View allAll Photos Tagged incense_sticks
Tin Hau Temple. Ashes from burnt incense sticks and cigarette butts too.
Lei Yue Mun, Hong Kong (Friday 13 March 2015)
The night is full of brilliant stars...
Someone is missing you from afar...
Today is Loy Krathong Day ^____^
Happy Loy Krathong Day , all my dear friends ^____^
Jasmine...
Loy Krathong is held on the full moon of the 12th month in the traditional Thai lunar calendar. In the western calendar this usually falls in November.
"Loi" means "to float". "Krathong" is a raft about a handspan in diameter traditionally made from a section of banana tree trunk (although modern-day versions use specially made bread 'flowers' and may use styrofoam), decorated with elaborately-folded banana leaves, flowers, candles, incense sticks etc. During the night of the full moon, many people will release a small raft like this on a river.
Many Thai believe that floating a krathong will create good luck, and they do it to honor and thank the Goddess of Water, Phra Mae Khongkha (พระแม่คงคา).
For more information, please visit Loy Krathong
***NO INVITES PLEASE***...Thanks so much for your visits and also for any comments and faves. I really appreciate for all. All your words are nice awards for me. Thank you..thank you ;-)...
My first attempt at smoke photography. Seen this done by others and had to try it myself. Shot the smoke from incense sticks against a black background and then inverted the colors in Picasa tool. Couldn't figure an option to change the color of the smoke. Suggestions welcome! Happy Friday!
Happy Thai girl shows the 'Krathong' she has made. Krathong are little 'boats' beautifully crafted using vegetables, fruit, flowers and leaves. Candles & incense sticks will be attached and lit, before the whole thing is floated down the river along with hundreds of others. It is a truly spectacular sight.
( For more information see: Loi Krathong
Visit my website: Marty Johnston Photography
Seeking a non-commercialized experience in Shanghai, I ventured away from the city center to Longhua Temple. Early on a Friday morning, many residents, old and young alike, gathered at the temple to burn incense and pray. It was one of the best experiences I had in the city of 24 million.
I did my best to observe from afar and not take photos of the faithful. This photo comes from just outside the gate with the ticket-taker just out of view on the right. You can see the smoke from incense in the courtyard. The sign on the door in the background prohibits—ironically—some form of burning. Probably open flames, seeing how incense it pivotal. There was a fellow just out of sight to the left managing the flames used to light the incense sticks.
My ignorance of Buddhist practices rivals my paltry skills in 普通话 (Mandarin—Pǔtōnghuà), much less Shanghainese (上海话) which I think one woman was speaking to us when we went to see the pagoda.
After yesterday and my creative blank I was determined to try something new today and had always thought pictures of smoke were strangely appealing.
I stopped off on the way home to purchase incense sticks, Blue-Tack and some black card.
Firstly I created a snout for the speedlight with the black card to prevent light spilling onto my backdrop and secured three lit incense stick with the Blue-Tak. With all the lights in the room turned off, the blinds drawn and a torch in hand I attempted to focus on the area just above the tips of the sticks.
I think I may re-visit smoke photography later in the 365 project so watch this space.
Hemis Monastery is a Tibetan Buddhist monastery (gompa) of the Drukpa Lineage, located in Hemis, Ladakh, India. Situated 45 km from Leh, in the state of Jammu and Kashmir. Hemis Monastery existed before the 11th century and was re-established in 1672 by the Ladakhi king Sengge Namgyal. The annual Hemis festival honoring Padmasambhava is held here in early June.
Terma and tertöns : The essence of Tebetan Buddhism.
Padmasambhava (lit. "Lotus-Born"), also known as Guru Rinpoche, is a literary character of terma (Terma or "hidden treasure"- are key Tibetan Buddhist teaching, which the tradition holds were originally esoterically hidden by various adepts such as Padmasambhava and his consorts, in the 8th century for future discovery at auspicious times by other adepts, known as tertöns. As such, they represent a tradition of continuous revelation in Tibetan Buddhism. Termas are a part of Tantric Literature. Tradition holds that terma may be a physical object such as a text or ritual implement that is buried in the ground (or earth), hidden in a rock or crystal, secreted in a herb, or a tree, hidden in a lake (or water), or hidden in the sky (space). Though a literal understanding of terma is "hidden treasure", and sometimes objects are hidden away, the teachings associated should be understood as being “concealed within the mind of the guru”, that is, the true place of concealment is in the tertön's mindstream. If the concealed or encoded teaching or object is a text, it is often written in dakini script: a non-human type of code or writing).
Terma is an emanation of Amitabha (Amitābha or Amideva, is a celestial buddha described in the scriptures of the Mahāyāna school of Buddhism. Amitābha is the principal buddha in the Pure Land sect, a branch of Buddhism practiced mainly in East Asia, while in Vajrayana Amitābha is known for his longevity attribute, magnetising red fire element, the aggregate of discernment, pure perception and the deep awareness of emptiness of phenomena. According to these scriptures, Amitābha possesses infinite merits resulting from good deeds over countless past lives as a bodhisattva named Dharmakāra. "Amitābha" is translatable as "Infinite Light," hence Amitābha is also called "The Buddha of Immeasurable Life and Light" ).
Terma that is said to appear to tertons (A tertön is a discoverer of ancient texts or terma in Tibetan Buddhism) in visionary encounters and a focus of Tibetan Buddhist practice (Tibetan Buddhism is the body of Buddhist religious doctrine and institutions characteristic of Tibet, Mongolia, Tuva, Bhutan, Kalmykia and certain regions of the Himalayas, including northern Nepal, and India (particularly in Arunachal Pradesh, Ladakh, Dharamsala, Lahaul and Spiti district in Himachal Pradesh and Sikkim. It is also practiced in Northeast China. Religious texts and commentaries are contained in the Tibetan Buddhist canon such that Tibetan is a spiritual language of these areas. The Tibetan diaspora has spread Tibetan Buddhism to many Western countries, where the tradition has gained popularity. Among its prominent exponents is the 14th Dalai Lama of Tibet. The number of its adherents is estimated to be between ten and twenty million).
History
Hemis Monastery existed before the 11th century. Naropa, the pupil of the yogi Tilopa, and teacher of the translator Marpa is connected with this monastery. A translation was made by A. Grünwedel (Nӑro und Tilo,: Festschrift Ernst Kuhn, München 1916) of Naropa's biography that was found in Hemis monastery.
