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Metal art nouveau incense burner. I might have identified it as art deco, but I am untrained.
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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Incense sticks, a closed room and a flash snoot was what it took. A rebreather is what i wanted by the end of it, it didn't take long to fill with smoke.
Incense sticks, a closed room and a flash snoot was what it took. A rebreather is what i wanted by the end of it, it didn't take long to fill with smoke.
Brass incense burner purchased at the Arab market in Acco/Acre. I wish that they used a heavier, better quality metal but with such a limited time as we were whisked through that area, this small purchase delayed our grumbling group perhaps by 3 minutes at most. The air flow when lit is great.
I suspect that the guide didn’t want any money spent in that market.
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.
Week 216 Assignment 2 for Take A Class With Dave and Dave.
Smoke Trails This assignment is for you all to have a little fun with. It is a bit challenging, but the images you can get from it can be pretty impressive. Below are some links to help you get started. Grab a candle, incense sticks or even a match and see what you can come up with. Feel free to color or modify the images as you see fit.
17th Century Lama Temple or Yonghe Temple/ -Lamasery is a temple and monastery of the Gelug school of Tibetan Buddhism. NE of city centre. The complex is about 400x100 meters. Metro station: Yonghegong Lama Temple (line 2 and 5).
I went there late afternoon to avoid big crowds. I went in 15:45 hour. No line at the ticket counter. Good. Entrance is only 25 yuan (€3). Entrance fee to these attractions cost so little compared to European cities. You gotta love Beijing. From the ticket office to the temple complex is a 150m walk. Included in the price is a packet of incense sticks which is handed out at the entrance of the temple complex.
I was first observing everyone for a couple of minutes to understand how it is done…
You've got to burn the sticks then walk towards the temple and kneel on the leather cushion while holding the sticks above your head with two hands. Than pray for a while (I think). Then bow three times. Stand up, rotate to the right 90 degrees and bow, while standing, three times still holding the sticks above your head. Then throw the sticks in the big black box. Okay, I can do that. So I burned the entire packet of sticks at the first temple. Behind that were many more temples but I was out of sticks. Mmmmnnnnn. Good one Gilbert. Nice. Idiot. At 16:30 hour they were closing the doors of a couple temples and at 16:45 hours we were forced towards the exit. Beautiful looking place though.
A taste of what's next to come on my photostream! Fellow Flickristi photographer and buddy Jonathan Cole and I met up for an unexpected photoshoot in my garage/studio.
I finally put to good photographic use my grandfather's (now my father's) antique gun collection as well! The revolver seen in this shot is an authentic Colt. I will follow up with more interesting details on this gun...
The smoke was partly shot on camera using a few incense sticks and partly added in Photoshop using some outtakes of my smoke art photography.
Strobist info:
1x 430EXII left of model fired at 1/2 power 35mm with a DIY snoot to keep light off the background.
Triggered by PT04M
The area here near Anlong Veng (Dangrek Mountains) was the last stronghold of the Khmer Rouge and many people here used to be Khmer Rouge or supporting them.
To my very surprise, I learned that his followers picked out pieces of his bones which were not cremated for good luck. Even today, locals pray at the site, asking for blessings of luck, happiness and even protection from malaria. You can see the incense sticks and the donation box at the site.
Remember, he was a true dictator with the blood of over one million Cambodians on his hands.
On the night of April 15, 1998 the Voice of America announced that the Khmer Rouge had agreed to turn Pol Pot over to an international tribunal. According to his wife, he died in his bed later in the night while waiting to be moved to another location. Ta Mok claimed that his death was due to heart failure. Despite government requests to inspect the body, it was cremated a few days later at Anlong Veng in the Khmer Rouge zone, raising suspicions that he committed suicide.
Source: en.wikipedia.org/wiki/Pol_Pot
We have only missed one Open House in six years. With that in mind we did mean to make a good deal of it. But, what with work, travel and all the other stuff, I was planning the day mainly on Friday evening, looking at what was available in the guide. I had intended on a few of the Livery Houses, as well as some City Churches. Then there was the usual favourite of Admiralty House which we have failed to make it round to over the last few years, and as it turned out would again this year.
Should we have set the alarm for crack of dawn, or even before? Maybe we should have done, but then there was always Mulder to ensure we didn't sleep too long. IN the end it was nearly half six by the time we gave in and got up, fed the cats and made breakfast. It was a dull, grey morning but that could be a good thing, right? Not so hot on old London town, or so we hoped. I checked on the train times only to find that there were no trains from down the hill at Martin Mill, so that meant going into Dover, which meant either stumping up the cost of parking or find somewhere free.
We find a place along Priory Gate Road, whilst I try to park, Jools goes to buy tickets, as we have only a few minutes before we leave, and we have yet to have breakfast! I think we could have got something from the station buffet, but decide against it, and instead climb aboard the train and take a place around one of the tables in the front coach, ready to leave.
You know the trip by now, so I won't go into details. I look out the windows, always finding something new to look at, whilst JOols does some crocheting on the squares for the blanket she is making. And in this way we go through Kent, into Essex and into the tunnel to Stratford.
We get out, and go up to the concourse and have breakfast where I normally stop when I'm on my way to Denmark. We have coffee and baguette melt things, which is mighty fine indeed, and sets us up. To get to Stratford regional station, we walk through the shopping centre, and it really is horrific to see such a cathedral to commercialism. I mean I have no problem with shops and shopping, I like shopping. But three laevels of glittering and shiny emporiums, all selling pretty much what could be described as designer gear, and all of it pretty much looking very uncomfortable. Maybe its what makes people happy. Maybe not. And it goes on for ages until we get to the broken automatic doors and onto the bridge over the Great Eastern Main Line; but any thought of looking at the trains going back and forth were dashes as every glass panel had been covered up with advertising for Citroen cars. Do we really need all this? Is this public or private space? I know the shopping centre is private, but this is just silly now.
On the Jubilee Line we get a carriage to ourselves, at least for a while, and wait for it to leave. The line runs beside the DLR line, at least to Canning Town, then it dives underground, and in the non-air conditioned carriages, its pretty warm.
We get off at London Bridge, with the hope of seeing the new concourse beneath the Southeastern platofrms, but we can only find our way to the Southern terminal platforms, and for a change, there was no strikes so all seemed to be working well. Saying that, we could find no signs for toilets, and so set out towards the bridge itself, to cross into the City, where there were some public conveniences near to the Monument. It seems that the modern world means less public conveniences, who says this should be? Phillip K. Dick didn't see that one coming.
Once in The City, the plan went out the window as usual, and I began the usual trudge round the City churches that are usually closed. Just the other side of Lloyds and in the shadow of the Gherkin, sits St Andrew Undershaft, not a small church, but dwarfed by the modern buildings that have risen around it. It is also partially hidden by the queues waiting to go into The Gherkin, usually the most popular building in Open House, and for which most people waiting will not get in to. We tried the first year and gave up when we found we were going to have to wait at least six hours and with no guarantee we would get in.
But we ask if we could get through the line, and find the door to the church open, and so we walk in. What greets us is an ancient church, but done with a modern makeover; ancient walls, and new wooden floor and seating. We were given a warm welcome, but for a moment I was just stunned to be inside, this being the first time I had even found the church open. Regular tours are taking place, but I decline one to go around myself and see if I can see the history of the old building.
I am met by one of the guides, who has already spoken to Jools, and asks me about why I am here. I can't really answer, even when put into the context of the Kent Church Project, because, why do I do that? What will I do with the thousands of images? I have to say, I am not sure. But I have a desire to see history, and to see inside something built by a name we all know, Sir Christopher Wren, a link to him and the Great Fire.
We are all looking for meaning in life, I am, and those who came before me are. I may have a modern scientific outlook, but still, why have I spent the last eight years of my life visiting 300 or so Kent churches, why do I re-visit the same places every year looking for orchids? Well, I enjoy it, and maybe that's enough.
I decry the enforced closure of St Peter Upon Cornhill to all those that its custodians allow inside; why should that be? It is a place of historic importance to London and England, why not allow all to see? I tell her of The Friends of City Churches, whose volunteers enable many churches to be opened at least one day a week, and could that not be extended to St Peter? She agrees that it should.
I take my shots, as usual, and we leave.
Up Cornhill we come to another church, not one I expected to see, but clearly is open; so we go inside. St Mary Cree is a delight, empty apart from us and the volunteer quietly reading near the door. It is a triumph to be honest, and unlike At Andrew, I can go round, seeing all what I want to see. Another understated City church, and a haven of gold, peace and light among the ugliness of the modern City outside.
I had been told in St Andrew that St Helen's in Bishopgate would be open. It was just a short walk, according to the map. IN fact, I didn't realise how close, and from St Andrew you could almost touch St Heneln's, but through narrow streets and lanes, we reach St Helen's, and indeed the door was open.
We go inside, and are greeted with the most extraodinary interior; a double nave, and also a church that survived both the Great Fire and the Blitz did not fare so well at the hands of the IRA who managed to bomb it twice at the beginning of the 1990s. So it has been restored, but the people who run it, St Andrews and St Peter Uopn Cornhill had had it done to meet their needs. Not to say it isn't a fine and unusual church, it is, but it has something of a sports hall about it, even with those 13th century walls. And it was wildly popular, with hundreds of people being taken round in tours, and over the state of the art system, a description of the church, and how it varies from the traditional Anglican churches. I run round getting shots, inbetween tours passing by.
