View allAll Photos Tagged incense_sticks
Strobist info: one snooted Nikon SB900 @ 1/32 camera right aimed at the smoke. One Nikon SB800 @ 1/64 aimed at a white cardboard reflector in front of the watch (at an angle). Smoke is coming from two incense sticks underneath the wristwatch. Background is black paper. Triggered with Elinchrom Skyport. More here: www.wristwatchphoto.com/2010/11/pam360-luminor-dlc-10-yea...
The Shwedagon Pagoda is a 99 metres gilded pagoda and stupa located in Yangon, Burma. The pagoda lies to the west of Kandawgyi Lake, on Singuttara Hill, thus dominating the skyline of the city. It is the most sacred Buddhist pagoda for the Burmese with relics of the past four Buddhas enshrined within: the staff of Kakusandha, the water filter of Koṇāgamana, a piece of the robe of Kassapa and eight strands of hair from Gautama, the historical Buddha. Uppatasanti Pagoda is an exact replica of Shwedagon Pagoda in Naypyidaw, the new capital of Burma.
According to legend, the Shwedagon Pagoda has existed for more than 2,600 years, making it the oldest historical pagoda in Burma and the world. According to tradition, two merchant brothers, Taphussa and Bhallika, from the land of Ramanya, met the Lord Gautama Buddha during his lifetime and received eight of the Buddha's hairs in 588 BCE. The brothers traveled back to their homeland in Burma and, with the help of the local ruler, King Okkalapa of Burma, found Singuttara Hill, where relics of other Buddhas preceding Gautama Buddha had been enshrined.
According to some historians and archaeologists, however, the pagoda was built by the Mon people between the 6th and 10th centuries CE.
There are four entrances to the Paya that lead up a flight of steps to the platform on Singuttara Hill. The eastern and southern approaches have vendors selling books, good luck charms, Buddha images, candles, gold leaf, incense sticks, prayer flags, streamers, miniature umbrellas and flowers. A pair of giant leogryphs called chinthe (mythical lions) guard the entrances and the image in the shrine at the top of the steps from the south is that of the second Buddha, Konagamana. The base or plinth of the stupa is made of bricks covered with gold plates.
Above the base are terraces that only monks and men can access. Next is the bell-shaped part of the stupa. Above that is the turban, then the inverted almsbowl, inverted and upright lotus petals, the banana bud, and then the crown. The crown or umbrella (hti) is tipped with 5,448 diamonds and 2,317 rubies. Immediately before the diamond bud is a flag-shaped vane. The very top, the diamond bud is tipped with a 76 carat (15 g) diamond.
The gold seen on the stupa is made of genuine gold plates, covering the brick structure and attached by traditional rivets. Myanmar people all over the country, as well as monarchs in its history, have donated gold to the pagoda to maintain it. The practice continues to this day after being started in the 15th century by the Mon Queen Shin Sawbu, who gave her weight in gold.
Tai Hang Fire Dragon
When the people of Tai Hang village miraculously stopped a plague with a fire dragon dance in the 19th century, they inadvertently launched a tradition that has since become part of China’s official intangible cultural heritage.
Tai Hang may no longer be a village, but its locals still recreate the fiery ancient ritual today with a whopping 300 performers, 72,000 incense sticks and a 67-metre dragon. The head of this beast alone weighs 48kg, so it’s not a creature to be taken lightly! The commemorative performance wends its way in fire, smoke and festive fury through the backstreets of Tai Hang over three moon-fuelled days. It will also snake into the Urban Mid-Autumn Lantern Carnival in Victoria Park during the festival.
Source: www.discoverhongkong.com/eng/see-do/events-festivals/high...
The Shwedagon Pagoda is a 99 metres gilded pagoda and stupa located in Yangon, Burma. The pagoda lies to the west of Kandawgyi Lake, on Singuttara Hill, thus dominating the skyline of the city. It is the most sacred Buddhist pagoda for the Burmese with relics of the past four Buddhas enshrined within: the staff of Kakusandha, the water filter of Koṇāgamana, a piece of the robe of Kassapa and eight strands of hair from Gautama, the historical Buddha. Uppatasanti Pagoda is an exact replica of Shwedagon Pagoda in Naypyidaw, the new capital of Burma.
According to legend, the Shwedagon Pagoda has existed for more than 2,600 years, making it the oldest historical pagoda in Burma and the world. According to tradition, two merchant brothers, Taphussa and Bhallika, from the land of Ramanya, met the Lord Gautama Buddha during his lifetime and received eight of the Buddha's hairs in 588 BCE. The brothers traveled back to their homeland in Burma and, with the help of the local ruler, King Okkalapa of Burma, found Singuttara Hill, where relics of other Buddhas preceding Gautama Buddha had been enshrined.
According to some historians and archaeologists, however, the pagoda was built by the Mon people between the 6th and 10th centuries CE.
There are four entrances to the Paya that lead up a flight of steps to the platform on Singuttara Hill. The eastern and southern approaches have vendors selling books, good luck charms, Buddha images, candles, gold leaf, incense sticks, prayer flags, streamers, miniature umbrellas and flowers. A pair of giant leogryphs called chinthe (mythical lions) guard the entrances and the image in the shrine at the top of the steps from the south is that of the second Buddha, Konagamana. The base or plinth of the stupa is made of bricks covered with gold plates.
Above the base are terraces that only monks and men can access. Next is the bell-shaped part of the stupa. Above that is the turban, then the inverted almsbowl, inverted and upright lotus petals, the banana bud, and then the crown. The crown or umbrella (hti) is tipped with 5,448 diamonds and 2,317 rubies. Immediately before the diamond bud is a flag-shaped vane. The very top, the diamond bud is tipped with a 76 carat (15 g) diamond.
The gold seen on the stupa is made of genuine gold plates, covering the brick structure and attached by traditional rivets. Myanmar people all over the country, as well as monarchs in its history, have donated gold to the pagoda to maintain it. The practice continues to this day after being started in the 15th century by the Mon Queen Shin Sawbu, who gave her weight in gold.
This might be the Heavenly Kings Hall with the Happy Buddha. People holding incense sticks bow in front of the hall.
en.wikipedia.org/wiki/Loi_Krathong
Loi Krathong takes place on the evening of the full moon of the 12th month in the traditional Thai lunar calendar. In the western calendar this usually falls in November.
Loi literally means 'to float,' while krathong refers to the lotus-shaped receptacle which can float on the water. Originally, the krathong was made of banana leaves or the layers of the trunk of a banana tree or a spider lily plant. A krathong contains food, betel nuts, flowers, joss sticks, candle and coins. Modern krathongs are more often made of bread or styrofoam. A bread krathong will disintegrate in a few a days and be eaten by fish and other animals. The traditional banana stalk krathongs are also biodegradable, but styrofoam krathongs are frowned on, since they are polluting and may take years to disappear. Regardless of the composition, a krathong will be decorated with elaborately-folded banana leaves, flowers, candles and incense sticks. A low value coin is sometimes included as an offering to the river spirits. During the night of the full moon, Thais will float their krathong on a river, canal or a pond lake. The festival is believed to originate in an ancient practice of paying respect to the spirit of the waters. Today it is simply a time to have fun.
Kalasin Thailand
Der „Bale Dangin“ genannte Pavillon ist ein überdachter Raum, in dem Opfergaben vorbereitet werden und in dem geschlafen, gewebt, genäht oder gespielt wird. Die gepflasterte Fläche vor dem Pavillon ist der Treffpunkt der Dorfgemeinschaft.
Der Balinesische Garten spiegelt das Streben der Menschen nach Einklang mit sich selbst, ihrem Umfeld und dem gesamten Universum. Auf Bali heißt es, dass ein harmonisches Miteinander der Dämonen der Erde, der Götter des Himmels und der Menschen auf der Erde unabdingbar ist und Leben erst ermöglicht. Der Balinesische Garten ist so gestaltet, dass alle Elemente miteinander in Einklang kommen können. Darum heißt er „Garten der drei Harmonien“ – auf balinesisch Tri Hita Karana.
Er entstand 2003 im Rahmen der Städtepartnerschaft Berlin-Jakarta und umfasst insgesamt 2.000 qm. Im Zentrum der Halle steht ein südbalinesischer Wohnhof, der durch eine Lehmziegelmauer von seiner Umgebung abgegrenzt ist. Die baulichen Elemente der Wohnstätte wurden von dem indonesischen Architekten I Putu Edy Semara entworfen und zu großen Teilen auf Bali vorgefertigt. Die „Pura“ gennannte Tempelanlage dient der in Berlin lebenden Bali-Gemeinde als Ort, an dem sie ihre Kultur pflegen und ihre Religion ausüben kann. 2012 wurden zwei zusätzliche Schreine gebaut, die in einer feierlichen Zeremonie von aus Bali eingeflogenen Priestern geweiht wurden. Auf ihnen wirst du stets Opfergaben wie Blumen, Früchte oder Räucherstäbchen finden, die dazu dienen, die Götter gnädig zu stimmen.
