type of incense is easily transported and stays fresh for extremely long periods. It has been used for centuries in Tibet and Nepal.
Moxa tablets, which are disks of powdered mugwort used in Traditional Chinese medicine for moxibustion, are not incenses; the treatment is by heat rather than fragrance.
Incense sticks may be termed joss sticks, especially in parts of East Asia, South Asia and Southeast Asia. Among ethnic Chinese and Chinese-influenced communities these are traditionally burned at temples, before the threshold of a home or business, before an image of a religious divinity or local spirit, or in shrines, large and small, found at the main entrance of every village. Here the earth god is propitiated in the hope of bringing wealth and health to the village. They can also be burned in front of a door or open window as an offering to heaven, or the devas. The word "joss" is derived from the Latin deus (god) via the Portuguese deos through the Javanese dejos, through Chinese pidgin English.
PRODUCTION:
The raw materials are powdered and then mixed together with a binder to form a paste, which, for direct burning incense, is then cut and dried into pellets. Incense of the Athonite Orthodox Christian tradition is made by powdering frankincense or fir resin, mixing it with essential oils. Floral fragrances are the most common, but citrus such as lemon is not uncommon. The incense mixture is then rolled out into a slab approximately 1 cm thick and left until the slab has firmed. It is then cut into small cubes, coated with clay powder to prevent adhesion, and allowed to fully harden and dry. In Greece this rolled incense resin is called 'Moskolibano', and generally comes in either a pink or green colour denoting the fragrance, with pink being rose and green being jasmine.
Certain proportions are necessary for direct-burning incense:
Oil content: an excess of oils may prevent incense from smoldering effectively. Resinous materials such as myrrh and frankincense are typically balanced with "dry" materials such as wood, bark and leaf powders.
Oxidizer quantity: Too little oxidizer in gum-bound incense may prevent the incense from igniting, while too much will cause the incense to burn too quickly, without producing fragrant smoke.
Binder: Water-soluble binders such as "makko" ensure that the incense mixture does not crumble when dry, dilute the mixture.
Mixture density: Incense mixtures made with natural binders must not be combined with too much water in mixing, or over-compressed while being formed, which would result in either uneven air distribution or undesirable density in the mixture, causing the incense to burn unevenly, too slowly, or too quickly.
Particulate size: The incense mixture has to be well pulverized with similarly sized particulates. Uneven and large particulates result in uneven burning and inconsistent aroma production when burned.
"Dipped" or "hand-dipped" direct-burning incense is created by dipping "incense blanks" made of unscented combustible dust into any suitable kind of essential or fragrance oil. These are often sold in the United States by flea-market and sidewalk vendors who have developed their own styles. This form of incense requires the least skill and equipment to manufacture, since the blanks are pre-formed in China or South East Asia.
Incense mixtures can be extruded or pressed into shapes. Small quantities of water are combined with the fragrance and incense base mixture and kneaded into a hard dough. The incense dough is then pressed into shaped forms to create cone and smaller coiled incense, or forced through a hydraulic press for solid stick incense. The formed incense is then trimmed and slowly dried. Incense produced in this fashion has a tendency to warp or become misshapen when improperly dried, and as such must be placed in climate-controlled rooms and rotated several times through the drying process.
Traditionally, the bamboo core of cored stick incense is prepared by hand from Phyllostachys heterocycla cv. pubescens since this species produces thick wood and easily burns to ashes in the incense stick. In a process known as "splitting the foot of the incense stick", the bamboo is trimmed to length, soaked, peeled, and split in halves until the thin sticks of bamboo have square cross sections of less than 3mm. This process has been largely replaced by machines in modern incense production.
In the case of cored incensed sticks, several methods are employed to coat the sticks cores with incense mixture:
Paste rolling: A wet, malleable paste of incense mixture is first rolled into a long, thin coil, using a paddle. Then, a thin stick is put next to the coil and the stick and paste are rolled together until the stick is centered in the mixture and the desired thickness is achieved. The stick is then cut to the desired length and dried.
Powder-coating: Powder-coating is used mainly to produce cored incense of either larger coil (up to 1 meter in diameter) or cored stick forms. A bundle of the supporting material (typically thin bamboo or sandalwood slivers) is soaked in water or a thin water/glue mixture for a short time. The thin sticks are evenly separated, then dipped into a tray of incense powder consisting of fragrance materials and occasionally a plant-based binder. The dry incense powder is then tossed and piled over the sticks while they are spread apart. The sticks are then gently rolled and packed to maintain roundness while more incense powder is repeatedly tossed onto the sticks. Three to four layers of powder are coated onto the sticks, forming a 2 mm thick layer of incense material on the stick. The coated incense is then allowed to dry in open air. Additional coatings of incense mixture can be applied after each period of successive drying. Incense sticks produced in this fashion and burned in temples of Chinese folk religion can have a thickness between 2 and 4 millimeters.
Compression: A damp powder is mechanically formed around a cored stick by compression, similar to the way uncored sticks are formed. This form is becoming more common due to the higher labor cost of producing powder-coated or paste-rolled sticks.
BURNING INCENSE:
Indirect-burning incense burned directly on top of a heat source or on a hot metal plate in a censer or thurible.
In Japan a similar censer called a egōro (柄香炉) is used by several Buddhist sects. The egōro is usually made of brass, with a long handle and no chain. Instead of charcoal, makkō powder is poured into a depression made in a bed of ash. The makkō is lit and the incense mixture is burned on top. This method is known as sonae-kō (religious burning).
For direct-burning incense, the tip or end of the incense is ignited with a flame or other heat source until the incense begins to turn into ash at the burning end. The flame is then fanned or blown out, leaving the incense to smolder.
CULTURAL VARIATIONS:
ARABIAN:
In most Arab countries, incense is burned in the form of scented chips or blocks called bakhoor (Arabic: بخور [bɑˈxuːɾ, bʊ-]. Incense is used on special occasions like weddings or on Fridays or generally to perfume the house. The bakhoor is usually burned in a mabkhara, a traditional incense burner (censer) similar to the Somali Dabqaad. It is customary in many Arab countries to pass bakhoor among the guests in the majlis ('congregation'). This is done as a gesture of hospitality.
CHINESE:
For over two thousand years, the Chinese have used incense in religious ceremonies, ancestor veneration, Traditional Chinese medicine, and daily life. Agarwood (chénxiāng) and sandalwood (tánxiāng) are the two most important ingredients in Chinese incense.
Along with the introduction of Buddhism in China came calibrated incense sticks and incense clocks. The first known record is by poet Yu Jianwu (487-551): "By burning incense we know the o'clock of the night, With graduated candles we confirm the tally of the watches." The use of these incense timekeeping devices spread from Buddhist monasteries into Chinese secular society.
Incense-stick burning is an everyday practice in traditional Chinese religion. There are many different types of stick used for different purposes or on different festive days. Many of them are long and thin. Sticks are mostly coloured yellow, red, or more rarely, black. Thick sticks are used for special ceremonies, such as funerals. Spiral incense, with exceedingly long burn times, is often hung from temple ceilings. In some states, such as Taiwan,
Singapore, or Malaysia, where they celebrate the Ghost Festival, large, pillar-like dragon incense sticks are sometimes used. These generate so much smoke and heat that they are only burned outside.
Chinese incense sticks for use in popular religion are generally odorless or only use the slightest trace of jasmine or rose, since it is the smoke, not the scent, which is important in conveying the prayers of the faithful to heaven. They are composed of the dried powdered bark of a non-scented species of cinnamon native to Cambodia, Cinnamomum cambodianum. Inexpensive packs of 300 are often found for sale in Chinese supermarkets. Though they contain no sandalwood, they often include the Chinese character for sandalwood on the label, as a generic term for incense.
Highly scented Chinese incense sticks are used by some Buddhists. These are often quite expensive due to the use of large amounts of sandalwood, agarwood, or floral scents used. The sandalwood used in Chinese incenses does not come from India, its native home, but rather from groves planted within Chinese territory. Sites belonging to Tzu Chi, Chung Tai Shan, Dharma Drum Mountain, Xingtian Temple, or City of Ten Thousand Buddhas do not use incense.
INDIAN:
Incense sticks, also known as agarbathi (or agarbatti) and joss sticks, in which an incense paste is rolled or moulded around a bamboo stick, are the main forms of incense in India. The bamboo method originated in India, and is distinct from the Nepali/Tibetan and Japanese methods of stick making without bamboo cores. Though the method is also used in the west, it is strongly associated with India.
The basic ingredients are the bamboo stick, the paste (generally made of charcoal dust and joss/jiggit/gum/tabu powder – an adhesive made from the bark of litsea glutinosa and other trees), and the perfume ingredients - which would be a masala (spice mix) powder of ground ingredients into which the stick would be rolled, or a perfume liquid sometimes consisting of synthetic ingredients into which the stick would be dipped. Perfume is sometimes sprayed on the coated sticks. Stick machines are sometimes used, which coat the stick with paste and perfume, though the bulk of production is done by hand rolling at home. There are about 5,000 incense companies in India that take raw unperfumed sticks hand-rolled by approximately 200,000 women working part-time at home, and then apply their own brand of perfume, and package the sticks for sale. An experienced home-worker can produce 4,000 raw sticks a day. There are about 50 large companies that together account for up to 30% of the market, and around 500 of the companies, including a significant number of the main ones, including Moksh Agarbatti and Cycle Pure, are based in Mysore.
JEWISH TEMPLE IN JERUSALEM:
KETORET:
Ketoret was the incense offered in the Temple in Jerusalem and is stated in the Book of Exodus to be a mixture of stacte, onycha, galbanum and frankincense.
TIBETAN:
Tibetan incense refers to a common style of incense found in Tibet, Nepal, and Bhutan. These incenses have a characteristic "earthy" scent to them. Ingredients vary from cinnamon, clove, and juniper, to kusum flower, ashvagandha, and sahi jeera.