So, three new City churches in one day. Won't be able to say that again I think!
We walk back to Bank station and catch a train to Chancery Lane to where there is a Tudor hall, part of a college, and is open. We follow the signs from the station, only to find them disappear once we get onto street level. We stop at a juice bar for some squeezed fruit and to consult a map. I am sure the college is just along the steet, and indeed this is the case.
We walk through a gateway, and soon have left the modern world behind. Apart from the hall, the ancient buildings have been lost, but Gresham College is still a place of learning, and offers free lectures to all, and they are all available online. We attend an intoroduction in the hall, and marvel at the surroundings. The college goes back to the 14th century, and its founder came from Norfolk. See, not such a bad place after all!
Where should we go now? Well, I consult the list, and a considerable journey away is a Gothic masterpiece. In order to get there and be able to see other buildings beyond that, we take a cab. We flag a taxi down, and despite telling his where we wanted to go, he latched onto the station at Warwich Avenue, and being the site of a driver's rest, he knew that, and would take no answer on the offer of the postcode for the church.
He drops us off outside the tube station, and after some orientation we find our way on the A to Z, and make our way over the canal at Little Venice.
After a short walk we realise we are hungry, and see a pub-cum-theatre on the other side of the road. We go in, and despite sloe service we order lunch and a drink. I have fish and chips whilst Jools had burger with cheese and yet more meat. It comes and is good, for London.
Once we had eaten, we walk farther along the road, at the edge of a 60s housing estate, then down a dip and over a playing field was St Mary Magdalene. A mighty Gothic pile, some child's nightmare maybe. Inside it was all that and more, a higher than high church, lit with candles and incense sticks. On the walls there were the stations of the cross. Everywhere were altars and icons, making this the most Catholic of CofE church I have seen. And yet there was one further glory to see: in the crypt, a chapel, covered in gold and idols, as Catholic as it is possible to get. I am not Christian or religious, but this plethora of sects is bewildering, high, low, Baptist, strict, non-conformist and so on. Its the same God, no? Be good, you yourself and others and be saved, is that not the message of Jesus?
We could have gone on. Admiralty Building was next, but I was done, and so we walked back to Warwick Avenue; we did not see Duffy, we flag a cab down and he takes us back to St Pancras, arriving ten minutes before the departure to Dover. We go upstairs to the platofrm, and find a seat. Phew, going home.
The tript o Ashford was quiet and usual enough. But there a group of four, two couples, gets on, with carry outs and drink quickly and are loud. Who am I to judge how people spend their spare time, but do anyway. I listen to their loud conversation as one can of vodka/red bull is downed, and other started. There are going to Folkestone for a night of more drinking, apparently. They are looking forward to a concert by UB40 in a few eeks time, and all seem to live for drunken fun. But who am I to judge?
They get off at Folkestone Central, and silence returns to the train. We get off at Dover, walk to the car and drive home. The football had ended, Norwich had won in Nottingham, whichw as good news and spared me all the stress of following the game via the radio and twitter.
We have cheese and crackers for supper, I watch the football on TV, and the just gone full moon rises, partially hidden behind light cloud.
Another fine day comes to an end.
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 area here near Anlong Veng (Dangrek Mountains) was the last stronghold of the Khmer Rouge and many people here used to be Khmer Rouge or supporting them.
To my very surprise, I learned that his followers picked out pieces of his bones which were not cremated for good luck. Even today, locals pray at the site, asking for blessings of luck, happiness and even protection from malaria. You can see the incense sticks and the donation box at the site.
Remember, he was a true dictator with the blood of over one million Cambodians on his hands.
On the night of April 15, 1998 the Voice of America announced that the Khmer Rouge had agreed to turn Pol Pot over to an international tribunal. According to his wife, he died in his bed later in the night while waiting to be moved to another location. Ta Mok claimed that his death was due to heart failure. Despite government requests to inspect the body, it was cremated a few days later at Anlong Veng in the Khmer Rouge zone, raising suspicions that he committed suicide.
Source: en.wikipedia.org/wiki/Pol_Pot
The century-old incense-making village of Quảng Phú Cầu lies in Ung Hoa district, a 35-kilometer ride from the center of Hanoi. An indispensable religious-spiritual object of the Vietnamese worshipping culture, burning incense is believed to be the channel of communication to their ancestors in the spiritual realm, and thus has become a deeply-rooted Vietnamese custom.
As sending prayers to ancestors has been a frequent activity in many Vietnamese festivals, death anniversary, and notably Tet, business remains lively all year round and especially flourishing during the holiday season for Quảng Phú Cầu, along with many other incense making villages across the country.
Incense sticks take a sequence of processing steps before turning into quality products fit for consumption and exporting to foreign countries. From carefully quality checking steps for bamboos — the main material for incense sticks, blending aromatic incense paste, to dyeing bamboo sticks in the signature pink dye, the art of making incense sticks is both a staple of the authentic, genuine lifestyle in Quảng Phú Cầu village and a feast for the eyes. Pic © Rajesh Pamnani 2022
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.
amazinglanka.com/wp/ruwanveli-maha-seya-2/
He commenced the work on the full moon day of Vesak. Having got the inscribed pillar removed, the ruler had the site of the thupa (Stupa) there dug to the depth of seven cubits (about 17 ½ feet) so as to make it firm in various ways.
He who knew the disadvantages, had round stones brought there by warriors and had them broken with hammers; then for the sake of firmness of the site, he had the crushed stones stamped down by elephants with feet covered in leather, he had the butter clay spread there over the layer of stone.
The king had bricks laid over the clay, rough plaster over it, quartz over that, a network of iron over it and , above that fragrant marumba. The king had crystal spread over that and , over the crystal, stones. Everywhere in work was the clay called butter-clay. With the resin of the wood-apple mixed in mercury, a bronze plate, eight finger breadth thick, was laid over the stones.
The king had a silver plate, seven finger-breadth thick, laid over it with arsenic mixed in oil of sesamum. This is how the chronicle Mahavamsa describes the preparatory efforts for the building of the Great Stupa; the Ratnamali Mahathupa popularly known as the Ruwanweli Mahasaya and perhaps the most venerated amongst all the stupas of Lanka.
Even today the giant edifice astounds builders. Its great immensity soaring high into the sky built in a day where technology was mainly man power.
It was built by the famous Dutugemunu , the warrior king and the great hero of the Sinhalese people during his reign between 161- 137 BC on a site believed to have been consecrated by Mahinda Mahathera and marked by a pillar inscription by king Devanampiyatissa (250 -210 BC).
Further description of the foundation ceremony says that for the foundation ceremony alone participated many thousands of Bhikkhus from various countries including monks from Alexandria.
The king also ordered that “no one should work without wages.” So saying he arranged that 1600,000 kahapanas, many garments, various ornaments, soft and hard food with beverages, perfumes, garlands, molasses etc. and the five kinds of fresheners be made available saying “let one work as one desires and take them as one desires”. Royal officers inspected accordingly.
However the stupa cost him 6.4 million coins in wages alone not counting other expenditure. His luck was such that he found a rich vein of silver from Ridigama to cover his expenses.
Sadly king Dutugemunu died before the completion of the stupa. While the work was going on the king fell ill and he sent for his brother Sadatissa and told him to complete the work. Sadatissa seeing that his brother’s end was close, covered the unfinished dome with a covering of white cloth taking pains to cleverly camouflage the unfinished structure to resemble the completed stupa. And so when the dying monarch was brought in a palanquin and beheld what he believed to be the completed superstructure he “became glad at heart”. After Dutugemunu’s death Sadatissa finished the work of the stupa.
Originally the stupa was constructed in the bubble shape. However the stupa continued to be embellished and renovated by successive kings who added further conveniences to the superstructure. For eg- king Lanjatissa (119-109 BC) faced the terraces with limestone blocks.
Kallatanaga (109 – 103 BC) made the sand court yard. Bhatikabhaya (19 BC – 9 AC) built two railings, one on the summit of the dome and the other around the topmost terrace and renewed the plaster work. Amandagamini Abhaya (22 -311) reconstructed the railings and added a second umbrella over the existing one. Sirinaga (195 – 251) reconstructed and gilded the umbrella. Samghatissa (247 -251) gilded the umbrella and put a ring of crystal on it and fixed four great gems on the four sides of the hataras-kotuva. Mittasena ( 432 ) made a gateway through the elephant wall.
Dhatusena (459 -477) restored and gilded the umbrella, embellished it with a precious stone and added decorative work. Mahanaga (573 – 575 AC) restored the stucco work, built the Hatthivedi, the elephant railing and renovated paintings. Aggabodhi I (575 -608 AC) installed an umbrella of stone. Parakramabahu I (1153 – 1186 AC) restored the stupa to its original height.
Nissanka Malla (1187 -1196 AC) carried out repairs and erected a stone replica of the stupa on the platform. However by the 19th century the Ruwanweliseya was in ruins and for the first time utterly neglected with the jungle growing on it.
In 1893 the work of reconstruction was begum by Rev. Naranvita Sumanasara thero and later continued by the Sri Ratnamali Chaityavardhana Society.Presently after several renovations and reconstructions the Ruwanwelisaya rises to the height of 350 feet with a diameter of 300 feet.