Im Rahmen der IGA Berlin 2017 hat die exotische Anlage nicht nur eine neue Hülle, sondern auch eine Neuinszenierung erhalten: die 1.200 qm große Tropenhalle! Das energieeffiziente Warmhaus ermöglichte die Kultivierung anspruchsvoller tropischer Pflanzen. Nun endlich konnte sich ein richtiger balinesischer Dschungel entfalten!
In den 14 m hohen Hallen sind die Wohnanlage und die Gärten untergebracht.
The pavilion called "Bale Dangin" is a roofed room where offerings are prepared and where people sleep, weave, sew or play. The paved area in front of the pavilion is the meeting place for the village community.
Der Balinesische Garten spiegelt das Streben der Menschen nach Einklang mit sich selbst, ihrem Umfeld und dem gesamten Universum. Auf Bali heißt es, dass ein harmonisches Miteinander der Dämonen der Erde, der Götter des Himmels und der Menschen auf der Erde unabdingbar ist und Leben erst ermöglicht. Der Balinesische Garten ist so gestaltet, dass alle Elemente miteinander in Einklang kommen können. Darum heißt er „Garten der drei Harmonien“ – auf balinesisch Tri Hita Karana.
Er entstand 2003 im Rahmen der Städtepartnerschaft Berlin-Jakarta und umfasst insgesamt 2.000 qm. Im Zentrum der Halle steht ein südbalinesischer Wohnhof, der durch eine Lehmziegelmauer von seiner Umgebung abgegrenzt ist. Die baulichen Elemente der Wohnstätte wurden von dem indonesischen Architekten I Putu Edy Semara entworfen und zu großen Teilen auf Bali vorgefertigt. Die „Pura“ gennannte Tempelanlage dient der in Berlin lebenden Bali-Gemeinde als Ort, an dem sie ihre Kultur pflegen und ihre Religion ausüben kann. 2012 wurden zwei zusätzliche Schreine gebaut, die in einer feierlichen Zeremonie von aus Bali eingeflogenen Priestern geweiht wurden. Auf ihnen wirst du stets Opfergaben wie Blumen, Früchte oder Räucherstäbchen finden, die dazu dienen, die Götter gnädig zu stimmeIm Rahmen der IGA Berlin 2017 hat die exotische Anlage nicht nur eine neue Hülle, sondern auch eine Neuinszenierung erhalten: die 1.200 qm große Tropenhalle! Das energieeffiziente Warmhaus ermöglichte die Kultivierung anspruchsvoller tropischer Pflanzen. Nun endlich konnte sich ein richtiger balinesischer Dschungel entfalten! In den 14 m hohen Hallen sind die Wohnanlage und die Gärten untergebracht.
www.gaertenderwelt.de/welt-entdecken/themengaerten/baline...
The Balinese garden reflects people's striving for harmony with themselves, their environment and the entire universe. In Bali, it is said that a harmonious coexistence of the demons of the earth, the gods of heaven and the people on earth is indispensable and makes life possible in the first place. The Balinese garden is designed in such a way that all elements can harmonise with each other. This is why it is called the "Garden of Three Harmonies" - Tri Hita Karana in Balinese - and was created in 2003 as part of the Berlin-Jakarta city partnership, covering a total of 2,000 square metres. At the centre of the hall is a South Balinese residential courtyard, which is separated from its surroundings by a mud brick wall. The structural elements of the residence were designed by the Indonesian architect I Putu Edy Semara and largely prefabricated in Bali. The temple complex, called "Pura", serves the Bali community living in Berlin as a place where they can cultivate their culture and practise their religion. In 2012, two additional shrines were built, which were consecrated in a solemn ceremony by priests flown in from Bali. On them, you will always find offerings such as flowers, fruit or incense sticks, which serve to propitiate the gods. As part of the IGA Berlin 2017, the exotic complex has not only been given a new shell, but also a new staging: the 1,200 square metre Tropical Hall! The energy-efficient warm house made it possible to cultivate sophisticated tropical plants. Now, finally, a real Balinese jungle could unfold! The 14 metre high halls house the residential complex and the gardens.
The Balinese garden reflects people's striving for harmony with themselves, their environment and the entire universe. In Bali, it is said that a harmonious coexistence of the demons of the earth, the gods of heaven and the people on earth is indispensable and makes life possible in the first place. The Balinese garden is designed in such a way that all elements can harmonise with each other. This is why it is called the "Garden of Three Harmonies" - Tri Hita Karana in Balinese - and was created in 2003 as part of the Berlin-Jakarta city partnership, covering a total of 2,000 square metres. At the centre of the hall is a South Balinese residential courtyard, which is separated from its surroundings by a mud brick wall. The structural elements of the residence were designed by the Indonesian architect I Putu Edy Semara and largely prefabricated in Bali. The temple complex, called "Pura", serves the Bali community living in Berlin as a place where they can cultivate their culture and practise their religion. In 2012, two additional shrines were built, which were consecrated in a solemn ceremony by priests flown in from Bali. On them, you will always find offerings such as flowers, fruit or incense sticks, which serve to propitiate the gods. As part of the IGA (International Garden Show) Berlin 2017, the exotic complex has not only been given a new shell, but also a new staging: the 1,200 square metre Tropical Hall! The energy-efficient warm house made it possible to cultivate sophisticated tropical plants. Now, finally, a real Balinese jungle could unfold! The 14 metre high halls house the residential complex and the gardens.
This is the big Reclining Buddha image in Ayutthaya, Thailand, housed in what was once a large hall called the Wihan Phra Phuttha Saiyat. This hall was part of a larger temple complex called the Wat Yai Chaimongkol or The Monastery of Victory- we will get to those parts later, as we go long in this album. (see subsequent pictures later in this album). This idol is apparently held in great reverence by devotees and visitors alike. Although photography was allowed freely around the massive statue, there were restrictions about not to touch, not to go beyond this point etc. I noted several locals pass by, kneel and offer a prayer, some even lighting incense sticks, and then moving along. A reclining Buddha is an image that represents Buddha lying down and is a major iconographic theme in Buddhist art. It represents the historical Buddha during his last illness, about to enter the parinirvana. After the Buddha's death, his followers decide to build a statue of him lying down. Incidentally, this is not the original reclining Buddha statue which was housed in Wihan Phra Phuttha Saiyat- rather this is a replica made in the 1960s. (Ayutthaya, Thailand, Oct. 2008)
incense sticks
Copyright © 2012 SlidermanJefu. All rights reserved.
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Canon AE-1, Canon New FD 50mm f/1.4
Fujicolor X-TRA 400, pushed to 800, 花蓮彩韻沖掃
When cutting the wood to shape the Palo Santo sticks, sawdust is created. This wood dust is then used to make incense shaped cones. The process goes like this: The sawdust is carefully sifted to remove any larger pieces. Then it is mixed with “moyuyo” (a shrub fruit that is used as glue) and Palo Santo aromatic water. Throughout the process everything is used, there is no waste product.
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Al cortar la madera para dar forma a los Palitos de Palo Santo, se crea un residuo (aserrín) que se utiliza para elaborar los inciensos en forma de Conitos. El aserrín se cierne y se mezcla con moyuyo y agua aromática de Palo Santo. En este proceso todo se aprovecha, no hay producto de desecho.
The Shwedagon Pagoda is a 99 metres gilded pagoda and stupa located in Yangon, Burma. The pagoda lies to the west of Kandawgyi Lake, on Singuttara Hill, thus dominating the skyline of the city. It is the most sacred Buddhist pagoda for the Burmese with relics of the past four Buddhas enshrined within: the staff of Kakusandha, the water filter of Koṇāgamana, a piece of the robe of Kassapa and eight strands of hair from Gautama, the historical Buddha. Uppatasanti Pagoda is an exact replica of Shwedagon Pagoda in Naypyidaw, the new capital of Burma.