In this manuscript Naropa (or Naro) meets the "dark blue" (Skr.: nila: dark blue or black) Tilopa (or Tillo), a tantric master, who gives Naropa 12 "great" and 12 "small" tasks to do in order to enlighten him to the inherent emptiness/illusoriness of all things. Naropa is depicted as the "abbott of Nalanda" (F. Wilhelm, Prüfung und Initiation im Buche Pausya und in der Biographie des Naropa, Wiesbaden 1965, p. 70), the university-monastery in today's Bihar, India, that flourished until the sacking by Turkish and Afghan Muslim forces. This sacking must have been the driving force behind Naropa's peregrination in the direction of Hemis. After Naropa and Tilopa met in Hemis they travelled back in the direction of a certain monastery in the now no longer existing kingdom of Maghada, called Otantra which has been identified as today's Otantapuri. Naropa is consered the founding father of the Kagyu-lineage of the Himalayan esoteric Buddhism. Hence Hemis is the main seat of the Kagyu lineage of Buddhism.
In 1894 Russian journalist Nicolas Notovitch claimed Hemis as the origin of an otherwise unknown gospel, the Life of Saint Issa, Best of the Sons of Men, in which Jesus is said to have traveled to India during his "lost years." According to Notovitch, the work had been preserved in the Hemis library, and was shown to him by the monks there while he was recuperating from a broken leg. But once his story had been re-examined by historians, Notovitch confessed to having fabricated the evidence. Bart D. Ehrman states that "Today there is not a single recognized scholar on the planet who has any doubts about the matter. The entire story was invented by Notovitch, who earned a good deal of money and a substantial amount of notoriety for his hoax". However, the Indian Pandit Swami Abhedananda also claims to have read the same manuscript, and published his account of viewing it after his visit to Hemis in 1921. Abhedananda claims on the book jacket that it was translated for him with the help of a "local Lama interpreter." In the same vein, Notovich did not initially translate the manuscript, but reported his Sherpa guide did so as Notovitch could not read the original text. Notovich's version of the manuscript was translated from Tibetan to Russian to French to English. According to Swami Abhedananda's account, his Lama's translation was equivalent to the one published by Notovich. The Gutenberg Project has published the entire manuscript as a free ebook.
Hemis Festival
The Hemis Festival is dedicated to Lord Padmasambhava (Guru Rimpoche) venerated as the Dance Performance at Hemis Monastery representative reincarnate of Buddha. He is believed to have been born on the 10th day of the fifth month of the Monkey year as predicted by the Buddha Shakyamuni. It is also believed that his life mission was, and remains, to improve the spiritual condition of all living beings. And so on this day, which comes once in a cycle of 12 years, Hemis observes a major extravaganza in his memory. The observance of these sacred rituals is believed to give spiritual strength and good health. The Hemis festival takes place in the rectangular courtyard in front of the main door of the monastery. The space is wide and open save two raised square platforms, three feet high with a sacred pole in the center. A raised dias with a richly cushioned seat with a finely painted small Tibetan table is placed with the ceremonial items - cups full of holy water, uncooked rice, tormas made of dough and butter and incense sticks. A number of musicians play the traditional music with four pairs of cymbals, large-pan drums, small trumpets and large size wind instruments. Next to them, a small space is assigned for the lamas to sit.
The ceremonies begin with an early morning ritual atop the Gompa where, to the beat of drums and the resounding clash of cymbals and the spiritual wail of pipes, the portrait of "Dadmokarpo" or "Rygyalsras Rimpoche" is then ceremoniously put on display for all to admire and worship.
The most esoteric of festivities are the mystic mask dances. The Mask Dances of Ladakh are referred collectively as chams Performance. Chams performance is essentially a part of Tantric tradition, performed only in those gompas which follow the Tantric Vajrayana teachings and the monks perform tantric worship.
Source: Wikipedia and others.
Playing around with a toy gun, cake firework and incense sticks.
I have got a lot to learn and practice but I couldnt resist throwing down an early edit - if only as a marker for improvement!
The Tràng An boat took us through a few caves before we get to this small pagoda. I forgot what it's name. Lots of visitors would stay around to light up incense sticks while I went around looking for shots. It was hot and humid...Tired, I didn't go far on this path either...So here it is.
Voigtlander 12mm f5.6
Brass incense burner purchased at the Arab market in Jerusalem. John Maguire, master tinsmith at Black Creek Pioneer Village, Toronto, made a round copper disc with punched holes which is a much better platform on which to burn the incense.
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.
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Ganga Aarti is a spectacular evening ceremony that takes place everyday at the Dashashwamedh Ghat in Varanasi (India) at the bank of the holy river Ganga. This ceremony is attended by thousands of visitors everyday and considered as one of the most colourful event of India.
A group of young priests dressed up with silky robes conduct this ceremony. The Aarti (puja offerings) starts with the chanting of hymns and prayers in the praise of the Holy River. After that, the priests perform different offerings in choreographed manner from their respective platforms which include - blowing of conch shells, burning of incense sticks and waving them in an elaborate synchronized manner in all the directions with their right hand, while ringing the ceremonial prayer bell with the left hand, circular waving of large multi-tiered oil lamps and a big brass camphor lamp, with a dramatic snake hood in clockwise directions, to and fro in a synchronized manner, and waving of the Peacock’s feather and Yak-tail fan in similar choreographed manner. The priests end the ceremony by pouring a bowl of water into the river. Upon which, the devotees let go of thousands of small oil lamps with flowers on a leaf to float on the river that would look like numerous stars on the water.
The whole ceremony is a spectacle of sound and colour and takes around 45 minutes. The devotional chanting, the pulsating sound of ceremonial bells, gongs and drums, the circular waving of large lamps, the heavy air from the burning incense, the floating floral lamps, all create a magical, enchanted atmosphere that makes for a dramatic sensory experience well worth experiencing.
Images of India
On 11th October , 2014, around 2.30 pm we reached our hotel at Leh. After a hurried lunch we proceeded to famous Hemis Monastery. In the late afternoon we reached at Hemis. It was behind a small hill, difficult to figure out such a huge structure from a distant point. We climbed few staircases, crossed a door and finally reached the main courtyard. What a wonderful ambiance it had been, so peaceful and serene. It was getting dark soon, and couldn’t see much of it. The next day we came again and had a vivid look. I was amazed by its richness and traditions of tantric practice of Tibetan Buddhism in such a remote place of the world.
Hemis Monastery is a Tibetan Buddhist monastery (gompa) of the Drukpa Lineage, located in Hemis, Ladakh, India. Situated 45 km from Leh, in the state of Jammu and Kashmir. Hemis Monastery existed before the 11th century and was re-established in 1672 by the Ladakhi king Sengge Namgyal. The annual Hemis festival honoring Padmasambhava is held here in early June.
Terma and tertöns : The essence of Tebetan Buddhism.