Many Tibetan incenses are thought to have medicinal properties. Their recipes come from ancient Vedic texts that are based on even older Ayurvedic medical texts. The recipes have remained unchanged for centuries.
JAPANESE:
In Japan incense appreciation folklore includes art, culture, history, and ceremony. It can be compared to and has some of the same qualities as music, art, or literature. Incense burning may occasionally take place within the tea ceremony, just like calligraphy, ikebana, and scroll arrangement. The art of incense appreciation, or koh-do, is generally practiced as a separate art form from the tea ceremony, and usually within a tea room of traditional Zen design.
Agarwood (沈香 Jinkō) and sandalwood (白檀 byakudan) are the two most important ingredients in Japanese incense. Agarwood is known as "jinkō" in Japan, which translates as "incense that sinks in water", due to the weight of the resin in the wood. Sandalwood is one of the most calming incense ingredients and lends itself well to meditation. It is also used in the Japanese tea ceremony. The most valued Sandalwood comes from Mysore in the state of Karnataka in India.
Another important ingredient in Japanese incense is kyara (伽羅). Kyara is one kind of agarwood (Japanese incense companies divide agarwood into 6 categories depending on the region obtained and properties of the agarwood). Kyara is currently worth more than its weight in gold.
Some terms used in Japanese incense culture include:
Incense arts: [香道, kodo]
Agarwood: [ 沈香 ] – from heartwood from Aquilaria trees, unique, the incense wood most used in incense ceremony, other names are: lignum aloes or aloeswood, gaharu, jinko, or oud.
Censer/Incense burner: [香爐] – usually small and used for heating incense not burning, or larger and used for burning
Charcoal: [木炭] – only the odorless kind is used.
Incense woods: [ 香木 ] – a naturally fragrant resinous wood.
USAGE:
PRACTICAL:
Incense fragrances can be of such great strength that they obscure other less desirable odours. This utility led to the use of incense in funerary ceremonies because the incense could smother the scent of decay. An example, as well as of religious use, is the giant Botafumeiro thurible that swings from the ceiling of the Cathedral of Santiago de Compostela. It is used in part to mask the scent of the many tired, unwashed pilgrims huddled together in the Cathedral of Santiago de Compostela.
A similar utilitarian use of incense can be found in the post-Reformation Church of England. Although the ceremonial use of incense was abandoned until the Oxford Movement, it was common to have incense (typically frankincense) burned before grand occasions, when the church would be crowded. The frankincense was carried about by a member of the vestry before the service in a vessel called a 'perfuming pan'. In iconography of the day, this vessel is shown to be elongated and flat, with a single long handle on one side. The perfuming pan was used instead of the thurible, as the latter would have likely offended the Protestant sensibilities of the 17th and 18th centuries.
The regular burning of direct-burning incense has been used for chronological measurement in incense clocks. These devices can range from a simple trail of incense material calibrated to burn in a specific time period, to elaborate and ornate instruments with bells or gongs, designed to involve multiple senses.
Incense made from materials such as citronella can repel mosquitoes and other irritating, distracting, or pestilential insects. This use has been deployed in concert with religious uses by Zen Buddhists who claim that the incense that is part of their meditative practice is designed to keep bothersome insects from distracting the practitioner. Currently, more effective pyrethroid-based mosquito repellent incense is widely available in Asia.
Papier d'Arménie was originally sold as a disinfectant as well as for the fragrance.
Incense is also used often by people who smoke indoors and do not want the smell to linger.
AESTHETIC:
Many people burn incense to appreciate its smell, without assigning any other specific significance to it, in the same way that the foregoing items can be produced or consumed solely for the contemplation or enjoyment of the aroma. An example is the kōdō (香道), where (frequently costly) raw incense materials such as agarwood are appreciated in a formal setting.
RELIGIOUS:
Religious use of incense is prevalent in many cultures and may have roots in the practical and aesthetic uses, considering that many of these religions have little else in common. One common motif is incense as a form of sacrificial offering to a deity. Such use was common in Judaic worship and remains in use for example in the Catholic, Orthodox, and Anglican churches, Taoist and Buddhist Chinese jingxiang (敬香 "offer incense), etc.
Aphrodisiac Incense has been used as an aphrodisiac in some cultures. Both ancient Greek and ancient Egyptian mythology suggest the usage of incense by goddesses and nymphs. Incense is thought to heighten sexual desires and sexual attraction.
Time-keeper Incense clocks are used to time social, medical and religious practices in parts of eastern Asia. They are primarily used in Buddhism as a timer of mediation and prayer. Different types of incense burn at different rates; therefore, different incense are used for different practices. The duration of burning ranges from minutes to months.
Healing stone cleanser Incense is claimed to cleanse and restore energy in healing stones. The technique used is called “smudging” and is done by holding a healing stone over the smoke of burning incense for 20 to 30 seconds. Some people believe that this process not only restores energy but eliminates negative energy.
HEALTH RISK FROM INCENSE SMOKE:
Incense smoke contains various contaminants including gaseous pollutants, such as carbon monoxide (CO), nitrogen oxides (NOx), sulfur oxides (SOx), volatile organic compounds (VOCs), and adsorbed toxic pollutants (polycyclic aromatic hydrocarbons and toxic metals). The solid particles range between ~10 and 500 nm. In a comparison, Indian sandalwood was found to have the highest emission rate, followed by Japanese aloeswood, then Taiwanese aloeswood, while Chinese smokeless sandalwood had the least.
Research carried out in Taiwan in 2001 linked the burning of incense sticks to the slow accumulation of potential carcinogens in a poorly ventilated environment by measuring the levels of polycyclic aromatic hydrocarbons (including benzopyrene) within Buddhist temples. The study found gaseous aliphatic aldehydes, which are carcinogenic and mutagenic, in incense smoke.
A survey of risk factors for lung cancer, also conducted in Taiwan, noted an inverse association between incense burning and adenocarcinoma of the lung, though the finding was not deemed significant.
In contrast, epidemiologists at the Hong Kong Anti-Cancer Society, Aichi Cancer Center in Nagoya, and several other centers found: "No association was found between exposure to incense burning and respiratory symptoms like chronic cough, chronic sputum, chronic bronchitis, runny nose, wheezing, asthma, allergic rhinitis, or pneumonia among the three populations studied: i.e. primary school children, their non-smoking mothers, or a group of older non-smoking female controls. Incense burning did not affect lung cancer risk among non-smokers, but it significantly reduced risk among smokers, even after adjusting for lifetime smoking amount." However, the researchers qualified their findings by noting that incense burning in the studied population was associated with certain low-cancer-risk dietary habits, and concluded that "diet can be a significant confounder of epidemiological studies on air pollution and respiratory health."
Although several studies have not shown a link between incense and lung cancer, many other types of cancer have been directly linked to burning incense. A study published in 2008 in the medical journal Cancer found that incense use is associated with a statistically significant higher risk of cancers of the upper respiratory tract, with the exception of nasopharyngeal cancer. Those who used incense heavily also were 80% more likely to develop squamous-cell carcinomas. The link between incense use and increased cancer risk held when the researchers weighed other factors, including cigarette smoking, diet and drinking habits. The research team noted that "This association is consistent with a large number of studies identifying carcinogens in incense smoke, and given the widespread and sometimes involuntary exposure to smoke from burning incense, these findings carry significant public health implications."
In 2015, the South China University of Technology found toxicity of incense to Chinese hamsters' ovarian cells to be even higher than cigarettes.
Incensole acetate, a component of Frankincense, has been shown to have anxiolytic-like and antidepressive-like effects in mice, mediated by activation of poorly-understood TRPV3 ion channels in the brain.
Who would have thought?
From pretend girl about town and avid poser, I have been reduced to chief cook, bottle washer and ………… scullery maid.
Life sucks … doesn’t it?
This reduced-resolution photo has been released under the Creative Commons cc-by-sa 2.0 (generic) licence. Please credit this photo Michele Ahin and specify the licence that this photo is licenced under.
If you would like to use this photo under a different licence, or at a higher resolution please contact me for additional information.
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Vincent van Gogh 1853 - 1890
Amandelbloesem 1890
Almond blossom
olieverf op doek / oil on canvas
Vincent van Gogh Stichting
Op 31 januari 1890 schreef Theo aan Vincent dat hij en zijn vrouw Jo een zoon kregen die ze de naam Vincent Willem zouden geven. Kort daarna maakte Vincent voor zijn neefje dit schilderij van bloeiende amandeltakken: een van de eerste tekenen van een nieuwe lente. Theo en Jo ontvingen het doek in mei en hingen het op een ereplaats in hun appartement, boven de piano.
On 31 january 1890, Theo wrote Vincent that his wife Jo had born them a son, whom they planned to name Vincent Willem. Shortly thereafter Vincent painted this picture of blooming almond branches - one of the first signs of spring - for his new nephew. Theo and Jo received the canvas in eraly may, and gave it a place of honour in their apartment, hanging it above the piano.
inv. S176
This photo was taken on 23 june 2009 during a one-time exclusive photo session at the Van Gogh Museum in Amsterdam for the Wiki Loves Art /NL project.
I have my own explanation for why I took this shot and I think about what it means to me. Random as this may be I'm interested in what others see here.
This pattern is made from a single photo, shot and edited entirely on the iPhone. The photo was cropped and saved in 3 color variations using Camera+, then composed with Diptic.
There's a lovely bank of multicolored lockers at Stockholm’s Fotografiska (Photography) Museum. I took a half-hearted angle shot of the room and thought nothing more of it until later at the cafe when we were messing around on our phones. I cropped the photo to hide everything but the color of the lockers and rotated it. That crop represents each of the ⅓ columns in this image.