The height of the golden pinnacle and the crystal is 25 feet. The famous hasti-prakara or the elephant wall upholding the dagoba platform is a simulation of a line of elephants in front view. Some believe that they had real ivory tusks in the past. At each of the cardinal points is a Vahalkada. Some ancient statues and stone work are kept on the paved stone courtyard and in the shrine room.
These include the statue of Queen Vihara Maha devi, the mother of king Dutugemunu. The present principal approach to the Ruwanweliseya is from the east.
If you are lucky to spend a poya full moon night in its precincts it is an experience to treasure. The night is cool with a slight chill breeze so much in contrast to the warm uncomfortable rajarata mornings.
The delicate scent of the ollu, nelum, manel flowers carried by the devotees; the pungent smell of the hadunkuru or the smoking incense sticks; the white clad devotees as they sit quietly in meditation or make their subdued veneration at the four altars; and above it all the majestic, super-white, gigantic Ruwanweli so fair against a moonlit, star-sprinkled, jet night.
A lost and an unidentified world
All around the Ruwanweliseya are ruins of buildings mostly unidentified which have not been excavated or conserved. The few buildings which have been recognized have mostly been identified by their architectural features.
An early morning stroll in this area through forests of lost columns, stonework, elaborate carvings, ponds and pathways is overwhelming. Many are the mounds yet to be excavated. More are the ruins to be exposed of maybe monastic buildings, hospitals and sacred edifices. But they all lie silent; an ancient world lost under the today. Chattering monkeys, lively squirrels, colourful lizards, birds and butterflies that abound the premises seemingly the only occupants dependent on these holy precincts now, where massive shade trees, delicate wild flowers, soft green grass and sweet wild berries grow and flourish.
Monastery buildings
North of the Ruwanweliseya and between the Thuparama are found the ruins of some buildings thought to be of an ancient monastery.
A stone balustrade found on the main structure carries unique sculptures. Professor Parnavitana details that amongst the carvings can be recognized trees, cave temples, animals such as the mongoose and birds with human heads. One detail of the sculpture found on the outer face of the balustrade on the southern side is very much like the famous sculpture of “horse and man” at Isurumuniya. He concludes that these sculptures depicted some definite scenes and were not casually carved.
Ramsimalaka – The Convocation Hall
In close proximity to the Ruwanweliseya (in front of the Lovamaha Pasada) is an ancient building popularly known as the Ramsimalaka which is believed to have been the Sannipatasala or the Convocation Hall of the monks of the Mahavihara. There is evidence that this building had eight rows of pillars with ten pillars in each row but with no walls in between them. As such scholars believe that this building would have been an open structure. Panhambamalaka – Where Elder Mahinda’s body lay in state.
Between the Ruvanveliseya and the Lovamaha Prasada the terraced space is known as the Panhambamalaka or the Panamba maluwa. This is believed to be the place where the body of the great Thera Mahinda lay in state before cremation.
It is also the place where the Maha-vihara monks assembled to distribute the four requisites the monks receive, namely robes, alms, living quarters and medicine.
Catussala or the Alms Hall
Adjoining the Panhambamalaka is the alms hall called the Catussal of the monks of the Mahavihara, built by king Devanampiyatissa in the 3rd century BC.
This building is found to contain the same architectural features of alms hall found at Mihintale. A rice boat found here measures forty five feet long and is believed to have been capable of providing alms to at least three thousand monks. The same number recorded by the 5th century Chinese monk Fa- Hsien as living in the Mahavihara
Kujjatissa Pabata vihara or the tomb of Elara
An unidentified small stupa built on a square platform is prominent enough. According to legend the site is associated with the life story of a monk named Kujjatissa who possessed psychic powers. Yet others believe that according to its situation being by the side of the ancient path leading to the southern gate of the citadel, it is the tomb of king Elara.
Hospital complex
In front of the eastern gate of the Ruwanweliseya are found ruins of some buildings believed to be that of a hospital. A beth oruva or medicinal trough was found as evidence here.
by Kishanie S. Fernando
Daily Mirror
A man re-arranges incense sticks in a burner in front of the Fudo-do temple, near the Golden Pavilion in Kyoto.
Diwali (also spelled Devali in certain regions) or Deepavali, popularly known as the "festival of lights", is an important five-day festival in Hinduism, Jainism, and Sikhism, occurring between mid-October and mid-November. For Hindus, Diwali is the most important festival of the year and is celebrated in families by performing traditional activities together in their homes. Deepavali is an official holiday in India, Nepal, Sri Lanka, Myanmar, Mauritius, Guyana, Trinidad & Tobago, Suriname, Malaysia, Singapore, and Fiji.
The name Diwali is itself a contraction of the word "Deepavali" (Sanskrit: दीपावली Dīpāvalī), which translates into "row of lamps". Diwali involves the lighting of small clay lamps (diyas, or dīpa in Sanskrit: दीप) filled with oil to signify the triumph of good over evil. During Diwali, all the celebrants wear new clothes and share sweets and snacks with family members and friends. Most Indian business communities begin the financial year on the first day of Diwali.
Diwali commemorates the return of Lord Rama along with Sita and Lakshman from his fourteen-year-long exile and vanquishing the demon-king Ravana. In joyous celebration of the return of their king, the people of Ayodhya, the Capital of Rama, illuminated the kingdom with earthen diyas (oil lamps) and burst crackers.
In Jainism, Diwali marks the attainment of moksha or nirvana by Mahavira in 527 BC. In Sikhism, Deepavali commemorates the return of Guru Har Gobind Ji to Amritsar after freeing 52 Hindu kings imprisoned in Fort Gwalior by defeating Emperor Jahangir; the people lit candles and diyas to celebrate his return. This is the reason Sikhs also refer to Deepavali as Bandi Chhorh Divas, "the day of release of detainees". Deepavali is widely celebrated in both India and Nepal.
The first day of the festival Naraka Chaturdasi marks the vanquishing of the demon Naraka by Lord Krishna and his wife Satyabhama. Amavasya, the second day of Deepawali, marks the worship of Lakshmi, the goddess of wealth in her most benevolent mood, fulfilling the wishes of her devotees. Amavasya also tells the story of Lord Vishnu, who in his dwarf incarnation vanquished the tyrant Bali, and banished him to hell. Bali was allowed to return to earth once a year, to light millions of lamps to dispel the darkness and ignorance, and spread the radiance of love and wisdom. It is on the third day of Deepawali — Kartika Shudda Padyami - that Bali steps out of hell and rules the earth according to the boon given by Lord Vishnu. The fourth day is referred to as Yama Dvitiya (also called Bhai Dooj) and on this day sisters invite
In each legend, myth and story of Deepawali lies the significance of the victory of good over evil; and it is with each Deepawali and the lights that illuminate our homes and hearts, that this simple truth finds new reason and hope. From darkness unto light — the light that empowers us to commit ourselves to good deeds, that which brings us closer to divinity. During Diwali, lights illuminate every corner of India and the scent of incense sticks hangs in the air, mingled with the sounds of fire-crackers, joy, togetherness and hope. Diwali is celebrated around the globe. Outside India, it is more than a Hindu festival, it's a celebration of South-Asian identities.
While Deepavali is popularly known as the "festival of lights", the most significant spiritual meaning is "the awareness of the inner light". Central to Hindu philosophy is the assertion that there is something beyond the physical body and mind which is pure, infinite, and eternal, called the Atman. The celebration of Deepavali as the "victory of good over evil", refers to the light of higher knowledge dispelling all ignorance, the ignorance that masks one's true nature, not as the body, but as the unchanging, infinite, immanent and transcendent reality. With this awakening comes compassion and the awareness of the oneness of all things (higher knowledge). This brings Ananda (joy or peace). Just as we celebrate the birth of our physical being, Deepavali is the celebration of this Inner Light.
While the story behind Deepavali and the manner of celebration varies from region to region (festive fireworks, worship, lights, sharing of sweets), the essence is the same – to rejoice in the Inner Light (Atman) or the underlying Reality of all things (Brahman).
Source : en.wikipedia.org/wiki/Diwali
The other day I wanted to go out and take some pictures. Unfortunately it was raining and so I had to look for an alternative. I always wanted to try taking pictures of smoke. So, I played around with some incense sticks and black fabric.
Assignment: PCA69-- SMOKE.
Deadline: June 21st, this is a one week assignment start date June 14th
Image Tag: pca69
From: Fastball95---- Steve
Been wanting to so something with Smoke for a while now and I guess this is the best motivation.
Here is how I am going to define SMOKE for this one, so everyone can play....
Smoke is any particles in the air. Mist, FOG, Dust in the Sunlight coming through a window. Anything where you get those particles reflecting light.. I want to exclude anything like water drops or water spray,, those are too big.
I also want to allow the full gambit of creativity here, so Photoshop work is TOTALLY acceptable for those who are software manipulation oriented. Point and Shoot guys can get the candles out and snuff the flame, DSLR crew,, knock yourself out with long or short glass out.
Main thing here is to really look and work the relationship between the light source and the smoke to get max effect and mood. Feel free to use artificial light, colored light, natural light, bright sun or very low light and long exposures, BUT be very aware of the relationship between the light and the fog here.