Padmasambhava (lit. "Lotus-Born"), also known as Guru Rinpoche, is a literary character of terma (Terma or "hidden treasure"- are key Tibetan Buddhist teaching, which the tradition holds were originally esoterically hidden by various adepts such as Padmasambhava and his consorts, in the 8th century for future discovery at auspicious times by other adepts, known as tertöns. As such, they represent a tradition of continuous revelation in Tibetan Buddhism. Termas are a part of Tantric Literature. Tradition holds that terma may be a physical object such as a text or ritual implement that is buried in the ground (or earth), hidden in a rock or crystal, secreted in a herb, or a tree, hidden in a lake (or water), or hidden in the sky (space). Though a literal understanding of terma is "hidden treasure", and sometimes objects are hidden away, the teachings associated should be understood as being “concealed within the mind of the guru”, that is, the true place of concealment is in the tertön's mindstream. If the concealed or encoded teaching or object is a text, it is often written in dakini script: a non-human type of code or writing).
Terma is an emanation of Amitabha (Amitābha or Amideva, is a celestial buddha described in the scriptures of the Mahāyāna school of Buddhism. Amitābha is the principal buddha in the Pure Land sect, a branch of Buddhism practiced mainly in East Asia, while in Vajrayana Amitābha is known for his longevity attribute, magnetising red fire element, the aggregate of discernment, pure perception and the deep awareness of emptiness of phenomena. According to these scriptures, Amitābha possesses infinite merits resulting from good deeds over countless past lives as a bodhisattva named Dharmakāra. "Amitābha" is translatable as "Infinite Light," hence Amitābha is also called "The Buddha of Immeasurable Life and Light" ).
Terma that is said to appear to tertons (A tertön is a discoverer of ancient texts or terma in Tibetan Buddhism) in visionary encounters and a focus of Tibetan Buddhist practice (Tibetan Buddhism is the body of Buddhist religious doctrine and institutions characteristic of Tibet, Mongolia, Tuva, Bhutan, Kalmykia and certain regions of the Himalayas, including northern Nepal, and India (particularly in Arunachal Pradesh, Ladakh, Dharamsala, Lahaul and Spiti district in Himachal Pradesh and Sikkim. It is also practiced in Northeast China. Religious texts and commentaries are contained in the Tibetan Buddhist canon such that Tibetan is a spiritual language of these areas. The Tibetan diaspora has spread Tibetan Buddhism to many Western countries, where the tradition has gained popularity. Among its prominent exponents is the 14th Dalai Lama of Tibet. The number of its adherents is estimated to be between ten and twenty million).
Interested Viewers can see the following documentary on Padmasambhava:
Padmasambhava
www.youtube.com/watch?v=gQBbfLtxj8A&spfreload=10
History
Hemis Monastery existed before the 11th century. Naropa, the pupil of the yogi Tilopa, and teacher of the translator Marpa is connected with this monastery. A translation was made by A. Grünwedel (Nӑro und Tilo,: Festschrift Ernst Kuhn, München 1916) of Naropa's biography that was found in Hemis monastery.
In this manuscript Naropa (or Naro) meets the "dark blue" (Skr.: nila: dark blue or black) Tilopa (or Tillo), a tantric master, who gives Naropa 12 "great" and 12 "small" tasks to do in order to enlighten him to the inherent emptiness/illusoriness of all things. Naropa is depicted as the "abbott of Nalanda" (F. Wilhelm, Prüfung und Initiation im Buche Pausya und in der Biographie des Naropa, Wiesbaden 1965, p. 70), the university-monastery in today's Bihar, India, that flourished until the sacking by Turkish and Afghan Muslim forces. This sacking must have been the driving force behind Naropa's peregrination in the direction of Hemis. After Naropa and Tilopa met in Hemis they travelled back in the direction of a certain monastery in the now no longer existing kingdom of Maghada, called Otantra which has been identified as today's Otantapuri. Naropa is consered the founding father of the Kagyu-lineage of the Himalayan esoteric Buddhism. Hence Hemis is the main seat of the Kagyu lineage of Buddhism.
In 1894 Russian journalist Nicolas Notovitch claimed Hemis as the origin of an otherwise unknown gospel, the Life of Saint Issa, Best of the Sons of Men, in which Jesus is said to have traveled to India during his "lost years." According to Notovitch, the work had been preserved in the Hemis library, and was shown to him by the monks there while he was recuperating from a broken leg. But once his story had been re-examined by historians, Notovitch confessed to having fabricated the evidence. Bart D. Ehrman states that "Today there is not a single recognized scholar on the planet who has any doubts about the matter. The entire story was invented by Notovitch, who earned a good deal of money and a substantial amount of notoriety for his hoax". However, the Indian Pandit Swami Abhedananda also claims to have read the same manuscript, and published his account of viewing it after his visit to Hemis in 1921. Abhedananda claims on the book jacket that it was translated for him with the help of a "local Lama interpreter." In the same vein, Notovich did not initially translate the manuscript, but reported his Sherpa guide did so as Notovitch could not read the original text. Notovich's version of the manuscript was translated from Tibetan to Russian to French to English. According to Swami Abhedananda's account, his Lama's translation was equivalent to the one published by Notovich. The Gutenberg Project has published the entire manuscript as a free ebook.
Hemis Festival
The Hemis Festival is dedicated to Lord Padmasambhava (Guru Rimpoche) venerated as the Dance Performance at Hemis Monastery representative reincarnate of Buddha. He is believed to have been born on the 10th day of the fifth month of the Monkey year as predicted by the Buddha Shakyamuni. It is also believed that his life mission was, and remains, to improve the spiritual condition of all living beings. And so on this day, which comes once in a cycle of 12 years, Hemis observes a major extravaganza in his memory. The observance of these sacred rituals is believed to give spiritual strength and good health. The Hemis festival takes place in the rectangular courtyard in front of the main door of the monastery. The space is wide and open save two raised square platforms, three feet high with a sacred pole in the center. A raised dias with a richly cushioned seat with a finely painted small Tibetan table is placed with the ceremonial items - cups full of holy water, uncooked rice, tormas made of dough and butter and incense sticks. A number of musicians play the traditional music with four pairs of cymbals, large-pan drums, small trumpets and large size wind instruments. Next to them, a small space is assigned for the lamas to sit.
The ceremonies begin with an early morning ritual atop the Gompa where, to the beat of drums and the resounding clash of cymbals and the spiritual wail of pipes, the portrait of "Dadmokarpo" or "Rygyalsras Rimpoche" is then ceremoniously put on display for all to admire and worship.
The most esoteric of festivities are the mystic mask dances. The Mask Dances of Ladakh are referred collectively as chams Performance. Chams performance is essentially a part of Tantric tradition, performed only in those gompas which follow the Tantric Vajrayana teachings and the monks perform tantric worship.
Source: Wikipedia and others.
Photo taken in Victoria Park for the event of Tai Hang Fire Dragon Dance 2012.