For Christmas '08, my wife got me a nice shaving kit which included a Gillette Mach 3 razor. (featured here) I used it for a year, and was about to buy another pack of M3s when I realized how freaking expensive they were. I decided to give a Double Edge razor a shot. My per razor cost went from $2.25 to ¢10 (¢25 if I splurge and get the really nice ones.) The dirty little secret that Gillette doesn't want you to know: disposable cartridges with multiple blades do not necessarily give you a better shave. They're simply a matter of convenience, but that convenience comes at a price. If you'd rather not do the DE razor, go with something like a trac II, Atra, or Sensor... anything else is just more expensive, not better. Eventually, using the DE is just second nature.
I used that for a few months and decided to give a straight raozr a shot. Some say it's the closest shave you'll ever have, but I'm not quite there yet. I haven't got the nerve to go against the grain. One thing though... it feels kind of bad ass to shave with a straight. It takes me probably an extra 5-10 minutes to shave this way than it would with a regular razor, but it's worth it. No more wasting of plastic cartridges... and my use of DE razors is greatly reduced.
For this shot, I used a cross processing technique. Here's the tutorial I used. It's specific to GIMP. Mr. Sharp referred me to one for photoshop... I couldn't quite get it to work, which I think is the result of not having 'effect layers' in gimp. I probably could have adapted it to work in GIMP, but the other one seems to work on a similar premise, and required no translation on my part.
I also did the orton effect, in conjunction with the "smart sharpen" (see previous) The smart sharpen is quite a few steps, but worth it.
Question for those that might know: this cross processing technique is very similar to what I've seen for lomo effect. The end result is somewhat similar too. Makes sense because the distinctive use that lomos became famous for was because the film was developed with a cross process technique. So, my question is, what distinguishes digital lomo edits from other types of cross processing?
4,000 people marched to a rally outside City Hall demanding greater action on reducing greenhouse gas emissions,
The Ajanta Caves (Ajiṇṭhā leni; Marathi: अजिंठा लेणी) in Aurangabad district of Maharashtra, India are about 30 rock-cut Buddhist cave monuments which date from the 2nd century BCE to about 480 or 650 CE. The caves include paintings and sculptures described by the government Archaeological Survey of India as "the finest surviving examples of Indian art, particularly painting", which are masterpieces of Buddhist religious art, with figures of the Buddha and depictions of the Jataka tales. The caves were built in two phases starting around the 2nd century BCE, with the second group of caves built around 400–650 CE according to older accounts, or all in a brief period of 460 to 480 according to the recent proposals of Walter M. Spink. The site is a protected monument in the care of the Archaeological Survey of India, and since 1983, the Ajanta Caves have been a UNESCO World Heritage Site.
The caves are located in the Indian state of Maharashtra, near Jalgaon and just outside the village of Ajinṭhā 20°31′56″N 75°44′44″E), about 59 kilometres from Jalgaon railway station on the Delhi – Mumbai line and Howrah-Nagpur-Mumbai line of the Central Railway zone, and 104 kilometres from the city of Aurangabad. They are 100 kilometres from the Ellora Caves, which contain Hindu and Jain temples as well as Buddhist caves, the last dating from a period similar to Ajanta. The Ajanta caves are cut into the side of a cliff that is on the south side of a U-shaped gorge on the small river Waghur, and although they are now along and above a modern pathway running across the cliff they were originally reached by individual stairs or ladders from the side of the river 35 to 110 feet below.
The area was previously heavily forested, and after the site ceased to be used the caves were covered by jungle until accidentally rediscovered in 1819 by a British officer on a hunting party. They are Buddhist monastic buildings, apparently representing a number of distinct "monasteries" or colleges. The caves are numbered 1 to 28 according to their place along the path, beginning at the entrance. Several are unfinished and some barely begun and others are small shrines, included in the traditional numbering as e.g. "9A"; "Cave 15A" was still hidden under rubble when the numbering was done. Further round the gorge are a number of waterfalls, which when the river is high are audible from outside the caves.
The caves form the largest corpus of early Indian wall-painting; other survivals from the area of modern India are very few, though they are related to 5th-century paintings at Sigiriya in Sri Lanka. The elaborate architectural carving in many caves is also very rare, and the style of the many figure sculptures is highly local, found only at a few nearby contemporary sites, although the Ajanta tradition can be related to the later Hindu Ellora Caves and other sites.
HISTORY
Like the other ancient Buddhist monasteries, Ajanta had a large emphasis on teaching, and was divided into several different caves for living, education and worship, under a central direction. Monks were probably assigned to specific caves for living. The layout reflects this organizational structure, with most of the caves only connected through the exterior. The 7th-century travelling Chinese scholar Xuanzang informs us that Dignaga, a celebrated Buddhist philosopher and controversialist, author of well-known books on logic, lived at Ajanta in the 5th century. In its prime the settlement would have accommodated several hundred teachers and pupils. Many monks who had finished their first training may have returned to Ajanta during the monsoon season from an itinerant lifestyle.
The caves are generally agreed to have been made in two distinct periods, separated by several centuries.
CAVES OF THE FIRST (SATAVAHANA) PERIOD
The earliest group of caves consists of caves 9, 10, 12, 13 and 15A. According to Walter Spink, they were made during the period 100 BCE to 100 CE, probably under the patronage of the Satavahana dynasty (230 BCE – c. 220 CE) who ruled the region. Other datings prefer the period 300 BCE to 100 BCE, though the grouping of the earlier caves is generally agreed. More early caves may have vanished through later excavations. Of these, caves 9 and 10 are stupa halls of chaitya-griha form, and caves 12, 13, and 15A are vihāras (see the architecture section below for descriptions of these types). The first phase is still often called the Hinayāna phase, as it originated when, using traditional terminology, the Hinayāna or Lesser Vehicle tradition of Buddhism was dominant, when the Buddha was revered symbolically. However the use of the term Hinayana for this period of Buddhism is now deprecated by historians; equally the caves of the second period are now mostly dated too early to be properly called Mahayana, and do not yet show the full expanded cast of supernatural beings characteristic of that phase of Buddhist art. The first Satavahana period caves lacked figurative sculpture, emphasizing the stupa instead, and in the caves of the second period the overwhelming majority of images represent the Buddha alone, or narrative scenes of his lives.
Spink believes that some time after the Satavahana period caves were made the site was abandoned for a considerable period until the mid-5th century, probably because the region had turned mainly Hindu
CAVES OF THE LATER OR VAKATAKA PERIOD
The second phase began in the 5th century. For a long time it was thought that the later caves were made over a long period from the 4th to the 7th centuries CE, but in recent decades a series of studies by the leading expert on the caves, Walter M. Spink, have argued that most of the work took place over the very brief period from 460 to 480 CE, during the reign of Emperor Harishena of the Vakataka dynasty. This view has been criticized by some scholars, but is now broadly accepted by most authors of general books on Indian art, for example Huntington and Harle.
The second phase is still often called the Mahāyāna or Greater Vehicle phase, but scholars now tend to avoid this nomenclature because of the problems that have surfaced regarding our understanding of Mahāyāna.
Some 20 cave temples were simultaneously created, for the most part viharas with a sanctuary at the back. The most elaborate caves were produced in this period, which included some "modernization" of earlier caves. Spink claims that it is possible to establish dating for this period with a very high level of precision; a fuller account of his chronology is given below. Although debate continues, Spink's ideas are increasingly widely accepted, at least in their broad conclusions. The Archaeological Survey of India website still presents the traditional dating: "The second phase of paintings started around 5th – 6th centuries A.D. and continued for the next two centuries". Caves of the second period are 1–8, 11, 14–29, some possibly extensions of earlier caves. Caves 19, 26, and 29 are chaitya-grihas, the rest viharas.
According to Spink, the Ajanta Caves appear to have been abandoned by wealthy patrons shortly after the fall of Harishena, in about 480 CE. They were then gradually abandoned and forgotten. During the intervening centuries, the jungle grew back and the caves were hidden, unvisited and undisturbed, although the local population were aware of at least some of them.
REDISCOVERY
On 28 April 1819, a British officer for the Madras Presidency, John Smith, of the 28th Cavalry, while hunting tiger, accidentally discovered the entrance to Cave No. 10 deep within the tangled undergrowth. There were local people already using the caves for prayers with a small fire, when he arrived. Exploring that first cave, long since a home to nothing more than birds and bats and a lair for other larger animals, Captain Smith vandalized the wall by scratching his name and the date, April 1819. Since he stood on a five-foot high pile of rubble collected over the years, the inscription is well above the eye-level gaze of an adult today. A paper on the caves by William Erskine was read to the Bombay Literary Society in 1822. Within a few decades, the caves became famous for their exotic setting, impressive architecture, and above all their exceptional, all but unique paintings. A number of large projects to copy the paintings were made in the century after rediscovery, covered below. In 1848 the Royal Asiatic Society established the "Bombay Cave Temple Commission" to clear, tidy and record the most important rock-cut sites in the Bombay Presidency, with John Wilson, as president. In 1861 this became the nucleus of the new Archaeological Survey of India. Until the Nizam of Hyderabad built the modern path between the caves, among other efforts to make the site easy to visit, a trip to Ajanta was a considerable adventure, and contemporary accounts dwell with relish on the dangers from falls off narrow ledges, animals and the Bhil people, who were armed with bows and arrows and had a fearsome reputation.
Today, fairly easily combined with Ellora in a single trip, the caves are the most popular tourist destination in Mahrashtra, and are often crowded at holiday times, increasing the threat to the caves, especially the paintings. In 2012, the Maharashtra Tourism Development Corporation announced plans to add to the ASI visitor centre at the entrance complete replicas of caves 1, 2, 16 & 17 to reduce crowding in the originals, and enable visitors to receive a better visual idea of the paintings, which are dimly-lit and hard to read in the caves. Figures for the year to March 2010 showed a total of 390,000 visitors to the site, divided into 362,000 domestic and 27,000 foreign. The trends over the previous few years show a considerable growth in domestic visitors, but a decline in foreign ones; the year to 2010 was the first in which foreign visitors to Ellora exceeded those to Ajanta.