WIT
When I read the assignment brief I ground my teeth, thinking of all the times I have tried to take shots of a misty morning or a hazy sea - and been disappointed with the result. Smart cameras can be a real pain at times, 'correcting' what wasn't wrong in the first place!
So I thought I would approach this one in a new way and see what happened.
First get the smoke.
Cigarette smoke was not sufficiently plentiful - so I looked out the incense sticks we bought when up in the mountains at Aviemore in the Scottish Highlands (Cairngorms). I lit the sandalwood one.
Good smoke!
Now I thought I would get a black box and get the smoke to waft past it and in it and get a great picture. Wrong! Turned the ISO up to get some speed (not enough) because I didn't want to use flash. All I got was hazy smoke and a grainy dirty brown box background. So I lifted the incense stick onto the table in the kitchen and noticed I got the light - and the TV in the background was a good neutral colour.
So I got the smoke picture I wanted.
Now I looked for a good background since the smoke on its own was OK - but not quite enough. So, a picture of my favourite town bus station in the evening was just what I wanted.
In PSE5, I simply layered the two and ended up with this composite.
Inhale deeply ~~~~~ ah!...
K8
exif
Camera: Nikon D50
Exposure: 0.004 sec (1/250)
Aperture: f/3.3
Focal Length: 60 mm
Exposure Bias: -4/3 EV
Flash: No Flash
Article sourced from
www.gsbkerala.com/satyanar.htm
Satya Narayan is the Narayan form of Lord Vishnu. The Lord in this form is considered an embodiment of truth. Satyanarayana is worshipped commonly by Hindus in their homes with family and friends, usually on a full moon (purnima) day of the month. In this puja called Satyanarayana Pooja, people worship by reciting the gracious story of Lord Satyanarayana. This story was originally told by Lord Vishnu himself to the sage Narada for the benefit of humankind.
This puja is conducted to ensure abundance in ones life. Many people carry out this puja immediately after or along with an auspicious occasion like a marriage or moving into a new house or any other success in life. The satyanarayan puja can be performed on any day. It is not a puja confined to any festivities. But Poornima (full moon day) or Sankranti are considered to be most auspicious day for this puja. Performing this puja in the evening is considered more appropriate. On the day of the puja, the devotee has to fast.
The prasad for this vrita is known as Sapaad which is prepared thus: Take an equal measure of rava, Milk, Ghee, Banana, Sugar ( the measure should be 1 1/4 or multiples thereof ) cook it till all mix into a paste.
The Pooja or Vrata
The vrata is explained in five chapters. The first or the introductory chapter deals with the timing of the vrata and the procedure to go about it. The remaining four chapters contain three stories to reassert the greatness and benevolence of the Almighty. The stories weave out such anecdotes, which reveal the significance of the vrata quite effectively. The vrata is also revealed in nine chapters in some books.
On the day of the vrata, it is required to fast and perform the pooja towards the evening. In a sacred pooja room, a new cloth has to be spread on an elevated platform. Rice about a Kg is to be spread on the cloth and in the centre and a kalash capped with a new cloth piece should be placed and on that the token or a small idol of the Lord has to be positioned. A Panchamruta (a mixture of ghee, milk, sugar, honey and curds) abhishekam has to be performed.
Vrata begins with the lighting of the lamp, a symbolic gesture of lighting the lamp of devotion in one's heart. Then we pray to Lord Ganesha, the dispeller of obstacles, Lakshmi, the giver of prosperity, Vishnu, the sustainer, Lord Shiva and Parvathi, the primordial couple who dance their way to cosmic rhythm, Sun God, the giver of good health, the nine planets and Ashtadikpaalakas including Lord Indra.
Shri Satyanarayana
Lord Ganesha and Panchaloka Paalakaas should be positioned to the north of the Kalasha and can be worshipped through areca nuts or almonds or turmeric pods or dry dates. Later, the nine planets should be worshipped by placing areca nuts on betel leaves followed by Lord Indra and other Dikpaalakaas. Later the Lord Satyanarayana's idol or image on betel leaf should be worshipped through panchamruta abhisheka. The pooja runs in ashtottara or satanaama attributes and culminates with haarathi and taamboolam. At the end of the vrata there is udvaasana, a formal way of concluding the pooja. The vrata can be performed by every devout individual by inviting brahmins, friends and relatives. The underlying spirit is to bring in as many people as possible into the divine cult.
Pooja Materials:
A book on the vrata (It is preferable to seek help of a purohit), a square platform, mango leaves, two new cloth pieces, kalasha, lord's idol or a photograph, turmeric, kumkum, panchamruta, six coconuts, prasada, four oil lamps, sandal paste, incense sticks, betel leaves, two garlands, areca nuts, turmeric pods, dry dates or almonds, camphor, offerings in form of cash or coins, tulsi leaves and flowers.
Satyanarayana Katha
CHAPTER 1
Shri Sathyanaranayana katha is from Skandha purana, Reva kaanda. Sutha Puraanikji was the narrator of these stories, in Neimishaaranya to the rishis lead by Shounakji who were performing a 1000 year yajna for the benefit of mankind.
Shounakaji and others now ask Suta Puranikji an important question. "When a man has a desire, how can he fulfill that ethically sound desire? By worshipping whom, by what vrita, or tapas? Please let us know.
Sutaji was pleased to know that this question they asked, was for the benefit of the mankind and not for their personal benefit, for, they had abandoned their homes and all desires. Sutaji said " this question was also asked by Devarshi Naradaji once to Lord Narayana Himself; Let me tell you that story.
Once Naradaji was traveling all over the worlds and finally came to Bhuloka, where he found almost everyone was suffering one or the other misery on account of their past Karmas and were not knowing how to extricate themselves from their untold miseries which were multiplying everyday on account of their ignorance. Being a Satjana his heart felt their agonies and immediately he reached Vaikunta, to Lord Narayana to find the right answer for getting the people out of their miseries. But when he sees the Lord, being a great devotee of the Lord, he forgets his purpose and starts praising the Lord. The Lord Narayana smiles at him and asks the purpose of his visit, knowing that normally Naradaji does not visit Him without a purpose. Naradaji tells Him what he saw and requests Him a panacea for all such miseries. The Lord is now happy at this question of Naradaji because of Naradaji’s intention of benefiting the world by seeking the right answer. The Lord said:
Yes, there is a vrita called Sri Satyanarayana vrita which is not known to the inhabitants of the Bhuloka. This is a secret and yet since your interest is the benefit of the mankind, I shall narrate to you this vrita. This can be performed by anyone (anyone means it does not need an expert or a priest to worship the Lord - ANYONE of any caste, community, creed can worship the Lord directly) and very easily. One who does this, will get all the benefits and the pleasures of this world and will eventually get Moksha too. Now Narada wants to know more details of this vrita. The Lord says, this can be done any day, in the evening. Gather friends and relatives and perform this vrita with faith and devotion. The night should be spent in Bhajans and praise of the Lord. All those attending Pooja should be given food and respect. Thus the performer will get all his wishes fulfilled.
CHAPTER 2
Sri Lord Narayana tells Narada the further story:
There was an old and poor Brahmin in the city of Kashi. He was a man of virtue and yet extremely poor and was always begging for the next meal. Since the Lord is Viprapriya- (Brahmana priya means Lover of Brahmana- Brahmana means anyone on the devotional path ) - He came in the guise of an old Brahmin and accosted him " Tell me my friend, what ails you?". The brahmin replied "I am an old and very poor man and I shall be grateful if you can tell me how to get rid of this poverty of mine which does not seem to leave me". The Lord replied "Why don’t you perform Sri Satyanarayana Vrita", and He told him how to perform the Vrita.
The poor man now desires to do this vrita and thinking over these thoughts of the Lord he goes to bed. He could not sleep on account of these thoughts. Again in the morning he had same thoughts and he says to himself, "whatever I earn today by begging I shall use it to perform the vrita". Since the Lord likes such feelings, (Bhavena Devam - Lord does not want our material possessions, he is won by the genuineness of our feelings) that day, he got plenty of money while begging and thus pleased, he took the necessary articles and performed the vrita.
Very soon he became rich and had all the things of the world and thereafter he started performing the vrita every month and thus he enjoyed all the pleasures of the world and finally reached the Moksha too.
Now Shaunakji and other rishis want to know how this vrita spread in the world. Also those who have heard the story, what benefits they got.
Sutaji replies:
Once when this brahmin was performing the Sri Satyanarayana Pooja there came to his house a woodcutter. He saw the pooja and wanted to know what it is and what are its fruits. The brahmin said, "This is Sri Satyanarayana Pooja. Whatever desires you have in your mind will be fulfilled by performing this vrita. My own poverty and troubles all ended by my very decision to perform this vrita". On hearing this, the woodcutter prostrates to the Lord, takes prasad, and decides to perform this pooja next day. He thought in his mind, "Whatever amount I get from the sale of the wood tomorrow, I will use it for the performance of the vrita." That day he sold the wood for twice the price. Happily thinking of the Lord Satyanarayana he proceeds to do this pooja, inviting his friends and relatives. Thus performing regularly he became rich and happy and finally reached Satyaloka.