Quoted from Wiki about the story :
"For the three nights straddling the Mid-Autumn festival, visitors can also see the spectacular Tai Hang Fire Dragon Dance. It's a 67-metre-long 'fire dragon' that winds its way with much fanfare and smoke through a collection of streets located in Tai Hang, close to Victoria Park in Causeway Bay. The Tai Hang Fire Dragon Dance started in 1880 when Tai Hang was a small Hakka village of farmers and fishermen on the waterfront of Causeway Bay. This custom has been followed every year since 1880, with the exception of the Japanese Occupation and during the 1967 disturbances.
According to local legend, over a century ago, a few days before the Mid-Autumn Festival, a typhoon and then a plague wreaked havoc on the village. While the villagers were repairing the damage, a python entered the village and ate their livestock. According to some villagers, the python was the son of the Dragon King. A soothsayer decreed the only way to stop the chaos was to stage a fire dance for three days and nights during the upcoming Mid-Autumn Festival. The villagers made a huge dragon of straw and covered it with incense sticks, which they then lit. Accompanied by drummers and erupting firecrackers, they danced for three days and three nights – and the plague disappeared."
Below link is 2009 version :
www.flickr.com/photos/anthonyleungkc/3987569384/in/set-72...
Camera for the photo : Olympus OM-D E-M5
Lens for the photo : M.Zuiko Digital ED 75mm f/1.8
Photographing smoke trails gives some weird and wonderful shapes and patterns. When this is combined with photoshop, it is surprising what can be achieved. An abstract smoke trail image. Original photograph manipulated and coloured in photoshop.
My site: ajbarickman.com
Is it just me or do you see the man too?
Pictures of the smoke from two incense sticks. I used a 430EX with a snoot on it for lighting and Lightroom 2 and Photoshop Elements for post production.
For a tutorial on doing this yourself go here photocritic.org/artsmoke-photographing-smoke/
A lot of folks who've seen these shots have asked how they were done so I'll attempt to explain...
There's probably a few variations on the theme but firstly here's what I used to do it
1. Canon 100mm macro lens (probably don't need a 'macro' lens as I found the best results were obtained from about 60 cm's ish)
2. What really makes a difference is an off camera flash. I was lucky enough to get a 580EX as a present with an off camera flash cord. This is important because with standard front facing flashes you run the risk of lighting up the background. This makes it harder to isolate the smoke form the background later in photoshop if it hasn't stayed completely black - you with me? If you have remote release for the flash gun even better - no cables!
3. A dark background. I initally used a black jumper but anything black is good. Preferably of a good size too so you have a bit of freedom of movement with the camera whilst still keeping the background in the frame.
4. Incense sticks and holder. Simple!
5. Tripod for the camera.
Basically set your background up and put your incense sticks about 1or more metres in front so the background will be blurred.
Set the camera up about 60cm away from the incense sticks. Pre focus the camera and use an aperture of f8 - f14 so you get a decent DOF. Experiment here.
Check the viewfinder for position making sure it's filled with black backdrop.
Set the flash ready. Vary the angles of flash if you can - I found a 45 degree angle to the smoke pointing 45 degrees up is ok. With the 580EX on 1/4 power about 6 inch distance is good for even light. Just experiment with this. If like me you just have a flash on the stand and no tripod an assistant can be handy to hold the flash.
Light the incense sticks, wait for pretty patterns and shoot away!
The best way I found of getting plenty of swirls is using two incense sticks burning simultaneously. Have the burning tips near each other and one will induce turbulence in the other stream. Otherwise with one stick burning you wait an age for anything interesting.
Download photos and tinker till your little heart's content in photoshop or whatever you use!
The other main sight of interest at Lumbini is Ashoka's Pillar, near the temple. It is protected by a small fence, which is decorated with prayer flags and banners from the faithful. Around the courtyard containing the pillar are bowls for incense sticks, and there is room to sit in front of the pillar for contemplation.
Ganga Aarti
Gange aarti is performed daily in the evening by a group of priests at the Dashashwamedh ghat. Through the aarti, Agni Pooja is performed in which a commitment is made to the Lord Shiva, Mata Gange, Surya, Agni (Fire) as well as the whole universe made by the Lord Shiva.
It is performed by the brass lamps which accompanied with the mantra chant in the presence of the huge crowd.
All the priests wear same cloth, the dhoti and kurta which is tightly bind with a long towel. First they make preparation of the Gange aarti by making collection of the five elevated planks, a multi tiered oil lamp, an idol of the Goddess Ganga, flowers, incense sticks, a conch shell, a big and heavy brass lamp having a snake hood at the edge of the River Gange. A group of boats filled with devotees come around the place of aarti at the bank of River.
Varanasi.org.in
A lot of folks who've seen these shots have asked how they were done so I'll attempt to explain...
There's probably a few variations on the theme but firstly here's what I used to do it
1. Canon 100mm macro lens (probably don't need a 'macro' lens as I found the best results were obtained from about 60 cm's ish)
2. What really makes a difference is an off camera flash. I was lucky enough to get a 580EX as a present with an off camera flash cord. This is important because with standard front facing flashes you run the risk of lighting up the background. This makes it harder to isolate the smoke form the background later in photoshop if it hasn't stayed completely black - you with me? If you have remote release for the flash gun even better - no cables!
3. A dark background. I initally used a black jumper but anything black is good. Preferably of a good size too so you have a bit of freedom of movement with the camera whilst still keeping the background in the frame.
4. Incense sticks and holder. Simple!
5. Tripod for the camera.
Basically set your background up and put your incense sticks about 1or more metres in front so the background will be blurred.
Set the camera up about 60cm away from the incense sticks. Pre focus the camera and use an aperture of f8 - f14 so you get a decent DOF. Experiment here.
Check the viewfinder for position making sure it's filled with black backdrop.
Set the flash ready. Vary the angles of flash if you can - I found a 45 degree angle to the smoke pointing 45 degrees up is ok. With the 580EX on 1/4 power about 6 inch distance is good for even light. Just experiment with this. If like me you just have a flash on the stand and no tripod an assistant can be handy to hold the flash.
Light the incense sticks, wait for pretty patterns and shoot away!
The best way I found of getting plenty of swirls is using two incense sticks burning simultaneously. Have the burning tips near each other and one will induce turbulence in the other stream. Otherwise with one stick burning you wait an age for anything interesting.
Download photos and tinker till your little heart's content in photoshop or whatever you use!
I've been wanting to try photographing smoke for a while. I finally bought some incense sticks and proceeded to smoke-up and stink-up my home office. Graham Jeffery has an excellent blog entry on how to photograph smoke. If you're interested, I'd head over there to see his photos and read about his technique. I'll post some comments on my blog when I get a chance. I colorized some of these images in Photoshop. Those that are more subtlety colored (about half of them) show the natural colors of the smoke itself (with some saturation added in a few cases).