PAINTINGS
Mural paintings survive from both the earlier and later groups of caves. Several fragments of murals preserved from the earlier caves (Caves 9 and 11) are effectively unique survivals of court-led painting in India from this period, and "show that by Sātavāhana times, if not earlier, the Indian painter had mastered an easy and fluent naturalistic style, dealing with large groups of people in a manner comparable to the reliefs of the Sāñcī toraņa crossbars".
Four of the later caves have large and relatively well-preserved mural paintings which "have come to represent Indian mural painting to the non-specialist", and fall into two stylistic groups, with the most famous in Caves 16 and 17, and apparently later paintings in Caves 1 and 2. The latter group were thought to be a century or more later than the others, but the revised chronology proposed by Spink would place them much closer to the earlier group, perhaps contemporary with it in a more progressive style, or one reflecting a team from a different region. The paintings are in "dry fresco", painted on top of a dry plaster surface rather than into wet plaster.
All the paintings appear to be the work of painters at least as used to decorating palaces as temples, and show a familiarity with and interest in details of the life of a wealthy court. We know from literary sources that painting was widely practised and appreciated in the courts of the Gupta period. Unlike much Indian painting, compositions are not laid out in horizontal compartments like a frieze, but show large scenes spreading in all directions from a single figure or group at the centre. The ceilings are also painted with sophisticated and elaborate decorative motifs, many derived from sculpture. The paintings in cave 1, which according to Spink was commissioned by Harisena himself, concentrate on those Jataka tales which show previous lives of the Buddha as a king, rather than as an animal or human commoner, and so show settings from contemporary palace life.
In general the later caves seem to have been painted on finished areas as excavating work continued elsewhere in the cave, as shown in caves 2 and 16 in particular. According to Spink's account of the chronology of the caves, the abandonment of work in 478 after a brief busy period accounts for the absence of painting in caves such as 4 and 17, the later being plastered in preparation for paintings that were never done.
COPIES
The paintings have deteriorated significantly since they were rediscovered, and a number of 19th-century copies and drawings are important for a complete understanding of the works. However, the earliest projects to copy the paintings were plagued by bad fortune. In 1846, Major Robert Gill, an Army officer from Madras presidency and a painter, was appointed by the Royal Asiatic Society to replicate the frescoes on the cave walls to exhibit these paintings in England. Gill worked on his painting at the site from 1844 to 1863 (though he continued to be based there until his death in 1875, writing books and photographing) and made 27 copies of large sections of murals, but all but four were destroyed in a fire at the Crystal Palace in London in 1866, where they were on display.
Another attempt was made in 1872 when the Bombay Presidency commissioned John Griffiths, then principal of the Bombay School of Art, to work with his students to make new copies, again for shipping to England. They worked on this for thirteen years and some 300 canvases were produced, many of which were displayed at the Imperial Institute on Exhibition Road in London, one of the forerunners of the Victoria and Albert Museum. But in 1885 another fire destroyed over a hundred paintings that were in storage. The V&A still has 166 paintings surviving from both sets, though none have been on permanent display since 1955. The largest are some 3 × 6 metres. A conservation project was undertaken on about half of them in 2006, also involving the University of Northumbria. Griffith and his students had unfortunately painted many of the paintings with "cheap varnish" in order to make them easier to see, which has added to the deterioration of the originals, as has, according to Spink and others, recent cleaning by the ASI.
A further set of copies were made between 1909 and 1911 by Christiana Herringham (Lady Herringham) and a group of students from the Calcutta School of Art that included the future Indian Modernist painter Nandalal Bose. The copies were published in full colour as the first publication of London's fledgling India Society. More than the earlier copies, these aimed to fill in holes and damage to recreate the original condition rather than record the state of the paintings as she was seeing them. According to one writer, unlike the paintings created by her predecessors Griffiths and Gill, whose copies were influenced by British Victorian styles of painting, those of the Herringham expedition preferred an 'Indian Renascence' aesthetic of the type pioneered by Abanindranath Tagore.
Early photographic surveys were made by Robert Gill, who learnt to use a camera from about 1856, and whose photos, including some using stereoscopy, were used in books by him and Fergusson (many are available online from the British Library), then Victor Goloubew in 1911 and E.L. Vassey, who took the photos in the four volume study of the caves by Ghulam Yazdani (published 1930–1955).
ARCHITECTURE
The monasteries mostly consist of vihara halls for prayer and living, which are typically rectangular with small square dormitory cells cut into the walls, and by the second period a shrine or sanctuary at the rear centred on a large statue of the Buddha, also carved from the living rock. This change reflects the movement from Hinayana to Mahāyāna Buddhism. The other type of main hall is the narrower and higher chaitya hall with a stupa as the focus at the far end, and a narrow aisle around the walls, behind a range of pillars placed close together. Other plainer rooms were for sleeping and other activities. Some of the caves have elaborate carved entrances, some with large windows over the door to admit light. There is often a colonnaded porch or verandah, with another space inside the doors running the width of the cave.
The central square space of the interior of the viharas is defined by square columns forming a more or less square open area. Outside this are long rectangular aisles on each side, forming a kind of cloister. Along the side and rear walls are a number of small cells entered by a narrow doorway; these are roughly square, and have small niches on their back walls. Originally they had wooden doors. The centre of the rear wall has a larger shrine-room behind, containing a large Buddha statue. The viharas of the earlier period are much simpler, and lack shrines. Spink in fact places the change to a design with a shrine to the middle of the second period, with many caves being adapted to add a shrine in mid-excavation, or after the original phase.
The plan of Cave 1 shows one of the largest viharas, but is fairly typical of the later group. Many others, such as Cave 16, lack the vestibule to the shrine, which leads straight off the main hall. Cave 6 is two viharas, one above the other, connected by internal stairs, with sanctuaries on both levels.
The four completed chaitya halls are caves 9 and 10 from the early period, and caves 19 and 26 from the later period of construction. All follow the typical form found elsewhere, with high ceilings and a central "nave" leading to the stupa, which is near the back, but allows walking behind it, as walking around stupas was (and remains) a common element of Buddhist worship (pradakshina). The later two have high ribbed roofs, which reflect timber forms, and the earlier two are thought to have used actual timber ribs, which have now perished. The two later halls have a rather unusual arrangement (also found in Cave 10 at Ellora) where the stupa is fronted by a large relief sculpture of the Buddha, standing in Cave 19 and seated in Cave 26. Cave 29 is a late and very incomplete chaitya hall.
The form of columns in the work of the first period is very plain and un-embellished, with both chaitya halls using simple octagonal columns, which were painted with figures. In the second period columns were far more varied and inventive, often changing profile over their height, and with elaborate carved capitals, often spreading wide. Many columns are carved over all their surface, some fluted and others carved with decoration all over, as in cave 1.
The flood basalt rock of the cliff, part of the Deccan Traps formed by successive volcanic eruptions at the end of the Cretaceous, is layered horizontally, and somewhat variable in quality, so the excavators had to amend their plans in places, and in places there have been collapses in the intervening centuries, as with the lost portico to cave 1. Excavation began by cutting a narrow tunnel at roof level, which was expanded downwards and outwards; the half-built vihara cave 24 shows the method. Spink believes that for the first caves of the second period the excavators had to relearn skills and techniques that had been lost in the centuries since the first period, which were then transmitted to be used at later rock-cut sites in the region, such as Ellora, and the Elephanta, Bagh, Badami and Aurangabad Caves.
The caves from the first period seem to have been paid for by a number of different patrons, with several inscriptions recording the donation of particular portions of a single cave, but according to Spink the later caves were each commissioned as a complete unit by a single patron from the local rulers or their court elites. After the death of Harisena smaller donors got their chance to add small "shrinelets" between the caves or add statues to existing caves, and some two hundred of these "intrusive" additions were made in sculpture, with a further number of intrusive paintings, up to three hundred in cave 10 alone.
A grand gateway to the site, at the apex of the gorge's horsehoe between caves 15 and 16, was approached from the river, and is decorated with elephants on either side and a nāga, or protective snake deity.
ICONOGRAPHY OF THE CAVES
In the pre-Christian era, the Buddha was represented symbolically, in the form of the stupa. Thus, halls were made with stupas to venerate the Buddha. In later periods the images of the Buddha started to be made in coins, relic caskets, relief or loose sculptural forms, etc. However, it took a while for the human representation of the Buddha to appear in Buddhist art. One of the earliest evidences of the Buddha's human representations are found at Buddhist archaeological sites, such as Goli, Nagarjunakonda, and Amaravati. The monasteries of those sites were built in less durable media, such as wood, brick, and stone. As far as the genre of rock-cut architecture is concerned it took many centuries for the Buddha image to be depicted. Nobody knows for sure at which rock-cut cave site the first image of the Buddha was depicted. Current research indicates that Buddha images in a portable form, made of wood or stone, were introduced, for the first time, at Kanheri, to be followed soon at Ajanta Cave 8 (Dhavalikar, Jadhav, Spink, Singh). While the Kanheri example dates to 4th or 5th century CE, the Ajanta example has been dated to c. 462–478 CE (Spink). None of the rock-cut monasteries prior to these dates, and other than these examples, show any Buddha image although hundreds of rock-cut caves were made throughout India during the first few centuries CE. And, in those caves, it is the stupa that is the object of veneration, not the image. Images of the Buddha are not found in Buddhist sailagrhas (rock-cut complexes) until the times of the Kanheri (4th–5th century CE) and Ajanta examples (c. 462–478 CE).
The caves of the second period, now all dated to the 5th century, were typically described as "Mahayana", but do not show the features associated with later Mahayana Buddhism. Although the beginnings of Mahāyāna teachings go back to the 1st century there is little art and archaeological evidence to suggest that it became a mainstream cult for several centuries. In Mahayana it is not Gautama Buddha but the Bodhisattva who is important, including "deity" Bodhisattva like Manjushri and Tara, as well as aspects of the Buddha such as Aksobhya, and Amitabha. Except for a few Bodhisattva, these are not depicted at Ajanta, where the Buddha remains the dominant figure. Even the Bodhisattva images of Ajanta are never central objects of worship, but are always shown as attendants of the Buddha in the shrine. If a Bodhisattva is shown in isolation, as in the Astabhaya scenes, these were done in the very last years of activities at Ajanta, and are mostly 'intrusive' in nature, meaning that they were not planned by the original patrons, and were added by new donors after the original patrons had suddenly abandoned the region in the wake of Emperor Harisena's death.