According to legend, the Shwedagon Pagoda has existed for more than 2,600 years, making it the oldest historical pagoda in Burma and the world. According to tradition, two merchant brothers, Taphussa and Bhallika, from the land of Ramanya, met the Lord Gautama Buddha during his lifetime and received eight of the Buddha's hairs in 588 BCE. The brothers traveled back to their homeland in Burma and, with the help of the local ruler, King Okkalapa of Burma, found Singuttara Hill, where relics of other Buddhas preceding Gautama Buddha had been enshrined.
According to some historians and archaeologists, however, the pagoda was built by the Mon people between the 6th and 10th centuries CE.
There are four entrances to the Paya that lead up a flight of steps to the platform on Singuttara Hill. The eastern and southern approaches have vendors selling books, good luck charms, Buddha images, candles, gold leaf, incense sticks, prayer flags, streamers, miniature umbrellas and flowers. A pair of giant leogryphs called chinthe (mythical lions) guard the entrances and the image in the shrine at the top of the steps from the south is that of the second Buddha, Konagamana. The base or plinth of the stupa is made of bricks covered with gold plates.
Above the base are terraces that only monks and men can access. Next is the bell-shaped part of the stupa. Above that is the turban, then the inverted almsbowl, inverted and upright lotus petals, the banana bud, and then the crown. The crown or umbrella (hti) is tipped with 5,448 diamonds and 2,317 rubies. Immediately before the diamond bud is a flag-shaped vane. The very top, the diamond bud is tipped with a 76 carat (15 g) diamond.
The gold seen on the stupa is made of genuine gold plates, covering the brick structure and attached by traditional rivets. Myanmar people all over the country, as well as monarchs in its history, have donated gold to the pagoda to maintain it. The practice continues to this day after being started in the 15th century by the Mon Queen Shin Sawbu, who gave her weight in gold.
The Shwedagon Pagoda is a 99 metres gilded pagoda and stupa located in Yangon, Burma. The pagoda lies to the west of Kandawgyi Lake, on Singuttara Hill, thus dominating the skyline of the city. It is the most sacred Buddhist pagoda for the Burmese with relics of the past four Buddhas enshrined within: the staff of Kakusandha, the water filter of Koṇāgamana, a piece of the robe of Kassapa and eight strands of hair from Gautama, the historical Buddha. Uppatasanti Pagoda is an exact replica of Shwedagon Pagoda in Naypyidaw, the new capital of Burma.
According to legend, the Shwedagon Pagoda has existed for more than 2,600 years, making it the oldest historical pagoda in Burma and the world. According to tradition, two merchant brothers, Taphussa and Bhallika, from the land of Ramanya, met the Lord Gautama Buddha during his lifetime and received eight of the Buddha's hairs in 588 BCE. The brothers traveled back to their homeland in Burma and, with the help of the local ruler, King Okkalapa of Burma, found Singuttara Hill, where relics of other Buddhas preceding Gautama Buddha had been enshrined.
According to some historians and archaeologists, however, the pagoda was built by the Mon people between the 6th and 10th centuries CE.
There are four entrances to the Paya that lead up a flight of steps to the platform on Singuttara Hill. The eastern and southern approaches have vendors selling books, good luck charms, Buddha images, candles, gold leaf, incense sticks, prayer flags, streamers, miniature umbrellas and flowers. A pair of giant leogryphs called chinthe (mythical lions) guard the entrances and the image in the shrine at the top of the steps from the south is that of the second Buddha, Konagamana. The base or plinth of the stupa is made of bricks covered with gold plates.
Above the base are terraces that only monks and men can access. Next is the bell-shaped part of the stupa. Above that is the turban, then the inverted almsbowl, inverted and upright lotus petals, the banana bud, and then the crown. The crown or umbrella (hti) is tipped with 5,448 diamonds and 2,317 rubies. Immediately before the diamond bud is a flag-shaped vane. The very top, the diamond bud is tipped with a 76 carat (15 g) diamond.
The gold seen on the stupa is made of genuine gold plates, covering the brick structure and attached by traditional rivets. Myanmar people all over the country, as well as monarchs in its history, have donated gold to the pagoda to maintain it. The practice continues to this day after being started in the 15th century by the Mon Queen Shin Sawbu, who gave her weight in gold.
She is the one posted in my other photo :"Incense Making".. I got a portrait of her, before she then asked the usual; What's your name, where are you from, why did you come to Mysore, Do you like India, etc.
While she was working, she could make about 15-20 incense sticks/min.!
From what I was told, she made between 20-30 Rupees an Hour; $0.40-$0.60 an Hour.
Believe it or not, this is actually high for Indian pay. The average Indian makes $960.00 a year, and since she works 10 hours a day, she makes more than $1,200 a year. This actually leads to a manageable lifestyle for an Indian. Indian poverty rate lies at 32 Rupees a day ($0.64 a day). This is calculated by the ability to buy 1/2 Kilo. of Rice, 1 Dosa, 1 Idly, and a small serving of vegetables (Potato/Carrots, etc.)
The Shwedagon Pagoda is a 99 metres gilded pagoda and stupa located in Yangon, Burma. The pagoda lies to the west of Kandawgyi Lake, on Singuttara Hill, thus dominating the skyline of the city. It is the most sacred Buddhist pagoda for the Burmese with relics of the past four Buddhas enshrined within: the staff of Kakusandha, the water filter of Koṇāgamana, a piece of the robe of Kassapa and eight strands of hair from Gautama, the historical Buddha. Uppatasanti Pagoda is an exact replica of Shwedagon Pagoda in Naypyidaw, the new capital of Burma.
According to legend, the Shwedagon Pagoda has existed for more than 2,600 years, making it the oldest historical pagoda in Burma and the world. According to tradition, two merchant brothers, Taphussa and Bhallika, from the land of Ramanya, met the Lord Gautama Buddha during his lifetime and received eight of the Buddha's hairs in 588 BCE. The brothers traveled back to their homeland in Burma and, with the help of the local ruler, King Okkalapa of Burma, found Singuttara Hill, where relics of other Buddhas preceding Gautama Buddha had been enshrined.
According to some historians and archaeologists, however, the pagoda was built by the Mon people between the 6th and 10th centuries CE.
There are four entrances to the Paya that lead up a flight of steps to the platform on Singuttara Hill. The eastern and southern approaches have vendors selling books, good luck charms, Buddha images, candles, gold leaf, incense sticks, prayer flags, streamers, miniature umbrellas and flowers. A pair of giant leogryphs called chinthe (mythical lions) guard the entrances and the image in the shrine at the top of the steps from the south is that of the second Buddha, Konagamana. The base or plinth of the stupa is made of bricks covered with gold plates.
Above the base are terraces that only monks and men can access. Next is the bell-shaped part of the stupa. Above that is the turban, then the inverted almsbowl, inverted and upright lotus petals, the banana bud, and then the crown. The crown or umbrella (hti) is tipped with 5,448 diamonds and 2,317 rubies. Immediately before the diamond bud is a flag-shaped vane. The very top, the diamond bud is tipped with a 76 carat (15 g) diamond.
The gold seen on the stupa is made of genuine gold plates, covering the brick structure and attached by traditional rivets. Myanmar people all over the country, as well as monarchs in its history, have donated gold to the pagoda to maintain it. The practice continues to this day after being started in the 15th century by the Mon Queen Shin Sawbu, who gave her weight in gold.
WIKIPEDIA
Its amazing the images you get from photographing smoke. This is pretty much how it came out with the exception of one arm, one leg and the smoke which I added after. Gave the picture a clean up and final editing in photoshop.
Die Gestaltung des Balinesischen Gartens folgt den auf Bali vorhandenen Vorbildern und soll den Besuchern Geist und symbolischen Inhalt balinesischer Kultur vermitteln. Im Gegensatz zur überwiegend muslimisch geprägten Bevölkerung Indonesiens haben die Balinesen ihre ganz eigene Kultur. Der auf Bali vorherrschende Hinduismus mischt sich mit alten Bräuchen und Sitten, dem Respekt vor der Natur und dem Streben der Balinesen nach Harmonie in allen Lebensbereichen zu einer einzigartigen Glaubens- und Kulturform. Ein Mensch sollte stets im Einklang mit sich selbst, mit seiner Umgebung - das heißt mit der Natur und den anderen Menschen - und mit dem gesamten Universum leben. Dieses dreigeteilte Harmonieprinzip findet sich im Balinesischen Garten immer wieder und ist auch Grundlage für den Namen des Gartens: "Garten der drei Harmonien - TRI HITA KARANA". Der Balinesische Garten ist ein Beispiel für die Anordnung einer Wohnanlage im südlichen Bali. (Quelle: Senatsverwaltung für Umwelt, Verkehr und Klimaschutz, gekürzt)
The Balinese Garden, which opened in 2003 as the Garden of the Three Harmonies or Tri Hita Karana, grew out of town twinning links forged between Berlin and Jakarta. Most of the structural elements in the garden, designed by Indonesian architects I Putu Edy Semara, were pre-fabricated in Bali and assembled in Berlin by Balinese craftsmen.