CHAPTER III
Suta Puranikji continues the story:
Once there was a good king called Ulkamukha. He was wedded to truth and sense- control. Everyday he used to go to the temple, worship the Lord, distribute alms to the needy. Once he was performing Sri Satyanarayana Vrita on the banks of a river. At that time there came a merchant in a ship loaded with precious goods. He approached the king and wanted to know the details of the pooja and also its fruits. The king said, "My friend, what we are doing is a vrita called Sri Satyanarayana Pooja. This is done with a desire to have progeny, wealth, property, etc. By this, we are worshipping Lord Narayana or Mahavishnu".
The merchant said, "Please tell me the details as to how to perform this vrita, because I would like to have children whom I have not been fortunate to have till now." The king tells him the details of the vrita and the merchant returns home. He tells the details to his wife and they decide to perform this vrita if they get a child. Sometime later his wife Lilavathi became pregnant and delivered a girl who was named Kalavathi. Lilavathi reminded her husband about the vrita and he kept postponing it, till his daughter grew of age and was ready to be married. The father finds a suitable groom and marries her off and again forgot to perform the vrita although he had decided to do so at the time of marriage of his daughtier. The Lord now wanted to remind him.
The merchant and his son-in-law were in a city called Ratnasara where king Chandrakethu was ruling. There was a theft at the palace and the burglars were chased by the police. The running burglar saw these two merchants resting near a tree and they left the booty with them and ran off. The police caught the two merchants with the stolen goods and they were straight away sent to the prison. The king himself overlooked to investigate. It is this time the merchant suddenly realized that this was all on account of his forgetting the promise to the Lord. At about this time, back home both Lilavathi and her daughter Kalavathi lost all their belongings due to thefts at home and were rendered beggars. During one such wandering trying to find some food Kalavathi sees Sri Satyanarayana Pooja being performed at one house. She goes in, hears the story and details and returns to tell her mother what had taken place. Lilavathi now knows that it is their forgetting to do the Pooja that had created all these problems. Next day she calls her relatives and friends and performs the Pooja, begs for forgiveness. Accordingly, the king had a dream that the merchants were innocent and he releases them on inquiry and gives them lot of wealth.
CHAPTER IV
Suta Puranik continues the story:
Thus released from the custody the merchants were returning home. They reached the outskirts of their town in their ship. The Lord in order to test them again comes in the form of an old Sanyasi and inquires as to what the load in the ship is. The merchant bluffs and says that it contains dried leaves. The sanyasi says "Tathasthu". When the merchant returns to the ship he finds that it does contain now dried leaves only. He swoons and when he regains his consciousness he realizes that these are doings of the Sanyasi whom he had cursorily dismissed earlier. He seeks him out and begs for forgiveness. The ever-merciful Lord again forgives him. Now that the merchant was near the town, he sends a messenger in advance to Lilavathi to let her know that they are on their way home. Lilavathi. tells her daughter to complete the Satyanarayana poola they were performing and goes ahead to meet her husband. Kalavathi does the pooja, but in a hurry to meet her husband, she neglects to take the prasad; and when she nears the anchorage, she does not find the ship nor her husband! It looked to her that they both sank/drowned. She swoons and now she decides to die.
The merchant thinks that this must be on account of some fault on their part in ignoring the Lord and then and there he decides to do the pooja as a part of expiation from his side for mistakes of omission or commission. The Lord now pleased makes him realize that it is the daughter’s oversight in not accepting the prasad that has created this problem and now if she goes and takes the prasad, everything would be all right.
Kalavathi returned to the altar and took prasad with all faith and reverence. And her husband returned and from then onwards, they all performed Sri Sathyanarayana Pooja regularly till the end of their life and finally after death, they reached Satyaloka.
CHAPTER V
This chapter is important to us as we too tend to behave like the King in this story, in respect of pooja/worship/religion of other people.
In the woods of Nemisharanya, Suta Puranikji continued the story narrating the greatness of this Vrita to Shounaka and other Rishies:
In ancient times, there was a King called Angadwaja. He was good and righteous king {like all of us, good and righteous}; and yet once he ignored the prasad of Sri Satyanarayana Pooja and had to suffer very dearly to that.
Once this king was returning from hunting the wild animals in the forests. He rested under a tree for a while. A few yards away a small group of cowherd boys had gathered to perform Sri Satyanarayana Pooja. They did not have anything except their daily bread they were carrying and a talkative among them became their priest and they played the game of doing a pooja. At the end of the pooja, they offered the prasad to the king who, out of contempt and pride, left it untouched.
Pretty soon all his wealth was lost; his hundred children died and he now knew, being a good king that this was all on account of his contempt for those children’s pooja. Without any delay the king goes to that very spot where the cowherd boys had done the pooja earlier, gathers them all around him performs the Satyanarayana Pooja with all shraddha and bhakthi.
Thus the king again got all his wealth and kingdom and kins.
Suta now tells the Rishis that this Vrita is specially effective in Kaliyuga. This Lord of Lord is called Ishwara, Satyadeva, Sri Satyanarayana and by many other names. He alone has taken names and forms.
One who reads this story and one who hears it will be rid of all woes and difficulties.
Types of Vishnu
Pauranikas consider Narayana or Vishnu as of four types based on the celestial world — 1. The Lord of Paradise (Vaikunta Nadha) 2. The Lord-lying on the ocean of celestial waters (Anantha sayana) 3. The inhabitant of the white Island (Sweta Dvipa), and 4. The Lord of Goloka (Golokanadha).
1. Jyotistoma is the region of light from the earth to 21st plane. It is full of fire. It is Vaikuntanatha–the first sacrifice. "This fiery and divine sacrifice (Swaha yajna) consists of 34 utterances and the 21st plane is its establishment (Pratista). Thirty three fire-deities related to Vishnu are its limbs. The whole of these deities is Vaikuntanadha Vishnu". He will be awake for eight months and sleeps for four months. During these four months, there will be dominating influence of water and the fire becomes recessive. So the sacrifices will be destroyed. This is what we call ‘sleep of Vishnu’.
2. Dwadasa yajna extends from 22nd plane to 33rd plane which is full of spiritual water (Apa) and essence (Soma). This is the Lord Vishnu lying on the Ocean. He is said to be having 34 utterances including Prajapati (Pridvi). He is the second Vishnu. Vishnu of the celestial ocean, always sleeps and often awakes. The Splendour of ignition (Agni) is the waking state. The ignition will be weak in the sea and hence the sacrifice will be slackened. The word ‘sleep’ denotes this condition.
3. Navaha yajna starts from 17th plane to 25th plane. The sacrificial Vishnu of this region will have white island as His habitation but is established at 21st level. He is the third Vishnu called Lord Satyanarayana. As Satyanarayana will always be in self-mortification, He is always awake. He never sleeps since Navaha yajna at 21st plane uniformly continues throughout the year.
4. Pancha Dasaha yajna extends from 22nd plane to 36th plane. It is uttered by Sama Veda. Here Gau spirits are born and hence is called Gosava or Goloka. It is established at 29th plane. This region is pervaded by the ocean, a form of spiritual water, air and essence. The spiritual waters are the form of cows (Gua Spirits). They are of spreading nature. This is the supreme world (Paramesti). Lord Vishnu of this world is called Govinda.
These four divisions belong to Pridvi that extends up to 33rd level. Thus they are the four dwellings places of the four types of Vishnu. The Lord of Goloka has two arms but the others are four-armed.
Lord Satyanarayana owing to utter blackness is white in complexion. The other three are blue in color. As Satyanarayana is an embodiment of Tapas, (self- mortification). He has no wife.
The others forms have wives. Govinda Vishnu’s wife is Radha. She is the splendour of Vak (Vagjyoti) and carrier of wisdom (Janana Vahini). Lakshmi is the consort of Samudra Seyana Vishnu. She should be considered as Padma (Pridvi) born of the sea having the quality of terrestrial atoms (mrit paramanu lakshana). Vaikuntanatha has five wives – Pridvi, Tulasi, Ganga, Saraswati and Lakshmi.
this is a good example of one of the traditions carried out in various areas of the country on this holiday. I can not take credit for this amazing photo though. We just had floats.
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. Governmental offices, corporations and other organizations also build much bigger and more elaborate rafts, and these are often judged in contests. In addition, fireworks and beauty contests take place during the festival.
Oil lamps are commonly used in Hindu temples as well as in home shrines. Generally the lamps used in temples are circular with places for five wicks. They are made of metal and either suspended on a chain or screwed onto a pedestal. There will usually be at least one lamp in each shrine, and the main shrine may contain several. Usually only one wick is lit, with all five burning only on festive occasions. The oil lamp is used in the Hindu ritual of Aarti.
In this home shrine, the style of lamp is different, containing only one wick. There is usually a piece of metal that forms the back of the lamp, which has a picture of a Hindu deity embossed on it. In many houses, the lamp burns all day, but in other homes, it is lit at sundown. The lamp in the home shrine is supposed to be lit before any other lights are turned on at night.
A hand-held oil lamp or incense sticks (lit from the lamp) are also used during the Hindu puja ceremony. In the North of India, a five-wick lamp is used, usually fueled with ghee. On special occasions, various other lamps may be used for puja, the most elaborate having several tiers of wicks.
In South India, there are two types of oil lamps that are common as offerings in temples. They both have only one wick:
* Deepalakshmi, a brass lamp with a depiction of goddess Sri Lakshmi over the back piece. they are usually small-size.