All of my smoke images were created with two light sources. The first was natural light coming through an window on the left. I doubt the natural light contributed much (if anything), because my shutter speed was 1/250 and the f-stop was f/10. To the right of the smoke I placed a Canon Speedlite set to full power. Those setting pretty much nuked any ambient light. To prevent any light from spilling onto the background, and flaring into the lens, I attached a couple of 4" X 8" cardboard "gobos" to the sides of my flash (using Velcro). I wish now that I had taken a setup shot. Oh well, next time.
A lot of folks who've seen these shots have asked how they were done so I'll attempt to explain...
There's probably a few variations on the theme but firstly here's what I used to do it
1. Canon 100mm macro lens (probably don't need a 'macro' lens as I found the best results were obtained from about 60 cm's ish)
2. What really makes a difference is an off camera flash. I was lucky enough to get a 580EX as a present with an off camera flash cord. This is important because with standard front facing flashes you run the risk of lighting up the background. This makes it harder to isolate the smoke form the background later in photoshop if it hasn't stayed completely black - you with me? If you have remote release for the flash gun even better - no cables!
3. A dark background. I initally used a black jumper but anything black is good. Preferably of a good size too so you have a bit of freedom of movement with the camera whilst still keeping the background in the frame.
4. Incense sticks and holder. Simple!
5. Tripod for the camera.
Basically set your background up and put your incense sticks about 1or more metres in front so the background will be blurred.
Set the camera up about 60cm away from the incense sticks. Pre focus the camera and use an aperture of f8 - f14 so you get a decent DOF. Experiment here.
Check the viewfinder for position making sure it's filled with black backdrop.
Set the flash ready. Vary the angles of flash if you can - I found a 45 degree angle to the smoke pointing 45 degrees up is ok. With the 580EX on 1/4 power about 6 inch distance is good for even light. Just experiment with this. If like me you just have a flash on the stand and no tripod an assistant can be handy to hold the flash.
Light the incense sticks, wait for pretty patterns and shoot away!
The best way I found of getting plenty of swirls is using two incense sticks burning simultaneously. Have the burning tips near each other and one will induce turbulence in the other stream. Otherwise with one stick burning you wait an age for anything interesting.
Download photos and tinker till your little heart's content in photoshop or whatever you use!
Ganga Aarti is a spectacular evening ceremony that takes place everyday at the Dashashwamedh Ghat in Varanasi (India) at the bank of the holy river Ganga. This ceremony is attended by thousands of visitors everyday and considered as one of the most colourful event of India.
A group of young priests dressed up with silky robes conduct this ceremony. The Aarti (puja offerings) starts with the chanting of hymns and prayers in the praise of the Holy River. After that, the priests perform different offerings in choreographed manner from their respective platforms which include - blowing of conch shells, burning of incense sticks and waving them in an elaborate synchronized manner in all the directions with their right hand, while ringing the ceremonial prayer bell with the left hand, circular waving of large multi-tiered oil lamps and a big brass camphor lamp, with a dramatic snake hood in clockwise directions, to and fro in a synchronized manner, and waving of the Peacock’s feather and Yak-tail fan in similar choreographed manner. The priests end the ceremony by pouring a bowl of water into the river. Upon which, the devotees let go of thousands of small oil lamps with flowers on a leaf to float on the river that would look like numerous stars on the water.
The whole ceremony is a spectacle of sound and colour and takes around 45 minutes. The devotional chanting, the pulsating sound of ceremonial bells, gongs and drums, the circular waving of large lamps, the heavy air from the burning incense, the floating floral lamps, all create a magical, enchanted atmosphere that makes for a dramatic sensory experience well worth experiencing.
Images of India
Today I decided to try smoke photography. For the first time. I used incense sticks to get long lasting and smooth smoke. I did not have additional flash but still managed to do it. I'm pretty happy about final result. Original version of gray/white smoke on black background was boring for me so I colorized it.
Vom 13. April bis zum 15. Oktober 2017 findet die IGA 2017 auf dem erweiterten Gelände der Gärten der Welt in Berlin-Marzahn stattt.
Der Balinesische Garten in der Tropenhalle ist ein Beispiel für die Anordnung eines Wohnkomplexes im südlichen Bali. Eine Lehmziegelmauer grenzt die Wohnanlage von der Umgebung ab.
Der Haus- oder Familientempel („Sanggah“) innerhalb der Wohnanlage ist erneut durch eine Mauer abgegrenzt. Die Schreine auf den hohen Sockeln erhalten in Bali täglich neue Opfergaben aus Blumen, Früchten und Räucherstäbchen.
Das größte Gebäude der Wohnanlage ist ein Allzweckbau. Der „Bale Dangin“ genannte, überdachte Pavillon dient den unterschiedlichsten Beschäftigungen. Neben der Wohnanlage befinden sich in der Tropenhalle der IGA Reisterrassen.
The International Garden Show (IGA) 2017 is being held from 13 April to October 15, 2017, in the enlarged area of the "Gardens of the World" Park in the Berlin borough of Marzahn-Hellersdorf.
The Balinese Garden in the Tropical Glasshouse is an example of the design of a residential compound in South Bali. A clay brick wall separates the compound from the surrounding. The house or family temple "Sanggah") inside the compound is separated by another wall The shrines on high pedestals are redecorated daily in Bali with new offerings of flowers, fruit and incense sticks. The largest building on the compound, a pavilion called "Bale Dangin" serves multiple purposes. In the IGA Tropical Hall the residential compound is near the neighbouring rice terraces.
A lot of folks who've seen these shots have asked how they were done so I'll attempt to explain...
There's probably a few variations on the theme but firstly here's what I used to do it
1. Canon 100mm macro lens (probably don't need a 'macro' lens as I found the best results were obtained from about 60 cm's ish)
2. What really makes a difference is an off camera flash. I was lucky enough to get a 580EX as a present with an off camera flash cord. This is important because with standard front facing flashes you run the risk of lighting up the background. This makes it harder to isolate the smoke form the background later in photoshop if it hasn't stayed completely black - you with me? If you have remote release for the flash gun even better - no cables!
3. A dark background. I initally used a black jumper but anything black is good. Preferably of a good size too so you have a bit of freedom of movement with the camera whilst still keeping the background in the frame.
4. Incense sticks and holder. Simple!
5. Tripod for the camera.
Basically set your background up and put your incense sticks about 1or more metres in front so the background will be blurred.
Set the camera up about 60cm away from the incense sticks. Pre focus the camera and use an aperture of f8 - f14 so you get a decent DOF. Experiment here.
Check the viewfinder for position making sure it's filled with black backdrop.
Set the flash ready. Vary the angles of flash if you can - I found a 45 degree angle to the smoke pointing 45 degrees up is ok. With the 580EX on 1/4 power about 6 inch distance is good for even light. Just experiment with this. If like me you just have a flash on the stand and no tripod an assistant can be handy to hold the flash.