The contrast between iconic and aniconic representations, that is, the stupa on one hand and the image of the Buddha on the other, is now being seen as a construct of the modern scholar rather than a reality of the past. The second phase of Ajanta shows that the stupa and image coincided together. If the entire corpus of the art of Ajanta including sculpture, iconography, architecture, epigraphy, and painting are analysed afresh it will become clear that there was no duality between the symbolic and human forms of the Buddha, as far as the 5th-century phase of Ajanta is concerned. That is why most current scholars tend to avoid the terms 'Hinayana' and 'Mahayana' in the context of Ajanta. They now prefer to call the second phase by the ruling dynasty, as the Vākāţaka phase.
CAVES
CAVE 1
Cave 1 was built on the eastern end of the horse-shoe shaped scarp, and is now the first cave the visitor encounters. This would when first made have been a less prominent position, right at the end of the row. According to Spink, it is one of the latest caves to have been excavated, when the best sites had been taken, and was never fully inaugurated for worship by the dedication of the Buddha image in the central shrine. This is shown by the absence of sooty deposits from butter lamps on the base of the shrine image, and the lack of damage to the paintings that would have been happened if the garland-hooks around the shrine had been in use for any period of time. Although there is no epigraphic evidence, Spink believes that the Vākāţaka Emperor Harishena was the benefactor of the work, and this is reflected in the emphasis on imagery of royalty in the cave, with those Jakata tales being selected that tell of those previous lives of the Buddha in which he was royal.
The cliff has a more steep slope here than at other caves, so to achieve a tall grand facade it was necessary to cut far back into the slope, giving a large courtyard in front of the facade. There was originally a columned portico in front of the present facade, which can be seen "half-intact in the 1880s" in pictures of the site, but this fell down completely and the remains, despite containing fine carving, were carelessly thrown down the slope into the river, from where they have been lost, presumably carried away in monsoon torrents.
This cave has one of the most elaborate carved façades, with relief sculptures on entablature and ridges, and most surfaces embellished with decorative carving. There are scenes carved from the life of the Buddha as well as a number of decorative motifs. A two pillared portico, visible in the 19th-century photographs, has since perished. The cave has a front-court with cells fronted by pillared vestibules on either side. These have a high plinth level. The cave has a porch with simple cells on both ends. The absence of pillared vestibules on the ends suggest that the porch was not excavated in the latest phase of Ajanta when pillared vestibules had become a necessity and norm. Most areas of the porch were once covered with murals, of which many fragments remain, especially on the ceiling. There are three doorways: a central doorway and two side doorways. Two square windows were carved between the doorways to brighten the interiors.
Each wall of the hall inside is nearly 12 m long and 6.1 m high. Twelve pillars make a square colonnade inside supporting the ceiling, and creating spacious aisles along the walls. There is a shrine carved on the rear wall to house an impressive seated image of the Buddha, his hands being in the dharmachakrapravartana mudra. There are four cells on each of the left, rear, and the right walls, though due to rock fault there are none at the ends of the rear aisle. The walls are covered with paintings in a fair state of preservation, though the full scheme was never completed. The scenes depicted are mostly didactic, devotional, and ornamental, with scenes from the Jataka stories of the Buddha's former existences as a bodhisattva), the life of the Gautama Buddha, and those of his veneration. The two most famous individual painted images at Ajanta are the two over-life size figures of the protective bodhisattvas Padmapani and Vajrapani on either side of the entrance to the Buddha shrine on the wall of the rear aisle (see illustrations above). According to Spink, the original dating of the paintings to about 625 arose largely or entirely because James Fegusson, a 19th-century architectural historian, had decided that a scene showing an ambassador being received, with figures in Persian dress, represented a recorded embassy to Persia (from a Hindu monarch at that) around that date.
CAVE 2
Cave 2, adjacent to Cave 1, is known for the paintings that have been preserved on its walls, ceilings, and pillars. It looks similar to Cave 1 and is in a better state of preservation.
Cave 2 has a porch quite different from Cave one. Even the façade carvings seem to be different. The cave is supported by robust pillars, ornamented with designs. The front porch consists of cells supported by pillared vestibules on both ends. The cells on the previously "wasted areas" were needed to meet the greater housing requirements in later years. Porch-end cells became a trend in all later Vakataka excavations. The simple single cells on porch-ends were converted into CPVs or were planned to provide more room, symmetry, and beauty.
The paintings on the ceilings and walls of this porch have been widely published. They depict the Jataka tales that are stories of the Buddha's life in former existences as Bodhisattva. Just as the stories illustrated in cave 1 emphasize kingship, those in cave 2 show many "noble and powerful" women in prominent roles, leading to suggestions that the patron was an unknown woman. The porch's rear wall has a doorway in the center, which allows entrance to the hall. On either side of the door is a square-shaped window to brighten the interior.
The hall has four colonnades which are supporting the ceiling and surrounding a square in the center of the hall. Each arm or colonnade of the square is parallel to the respective walls of the hall, making an aisle in between. The colonnades have rock-beams above and below them. The capitals are carved and painted with various decorative themes that include ornamental, human, animal, vegetative, and semi-divine forms.
Paintings appear on almost every surface of the cave except for the floor. At various places the art work has become eroded due to decay and human interference. Therefore, many areas of the painted walls, ceilings, and pillars are fragmentary. The painted narratives of the Jataka tales are depicted only on the walls, which demanded the special attention of the devotee. They are didactic in nature, meant to inform the community about the Buddha's teachings and life through successive rebirths. Their placement on the walls required the devotee to walk through the aisles and 'read' the narratives depicted in various episodes. The narrative episodes are depicted one after another although not in a linear order. Their identification has been a core area of research since the site's rediscovery in 1819. Dieter Schlingloff's identifications have updated our knowledge on the subject.
CAVE 4
The Archeological Survey of India board outside the caves gives the following detail about cave 4: "This is the largest monastery planned on a grandiose scale but was never finished. An inscription on the pedestal of the buddha's image mentions that it was a gift from a person named Mathura and paleographically belongs to 6th century A.D. It consists of a verandah, a hypostylar hall, sanctum with an antechamber and a series of unfinished cells. The rear wall of the verandah contains the panel of Litany of Avalokiteśvara".
The sanctuary houses a colossal image of the Buddha in preaching pose flanked by bodhisattvas and celestial nymphs hovering above.
CAVES 9-10
Caves 9 and 10 are the two chaitya halls from the first period of construction, though both were also undergoing an uncompleted reworking at the end of the second period. Cave 10 was perhaps originally of the 1st century BCE, and cave 9 about a hundred years later. The small "shrinelets" called caves 9A to 9D and 10A also date from the second period, and were commissioned by individuals.
The paintings in cave 10 include some surviving from the early period, many from an incomplete programme of modernization in the second period, and a very large number of smaller late intrusive images, nearly all Buddhas and many with donor inscriptions from individuals. These mostly avoided over-painting the "official" programme and after the best positions were used up are tucked away in less prominent positions not yet painted; the total of these (including those now lost) was probably over 300, and the hands of many different artists are visible.
OTHER CAVES
Cave 3 is merely a start of an excavation; according to Spink it was begun right at the end of the final period of work and soon abandoned. Caves 5 and 6 are viharas, the latter on two floors, that were late works of which only the lower floor of cave 6 was ever finished. The upper floor of cave 6 has many private votive sculptures, and a shrine Buddha, but is otherwise unfinished. Cave 7 has a grand facade with two porticos but, perhaps because of faults in the rock, which posed problems in many caves, was never taken very deep into the cliff, and consists only of the two porticos and a shrine room with antechamber, with no central hall. Some cells were fitted in.
Cave 8 was long thought to date to the first period of construction, but Spink sees it as perhaps the earliest cave from the second period, its shrine an "afterthought". The statue may have been loose rather than carved from the living rock, as it has now vanished. The cave was painted, but only traces remain.
SPINK´S DETAILED CHRONOLOGY
Walter M. Spink has over recent decades developed a very precise and circumstantial chronology for the second period of work on the site, which unlike earlier scholars, he places entirely in the 5th century. This is based on evidence such as the inscriptions and artistic style, combined with the many uncompleted elements of the caves. He believes the earlier group of caves, which like other scholars he dates only approximately, to the period "between 100 BCE – 100 CE", were at some later point completely abandoned and remained so "for over three centuries", as the local population had turned mainly Hindu. This changed with the accession of the Emperor Harishena of the Vakataka Dynasty, who reigned from 460 to his death in 477. Harisena extended the Central Indian Vakataka Empire to include a stretch of the east coast of India; the Gupta Empire ruled northern India at the same period, and the Pallava dynasty much of the south.
According to Spink, Harisena encouraged a group of associates, including his prime minister Varahadeva and Upendragupta, the sub-king in whose territory Ajanta was, to dig out new caves, which were individually commissioned, some containing inscriptions recording the donation. This activity began in 462 but was mostly suspended in 468 because of threats from the neighbouring Asmaka kings. Work continued on only caves 1, Harisena's own commission, and 17–20, commissioned by Upendragupta. In 472 the situation was such that work was suspended completely, in a period that Spink calls "the Hiatus", which lasted until about 475, by which time the Asmakas had replaced Upendragupta as the local rulers.