For the IGA Berlin 2017, this exotic garden was both revamped and rehoused in the new, 14m-high, energy-efficient Tropical Hall which has provided an additional 2000 square metres of tropical planting around the Balinese Garden.
The Balinese Garden reflects man’s struggle for harmony: harmony among people, with the environment and with the universe. A garden planted according to design criteria alone is unknown in traditional Bali, where tropical forest flora merges with the species cultivated by villagers: plants that are used for eating, as remedies or as religious offerings.
In the heart of the garden stands a compound typical of those to be found in southern Bali, surrounded by a wall of whitewashed brick. Visitors enter this private area through a gate called the angkul angkul. It is here that they see the first evidence of the ubiquitous trinity of the Balinese Garden of the Three Harmonies, for the gate comprises a base with steps (representing the foot), a teak door (the body) and a mighty capped roof (the head).
The family temple, or sanggah, inside the compound is enclosed within another wall. In Bali, offerings of flowers, fruit and incense sticks are placed on these high-plinthed shrines every day. The largest building in the compound is the all-purpose bale dangin, a roofed pavilion that serves a number of different functions. It is where offerings are prepared, where the family sleeps, weaves, sews and plays. The paved area in front of the bale dangin marks the centre of the compound and is a place of encounter and exchange.
Just behind the compound starts the ancient tropical forest which contains many species commonly found in Europe as houseplants or in botanical gardens. (Souce: Grün Berlin Group, abbreviated)
The Shwedagon Pagoda is a 99 metres gilded pagoda and stupa located in Yangon, Burma. The pagoda lies to the west of Kandawgyi Lake, on Singuttara Hill, thus dominating the skyline of the city. It is the most sacred Buddhist pagoda for the Burmese with relics of the past four Buddhas enshrined within: the staff of Kakusandha, the water filter of Koṇāgamana, a piece of the robe of Kassapa and eight strands of hair from Gautama, the historical Buddha. Uppatasanti Pagoda is an exact replica of Shwedagon Pagoda in Naypyidaw, the new capital of Burma.
According to legend, the Shwedagon Pagoda has existed for more than 2,600 years, making it the oldest historical pagoda in Burma and the world. According to tradition, two merchant brothers, Taphussa and Bhallika, from the land of Ramanya, met the Lord Gautama Buddha during his lifetime and received eight of the Buddha's hairs in 588 BCE. The brothers traveled back to their homeland in Burma and, with the help of the local ruler, King Okkalapa of Burma, found Singuttara Hill, where relics of other Buddhas preceding Gautama Buddha had been enshrined.
According to some historians and archaeologists, however, the pagoda was built by the Mon people between the 6th and 10th centuries CE.
There are four entrances to the Paya that lead up a flight of steps to the platform on Singuttara Hill. The eastern and southern approaches have vendors selling books, good luck charms, Buddha images, candles, gold leaf, incense sticks, prayer flags, streamers, miniature umbrellas and flowers. A pair of giant leogryphs called chinthe (mythical lions) guard the entrances and the image in the shrine at the top of the steps from the south is that of the second Buddha, Konagamana. The base or plinth of the stupa is made of bricks covered with gold plates.
Above the base are terraces that only monks and men can access. Next is the bell-shaped part of the stupa. Above that is the turban, then the inverted almsbowl, inverted and upright lotus petals, the banana bud, and then the crown. The crown or umbrella (hti) is tipped with 5,448 diamonds and 2,317 rubies. Immediately before the diamond bud is a flag-shaped vane. The very top, the diamond bud is tipped with a 76 carat (15 g) diamond.
The gold seen on the stupa is made of genuine gold plates, covering the brick structure and attached by traditional rivets. Myanmar people all over the country, as well as monarchs in its history, have donated gold to the pagoda to maintain it. The practice continues to this day after being started in the 15th century by the Mon Queen Shin Sawbu, who gave her weight in gold.
'Dhup kathi' or incense sticks are commonly related to all religious activities in India. The fumes give off a sweet smell of purity.
I have decided to play incense sticks and my flashes this weeken, of course with the color gels that I have cut gaffers taped and velcroed. And here the pictures.
Strobist info: All manual, pre-focused and switched to manual. 1 sb-800 and one sb-600 subject left and right slightly back sometimes front.. Pointing up with different angles as you can guess from the pictures. One of them is blue gelled and the other one red. Same power settings for the two stobes mostly but change the location and zooms and enjoy the interesting pictures.
This is my wife Kannika !!
Today we went to the Thai Buddhist Temple in Kissimmee, Florida to join in the Celebration of "Wan Awk Pansa" Kannika
prepared a variety of foods and gifts to give to the Monks as a normal part of this Buddhist Celebration. There is a complete series of photos of today's festivities uploaded together. I hope you take a minute and scroll through the collection and enjoy them. This was my first experience participating in this celebration and I found it to be very interesting and satisfying.
Wan Awk Pansa
The Meaning of Wan Awk Pansa
Wan Awk Pansa (วันออกพรรษา) means the day of leaving the rains retreat. It is a public holiday in Thailand, held on the fifteenth, or full moon day, of the eleventh lunar
Tuesday, 27 October, 2015.
Wan Awk Pansa signals the end of the Buddhist Lent period, a period when many Thai Buddhists abstain from eating meat, drinking alcohol, and smoking. This is a day when many Thai people will visit a temple, often their local temple in their birthplace, to pray and to bring offerings. In the evenings, many people will take part in a tian wian or candlelit circumambulation of the main shrine of the temple. The devotees walk three times, in a clockwise direction, around the shrine, carrying a candle, three lit incense sticks and a lotus bud.
Tak Bat – the Morning Alms-Giving in Luang Prabang
The tak bat, or the Buddhist monks' morning collection of food in Luang Prabang, has become a must-see for travelers to Luang Prabang in Laos. And yet the tak bat's growing popularity among tourists may also be turning this serene ritual into an endangered one.
The practice of offering food to monks is most visible in Theravada Buddhist countries like Laos and Thailand, where the practice sustains large monastic communities. "The monks leave the monasteries early in the morning," writes About.com Buddhism guide Barbara O'Brien. "They walk 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."
From Wikipedia, the free encyclopedia
The Satyanarayana is a Hindu religious observance. It is a ritual performed by Hindus before/on any major occasion like marriage, house warming ceremony etc. It can also be performed on any day for any reason. It finds first mention in skandha puran
The Satyanarayana Puja is usually done on the Purnima day of every month (the day of the full moon) or a Sankranti. It is also done on special occasions and during times of achievements as an offering of gratitude to the Lord. These occasions include marriage, graduation, new job, and the purchase of a new home to name a few. In addition, it is said that a devotional performance of this puja will bear children to couples trying to start a family.
ri Satyanarayana Vratam, Puja are very popular in Andhra Pradesh India. Almost all Hindus, throughout Andhra Pradesh, have strong faith, belief, and devotion towards Sriman Narayana, an incarnation of Vishnu. There is a very ancient, famous temple for Sri Satyanarayana Swamy at Annavaram, near Visakhapatnam in Andhra Pradesh. This vratam is performed daily there. Daily, large numbers of devotees, many with families, visit the temple, offer prayers, perform this Vratam there, right in the temple. This place is one of the very important pilgrimages.
[edit]Procedure
A painting of Narayana (Vishnu) seated on lotus
The puja starts by a prayer to Lord Ganesha, to remove all obstacles that may occur as a result of incorrectly performing the puja. This is done by chanting all the names of Lord Ganesha and offering prasad (a food offering, usually consisting of one of Lord Ganesha's favorite foods - modak, a sugar and coconut mixture, or laddu) and the showering of flower petals.
Another part of the prayer involves a prayer to the Navagraha's - the nine important celestial beings in the universe. They consist of Surya (the Sun), Chandra (the moon), Angaaraka/Chevaai (Mars), Budha (Mercury), Guru aka Bruhaspati (Jupiter), Shukra (Venus), Sani (Saturn), Rahu (the head of the Demon snake), and Ketu (the tail of the Demon snake).
The rest of the puja consists of worship to Satyanarayana, an extremely benevolent form of Lord Vishnu. First "panchamritam" is used to clean the place where the deity is placed. After placing the deity in the correct position, Satyanaraya swami is worshipped. Names of Satyanarayana are chanted along with offering of a variety of prasad (including a mixture of milk, honey, ghee/butter, yogurt, sugar) and flower petals.