Light the incense sticks, wait for pretty patterns and shoot away!
The best way I found of getting plenty of swirls is using two incense sticks burning simultaneously. Have the burning tips near each other and one will induce turbulence in the other stream. Otherwise with one stick burning you wait an age for anything interesting.
Download photos and tinker till your little heart's content in photoshop or whatever you use!
A glass bottle, which holds incense sticks and liquid, green in color but came out nice orange glow.
Had the unique chance to visit this temple during morning prayers. The sounds together with the intense scent of incense sticks offered by visitors created an overwhelming atmosphere
Went with Jay (a Flickr friend of years) on a photo-shooting spree. Thank you Jay for your patience and guided tour through the beauty and intricacies of this wonderful city.
Pleasure shooting with you.
Thanks Jay for the experience
SHANGHAI 2633 2014-11-16
Hemis Monastery is a Tibetan Buddhist monastery (gompa) of the Drukpa Lineage, located in Hemis, Ladakh, India. Situated 45 km from Leh, in the state of Jammu and Kashmir. Hemis Monastery existed before the 11th century and was re-established in 1672 by the Ladakhi king Sengge Namgyal. The annual Hemis festival honoring Padmasambhava is held here in early June.
Terma and tertöns : The essence of Tebetan Buddhism.
Padmasambhava (lit. "Lotus-Born"), also known as Guru Rinpoche, is a literary character of terma (Terma or "hidden treasure"- are key Tibetan Buddhist teaching, which the tradition holds were originally esoterically hidden by various adepts such as Padmasambhava and his consorts, in the 8th century for future discovery at auspicious times by other adepts, known as tertöns. As such, they represent a tradition of continuous revelation in Tibetan Buddhism. Termas are a part of Tantric Literature. Tradition holds that terma may be a physical object such as a text or ritual implement that is buried in the ground (or earth), hidden in a rock or crystal, secreted in a herb, or a tree, hidden in a lake (or water), or hidden in the sky (space). Though a literal understanding of terma is "hidden treasure", and sometimes objects are hidden away, the teachings associated should be understood as being “concealed within the mind of the guru”, that is, the true place of concealment is in the tertön's mindstream. If the concealed or encoded teaching or object is a text, it is often written in dakini script: a non-human type of code or writing).
Terma is an emanation of Amitabha (Amitābha or Amideva, is a celestial buddha described in the scriptures of the Mahāyāna school of Buddhism. Amitābha is the principal buddha in the Pure Land sect, a branch of Buddhism practiced mainly in East Asia, while in Vajrayana Amitābha is known for his longevity attribute, magnetising red fire element, the aggregate of discernment, pure perception and the deep awareness of emptiness of phenomena. According to these scriptures, Amitābha possesses infinite merits resulting from good deeds over countless past lives as a bodhisattva named Dharmakāra. "Amitābha" is translatable as "Infinite Light," hence Amitābha is also called "The Buddha of Immeasurable Life and Light" ).
Terma that is said to appear to tertons (A tertön is a discoverer of ancient texts or terma in Tibetan Buddhism) in visionary encounters and a focus of Tibetan Buddhist practice (Tibetan Buddhism is the body of Buddhist religious doctrine and institutions characteristic of Tibet, Mongolia, Tuva, Bhutan, Kalmykia and certain regions of the Himalayas, including northern Nepal, and India (particularly in Arunachal Pradesh, Ladakh, Dharamsala, Lahaul and Spiti district in Himachal Pradesh and Sikkim. It is also practiced in Northeast China. Religious texts and commentaries are contained in the Tibetan Buddhist canon such that Tibetan is a spiritual language of these areas. The Tibetan diaspora has spread Tibetan Buddhism to many Western countries, where the tradition has gained popularity. Among its prominent exponents is the 14th Dalai Lama of Tibet. The number of its adherents is estimated to be between ten and twenty million).
History
Hemis Monastery existed before the 11th century. Naropa, the pupil of the yogi Tilopa, and teacher of the translator Marpa is connected with this monastery. A translation was made by A. Grünwedel (Nӑro und Tilo,: Festschrift Ernst Kuhn, München 1916) of Naropa's biography that was found in Hemis monastery.
In this manuscript Naropa (or Naro) meets the "dark blue" (Skr.: nila: dark blue or black) Tilopa (or Tillo), a tantric master, who gives Naropa 12 "great" and 12 "small" tasks to do in order to enlighten him to the inherent emptiness/illusoriness of all things. Naropa is depicted as the "abbott of Nalanda" (F. Wilhelm, Prüfung und Initiation im Buche Pausya und in der Biographie des Naropa, Wiesbaden 1965, p. 70), the university-monastery in today's Bihar, India, that flourished until the sacking by Turkish and Afghan Muslim forces. This sacking must have been the driving force behind Naropa's peregrination in the direction of Hemis. After Naropa and Tilopa met in Hemis they travelled back in the direction of a certain monastery in the now no longer existing kingdom of Maghada, called Otantra which has been identified as today's Otantapuri. Naropa is consered the founding father of the Kagyu-lineage of the Himalayan esoteric Buddhism. Hence Hemis is the main seat of the Kagyu lineage of Buddhism.
In 1894 Russian journalist Nicolas Notovitch claimed Hemis as the origin of an otherwise unknown gospel, the Life of Saint Issa, Best of the Sons of Men, in which Jesus is said to have traveled to India during his "lost years." According to Notovitch, the work had been preserved in the Hemis library, and was shown to him by the monks there while he was recuperating from a broken leg. But once his story had been re-examined by historians, Notovitch confessed to having fabricated the evidence. Bart D. Ehrman states that "Today there is not a single recognized scholar on the planet who has any doubts about the matter. The entire story was invented by Notovitch, who earned a good deal of money and a substantial amount of notoriety for his hoax". However, the Indian Pandit Swami Abhedananda also claims to have read the same manuscript, and published his account of viewing it after his visit to Hemis in 1921. Abhedananda claims on the book jacket that it was translated for him with the help of a "local Lama interpreter." In the same vein, Notovich did not initially translate the manuscript, but reported his Sherpa guide did so as Notovitch could not read the original text. Notovich's version of the manuscript was translated from Tibetan to Russian to French to English. According to Swami Abhedananda's account, his Lama's translation was equivalent to the one published by Notovich. The Gutenberg Project has published the entire manuscript as a free ebook.