Work was then resumed, but again disrupted by Harisena's death in 477, soon after which major excavation ceased, except at cave 26, which the Asmakas were sponsoring themselves. The Asmakas launched a revolt against Harisena's son, which brought about the end of the Vakataka Dynasty. In the years 478–480 major excavation by important patrons was replaced by a rash of "intrusions" – statues added to existing caves, and small shrines dotted about where there was space between them. These were commissioned by less powerful individuals, some monks, who had not previously been able to make additions to the large excavations of the rulers and courtiers. They were added to the facades, the return sides of the entrances, and to walls inside the caves. According to Spink, "After 480, not a single image was ever made again at the site", and as Hinduism again dominated the region, the site was again abandoned, this time for over a millennium.
Spink does not use "circa" in his dates, but says that "one should allow a margin of error of one year or perhaps even two in all cases".
IMPACT ON MODERN INDIAN PAINTINGS
The Ajanta paintings, or more likely the general style they come from, influenced painting in Tibet and Sri Lanka.
The rediscovery of ancient Indian paintings at Ajanta provided Indian artists examples from ancient India to follow. Nandlal Bose experimented with techniques to follow the ancient style which allowed him to develop his unique style. Abanindranath Tagore also used the Ajanta paintings for inspiration.
WIKIPEDIA
This glass reduces rather than magnifies. Cartographers often produced a final map at 50-75 percent of its draft size, and this tool allowed them to visualize how their draft line work would appear at the final size.
In an attempt to save money and resources graygoosie and I walked to the store to refill our water bottles.
Maholo for reusing!
Hanalei, Kauai, Hawaii
185/365
SR 527 is seven lanes wide at Penny Creek - two southbound lanes, two left turn lanes from northbound to 164th Street SE, two northbound through lanes and a right turn lane from northbound to Mill Creek Road. It also has a bike lane in each direction. Numerous utilities are underneath the roadway. Relocating these and replacing the culvert under the highway will require two weekends with full closures in both directions of SR 527. The work also will require numerous nights when the highway is reduced to one lane in each direction.
the waistband facing was attached to the waist of the trousers.
bulk reduced on the seam of the waistband then understitched.
the upper line of stitching is the understitching.
working from the right side of the fabric, the seam allowance was machined to the facing, understitched (no stitching to show on the right side)
tomorrow the trousers will be hemmed and then onto the next project flic.kr/p/2rH2JuC
my sewing machine JL220 flic.kr/p/2ocjdBN from john lewis www.johnlewis.com/john-lewis-jl220-sewing-machine-pepperm...
sewing machine maintenance flic.kr/p/2q9GVTh
How to Use your SEWING MACHINE (for Beginners)
www.youtube.com/watch?v=jmaZBTMzkoY
A Beginners' Guide To Using Your Sewing Machine
www.youtube.com/watch?v=imryOl_LNaw
Beginners Sewing Course - Day 1 - The Basics
www.youtube.com/watch?v=IGITrkYdjJs
How to Sew Darts | Beginner & Advanced www.youtube.com/watch?v=m9x-i-txyfo
5 Tips on how sew non-pointy darts! www.youtube.com/watch?v=D8M_TLn_do4;
how to understitch www.youtube.com/watch?v=aFz4tsplENI
what is understitching?
www.youtube.com/watch?v=gnRDeKqKgto
ten top stitching tips www.youtube.com/watch?v=XDRXfYgkU4k
How to Sew an Invisible Zipper
www.youtube.com/watch?v=yaza9t-CAiQ
How to Sew an Invisible Zipper - Updated
www.youtube.com/watch?v=cG8CSr11kjA
How To Sew Invisible Zipper On Shirt / Dress | Sewing Technique Tutorial
www.youtube.com/watch?v=ZHNrRoCSxaE
Invisible Zipper
www.youtube.com/shorts/npDSSAMzNNc
Super clever invisible zip trick
www.youtube.com/watch?v=2UyfKL5G-Bw
Seam Finishes
10 SEAM FINISHES Without a Serger || Basic to Couture
www.youtube.com/watch?v=GYt7JxC_bIc&t=596s
7 Seam Types and How to Make it- Sewing Lesson for Beginner
www.youtube.com/watch?v=Ax6JDDP_6O8
sew and edge/turn & stitch finish www.youtube.com/watch?v=RWaI7YUX8jk
Interfacing
How to fuse iron-on interfacing to fabric
www.youtube.com/watch?v=7idVbAkUBTU
reference books
i'm a novice at dressmaking, began in 2023 as a complete beginner flic.kr/p/2ocjdBN posting progress photos to encourage myself to continue. i'm not making any recommendations www.flickr.com/photos/connect2012/albums/72177720305370633/
My attempt at keeping was was left intact which was pretty much useless but
at least it's still somewhat there.
This glass reduces rather than magnifies. Cartographers often produced a final map at 50-75 percent of its draft size, and this tool allowed them to visualize how their draft line work would appear at the final size.
This glass reduces rather than magnifies. Cartographers often produced a final map at 50-75 percent of its draft size, and this tool allowed them to visualize how their draft line work would appear at the final size.
The colourful second-hand U.S Bluebird school buses have been an integral part of the Panama public transport network for years but are becoming a rarer sight.
According to local media, with a new transport system being developed, the traditional Red Devils imported to Panama throughout the last 40 years are now disappearing and are only used for a few specific routes.
+++ DISCLAIMER +++
Nothing you see here is real, even though the model, the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
The J, K and N class was a class of destroyers of the Royal Navy, launched in 1938 in three flotillas or groups and with names beginning with "J", "K" and "N", respectively. Their design was intended as a smaller follow-on from the preceding Tribal class and incorporated one radical new idea that was a departure from all previous Royal Navy destroyer designs: the adoption of a two-boiler room layout. This reduced hull length and allowed for a single funnel, both reducing the profile and increasing the arcs of fire of the light anti-aircraft (AA) weapons. However, this also increased vulnerability, as there were now two adjacent large compartments with the resultant risk of a single well-placed hit flooding both and resulting in a total loss of boiler power. This illustrates somewhat the Admiralty's attitude to the expendable nature of destroyers, but destroyers were lightly armored and fast vessels, anyway, meant to survive by avoiding being hit at all. From this perspective, the odds of a single hit striking just the right spot to disable both boiler rooms simultaneously were considered remote enough to be worth risking in exchange for the benefits given by a two-room layout.
A significant advancement in construction techniques was developed by naval architect Albert Percy Cole. Instead of going for transverse frame sections which were unnecessarily strong, but held together by weak longitudinals, Cole opted for extra strong longitudinals and weaker transverse frames. Another advancement was changes to the bow design, which was modified from that of the preceding Tribal-class design: the clipper bow was replaced by a straight stem with increased sheer. This change was not a success and these ships were very wet forwards. This shortcoming was rectified from the later S class onward by returning to the earlier form.
Despite the vulnerability of the boiler layout, the design was to prove compact, strong and very successful, forming the basis of all Royal Navy destroyer construction from the O class up to the last of the C class of 1943–1945.
The armament was based on that of the Tribals, but replaced one twin QF 4.7 in (120 mm) Mark XII (L/45) gun on mounting CP Mk.XIX with an additional bank of torpedo tubes. These mountings were capable of 40° elevation and 340° of training. Curiously, 'X' mounting was positioned such that the blind 20° arc was across the stern, rather than the more logical forward position where fire was obscured by the bridge and masts anyway. This meant that they were unable to fire dead astern. With the tubes now 'pentad', a heavy load of 10 Mk.IX torpedoes could be carried. AA armament remained the same, consisting of a quadruple QF 2 pdr gun Mark VIII on a Mk.VII mounting and a pair of quadruple 0.5 in Vickers machine guns. Armament was further improved by replacing the quadruple machine guns with more effective 20 mm Oerlikons. These ships, when completed, had a comparatively heavy close-range AA armament. Fire control arrangements also differed from the Tribals, and the dedicated high-angle (H/A) rangefinder director was not fitted. Instead only a 12 ft (3.7 m) rangefinder was carried behind the nominally dual-purpose Director Control Tower (DCT). In the event, the rangefinder was heavily modified to allow it to control the main armament for AA fire and was known as the "3 man modified rangefinder". These ships used the Fuze Keeping Clock HA Fire Control Computer.
In 1940 and 1941, to improve the anti-aircraft capabilities, all ships had their aft torpedo tubes removed and replaced with a single 4 inch gun QF Mark V on a HA Mark III mounting. The relatively ineffective multiple 0.5-inch (12.7 mm) machine guns were replaced with a single 20 mm Oerlikon, with a further pair added abreast the searchlight platform amidships. The high-speed destroyer mine sweeps were replaced with a rack and two throwers for 45 depth charges and a Type 286 Radar air warning was added at the masthead alongside Type 285 fire control on the H/A rangefinder-director.
HMS Karachi was a late K-class build. She was laid down in August 1936 at Hebburn and built by the Hawthorn Leslie & Company and completed in January 1939. In June 1940, after AA improvements, Karachi was assigned to “Force H” at Gibraltar, and took part in Operation “Catapult”, the attack on French ships at Mers-el-Kébir. Later she was transferred to the Mediterranean Fleet at Alexandria and saw action at the Battle of Cape Matapan on 27–29 March 1941 as well as in the bombardment of Tripoli harbor on 21 April 1941. In May 1941, she operated off Crete.
On 19 December 1941, Karachi was seriously damaged by limpet mines placed by Italian frogmen of Decima Flottiglia MAS, who entered Alexandria harbor riding two-man "human torpedoes" ("maiali"). However, the mine attached to Karachi was not properly in contact with her hull, so the damage was not severe. Despite having a heavy trim forward, her decks were above water, and she remained clear of the harbor bottom. Although nearly immobilized she was able, although only for a few days, to give the impression of full battle readiness, at least until she could be repaired.