Another requirement of the puja is that the story of the puja be heard among all those observing and partaking in the puja. The story involves the origin of the puja, the benefits of it, and the potential mishaps that may occur with the forgetting performance of the puja.
The prayer concludes with an Aarti, which consists of revolving a small fire-lit-lamp in the vicinity of an image of the Lord. After the puja is over, participants and observers of the puja are required to ingest in the prasad that was offered and blessed by the Lord......
[edit]Puja (Prayer) Vidhi (performing method)
The Satyanarayan Puja is performed in reverence to the Narayan form of Lord Vishnu. The Lord in this form is considered an embodiment of truth.
Performing this puja in the evening is considered more appropriate. However one can do it in the morning as well. On the day of the puja, the devotee has to fast. After bathing the person can begin the puja.
[edit]Materials needed for the puja
Satyanarayana Puja preparation
'Sinni': A special type of food offering, which is prepared by mixing unboiled milk, flour, sugar, smashed bananas, and other flavours like cinnamon etc., or optional garnishing like groundnuts, cashews, cherries, crushed coconuts/fruits etc.
Kumkum powder, turmeric powder, rangoli
Incense sticks, camphor.
Thirty betel leaves, thirty betel nuts, two coconuts.
Five almonds,
Flowers to offer
One thousand tulsi leaves; banana tree as a canopy [1]
One square shaped wooden platform
Two copper jars, two plates.
One shawl
A mixture of milk, curd, honey, sugar, ghee to make the panchamrita, Sandal paste.
Akshat (rice grains) with turmeric powder.
Attar, Indian perfume.
Two flower garlands, conch shell, bell, a cloth, a ghee lamp and an oil lamp.
1 kg of raw rice
1 kg of sajjige as prasadam
6 numbers of coconuts after completing each katha.
The Satyanarayana Puja is a Hindu religious observance. It is a ritual performed by Hindus before/on any major occasion like marriage, house warming ceremony etc. It can also be performed on any day for any reason. The Satyanarayana Puja is unique in that it does not require a Brahmin to perform.
The Satyanarayana Puja is usually done on the Pournami day of every month (full moon day), ekadasi (11th day after full moon or new moon), kartheeka paurnami, vaisakha paurnami, solar eclipse day or on Sankranti except during Ashada masam. It is also done on special occasions and during times of achievements as an offering of gratitude to the Lord. These occasions include marriage, graduation, new job, and the purchase of a new home to name a few. In addition, it is said that a devotional performance of this puja will bear children to couples trying to start a family. Summary of the puja process:
The puja starts by a prayer to Lord Ganesha, to remove all obstacles that may occur as a result of incorrectly performing the puja. This is done by chanting all the names of Lord Ganesha and offering prasad (a food offering, usually consisting of one of Lord Ganesha’s favorite foods – modak, a sugar and coconut mixture, or lhadu) and the showering of flower petals.
Another part of the prayer involves a prayer to the Navagraha’s – the nine important celestial beings in the universe. They consist of Surya (the Sun), Chandra (the moon), Angaaraka/Chevaai (Mars), Budha (Mercury), Guru aka Bruhaspati (Jupiter), Shukra (Venus), Sani (Saturn), Rahu (the head of the Demon snake), and Ketu (the tail of the Demon snake).
The rest of the puja consists of worship to Satyanarayana, an extremely benevolent form of Lord Vishnu. First “panchamritam” is used to clean the place where the deity is placed. After placing the deity in the correct position, Satyanaraya swami is worshipped. Names of Satyanarayana are chanted along with offering of a variety of prasad (including a mixture of milk, honey, ghee/butter, yogurt, sugar) and flower petals.
Another requirement of the puja is that the story of the puja be heard among all those observing and partaking in the pooja. The story involves the origin of the puja, the benefits of it, and the potential mishaps that may occur with the careless performance of the puja.
The prayer concludes with an Aarti, which consists of revolving a small fire-lit-lamp in the vicinity of an image of the Lord. After the puja is over, participants and observers of the pooja are required to ingest in the prasad that was offered and blessed by the Lord.
It is told that Satyanarayan Katha is in REVA volume of Skanda Purana. But this volume is devoted to pilgrimages on the valley of river REVA. In Satyanarayana there is no Reva river. In original Skanda Purana there is nothing like Satyanarayana. Recent Skanda Puranas added it with clear note of its new addition in Skanda. Puja vidhanam:
The Satyanarayan Puja is performed in reverence to the Narayan form of Lord Vishnu. The Lord in this form is considered an embodiment of truth. 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. It is believed the ceremony originated in Bengal as Satya Pir and was later adapted into Satyanarayan puja.
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. However one can do it in the morning as well. On the day of the puja, the devotee has to fast. After bathing the person can begin the puja. Materials required for puja:
‘Sinni’: A special type of food offering, which is prepared by mixing unboiled milk, flour, sugar, smashed bananas, and other flavours like cinnamon etc., or optional garnishing like groundnuts, cashews, cherries, crushed coconuts/fruits etc.
Kumkum powder, turmeric powder, rangoli
Incense sticks, camphor.
Thirty betel leaves, thirty betel nuts, two coconuts.
Five almonds,
Flowers to offer
One thousand tulsi leaves; banana tree as a canopy[2]
One square shaped wooden platform
Two copper jars, two plates.
One shawl
A mixture of milk, curd, honey, sugar, ghee to make the panchamrita, Sandal paste.
Akshat (rice grains) with kumkum powder.
Attar, Indian perfume.
Two flower garlands, conch shell, bell, a cloth, a ghee lamp and an oil lamp.
To prepare Prasadam:
You need to prepare halwa with sugar and suji by using atleast 5 measures of rava.
Fruits
Panchamrutam (made by mixing 1cup milk, 1tbsp curd, 1tsp ghee, 1 sliced banana, 2tsp honey
Other suggestions for items needed for puja:
Coconuts
Flowers
Betel leaves
Prasadam (wheat flour)
New blouse piece
Brass/silver vessel(chembu) for kalasam
Panakam
Vadapappu
Fruits
Agarbatti
Deepams
Sri Satyanarana Swami Katha:
Shri Satyanarayana katha (narrative) comes from the Skandha purana, Reva kaanda. Suta Maharshi narrated these stories, in Neimishaaranya to the Rishis who were performing a 1 ,000 year yagna for the benefit of mankind lead by Shounakji.
For those who observe the fast religiously and regularly, there are some great lessons to be learned from the ‘katha’ (narration)
This is shown by characters who ignored their promise to perform the puja after their wish had been fulfilled. They suffered as a result. Therefore one is to deduce that one must stick to the promise given to the Lord in exchange of the desire fulfilled by His Grace. One is not to ignore or/and forget the Lord’s Grace. Prasad is symbolic of God’s Grace which Kalavati ignored as she learned of her husband’s safe return.
One can understand her eagerness in wanting to be re-united with her beloved, but one must understand that if one forgets to be thankful for gifts received from the Lord, one would have to go through another test until one remembers to remember.
When the rich merchant is asked what the boat contains, he untruthfully replies ‘Only dry leaves’ and the Mendicant says ‘So be it’ The above incident tells us that the spoken word has power. What you speak, manifests. Hence one must not speak an untruth. Especially an inauspicious untruth.
In the last story one learns that no one is higher or lower in status in the eyes of the Lord. Hence one must accord respect to whoever it may be, who is taking the name of God. Katha details: Story 1:
Suta Maharshi narrated the stories. Once upon a time while travelling the three worlds, Narada Maharshi reached Bhoolokam (Earth) and saw the human beings immense suffering. He then went to the abode of Lord Sri Satyanarayana Swami (the benevolent form of Lord Vishnu), who alone can relieve the mankind from the sufferings. There he met the Lord Vishnu with four arms each with Shankha, Chakra, Gadha & Padma, wearing Tulsi Mala (garland) in his neck. Narada Maharshi then asked the lord for a panacea for the miseries of the world. Lord Sri Satyanarayana told Narada Maharshi that there is a fast and puja which can be performed by anyone to overcome these obstacles. The Lord said, “Anyone who performs Shri Satyanarayan Swami’s Vratham & Puja in the right way they will get all the pleasures on earth & will reach their goal”. The fast would result in the fulfillment of his desires and also liberation from the cycle of birth and death into attaining moksha (salvation). Whosoever performs Shri Satyanarayana Swami’s Katha with a Brahmin and with his family with full rites/rituals, they will be relieved off their sufferings and sorrows. They will be bestowed with wealth & wisdom, they will be blessed with children and they will get overall victory & increased devotion.