Hemis Festival
The Hemis Festival is dedicated to Lord Padmasambhava (Guru Rimpoche) venerated as the Dance Performance at Hemis Monastery representative reincarnate of Buddha. He is believed to have been born on the 10th day of the fifth month of the Monkey year as predicted by the Buddha Shakyamuni. It is also believed that his life mission was, and remains, to improve the spiritual condition of all living beings. And so on this day, which comes once in a cycle of 12 years, Hemis observes a major extravaganza in his memory. The observance of these sacred rituals is believed to give spiritual strength and good health. The Hemis festival takes place in the rectangular courtyard in front of the main door of the monastery. The space is wide and open save two raised square platforms, three feet high with a sacred pole in the center. A raised dias with a richly cushioned seat with a finely painted small Tibetan table is placed with the ceremonial items - cups full of holy water, uncooked rice, tormas made of dough and butter and incense sticks. A number of musicians play the traditional music with four pairs of cymbals, large-pan drums, small trumpets and large size wind instruments. Next to them, a small space is assigned for the lamas to sit.
The ceremonies begin with an early morning ritual atop the Gompa where, to the beat of drums and the resounding clash of cymbals and the spiritual wail of pipes, the portrait of "Dadmokarpo" or "Rygyalsras Rimpoche" is then ceremoniously put on display for all to admire and worship.
The most esoteric of festivities are the mystic mask dances. The Mask Dances of Ladakh are referred collectively as chams Performance. Chams performance is essentially a part of Tantric tradition, performed only in those gompas which follow the Tantric Vajrayana teachings and the monks perform tantric worship.
Source: Wikipedia and others.
REPETITION is the topic for Friday, 2nd November 2012
Strobist info lightbox 2 flash camera right and left 1/16th
The Satyanarayan Puja is a religious worship of the Hindu god Vishnu. Satya means “truth” and narayana means, “The highest being” so Satyanarayan means “The highest being who is an embodiment of Truth”.[1][2] Vrat or Puja means a religious vow, religious observance, or obligation. Hindus throughout [3] perform Sri Satyanarayan Vrat for the divine blessings of health, wealth, prosperity, opulence, education; relief from troubles and sickness. It can also be performed because of success in business or career growth; during social functions like marriages, house-warming ceremonies, naming of the children and so on.
This puja is first mentioned in Skanda Purana, Reva Kanda by Suta Puranik to the rishis in Naimisharanya. The details are part of the Katha (Story) that is usually read during the ritual[4]
A painting of Narayana (Viṣṇu) seated on lotus
Sri Satya Narayana puja is a very popular ritual in most parts of India including Karnataka, Andhra Pradesh, Gujarat, Bihar, Bengal, Orissa, Maharashtra, Assam, and Goa[citation needed].
The ritual is usually performed on the Full moon day of every month, Ekadashi (11th day after full moon or new moon), Kārtika Pūrṇimā, Vaiśākhā Pūrṇimā, solar eclipse day or on Saṅkrānti except during Āṣāḍha Candra Masa[citation needed]. It is also performed on special occasions and during times of achievements, as an offering of gratitude to the Lord. These occasions could include marriage, graduation, start of a new job, purchase of a new home, to name a few. In addition, the performance of this most auspicious puja generally confers a child to couples trying to start a family[citation needed].
The Satyanarayan puja can be performed on any day for any reason. It is not a puja confined to any festivities, but Purnima (full moon day) is considered specifically auspicious for this puja. Performing this puja in the evening is considered more appropriate. However, one can perform this puja in the morning as well[citation needed].
This puja is very simple, can be performed by anyone, and it does not require a priest to perform it. The original concept was instructions given by rishi Narada Munich while on tour of earth he noticed tremendous amounts of sufferings all around due to malnutrition. The diseases observed by him was due to vitamin, protein, difficiencies including multiple infections diseases. He went to lord Vishnu and described the situation and was told with instructions to perform Pooja and the other stories to be narrated. One of the key instruction was to invite as many friends, relatives and neighbors to attend the ceremony and to feed them and to offer as many types of fruits as possible and the sufferings will be eliminated, and this was due to being well fed and consumption of fruits. Later on brahmans add all other false benefits, artis and stutis. The performance of artis, stutis is only around 700 years old and these were mostly composed by sant Tulsidas. As far as getting rich, marriage etc it was implemented by greedy brahmans to enrich themselves. This practice in modern times is doing more harm then good to folks who have acess to rich food, one should refrain from serving any cooked food may be a wise decision would be to serve hygienic all prepared foods.
Preparation[edit]
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The previous night, think of Lord Sri Satyanarayana and mentally decide to perform puja the next day. Invite your relatives and friends. Tradition mandates to abstain from worldly pleasures.
On the puja day, early in the morning keeping the same thoughts of worshiping the Lord, take a head bath. If performing the evening, again take a head-bath. This should be done by both husband and wife. Wear a clean dress.
Observe Fast (if possible).
Keep all the things for puja ready, near the altar. The total duration of the puja - start to finish – will be around 3 hours.
Decorate the front door with mango leaves. The place near the altar is cleaned (with cow dung, where possible).
The Altar is placed in an East-West direction such that the devotees performing the puja will be seated facing east. It is decorated with floral designs, usually using rice flour and other colored powders. A new white cloth is spread on the Altar and layered with raw rice.
Peeta
A Kalash (small pot made of Silver, Copper, Brass, or even earthen) is placed in the middle of Altar. It may be filled half with water. A coconut is placed on top and wrapped with a cloth. Mango or betel leaves are placed between the coconut and the pot. This too is decorated with Chandan (Sandal paste) and kumkum.
A framed picture of Lord Satyanarayana is placed on the far side of the Altar. Flowers and garlands can be placed on this frame.
Place all the puja items near the Altar.
The devotees performing the puja will be seated facing the Altar.
Prasad[edit]
The food is cooked as normal, usually rice, dal and vegetables; avoiding any non-vegetarian (egg, meat, and fish dishes).
Make sure the kitchen is kept clean and devoid of impurities.
The main Prasad[5] [offering] (is also called as Sapatha or Sapaada Bhakshya[ಸಪಾದ ಭಕ್ಷ್ಯ]) is prepared with equal parts (usually one and one-forth parts) of sugar, Semolina, and Ghee. Popularly, it is cooked to blanch. Cardamoms, cashews, raisins, and/or bananas may be added while cooking or as garnishing. Some people avoid cooking and merely mix the ingredients together.
Various regional variations exist in the way it is cooked. It also has various names - Telugu Prasadam,[6] Marathi Sheera,[7] Bengali Sinni,[8] Punjabi Panjiri,[9] etc.
The main Prasad is offered together with daily food, various fruits, and Panchamrutam (uncooked mixture of Milk, Yogurt, Ghee, Honey, and Sugar).
Items needed for puja[edit]
The following is a list of items needed for the puja.[10][11][12][13]
Haldi (Turmeric powder)
Kumkum ( Red vermillion or Sindoor )
Navadhanya ( a mixture of nine herbs offered to navagraha ( nine planets ) )
Incense sticks
Camphor
Sandal paste
A photoframed picture of Lord Satyanarayana
A small idol (or coin) of Lord Satyanarayana
Akshat (rice grains mixed with turmeric powder).