* Paavai vilakku, a brass or bronze lamp in the form of a lady holding a vessel with her hands. This type of lamp comes in different sizes, from very small to almost life-size. There are also large stone versions of this lamp in Hindu temples of Tamil Nadu and Kerala, especially at the base of columns and flanking the entrance of temples.
Source - wikipedia
A gift for Ingrid. The lid has been removed to show the bed of sand that secures the incense in place while it burns. The sand can be changed if and when it fills with ash.
For about a decade I have been using these cheap incense caskets imported from India. They are not very good. For one thing, they are very poorly made, and I have had one or two of them virtually disintegrate shortly after receiving them. For another, it turns out it's not a great idea to burn incense inside a perforated container. Oils and pitch form on the inside of the container and add a nasty smoky odor to the sweet incense scent. I cannot recommend them.
Some years ago I saw Jeffrey Hollis' incense box here on Flickr and bought it through his Etsy store. I liked it so much I tried to buy another, but he had stopped making them. Ever since then I've been looking for the perfect incense casket, or failing that, designing one I can make myself. This is an example of v1.0 of my thinking.
First, I liked the idea of storing the sticks in the casket itself. This meant you didn't have to have cartons of incense laying around in your living room or wherever you burned incense. I thought of a number of ways you could make a little compartment with a door where you could keep the sticks, but finally I decided just separating the box into two parts was the simplest to make and to use.
Next, I wanted it to be easy to burn incense. Sadly, any incense burner that uses a tiny hole to accept the stick is difficult to use, especially at night, especially after you've been drinking. Years ago I burned incense in my office by filling a jar with sand and setting it on my desk, so a bed of sand is the solution I hit upon for holding the stick. You can buy decorative sand at Michaels and you can burn a lot of sticks before the sand gets so full of ash it needs to be discarded.
The incense casket is made from walnut that was thrown away as scrap by the door and window mill next door to us when our office was on Baker Street in Costa Mesa. I didn't do woodworking then, so I used to collect the hardwood scraps to burn in campfires in the desert. It was only recently I discovered this lovely walnut in a forgotten box of firewood I found while cleaning out my office warehouse. I still have enough for several more incense caskets.
My favorite quick and easy finish for most woods but especially walnut is reduced tung oil (mixed 1:1 with mineral spirits).
My next design (v2.0) will be made on my CNC router and will include a compartment for a Bic butane lighter as well as the incense sticks.
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
Taipei, Taiwan - July 27 2013: An Asian woman, with a young girl, burns insense sticks in a Buddhist temple in Taipei.
So i finally arrived back to Bangkok. I am currently staying with my aunt underneath a market and near Chinatown (Yaowarat) and Khao San Road.
Each morning, monk from nearby monasteries headed out in a single file, oldest first, carrying their alms bowls in front of them. Laypeople wait for them, sometimes kneeling, and place food, flowers or incense sticks in the bowls.
When i was in Isan near the border of Laos, me and my grandma often provides these monk with sticky rice and cooked fish.
Offering food is a meritorious act that also reminds us not to be greedy or selfish.
Incense sticks, a closed room and a flash snoot was what it took. A rebreather is what i wanted by the end of it, it didn't take long to fill with smoke.
Diwali (also spelled Devali in certain regions) or Deepavali, popularly known as the "festival of lights", is an important five-day festival in Hinduism, Jainism, and Sikhism, occurring between mid-October and mid-November. For Hindus, Diwali is the most important festival of the year and is celebrated in families by performing traditional activities together in their homes. Deepavali is an official holiday in India, Nepal, Sri Lanka, Myanmar, Mauritius, Guyana, Trinidad & Tobago, Suriname, Malaysia, Singapore, and Fiji.
The name Diwali is itself a contraction of the word "Deepavali" (Sanskrit: दीपावली Dīpāvalī), which translates into "row of lamps". Diwali involves the lighting of small clay lamps (diyas, or dīpa in Sanskrit: दीप) filled with oil to signify the triumph of good over evil. During Diwali, all the celebrants wear new clothes and share sweets and snacks with family members and friends. Most Indian business communities begin the financial year on the first day of Diwali.
Diwali commemorates the return of Lord Rama along with Sita and Lakshman from his fourteen-year-long exile and vanquishing the demon-king Ravana. In joyous celebration of the return of their king, the people of Ayodhya, the Capital of Rama, illuminated the kingdom with earthen diyas (oil lamps) and burst crackers.
In Jainism, Diwali marks the attainment of moksha or nirvana by Mahavira in 527 BC. In Sikhism, Deepavali commemorates the return of Guru Har Gobind Ji to Amritsar after freeing 52 Hindu kings imprisoned in Fort Gwalior by defeating Emperor Jahangir; the people lit candles and diyas to celebrate his return. This is the reason Sikhs also refer to Deepavali as Bandi Chhorh Divas, "the day of release of detainees". Deepavali is widely celebrated in both India and Nepal.
The first day of the festival Naraka Chaturdasi marks the vanquishing of the demon Naraka by Lord Krishna and his wife Satyabhama. Amavasya, the second day of Deepawali, marks the worship of Lakshmi, the goddess of wealth in her most benevolent mood, fulfilling the wishes of her devotees. Amavasya also tells the story of Lord Vishnu, who in his dwarf incarnation vanquished the tyrant Bali, and banished him to hell. Bali was allowed to return to earth once a year, to light millions of lamps to dispel the darkness and ignorance, and spread the radiance of love and wisdom. It is on the third day of Deepawali — Kartika Shudda Padyami - that Bali steps out of hell and rules the earth according to the boon given by Lord Vishnu. The fourth day is referred to as Yama Dvitiya (also called Bhai Dooj) and on this day sisters invite
In each legend, myth and story of Deepawali lies the significance of the victory of good over evil; and it is with each Deepawali and the lights that illuminate our homes and hearts, that this simple truth finds new reason and hope. From darkness unto light — the light that empowers us to commit ourselves to good deeds, that which brings us closer to divinity. During Diwali, lights illuminate every corner of India and the scent of incense sticks hangs in the air, mingled with the sounds of fire-crackers, joy, togetherness and hope. Diwali is celebrated around the globe. Outside India, it is more than a Hindu festival, it's a celebration of South-Asian identities.
While Deepavali is popularly known as the "festival of lights", the most significant spiritual meaning is "the awareness of the inner light". Central to Hindu philosophy is the assertion that there is something beyond the physical body and mind which is pure, infinite, and eternal, called the Atman. The celebration of Deepavali as the "victory of good over evil", refers to the light of higher knowledge dispelling all ignorance, the ignorance that masks one's true nature, not as the body, but as the unchanging, infinite, immanent and transcendent reality. With this awakening comes compassion and the awareness of the oneness of all things (higher knowledge). This brings Ananda (joy or peace). Just as we celebrate the birth of our physical being, Deepavali is the celebration of this Inner Light.
While the story behind Deepavali and the manner of celebration varies from region to region (festive fireworks, worship, lights, sharing of sweets), the essence is the same – to rejoice in the Inner Light (Atman) or the underlying Reality of all things (Brahman).
Source : en.wikipedia.org/wiki/Diwali
Same ornament as previous shot.
Shot in front of one of those 5 in one light reflector kits using the black piece for background.
Three incense sticks used for smoke effect.
An LED light panel on low power around in front plus on camera flash.
Many shots later this is the closest I got to getting smoke appearing to come off rear wheel.
Sengaku-ji Temple houses the graves of the 47 loyal retainers of Lord Asano, whose story was recently 'retold' in the 2013 movie 47 Ronin. The incidents resonate with the Japanese as it epitomises what it meant to be a samurai.
Putting aside the absurd embellishments and cultural mishmash of Hollywood's $175 milion flop, the actual Ako incident begins with two young daimyo lords being instructed by an older lord in the correct etiquette for the Tokugawa court. Historical details are not clear, and commercial issues (as the Ako clan held valuable salt fields) may have motivated the insults and the baiting. Using weapons at the Tokugawa court was forbidden, but the upshot was that Lord Asano Naganori, insulted by his older instructor, drew a dagger on Lord Kira Yoshinaka and attacked him. Kira was only slightly hurt but, questioned after the event, Asano's only regret was that he failed to kill Kira, a poor defence as Asano was then required to commit seppuku. The Ako clan and army were disbanded and the samurai, being masterless, became ronin.
Kira had an obnoxious personality; and having escaped punishment was expecting a revenge attack. The loyal retainers' strategy was to hide their weapons and pretend to be shattered by the decision. Their leader, Ôishi Kuranosuke, left his wife and began a seeming life of dissipation while planning the attack that was to follow. More than a year later, on 14 December 1702, the 47 attacked Kira's mansion, taking his army by surprise, beheading Kira, and bringing the head to Asano's grave to avenge his death.
As the retainers had done what the code of the samurai demanded, the government's decision to order them to commit suicide by seppuku, which they did on 3 February 1703, was unpopular. The story has been kept alive in kabuki plays and films including Chushingura.
The graves of the 47 retainers are here. The green roof marks Ôishi's grave, and his son's grave is out of shot on left. Incense sticks can be seen on the graves. Lord Asano's grave is nearby, and there are museums on the grounds which have likenesses of the samurai and their personal effects.