Karachi was repaired in Durban, South Africa, and this stay was used to make further changes to the armaments. As on other K-class ships, the single 4 in AA gun was removed again and the second quintuple launcher for torpedoes returned. The AA armament was beefed up, too: 20 mm Oerlikons were added to the bridge in two single mounts and an armored quadruple, powered mount was replaced the former 0.5 in machine guns. A fully enclosed station with three 1½ in “pom pom” guns was placed on an enlarged station amidships between the torpedo mounts. Furthermore, Karachi‘s stern cabin was enlarged to accommodate a bigger crew and reinstated high-speed mine sweeping equipment. A Type 291 Radar replaced the Type 286.
Post-refit trials were carried out in July 1942, and Karachi took part in exercises with the Eastern Fleet the following month. At the end of August, Karachi took part in Operation “Touchstone”, an exercise to test East Africa's defences against a seaborne invasion and to conduct a dress rehearsal for Operation “Ironclad”, the invasion of French Madagascar. She remained in African waters until the end of the year and returned to Devonport for another refit in January 1943.
Karachi returned to the Mediterranean in 1943, supporting the landings in Sicily (Operation “Husky” in July) and at Salerno (Operation “Avalanche” in September). In 1944, she was sent to the Far East again to join the Eastern Fleet. There she took part in raids against Japanese bases in Indonesia.
On 8 August 1944, she was severely damaged in an accident with the floating drydock at Trincomalee, Ceylon. The drydock was being raised with Karachi in it by pumping water from ballast tanks. The tanks were emptied in the wrong sequence for Karachi's weight distribution, which was exacerbated by her full munitions load. As a result, the drydock was over-stressed at its ends, broke its back and sank. Karachi crashed to the drydock’s floor and had its hull dented and breached, even though not fatally. However, both screw shafts were damaged and one of Karachi's screws was jammed as well as her rudder. Luckily, Karachi had remained in steam and was able to avoid worse damage or sinking, but the ship was so damaged that Karachi was deemed unsuitable for further service or repairs and had to be decommissioned in October 1944. She was stripped off of any useable equipment and remained moored at Trincomalee for the rest of the war, but was wrecked on site in late 1945.
General characteristics:
Displacement: 1,690 long tons (1,720 t) (standard)
2,330 long tons (2,370 t) (deep load)
Length: 356 ft 6 in (108.7 m) overall
Beam: 35 ft 9 in (10.9 m)
Draught: 12 ft 6 in (3.8 m) (deep)
Draft: 17.5 ft (5.3 m)
Complement: 218
Propulsion:
2× Admiralty 3-drum boilers with geared steam turbines, developing 44,000 shp (33,000 kW)
Performance:
Top speed: 36 knots (67 km/h; 41 mph)
Range: 5,500 nmi (10,200 km; 6,300 mi) at 15 knots (28 km/h; 17 mph)
Armament:
3× turrets with a pair of 4.7-inch (120 mm) Mk XII guns each
1× triple 1½-inch “pom pom” anti-aircraft machine cannon
1× quadruple 20 mm Oerlikon anti-aircraft machine cannon
2× 20 mm Oerlikon anti-aircraft machine cannon
2× quintuple 21-inch (533 mm) torpedo tubes
1× rack astern with 20 depth charges
The kit and its assembly:
Another small ship build, and this time I did not change much about the model itself because I wanted quick results. The basis is Matchbox’s HMS Kelly destroyer, re-boxed by Revell, and it was basically built OOB.
The kit offers optional parts for a standard ship around 1941, with the normal rear cabin and the 4in AA gun that temporarily replaced the rear torpedo unit. And there is an alternative, longer cabin for HMS Kelly, since this specific ship was a destroyer flotilla leader under Lord Mountbatten with a bigger staff crew than the standard K-class destroyers.
Since this would be a what-if ship, anyway, I decided to use the latter option, together with both torpedo units and some other differing details. I also used the optional mince clearing equipment on the now shortened stern deck – it’s quite cramped now. Personal additions are some replaced AA guns and I added a small superstructure and a second, short mast behind the torpedo launcher section.
I also tried to add some rigging with heated plastic sprue, since anything else IMHO appeared too clumsy for the small 1:700 scale. While it’s not perfect, I think that this already improves the model’s look a lot. I just do not dare to experiment with PE railings, which would certainly help even more.
Painting and markings:
The model’s paint scheme was made up, using various Royal Navy ships of the time for inspiration, including in specific HMS Echo and HMS Abercrombie. Despite the more or less official Admiralty Disruptive schemes, there were many experiments and improvisations, e. g. through the unavailability of suitable paints in quantities, and maintenance also created some variations from the standard.
I wanted a rather greenish scheme, and I devised a pattern that concentrated dark colors towards the stern. This not only visually shortens the ship, it also creates the impression of a smaller/further away ship, and the dark rear end helped navigation in tight formations at sea in poor visibility, so that a following ship could better keep up.
The intended paints are 507c (Pale Grey), MS4a (Grey, a.k.a. Home Fleet Grey), MS3 (Slate Green) and G45 (Light Olive), plus a few white highlights like the mast and funnel tops, a fake bow wave on the flanks (the stern wave is grey) and areas around the bridge.
The deck was painted in 507a (Dark Grey, a.k.a. Battleship Grey), only with the bow area left in a greyish, weathered wood shade. However, since I did not have trustworthy color references at hand I had to improvise, and I chose Humbrol 196 (Light Grey, RAL 7035), 129 (Light Gull Grey, FS 36440) and 86 (Light Olive, a dull interpretation of RAL 6003) plus a mix of Revell 360, 86 and 129 for the MS3. The decks and other horizontal surfaces became Humbrol 27 (Sea Grey), the bow 167 (Hemp). Just some areas above the bridge were painted with Humbrol 9, simulating Corticene coating.
The model received a light black ink wash, with the hope that the tiny portholes (around 100...!) would become more visible, but that did not work. So, I decided to paint them out manually with a fine black felt tip pen... A tedious task, but I think that it improves the model’s look. A similar, wider pen was also used for the very narrow black waterline - camouflaged ships were supposed to be left without this marking, as it would compromise the blurring effects above the waterline, but I wanted at least a minor demarcation line. Further weathering was done with sepia ink on the wooden deck area and simple red brown water color for the rust all over the hull.
The pennant numbers were created with single 3mm letters in black and white from TL Modellbau, and finally the kit was sealed with a coat of matt acrylic varnish from the rattle can, before the rigging was added.
Well, I will probably never become a friend of small scale ships, but the many camouflage schemes and concepts open a wide field of experimentation and whiffing. Experiments with Mountbatton Pink and an Alexandria-type-camouflaged ship are serious candidates. I also see a learn curve, because this one went together much more easily than the recent HMS Flexible, a comparable Matchbox kit.
Furthermore, the paint scheme turned - in the beauty pics - out to be quite effective, despite being made up from real-world references. Especially in the side profile view the "shortening effect" and the almost submarine-esque silhouette against a hazy/bright background is quite apparent and effective and creates an illusion of a fast ship further away than it actually would be.
Jose Rojas, North American Division Volunteer Ministries director, presents Check Him Out at the Lane County Fairgrounds in Eugene, Ore.
Chhattisgarh is a very young state, only 19 years old, and is currently on a growing trajectory. Its education system is catching up with the other states. The lack of proper educational infrastructure is definitely a problem but the government has joined hands with private players in the state and together they are uplifting higher education in the state. Among these private players is one of the Best University in Chhattisgarh, Dr CV Raman University, Bilaspur.
The 21st century is rightly named as the digital era and the internet has clearly taken over every aspect of our life, including education. Technology is the biggest driver of the education sector of any country and this college has definitely leveraged the use of the internet. From providing full-fledged computer labs to fully functional digitized libraries, the college has taken care of everything.
Technological evolutions like AI, ML, Data Science have had a resounding impact on the education sector and this college has included all these topics in their management courses Chhattisgarh. They are making sure that the state is at par with the changing scenario of the world around. Their curriculum also focuses on technology, innovation, general skills and business management which other colleges generally overlook.
According to the world economic forum, by 2025, demand for critical thinking and computer skills would increase by 20% which in turn would create 2.1 million jobs by 2020 in all related domains. Incorporation of digitized courses by the university helps its students learn critical thinking, innovation, problem solving and collaboration.
Exams from pen and paper have now moved to online portals, powerpoint presentations have taken the place of projects and the computer is taking over everything. This college has signed up for many online portals such as LMS, MOOC, KConnect and many more. Students directly get quizzes to solve, submit projects, divide into groups through online platforms are now getting the gist of technology.
CV Raman University is emerging as the Top Private College in Chhattisgarh and it is making sure that its students walk that path with them. They have clearly understood the outcomes of digitized education and have taken up the challenge to ensure that everyone gets to reap the benefits of it. The students of this college are involved in a more research-oriented and thought based learning process. The business world is rapidly moving towards newer technologies like IOT and Block Chain and the college organizes regular guest lectures from experts in the industry to keep the students up-to-date with the latest trends. The students, while graduating, are industry ready and take upon new challenges.
With the pace technology is moving at, the future of jobs will be defined by speed, scale and digitization. In order to embrace this change, India needs to skill their youth to ensure that we excel in it. This will help us raise the living standards of people in our country. All these transformational changes are bound to take higher education of the country to another level.
To Know More: cvru.ac.in/
Jose Rojas, North American Division Volunteer Ministries director, presents Check Him Out at the Lane County Fairgrounds in Eugene, Ore.
An interesting set of photographers with similar grand styles and a somewhat common theme. I managed to find the subjects I wanted for the assignment but did not have any opportunity for higher vantage points. Instead I opted for a closer view that spanned the entire frame in an effort to follow a few of the examples by Burtynsky. I also integrated the order and repeating pattern of Gursky. So in essence I blended their styles to get my product.
I also used this assignment to show my young daughters what grand things humans can make and what the cost is beyond money. Perhaps a bit like showing someone how a yummy sausage is made.
View on black
Jose Rojas, North American Division Volunteer Ministries director, visits with audience members following a Check Him Out program.