For this prayer, one requires ripe bananas, ghee, milk & choori (made with wheat flour, ghee & sugar). After the prayers, all present must have the prasadam & then take their meals together, & then sing, praise, & chant mantras of Shri Satyanarayana Swami. By doing this, their wishes will be fulfilled. This vratham in kaliyugam gives boon (reward) very quickly.
This chapter of Lord Satyanarayana Swami is over. All chant together (say) Shri Satyanarayana ki jai. Story 2:
Lord Satyanarayana then narrated to Narada Maharshi how and who performed the puja first. In a place named Sunder Kashipur, there used to live a very innocent brahmin. In hunger & thirst he used to roam begging for his daily bread. When the Lord saw the Brahmin in sorrow and begging daily, he disguised himself as an old Brahmin & asked him, “On Brahmana, why are you so sad. Please tell me all about your difficulties. Is there any way I could help you?”. The Brahmin replied, “I am a poor Brahmin & I roam daily for bread. Do you know if there is any way to come out of all this sorrow?”. Then the Lord in the guise of a brahmin said “Lord Satyanarayana grants all the wishes of all the people if his puja and fast is performed diligently. If you pray to him & keep his fast you will overcome all your sorrow and get moksha”. After telling him all the details of the prayer and the fast, Lord disappeared. The poor brahmin could not sleep that night. He kept thinking of the fast and the prayer which the Lord had asked him to do. In the morning, he woke up with the thought that somehow he must perform the puja and so thinking went out for his biksha (alms). On that day the Brahmin got a lot of money. He used to buy all the necessary things for the prayer. He called his family and performed Lord Satyanarayana’s prayer. By doing so, the Brahmin overcame all his sorrows & became rich. From then onwards, he performed the prayers every month without fail. Thus whoever performs Lord Satyanarayana Swami’s puja, they will be relieved from all sorrows.
The Lord then narrated another story. The same Brahmin now a rich person performed the prayer every month without fail with his family. Once a Brahmin was in between his prayer when a wood-cutter passed by. After keeping the bundle of wood outside the brahmin’s house, he went in to quench his thirst. The thirsty wood-cutter saw the brahmin performing the Satyanarayana Vratham. He bowed down to the Brahmin & asked him, “Oh Brahmana, what are you doing, please tell me.” The Brahmin replied, “I am performing the vratham of Lord Satyanarayana Swami. One who accomplishes this will overcome all obstacles and their wishes will be granted. They will attain wealth and wisdom. I have aquired my wealth also in the same way.” After hearing about the prayer and drinking the water, the wood-cutter felt happy. He ate the prasadam from the puja and left for his house.
Thinking of Lord Satyanarayana in his mind, he said “Whatever money I make from selling wood today, I will use it to perform the Satyanaraya Swami vratham.” So thinking, he loaded the bundle of wood onto his head and left for his home. Along the way home he went roaming in Sunder Nagar selling the wood. On that day, he got four times more money than what he made usually out of the wood sale. Feeling happy, he went and bought all the necessary things for the prayers (ie. ripe bananas, sugar, ghee, wheat flour, etc). On reaching his house and after cleaning himself, he called his family and did the prayer with due respect. He became rich and aquired all the pleasures of life. At the end of his life he went to heaven.
This chapter of Lord Satyanarayana Swami is over. All chant together (say) Shri Satyanarayana ki jai. Story 3:
This story consists of a childless merchant and his adventures. There was a wise king named Ulkamuk. He had a pious and beautiful wife. He would go to the temple daily and would give charity to the Brahmins. One day near the banks of river Madhushala, where they were performing Lord Shri Satyanarayana’s vratham, a wealthy merchant was passing by. He anchored his boat, went to the king and asked him, “Oh King, please let me know the details about the vratham you are performing with such devotion”. The king replied that he was performing the Lord Satyanarayana Swami’s vratham. He said that one who performs this vratham will gain worldy pleasures and attain salvation. The merchant with much eager asked him the details stating that, “Oh King, I would like to know the details as I am childless and would like to perform this vratham”. The king gladly gave the entire details about the vratham and its vidhanam.
After aquiring the entire details of the vratham, the merchant and his wife decided to perform the fast if they get a child. Sometime later his wife Lilavati became pregnant and she delivered a girl who they called Kalavati. The merchant’s wife Lilavati reminded him about his promise to keep the fast and perform the vratham. The merchant postponed it saying that he would do so when the daughter is ready to be married. The merchant told his wife that during the time of Kalawati’s wedding it would be easy to the fast for at the moment he was busy in his business. So saying he left for his business trip to various villages.
Kalawati grew up to be a beautiful girl. When the merchant saw his daughter was of marriageable age; he called the match-maker and requested him to search an ideal match for his daughter. Hearing the merchant’s request, the match-maker reached Kanchan Nagar. From there, he brought the proposal of a young handsome boy. Agreeing to the proposal and after speaking to the boy’s parents, Kalavati’s marriage was performed with much fanfare and religious ceremonies & rituals. All this while the merchant forgot about the promise to perform the Satyanarayana vratham and so the Lord decided to remind the merchant about his promise.
The merchant, after a few days, left for his business trip with his son-in-law by boat. They anchored their boat in a beautiful village, named Ratanpur ruled by King Chandraketu. One day, the thieves robbed the wealth of the king. After robbing they went and stayed at the same place where the merchant was staying. Seeing the guards following them, they left the entire loot near the merchant and then hid themselves. When the guards reached the merchant’s place, they saw all the king’s wealth beside the merchant and his son-in-law. Thinking them to be robbers, they arrested them and brought them before the king stating that they were responsible for the theft. The king, without giving any chance of explaining their case ordered both be confined to behind bars. Even their wealth was confiscated by the king.
While at the merchant’s house, the thieves robbed their entire wealth. This left his wife and daughter to beg for their daily bread. One day while begging for food, Kalawati reached a Brahmin’s house. At that time the brahmin and his family were performing Lord Satyanarayana’s puja. After listening to the prayer and& taking the prasadam, she left for home. By the time she reached home it was already dark.
Leelawati was worried. She asked her daughter Kalawati, why it took her so much time to come home. Kalawati replied, “Oh Mother, today I was at a Brahmin’s house where they were performing Lord Satyanarayana’s vratham.” On hearing this, Leelawati recollected the long pending promise by her husband and narrated it to her daughter. She soon began the preparations for the Lord Satyanarayana vratham. She did the fast & prayer and asked the Lord for forgiveness. She prayed that her husband and her son-in-law return home safely.
Lord Satyanarayana was pleased with the prayer and the fast. One day, he told King Chandraketu in his dream, “Oh King, You must release the merchant and his son-in-law as they are not the robbers. Return their wealth and set them free. If you do not do so, your kingdom will be destroyed.” In the morning, the king called the people in his court and told them about the dream.
The people they agreed that the merchant and his son-in-law should be released by the king. The king asked the guards to bring the prisoners returned all their belongings and set them free. The king told them that due to their wrong-doings, they had to undergo this suffering, but now there was nothing to fear & they could go back home. They bowed down to the king & left for home.
This chapter of Lord Satyanarayana is over. All chant together (say) Shri Satyanarayana ki jai. Story 4:
The merchant prayed first and then gave some wealth to the Brahmin before starting his journey for home. When they went little further, Lord Satyanarayana wanted to test them. He disguised as an old man and went up to the merchant. The Lord asked, “What is in your boat, give me little from there.” The merchant in arrogance and pride, replied, “Oh Old man, we have nothing in our boat except hay and leaves.” On hearing such harsh words from the merchant, the Lord said, “Your words shall be true”. So saying, he went from there and sat on the bank of the river.
When the Lord went away, the boat started to rise higher in the water. The merchant was surprised at this. He went to check inside the boat. To his shock he saw that his boat which was filled with his wealth now contains only leaves and hay. Seeing this he fainted. When he came to his senses, he said “How could this happen?” His son-in-law meanwhile told him, “Do not cry over this. All has happened because you spoke harshly to the old man and lied to him. Still, nothing is lost. You could go back to him and ask him for his forgiveness. He may set everything right.”
The merchant, after hearing the words of his son-in-law went in search of the old man. He bowed down before him and with respect said, “Oh Lord, please forgive me for the words I have spoken.” So saying, he bowed down with tears of sorrow in his eyes. When the Lord, saw the merchant in his state of sorrow and crying for forgiveness, he said, “Oh foolish person, due to your deeds, you have seen all this sorrow & suffering.”