In my opinion 47 Ronin is a strange beast because it links in mixed race (Keanu Reeves' character), fantastic monsters, a sorceress and a love story in a Hollywood way which alienates the most interested audience (Japanese) without broadening it. The witchcraft and monsters look more Chinese than Japanese, and the film was a disaster in Japan. On the plus side the story's history comes through (with plenty of added nonsense), the film is well paced, the acting good, and the special effects spectacular (although irrelevant). But what were they thinking..?
A narrow shop showing displaying religious related items in Hong Kong, from incense sticks (bottom) to joss paper (hanging in bags on the ceiling).
Learn more about at my travelog.
Diwali (also spelled Devali in certain regions) or Deepavali, popularly known as the "festival of lights", is an important five-day festival in Hinduism, Jainism, and Sikhism, occurring between mid-October and mid-November. For Hindus, Diwali is the most important festival of the year and is celebrated in families by performing traditional activities together in their homes. Deepavali is an official holiday in India, Nepal, Sri Lanka, Myanmar, Mauritius, Guyana, Trinidad & Tobago, Suriname, Malaysia, Singapore, and Fiji.
The name Diwali is itself a contraction of the word "Deepavali" (Sanskrit: दीपावली Dīpāvalī), which translates into "row of lamps". Diwali involves the lighting of small clay lamps (diyas, or dīpa in Sanskrit: दीप) filled with oil to signify the triumph of good over evil. During Diwali, all the celebrants wear new clothes and share sweets and snacks with family members and friends. Most Indian business communities begin the financial year on the first day of Diwali.
Diwali commemorates the return of Lord Rama along with Sita and Lakshman from his fourteen-year-long exile and vanquishing the demon-king Ravana. In joyous celebration of the return of their king, the people of Ayodhya, the Capital of Rama, illuminated the kingdom with earthen diyas (oil lamps) and burst crackers.
In Jainism, Diwali marks the attainment of moksha or nirvana by Mahavira in 527 BC. In Sikhism, Deepavali commemorates the return of Guru Har Gobind Ji to Amritsar after freeing 52 Hindu kings imprisoned in Fort Gwalior by defeating Emperor Jahangir; the people lit candles and diyas to celebrate his return. This is the reason Sikhs also refer to Deepavali as Bandi Chhorh Divas, "the day of release of detainees". Deepavali is widely celebrated in both India and Nepal.
The first day of the festival Naraka Chaturdasi marks the vanquishing of the demon Naraka by Lord Krishna and his wife Satyabhama. Amavasya, the second day of Deepawali, marks the worship of Lakshmi, the goddess of wealth in her most benevolent mood, fulfilling the wishes of her devotees. Amavasya also tells the story of Lord Vishnu, who in his dwarf incarnation vanquished the tyrant Bali, and banished him to hell. Bali was allowed to return to earth once a year, to light millions of lamps to dispel the darkness and ignorance, and spread the radiance of love and wisdom. It is on the third day of Deepawali — Kartika Shudda Padyami - that Bali steps out of hell and rules the earth according to the boon given by Lord Vishnu. The fourth day is referred to as Yama Dvitiya (also called Bhai Dooj) and on this day sisters invite
In each legend, myth and story of Deepawali lies the significance of the victory of good over evil; and it is with each Deepawali and the lights that illuminate our homes and hearts, that this simple truth finds new reason and hope. From darkness unto light — the light that empowers us to commit ourselves to good deeds, that which brings us closer to divinity. During Diwali, lights illuminate every corner of India and the scent of incense sticks hangs in the air, mingled with the sounds of fire-crackers, joy, togetherness and hope. Diwali is celebrated around the globe. Outside India, it is more than a Hindu festival, it's a celebration of South-Asian identities.
While Deepavali is popularly known as the "festival of lights", the most significant spiritual meaning is "the awareness of the inner light". Central to Hindu philosophy is the assertion that there is something beyond the physical body and mind which is pure, infinite, and eternal, called the Atman. The celebration of Deepavali as the "victory of good over evil", refers to the light of higher knowledge dispelling all ignorance, the ignorance that masks one's true nature, not as the body, but as the unchanging, infinite, immanent and transcendent reality. With this awakening comes compassion and the awareness of the oneness of all things (higher knowledge). This brings Ananda (joy or peace). Just as we celebrate the birth of our physical being, Deepavali is the celebration of this Inner Light.
While the story behind Deepavali and the manner of celebration varies from region to region (festive fireworks, worship, lights, sharing of sweets), the essence is the same – to rejoice in the Inner Light (Atman) or the underlying Reality of all things (Brahman).
Source : en.wikipedia.org/wiki/Diwali
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Lakshmi puja is a Hindu ritual performed during Diwali, the festival of lights. According to tradition people would put small oil lamps outside their homes on Diwali and hope Lakshmi will come to bless them.
Goddess Lakshmi is worshipped by those who wish to acquire or to preserve wealth. It is believed that Lakshmi (wealth) goes only to those houses which are clean and where the people are hardworking. She does not visit the places which are unclean/dirty or where the people are lazy.
In the Sri Vaishnava philosophy however, Sri (Lakshmi) is honoured as the "Iswarigm sarva bhootanam" i.e. the Supreme goddess and not just the goddess of wealth. This is an important distinction between Sri Vaishnavism and other materialistic philosophies.
The third day of the festival of Diwali is the most important day of Lakshmi-puja and is entirely devoted to the propitiation of Goddess Lakshmi. On this very day sun enters his second course and passes Libra which is represented by the balance or scale. Hence, this design of Libra is believed to have suggested the balancing of account books and their closing. Despite the fact that this day falls on an amavasya day it is regarded as the most auspicious.
The day of Lakshmi-Puja falls on the dark night of Amavasya. The strains of joyous sounds of bells and drums float from the temples as man is invoking Goddess Lakshmi in a wondrous holy "pouring-in" of his heart. All of a sudden that impenetrable darkness is pierced by innumerable rays of light for just a moment and the next moment a blaze of light descends down to earth from heaven as golden-footed Deep-Lakshmi alights on earth in all her celestial glory amidst chantings of Vedic hymns.
A sublime light of knowledge dawns upon humanity and this self enlightenment is expressed through the twinkling lamps that illuminate the palaces of thewealthy as well as the lowly abodes of the poor. It is believed that on this day Lakshmi walks through the green fields and loiters through the bye-lanes and showers her blessings on man for plenty and prosperity.
After Lakshmi Puja, lamps are lit all over the house
Lakshmi Puja, or the worship of the goddess of wealth, is the main event on Diwali in North and West India. It is extremely important to keep the house spotlessly clean and pure on Diwali. Goddess Lakshmi likes cleanliness, and she will visit the cleanest house first. This is also the reason why the broom is worshiped on this day with offerings of haldi and kumkum (turmeric and vermilion). Lamps are lit in the evening to welcome the goddess. They are believed to light up Her path.
Lakshmi Puja consists of a combined puja of five deities: Ganesha is worshiped at the beginning of every auspicious act as Vighneshvara; Goddess Lakshmi is worshiped in her three forms - Mahalakshmi (the goddess of wealth and money), Mahasaraswati (the goddess of books and learning), and Mahakali; Kuber (the treasurer of the gods) is also worshiped.
Lakshmi Puja for 2012 falls on Tuesday, 13th November.
Initially the house must be cleaned, and a Rangoli is drawn at the doorstep in order to welcome Goddess Lakshmi.
The Puja requires the following elements:
[edit]The Ritual Elements
Silver and Gold coins
Ten Betel Nuts (Supari)
Uncooked Rice
Five Paan or Mango leaves
A Coconut
Water in a small pot (a "Lota")
Red vermillon ("Kumkum") for applying the tilak
Oil Lamps ("Diyas")
Holi-type colored powders
Indian sweets (Mithai)
Camphor
Incense sticks (Agarbatti)
Dry fruits (almonds, cashews)
A Thali
Rose or other flower petals
Raksha Sutra* A new notebook
Panchamrita
A piece of red cloth for putting the puja items
Ghee to light the lamps
Rose water
Water
Icons of:
Ganesha
Saraswati
Lakshmi
Narayana
Steps of Lakshmi Puja Spread a new cloth on a raised platform: Place a handful of grains in the center and, on this, place a kalash (pitcher) made of gold, silver, copper, or terracotta. Fill three-fourth of the kalash with water and place a betel nut, a flower, a coin, and some rice grains in it. Arrange five kinds of leaves or mango leaves in the kalash. Place a small dish on the kalash and fill it with rice grains. Draw a lotus with turmeric powder ( haldi ) over the rice grains and place the idol of goddess Lakshmi over it, along with coins.
Place the idol of Ganesha: In front of the kalash, on the right (South-West direction), place the idol of Ganesha. Also place ink and books related to your business or occupation on the platform. Light a lamp and begin the puja by offering haldi, kumkum, and flowers to the platform on which the kalash is placed. Then offer haldi, kumkum, and flowers to the water that is to be used for the puja. Invoke the river goddesses to be part of this water.
Invoke goddess: Lakshmi by reciting the Vedic mantras addressed to her. One can also recite the mantras mentioned in the Puranas or simply take some flowers in your hands, close your eyes, and think of goddess Lakshmi being showered with gold coins by two elephants standing on either side of Her and chant Her name. Then offer the flowers to the idol.