Raw rice (about 1 kg)
Betel leaves (100)
Betel nuts (50)
Coins (40)
Dry Dates/ Almonds (50)
Coconuts (8)
Flowers and floral garlands
Two jars (Silver, Copper, Brass, or even earthen) – one for Kalash and another for the ritual
Two flat plates
A bell
A large pidha table (for use as Altar)
A large yellow cloth (to cover the Altar)pit is the favourite colour or satnarayan he wears pitambar or yellow clothes
A piece of red cloth (for the kalash)
A ghee lamp (with at least three wicks)
An oil lamp
Cotton wicks
Panchamrita (Uncooked mixture of milk, yogurt, honey, sugar, and ghee)
Good to have
Conch shell
One thousand Tulasi (Indian Basil) leaves.tulasi manjari(flower of tulasi)
Banana tree / leaves as a canopy.white tila two table spoons.white tila or white sesame seeds is favorite of Lord Satnarayan. Rose is his preferred flower.
Procedure[edit]
The following procedure is as prescribed by and performed in Andhra Pradesh.[14] Several regional and traditional variations occur as mentioned in the following section.
Sri Satyanarayana Puja at home
The devotee begins by purifying oneself (achamniyam) and sankalpam (a vow that the named devotee is performing the puja on such time and era, to attain such cause).
The puja starts with a prayer to Gaṇesha, to remove all obstacles that may occur as a result of incorrectly performing the puja. This is done by the sixteen upacharas, chanting the names of Lord Gaṇesha and offering prasada (offering usually consisting of banana, coconut, modak, a sugar and coconut mixture, or laddu) and the showering of flowers. Subsequently Varuna puja (kalash puja) is performed.
A uniqueness of this puja is the invoking of pancha lokapalaka, navagrahas along with their companion and co-companions, and the eight dikpalakas. This totals to 40 (5+9+(9*2)+8). Each God has a vedic symbol of a unique metal. Since these are difficult to obtain by the common means, and since the modern currency coins by minted with multiple metals, each Guest God is represented by a coin. They are placed on a betel leaf. The betel nut, akshit and dry dates are the offerings. Thus, the requirement of 40 coins, betel leaves and dry dates.
The main puja commences with the worship to Lord Satyanarayana. The idol (or coin) of Lord Satyanarayana is bathed and cleaned with panchamritam. After placing the deity in the correct position, 1008 names of Sri Satyanarayana are chanted.
This is followed by offering of Prasada and flowers (Mantra Pushpam).
Satya Nārāṇaya Pooja
Another requirement of the puja is that the story be heard among all those observing and partaking in the puja.[15]
The five-part story involves the origin of the puja, benefits of the puja, the potential mishaps that may occur with the forgetting performance of the puja, the magnitude of the Lord’s benevolence and the importance of the Prasad, and consequences of snubbing the ritual.[16]
The puja concludes with an Aarti, which consists of lighting camphor in the vicinity of an image of the Lord.
After the puja is over, participants and observers of the puja are required to partake the prasad that was offered and blessed by the Lord.
Regional and Traditional Variations[edit]
Many places the Varuna/ Kalash puja is done while invoking Ganesh at the start of the puja.
The number of Athitis (divine guests) invoked varies substantially. Thus, the number of coins and betel leaves count varies.
Sri Satyanarayana Swami Katha[edit]
An essential part of this puja is listening to the Sri Satyanarayana Swami Katha (narrative).[17]
The five-part story involves the origin of the puja, benefits of the puja, the potential mishaps that may occur with the forgetting performance of the puja, the magnitude of the Lord’s benevolence and the importance of the Prasad, and consequences of snubbing the ritual.[18]
Chapter 1 narrates the origins of the puja. Sri Satyanarayana Katha comes from the Skanda Puraṇa, Reva khaṇḍa.[19] Suta Maharṣhi is the one narrating this account to Saunaka Muni, in Naimiṣaraṇya to the ṛiṣhis who were performing a thousand year yajna for the benefit of humanity. The procedure itself was narrated my Sriman Narayana to Narada.
Chapter 2 narrates the benefits of the puja. A poor Brahmin was approached by Lord Himself in disguise and He advised him of the puja. Upon successful completion of the puja, the Brahmin could overcome his difficulties and enjoy eternal bliss. It also narrates about the good fortune of a woodcutter who witnesses the Brahmin performing the puja and continues to gain prosperity after performing the puja.
Chapter 3 narrates the mishaps that may occur for dishonoring the vow to perform the puja. A merchant, with an intention to establish family, vows to perform the puja upon having a child. He adjourns the vow to complete it during the child’s marriage. Upon forgetting the vow, the Lord puts the merchant in hardship. The merchant is falsely accused and imprisoned. His entire business is confiscated by the king. His household goes bankrupt. He is freed when his wife recollects the promise and performs the puja.
Chapter 4 narrates about the Lord’s benevolence and the importance of the Prasad. This is a continuation of the previous chapter. During an incident, the merchant puts off the Lord about his merchandise, thereby losing all its value. Realizing his folly, the merchant regrets his intemperance and seeks forgiveness. On hearing that the merchant reached the dockyard, his wife and daughter, who were performing the puja at that time, forget to take the Prasad. Angered with the disrespect, He makes the boats sink into the sea, only to be restored when they have the Prasad.
Chapter 5 narrates about the importance of the puja and not that of the devotees. A group of backwoodsmen was performing the puja. King discards and disregards the offerings, thereby invoking the wrath of Sri Satyanarayana. The king loses his kingdom, wealth, and family, only to be restored upon realizing his recklessness and seeking forgiveness to Sri Satyanarayana and accepting the offerings.
For the three nights straddling the Mid-Autumn festival[3], visitors can also see the spectacular Tai Hang Fire Dragon Dance. It's a 67-metre-long 'fire dragon' that winds its way with much fanfare and smoke through a collection of streets located in Tai Hang, close to Victoria Park in Causeway Bay. The Tai Hang Fire Dragon Dance started in 1880 when Tai Hang was a small Hakka village of farmers and fishermen on the waterfront of Causeway Bay. This custom has been followed every year since 1880, with the exception of the Japanese Occupation and during the 1967 disturbances.[4]
According to local legend, over a century ago, a few days before the Mid-Autumn Festival, a typhoon and then a plague wreaked havoc on the village. While the villagers were repairing the damage, a python entered the village and ate their livestock. According to some villagers, the python was the son of the Dragon King. A soothsayer decreed the only way to stop the chaos was to stage a fire dance for three days and nights during the upcoming Mid-Autumn Festival. The villagers made a huge dragon of straw and covered it with incense sticks, which they then lit. Accompanied by drummers and erupting firecrackers, they danced for three days and three nights – and the plague disappeared.