On hearing the merchant’s words filled with bhakti, the Lord was happy & he turned the boat full of wealth. When the merchant mounted his boat and saw it full with wealth again, he thanked the Lord & said, “With Lord Satyanarayana’s grace, my wish is fulfilled. When I reach home, I will do his prayer & fast”, so saying he left for his home.
When the merchant saw that his home-town Ratanpur is nearing, he sent a messenger in advance, to his house to inform his wife & daughter of his arrival. The messenger, on reaching the merchant’s house, bowed down to the merchant’s wife & gave them the most awaited news that the merchant & his son-in-law have reached Ratanpur.
Leelawati had just finished doing her Satyanarayana Puja meanwhile. She told her daughter to finish doing the prayer and then come & receive her husband & her father. Kalawati finished doing her quickly & without taking the prasadam left to meet her husband. The Lord got angry at her for this, and so he drowned her husband with the boat. When Kalawati did not see her husband; she was shocked and she fainted on the floor.
On seeing his daughter and the sudden disappearance of the boat, the merchant was shocked. He prayed to Lord Satyanarayana, asked him for his forgiveness and prayed to the Lord to take them out of this difficulty. The Lord said to the merchant, “Oh merchant, your daughter, in a hurry to meet her husband has left my prasadam. When she goes back and takes the prasadam with due respect only then she will see her husband.” On hearing this, Kalawati ran home, ate the prasadam offered respects to Lord Satyanarayana and came back to meet her husband. When the merchant saw this, he was very happy.
The merchant then performed Lord Satyanarayana’s vratham with his family every month from then onwards. They all gained the pleasures of life and after their death they got the ultimate gift of ‘Moksha’ (Salvation – Liberation from the cycle of life and death).
This chapter of Lord Satyanarayana is over. All chant together (say) Lord Satyanarayana ki jai. Story 5:
Suta Maharshi continuing his narrative, tells the Rishis, the story of a king called Angadwaja. Once, as King Angadwaja was returning from a hunting expedition, he stopped to rest under a tree for a while. Nearby a small group of cowherd boys were playing the game of doing puja. They offered their humble parsadam to the king, who out of pride left it untouched. Subsequently the king suffered great losses and realised that that was due to the contempt he had shown for those children’s puja. The king realising his mistake returned to the spot where he had met the cowherds, and with great faith performed the puja with them. The king regained all that he had lost.
Suta Maharshi now told the Rishis that the Lord Sri Satyanarayana Swami fast was very effective during Kaliyuga and that whoever read or heard this story would be rid of all sorrows and difficulties.
The names of the persons who kept Satyanarayana vratham took re-birth are as follows:
The Brahmin took birth as Sudama & in his entire life he served the Lord Krishna & attained moksha.
King Ulkamuk took birth as King Dashrath, and in that life he became the father of Lard Rama & attained eternity.
The merchant took birth as King Morad, who cut his son in half & offered to the Lord & got moksha.
King Angadwaja took birth as Kewat, who took Lord Rama across the river, served him & got moksha.
This chapter of Lord Satyanarayana is over. All chant together (say) Lord Satyanarayana ki jai. Aarti
Jai Lakshmi Ramana, Swami Jai Lashmi Ramana, Satyanarayan Swami, Jan Patak Harana, Jai Lakshmi Ramana
Ratan Ja Rat Singhasan, Adhbut Chabee Rajey Narada Kahat Niranjan, Ghanta dhun bhajey Jai Lakshmi Ramana………….
Praghat Bhaye Kali Karan, Dwaj Ko Daras Diya Budha Brahman Bankey, Kanchan Mahal Kiya Jai Lakshmi Ramana………….
Durbal Bhil Kathier, Jan Par Kripa Karey Chandra Choor Ik Raja, Jinaki Vipat Hare Jai Lakshmi Ramana………….
Vayesh Manorath Payo, Shradha Uj Dini So Fal Bhogyo Prabhji, Fer Ustati Kini Jai Lakshmi Ramana………….
Bhav Bhagti Ke Karan, Chhin Chhin Roop Dharya Sharda Dharan Kini, Tin Ka Karj Sarya Jai Lakshmi Ramana………….
Gwal Bal Sang Raja, Ban Mein Bhagti Karey Man Vanchit Fal Dino, Deen Dayal Harey Jai Lakshmi Ramana………….
Charhat Prasad Sawayo, Kadali Fal Mewa Doop Dheep Tulsi Se, Raje Sat Deva Jai Lakshmi Ramana………….
Shri Satya Narayan Ji Ki Aarti jo koi gaavey Kahat Shianand Swami Man Van Chit Fal Paavey Jai Lakshmi Ramana…………. Shri Vishnu Aarti
Om jai jagdish harey, Swami jai jagdish harey Bhagt jano ke sankat, shan mein door karey Om jai jagdish harey
Jo Dhiyavay phal pavay dukh binase man ka Swami dukh binase man ka Sukh Sampati ghar aavey kasht mitay tan ka Om jai jagdish harey
Mat Pita tum mere, sharan pau kisaki Swami sharan pau kisaki Tum bin aur na duja aash karoo jisaki Om jai jagdish harey
Tum pooran parmatma tum antaryami Swami tum antaryami Par Brahm parmeshwar tum sabke swami Om jai jagdish harey
Tum karuna ke sagar tum palan karta Swami tum palan karta Mae murakh kul kami kripa karo bharta Om jai jagdish harey
Tum ho ek agochar sabh ke pranpati Swami sabh ke pranpati Kisa bida milu gusai tumko mae kumati Om jai jagdish harey
Din Bandu dukh harta thakur tum mere Swami thakur tum mere Apne hath uthao, apnay charan lagao Dwar khada tere Om jai jagdish harey
Vishay vikar mitao pap haro deva Swami pap haro deva Sharda Bhakti Badao, Santan ki sewa Om jai jagdish harey
Om jai jagdish harey, Swami jai jagdish harey Bhagt jano ke sankat, shan mein door karey Om jai jagdish harey
A close-up of Japanese incense sticks in a large bronze bowl near the Sensoji Temple in Asakusa, Tokyo.
If you are wondering about the swastikas on the small pieces of paper... I learned that the swastika is actually a widely used symbol of universal harmony (similar to Yin-Yang) in Dharmic religions such as Buddhism and Hinduism and is used to mark Buddhist temples in Asia. When facing left, it represents love and mercy. Facing right it represents strength and intelligence.
Unfortunately, the Nazi party adopted the swastika as its party symbol which is why it is now taboo in Western culture.
The fire dragon from the Mid-Autumn Festival in Hong Kong.
The fire dragon is more than 70 meters long with its body divided into 32 segments, all of which are stuffed with straw and stuck full of incense sticks.
"Loy Krathong (or Loi Kratong, Thai ลอยกระทง) is a festival celebrated annually throughout Thailand. It is held on the full moon of the 12th month in the traditional Thai lunar calendar, in the western calendar this usually falls into 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 often 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."
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Please visit margaridaperola and help margaridaperola in her action for the kids...
The City God Temple in Shanghai originated as the Jinshan God Temple, dedicated to the spirit of Jinshan, or "Gold Mountain", an island off the coast of Shanghai. It was converted into a City God Temple in 1403, during the Yongle era of the Ming dynasty.
During the Qing Dynasty, the temple grew popular. Residents of the old city as well as nearby areas visited the temple to pray for good fortune and peace. The temple reached its largest extent in the Daoguang era. The popularity of the temple also led to many business to be set up in the area, turning the surrounding streets into a busy marketplace.
In 1951, the Board of Trustees of the City God Temple was dissolved, and the temple was handed over to the Shanghai Taoist Association and made into a Taoist center. The institution made changes to the temple, removing statues representing folk Underworld personalities such as Yama, the judge of the dead, and placing an emphasis on Taoist spirituality instead.
During the Cultural Revolution, the temple was closed down and used for other purposes. For many years, the main hall was used as a jewellery shop. In 1994, the temple was restored to its former use as a temple, with resident Taoist priests. The Temple, together with nearby Yuyuan Garden and the surrounding streets, are now part of a large pedestrian zone dedicated to restaurants and retail. (Source: Wikipedia)
The large incense sticks in front of a Tempe in Georgetown Penang. The monk is praying with the small group.