Place the idol of Lakshmi: Place the idol of Lakshmi in a plate and bathe it with water, panchamrit (a mixture of milk, curd, ghee or clarified butter, honey, and sugar) and then with water containing some gold ornament or a pearl. Wipe the idol clean and place it back on the kalash. Alternately, you can just sprinkle water and panchamrit on the idol with a flower.
Offerings: Offer sandal paste, saffron paste, perfume ( itr ), haldi, kumkum, abeer, and gulal to the goddess. Offer a garland of cotton beads to the goddess. Offer flowers, especially the marigold flowers and leaves of Bel (wood apple tree). Light an incense stick and dhoop. Make an offering of sweets, coconut, fruits, and tambul. Make an offering of puffed rice and batasha. Pour some puffed rice, batasha, coriander seeds, and cumin seeds over the idol. Safe where you keep money and jewelry; Worship this safe as a symbol of Lord Kuber.
Aarti: Finally, perform the aarti for goddess Lakshmi. Always remember that She abhors loud noise. So the aarti should be accompanied only by a small bell. Do not clap hands, as is the practice when performing aarti for other gods. A peaceful and sublime atmosphere should prevail during the diwali day pujan. Do not light crackers while the puja is on or immediately after it.
[edit]Offering Prayers to Goddess Lakshmi
[May need English translation] not available
Om Jai Laxmi Mata, Maiya Jai Laxmi Mata,
Tumko nis din sevat, Maiya ji ko nis din sevat
Hari Vishnu Data
Om Jai Laxmi Mata (Repeat above verse)
Uma Ramaa Brahmaani, Tum hi Jag Mata,Maiya Tum hi Jag Mata,
Surya Chandra Ma dhyaavat, Surya Chandra Ma dhyaavat
Naarad Rishi gaata.
Om Jai Laxmi Mata.
Durga Roop Niranjani, Sukh Sampati Data, Maiya Sukh Sampati Data
Jo koyee tumko dhyaavat, Jo koyee tumko dhyaavat
Ridhi Sidhi dhan paataa
Om Jai Laxmi Mata.
Tum Pataalani Nivasini, Tum hi Shubh Data, Maiya tum hi Shubh Data
Karma Prabhaav Prakaashini, Karma Prabhaav Prakaashini
Bhuv Niddhi ke praata
Om Jai Laxmi Mata
Jis ghar tum rehti teh, sab sath goon aataa, Maiya sab sath goon aataa,
Saab sambhav hojata jataa, Saab sambhav hojata jataa
Man naheen ghabraataa.
Om Jai Laxmi Mata
Tum Bin Yaghya na hote, vaastra na ho paata, Maiya vaastra na ho paata,
Khana paan ka vaibhav, Khana paan ka vaibhav
Sab tumse aata
Om Jai Laxmi Mata
Shubh Goon Mandir sunder, shero da di jaata, Maiya shero da di jaata
Ratna chaturdashi tum bin, Ratna chaturdashi tum bin
Koi nahi paata
Om Jai Laxmi Mata.
Maha Laxmiji ki Aarti, jo koi nar gaata, Maiya jo koi nar gaata,
Pur aananda samata, Pur aananda samata,
Paap utar jaata
Om Jai Laxmi Mata.
Om Jai Laxmi Mata, Maiya Jai Laxmi Mata,
Tumko nis din sevat, maiya ji ko nis din sevat
Hari Vishnu Data
Om Jai Laxmi Mata (Repeat above verse)
Incense sticks, a closed room and a flash snoot was what it took. A rebreather is what i wanted by the end of it, it didn't take long to fill with smoke.
Emma lights incense sticks at Shwedagon Pagoda in Yangon on the Buddhist full moon festival of Thadingyut.
On her visit to Myanmar, Emma Thompson met with Nobel laureate Aung San Suu Kyi and a range of community and political leaders against a backdrop of increasing change in the country. Along with her adopted son Tindy and ActionAid International Chief Executive Joanna Kerr, she was in Myanmar to see ActionAid’s innovative development work with young people and to learn about the current political and economic reforms.
Commenting on her visit Emma Thompson said: “There are difficulties and a large number of challenges. A tiny percentage of government spending has been spent on health and education for example. There are also ethnic divisions that exacerbate problems. I saw deep, wrenching poverty but felt that there is a genuine dialogue beginning to start between the people and the government. The trip left me feeling hopeful."
ActionAid has worked in Myanmar for eleven years supporting local initiatives concentrating on helping women and young people. The anti-poverty agency specifically trains young volunteers to work with some of the poorest communities. The volunteers help people identify their priorities such as new schools, water sources, health services or peace processes and then network with local government and others to help achieve this.
In the changing political context of Myanmar, ActionAid has worked hard to encourage investment in education, health, agricultural services and social cohesion that benefits ordinary people and to address the social and economic differences that exist in the country.
ActionAid believes that change is coming in Myanmar and that there are strong indications that it is real.
PHOTO: Christopher Davy/ActionAid
Johnny wanna be a big star
Get on stage and play the guitar
Make a little money, buy a fancy car
A big old house and an alligator
Just to match with them alligator shoes
He's a rich man so he's no longer singing the blues
He's singing songs about material things
And platinum rings and watches that go bling
But diamonds don't bling in the dark
He's a star now but he ain't singing it from the heart
Sooner or later he's just gonna fall apart
'Cause his fans can't relate to his newfound art
He ain't doing what he did from the start
And that's putting in some feeling and thought
He decided to live his life shallow
Cash in his love for material
And it's gone
Gone going gone
Everything gone
Give a damn
Gone be the birds when they don't wanna sing
Gone people all awkward with their things
Gone
You see yourself in the mirror and you
Feel safe cuz it looks familiar but you
Are afraid to open up your soul cuz you
Don't really know, don't really know who is
The person that's deep within cuz you
Content with just being the name brand man
And you fail to see that it's trivial
Insignificant you addicted to material
I've seen your car before
You're the type that thinks souls are sold in the store
Packaged up with incense sticks
With a vegetarian meal
To you that's righteous
You're fiction, like books
You need to go out to life and look
Cuz what happens when I take your material
And you already sold your soul
And it's gone
Gone going gone
Everything gone
Give a damn
Gone be the birds when they don't wanna sing
Gone people all awkward with their things
Gone
You say that time is money and money is time
So you got your mind on your money and your money on your mind
But what about the crime that you did to get paid
And what about that bid you can't you take it to your grave
And what about those shoes you're wearing today
They'll do no good
On the bridges you burnt along the way
All that money that you got gonna be gone
And that hair that you got gonna be gone
The house upon the hill gonna be gone
The gold fronts on your grill gonna be gone
The ice on your wrist gonna be gone
That nice little miss gonna be gone
That whip that you roll gonna be gone
And what's worse is your soul's already gone
Yeah it's gone
Gone going gone
Everything gone
Give a damn
Gone be the birds when they don't wanna sing
Gone people all awkward with their things
Gone
Gone
In the largest camp, Mae La, in northern Thailand, woem participate in the making mosquito repelling incense sticks which are made from natural ingredients. They are widely sold and used throughout the camp.
Photo Credit: Mathias Eick EU/ECHO
Smoke Photo Art
A little psychedelic smoke art work for today. I'm currently working on a more complicated piece. Don't know if it will get done for tomorrow or not, but please stay tuned.
The first thing that struck me as I entered this outer shrine was the zillions of incense sticks kept on a rack for devotees to pick up. In Taoism, they always burn incense sticks in threes. These are supposed to depict the past, present adn the future. Here is the rack chock full of incense sticks. Good encouragement for cottage industries! (Kota Kinabalu, East Malaysia, Nov. 2013)
'Dargah Sharif' or 'Holy Dargah' is one of the most sacred Muslim shrines in the country. Venerated by both Hindus and Muslims, it is the tomb of Khwaja Moin-ud-din Chisti, a Sufi saint who came from Persia and devoted his life to the service and upliftment of the poor and downtrodden. The Dargah has a massive gate with silver doors built in several stages. Revered by the Mughal rulers, it has touches of Humayun to Shah Jahan in its structural architecture. A silver railing and a marble screen surround the actual tomb of the saint, made of marble with a gold plated dome.
Every year Urs is held here for six days in his remembrance. It is said that when he was 114 years old, the saint locked himself in a room for six days to pray and left his mortal body in solitude. Several thousand devotees throng to this place during this time of the year and food is cooked in huge cauldrons and served to the devotees. The surprising part is that the people serve the food while standing inside the scalding hot food in the cauldrons. These cauldrons are said to be offered by Emperor Akbar when the saint blessed him with an heir for the throne.
The pilgrims make rich offerings called 'nazrana' at the sacred spot where the saint has been entombed that include rose and jasmine flowers, sandalwood paste, perfumes and incense that put in to the fragrance that floats in the air inside the shrine. Cash offerings are also made. Also offered by devotees are the 'chaadar', 'ghilaph' and 'neema', which are votive offerings for the tomb. Outside the holy place of the Dargah, professional singers called 'qawwals' sit in groups and sing hymns in the praises of the saint in a characteristic high-pitched voice. One can also see 'fakirs' on the main gate begging for alms in the name of the Khwaja. Qawwalis at the shrine and fragrance of the incense sticks together create a divine effect.