NOTE: Flickr makes a .jpg of uploaded files. The Jpeg process reduces actuance. The original scan has more detail than the .jpg file and in turn the original scan has less detail than is on the film. The film probably has 4 to 9 times (2 squared to 3 squared) the detail as you can see if made with a cracker jack lens and top rated film.
1. The bus was about 185 meters away from the camera.
2. The film does not have the reddish/maroon look that you see here. Scanning with the Kodachrome film type selection instead of the proper Color Positive selection miscolored the scan, my fault
Photos taken in this set were to test various stock lenses on some of my cameras. I started out with old 120/620 folders then added some modern 120 filmed examples. There will also be a few 35mm and 127 tests. You will need to open these up to their original size to see how good or bad the lens is. Also please see the type of scanner that was used because not all the scanners were able to scan at the same resolution.
Unless specifically noted, over time I used several films for these lens tests. Various Kodak and Fuji 100 speed reversal films and Fuji Velvia 50 speed were used. The difference in sharpness of the film was far less than the difference in the lenses.
Please take into consideration that when Flickr jpegs the uploaded tiff file some of the detail is lost so the original is sharper than what you can see.
Gentlepersons:
The Pictures...
These recently uploaded pictures have no artistic value. They were just uploaded to be representative of color picture recording during about 85+ years that I was able to take color pictures, mostly slides at first. Unlike in today’s digital world it took time, money and effort to make a color slide. We took fewer pictures back then, trying to stretch resources, but some sere still frivolous.
I'm 97 (2016). I'm about at the end of my ability to continue posting. The ratio of today’s digital pictures that are kept for any length of time and/or printed is much less than the film photos taken in days past. History will be lost. Meanwhile you get to be bored by some old Kodachromes, Anscochromes, a Dufaycolor and perhaps an old black & white or so.
These recently uploaded pictures have no artistic value. They were just uploaded to be representative of color picture recording during about 85+ years that I was able to take pictures, mostly slides at first. Unlike in today’s digital world it took time, money and effort to make a color slide. We took fewer pictures back then, trying to stretch resources, but some sere still frivolous. The first picture I remember taking was in the mid-1920s when my mother's sailor boyfriend brought an overseas camera to San Pedro.
The Camera: Rolleicord V, ca. 1954
I used a used but good condition Rolleicord V ca 1954. It has a single coated Schneider Kreuznach 75mm F:3.5 Xenar four element lens. I bought a second one so I could make medium format 3D (Stereo) slides. The two like cameras are less than 100 serial numbers apart but the second lens is not up to the quality of this one. Using the USAF1951 chart this lens gives over 60 lp/mm at F: 11.
The film: Fuji Provia 100 or Kodak E100:
This was shot on Provia 100 or Kodak E100 in 120 size. To scan with a 35mm dedicated film scanner I first used a Mamiya Super Slide punch. The film center was then mounted in 127 sized slide mounts which have the same external dimensions as 35mm slides. The surrounding mount has thinner sides than 35mm. This does give a 35mm scanner a chance to scan all film instead of having some mount blocking and reducing the amount of picture taken.
The Scanner, Minolta 5400 II:
The Minolta 5400 was advertised at 5400 PPI and actually gave out not only a scan of that size but also of that resolution. Testing was done using a 1951USAF glass microscope resolution bought from Edmond Scientific. When scanning a chart at maximum resolution one has to be concerned with registration between the lines on the chart and the pixel placement of the sensor. Exact registration is a hit and miss, re-trial exercise. With film the scanned bits of silver and dye clumps are randomly scattered without the need to have perfect alignment.
Former Anchor Hocking building in Clarksburg, WV. See the attached photo of what it used to look like.
A Morsbag I made a little while ago from an old sheet. I have a lot more of this fabric, and I hope each one will each have a stencilled picture to distract people from the pattern!
www.jenmeister.com/2010/06/birds-and-bears-on-bags-oh-my....
Early plans
The idea of an east to west waterway link across southern England was first mentioned in Elizabethan times, between 1558 and 1603,[2] to take advantage of the proximity of the rivers Avon and Thames, only 3 miles (4.8 km) apart at their closest. Later, around 1626, Henry Briggs made a survey of the two rivers and noted that the land between them was level and easy to dig. He proposed a canal to connect them, but following Briggs' death in 1630 the plan was dropped. After the English Civil War four bills were presented to parliament, but all failed after opposition from gentry, farmers and traders worried about cheaper water transport reducing the value of fees on turnpike roads they controlled, and cheaper produce from Wales undercutting locally produced food.[2] The main alternative to road transport for the carriage of goods between Bristol and London was a hazardous sea route through the English Channel. The small coastal sailing ships of the day were often damaged by Atlantic storms, and risked being attacked by warships of the French navy and privateers during a succession of conflicts with France.[3]
Plans for a waterway were shelved until the early 18th century. In 1723 the Kennet Navigation through Reading opened. The Avon navigation from Bristol to Bath was opened in 1727; the first cargo of "Deal boards, Pig-Lead and Meal" reached Bath in December.[4] The two navigations were built to meet local needs independently of one another, but both under the supervision of surveyor and engineer John Hore. In 1788 the so-called "Western Canal" was proposed to improve trade and communication links to towns such as Hungerford, Marlborough, Wiltshire, Calne, Chippenham and Melksham. The following year the engineers Barns, Simcock and Weston submitted a proposed route for this canal, although there were doubts about the adequacy of the water supply. The name was changed from Western Canal to Kennet and Avon Canal to avoid confusion with the Grand Western Canal, which was being proposed at the same time.[5]
[edit] Construction
Surveyor, John Rennie: portrait by Sir Henry Raeburn, 1810
In 1793 a further survey was conducted by John Rennie, and the route of the canal was altered to take a more southerly course through Great Bedwyn, Devizes, Trowbridge and Newbury. The proposed route was accepted by the Kennet and Avon Canal Company, chaired by Charles Dundas, and the company started to take subscriptions from prospective shareholders. In July 1793 Rennie suggested further alterations to the route, including the construction of a tunnel in the Savernake Forest.[5] On 17 April 1794 the Kennet and Avon Canal Act received the Royal Assent and construction began. The Newbury to Hungerford section was completed in 1798, and was extended to Great Bedwyn in 1799. The section from Bath to Foxhangers was finished in 1804, and the two were linked by an iron railway until the completion of Devizes Locks in 1810.[5]
The canal opened in 1810 after 16 years of construction. Major structures included the Dundas and Avoncliff aqueducts, the Bruce Tunnel under Savernake Forest, and the pumping stations at Claverton and Crofton, needed to overcome water supply problems. The final engineering task was the completion of the Caen Hill Locks at Devizes.[6]
[edit] Operation
In 1801, trade along the canal commenced, even though goods had to be unloaded at Foxhangers at the bottom of what is now Caen Hill Locks, transported up the hill by a horse-drawn railway, and reloaded into barges at the top. When the flight of locks finally opened in 1810, allowing the same vessel to navigate the entire canal, the rate of carriage per ton from London to Bath was £2 9s 6d. This compared well with carriage by road, which cost £6 3s to £7 per ton, and therefore trade on the canal flourished. In 1812, the Kennet and Avon Canal Company bought the Kennet Navigation, which stretched from Newbury to the junction with the Thames at Kennet Mouth, near Reading. The purchase from Frederick Page cost £100,000, of which £70,000 was paid in cash with the balance paid back over a period of time. The purchase was authorised by the Kennet Navigation Act of June 1813, which enabled the company to raise the funds through the sale of 5,500 shares at £24 each. At the same time work was undertaken to improve the Avon Navigation, from Bristol to Bath, with the Kennet and Avon Canal Company purchasing a majority shareholding in the Avon Navigation in 1816.[7]
By 1818, seventy 60-ton barges were working on the canal, the majority of the tonnage being accounted for by coal and stone travelling via the Somerset Coal Canal.[8] The journey from Bath to Newbury took an average of three and a half days. By 1832, 300,000 tons of freight was being carried each year and, between 1825 and 1834, the company had an annual revenue of around £45,000.[5]
[edit] Decline
The opening of the Great Western Railway in 1841 removed much of the canal's traffic, even though the canal company lowered tariffs.[9] In 1852 the railway company took over the canal's operation, levying high tolls at every toll point and reducing the amount spent on maintenance. Ice-breaking was stopped before the winter of 1857, and traders were further encouraged by preferential tolls to use the railway rather than the canal. In 1861 a new order prohibited any traffic on the canal at night, and, in 1865, boats were forced to pass through locks in pairs to reduce water loss. By 1868 the annual tonnage had fallen from 360,610 in 1848 to 210,567. In the 1870s water abstraction from the canal near Fobney Lock followed the regulations introduced in the Reading Local Board Waterworks, Sewerage, Drainage and Improvements Act of 1870, and contributed to the silting up of locks and stretches of the canal. Several wharves and stretches of towpath were closed. In 1877 the canal recorded a deficit of £1,920 and never subsequently made any profit.[10]
The Somerset Coal Canal and Wilts and Berks Canal, which each supplied some of the trade from the Somerset coalfield to the Kennet and Avon,[11] closed in 1904 and 1906 respectively. In 1926, following a loss of £18,041 the previous year,[12] the Great Western Railway sought to close the canal by obtaining a Ministry of Transport Order, but the move was resisted and the company charged with improving its maintenance of the canal.[9] Cargo trade continued to decline, but a few pleasure boats started to use the canal.[13]
A Second World War pillbox near Kintbury
During the Second World War a large number of concrete bunkers known as pillboxes were built as part of the GHQ Line to defend against an expected German invasion, many of which are still visible along the banks of the canal.[14] They were generally built close to road and rail bridges, which would have formed important crossing points for enemy troops and vehicles.[15][16] After the war the Transport Act of 1947 meant that control of the canal passed to the British Transport Commission, but by the 1950s large sections of the canal had been closed because of poor lock maintenance following a breach in the bank west of the Avoncliff Aqueduct.[5] The last through passage was made in 1951 by nb Queen (Nicholson Guide 7 p59).