From Wikipedia, the free encyclopedia
Durga Puja (Bengali: দুর্গা পূজা [d̪urɡa pudʒa], listen: About this sound listen (help·info), "Worship of Durga"), also referred to as Durgotsava (Bengali: দুর্গোৎসব Bengali pronunciation: [d̪urɡot̪ʃɔb], listen: About this sound Durgotsava (help·info), "Festival of Durga") or Sharadotsav is an annual Hindu festival in South Asia that celebrates worship of the Hindu goddess Durga. It refers to all the six days observed as Mahalaya, Shashthi, Maha Saptami, Maha Ashtami, Maha Nabami and Vijayadashami. The dates of Durga Puja celebrations are set according to the traditional Hindu calendar and the fortnight corresponding to the festival is called Devi Paksha, "Fortnight of the Goddess"). Devi Paksha is preceded by Mahalaya, the last day of the previous fortnight Pitri Paksha, "Fortnight of the Forefathers"), and is ended on Kojagori Lokkhi Puja ("Worship of Goddess Lakshmi on Kojagori Full Moon Night").
Durga Puja festival marks the victory of Goddess Durga over the evil buffalo demon Mahishasura. Thus, Durga Puja festival epitomises the victory of Good over Evil.
Durga Puja is widely celebrated in the Indian states of Assam, Bihar, Jharkhand, Manipur, Odisha, Tripura and West Bengal, where it is a five-day annual holiday.[3] In West Bengal and Tripura, which has a majority of Bengali Hindus, it is the biggest festival of the year. Not only is it the biggest Hindu festival celebrated throughout the state, it is also the most significant socio-cultural event in Bengali Hindu society. Apart from eastern India, Durga Puja is also celebrated in Delhi, Uttar Pradesh, Maharashtra, Gujarat, Punjab, Kashmir, Andhra Pradesh, Karnataka and Kerala. Durga Puja is also celebrated as a major festival in Nepal where 91% is Hindu. It is also celebrated in Bangladesh where the 8% population is Hindu. Nowadays, many diaspora Bengali cultural organisations arrange for Durgotsab in countries such as the United States, Canada, United Kingdom, Australia, Germany, France, The Netherlands, Singapore and Kuwait, among others. In 2006, a grand Durga Puja ceremony was held in the Great Court of the British Museum.[4]
The prominence of Durga Puja increased gradually during the British Raj in Bengal.[5] After the Hindu reformists identified Durga with India, she became an icon for the Indian independence movement. In the first quarter of the 20th century, the tradition of Baroyari or Community Puja was popularised due to this. After independence, Durga Puja became one of the largest celebrated festivals in the whole world. It is also the largest open Air Art Exhibition in the World.
Durga Puja also includes the worship of Shiva, who is Durga's consort (Durga is an aspect of Goddess Parvati), in addition to Lakshmi, Saraswati with Ganesha and Kartikeya, who are considered to be Durga's children.[6] Worship of mother nature is done, through nine types of plant (called "Kala Bou"), including a plantain (banana) tree, which represent nine divine forms of Goddess Durga.[7] Modern traditions have come to include the display of decorated pandals and artistically depicted sculptures (murti) of Durga, exchange of Vijaya greetings and publication of Puja Annuals.
In Bengal, Durga Puja is also called Akalbodhan ("untimely awakening of Durga"), Sharadiya Pujo ("autumnal worship"), Sharodotsab (Bengali: শারদোৎসব ("festival of autumn"), Maha Pujo ("grand puja"), Maayer Pujo ("worship of the Mother") or merely as Puja or Pujo. In East Bengal (Bangladesh), Durga Puja used to be celebrated as Bhagabati Puja. It is also called Durga Puja in West Bengal, Bihar, Assam, Odisha, Delhi and Madhya Pradesh.[8]
The durga pujo celebrated in chachar village in bankadaha near Bishnupur in the Indian State of West Bengal.
Puja is called Navaratri Puja in Gujarat, Uttar Pradesh, Punjab, Kerala and Maharashtra,[9] Kullu Dussehra in Kullu Valley, Himachal Pradesh,[10] Mysore Dussehra in Mysore, Karnataka[11] and Bommai Golu in Tamil Nadu and Bommala koluvu in Andhra Pradesh.[12]
The actual worship of the Goddess Durga as stipulated by the Hindu scriptures falls in the month of Chaitra, which roughly overlaps with March or April and is called Basanti Durga Puja. This ceremony is not observed by many and is restricted to a handful in the state of West Bengal. The more popular form, which is also known as Sharadiya (Autumnal) Durga Puja, is celebrated later in the year with the dates falling either in September or October.[13] Since the Goddess is invoked at the wrong time, it is called "Akaal Bodhon" in Bengali.
One of the earliest evidence of the autumnal celebration can be found in the Tripura Buranji, where it is described that the envoy of the Twipra Kingdom, Rameshwar Nyayalankar, was invited to witness the Durga puja at Rangpur, the capital of the Ahom kingdom, in 1711.[14]
Public announcement by Shobhabazar Rajbari on the origins of Durga Puja.
While the most recent revival of the Autumnal worship of Goddess Durga can be traced to revivalist tendencies in the early freedom movement in Bengal, differences remain in the historical reason behind the revival. One school of thought is of the opinion that the first such Puja was organised by Raja Nabakrishna Deb of the Shobhabazar Rajbari of Calcutta in honour of Lord Clive in the year 1757. The puja was organised because Clive wished to pay thanks for his victory in the Battle of Plassey. He was unable to do so in a Church because the only church in Calcutta at that time was destroyed by Siraj-ud-Daulah. Indeed many wealthy mercantile and Zamindar families in Bengal made British officers of the East India Company guests of honour in the Pujas. The hosts vied with one another in arranging the most sumptuous fares, decorations and entertainment for their guests. This was deemed necessary since the company was in charge of a large part of India including Bengal after the battles of Plassey and Buxar.[15] However, this particular claim has been refuted by the Sovabazar Rajbari. In a public announcement during the Durga Puja of 2011, notice boards were placed at the entrance of the puja, clarifying the Rajbari's official position. As to why the Sovabazar Rajbari should choose to do so now after a lapse of 254 years is indeed a mystery.
There is also a mythological belief that Lord Ram, who was a Durga worshiper, worshiped Goddess Durga before going to war with Ravana. Rama had performed "Chandi Homa" and invoked the blessings of Durga, who blessed Rama with secret knowledge of the way to kill Ravana. On the day of Ashvin Shukla Dashami, Rama's party found Sita and defeated Ravana. This day is thus also celebrated as Dussehra.
History[edit]
Durga Puja, 1809 watercolour painting in Patna style.
The Durga puja has been celebrated since the medieval period, and has evolved and adapted to the world as time passed. A considerable literature exists around Durga in the Bengali language and its early forms, including avnirnaya (11th century), Durgabhaktitarangini by Vidyapati (a famous Maithili poet of the 14th century), but the goddess Durga was not fully integrated into the Hindu pantheon, primarily in Bengal, in the 16th century. Early forms of Durgotsavs (Durga festivals) were primarily private worship in personal residences with the use of musical instruments such as the mridanga, mandira, and smakhya.
During the 18th century, the worship of Durga became popular among the land aristrocrats of Bengal, the Zamindars. Prominent Pujas were conducted by the zamindars and jagirdars, being enriched by emerging British rule, including Raja Nabakrishna Deb, of Shobhabajar, who initiated an elaborate Puja at his residence. These celebrations brought the Durgostavs out of individual homes and into the public sphere. Festivities were celebrated as a community, where royalty and peasantry were welcomed into the home of the zamindar or bania (merchant) to feast together. The festivities became heavily centred on entertainment — music and female dancers — as well as lavish feasts that continued for the entire month. In the 19th century, the Pujas celebrated placed less emphasis on elaborate celebration and feasting, and more on including all of the community. They moved from being a show of wealth and authority by royalty and merchants back to a festival of worship and community. Many of these old puja exist today. The oldest such Puja to be conducted at the same venue is in Rameswarpur, Odisha, where it has been continued since the last four centuries, starting from the time when the Ghosh Mahashays from Kotarang migrated there as a part of Todarmal's contingent during Akbar's rule. Today, the culture of Durga Puja has shifted from the princely houses to Sarbojanin (literally, "involving all") forms. The first such puja was held at Guptipara — it was called barowari (baro meaning twelve and yaar meaning friends)
Image of Durga in an early 19th-century lithograph.
Today's Puja, however, goes far beyond religion. Visiting the pandals recent years, one can only say that Durgapuja is the largest outdoor art festival on earth. The music, dancing, and art displayed and performed during the Durga puja played an integral part in connecting the community in Bengal, and eventually across India and the world. In the 1990s, a preponderance of architectural models came up on the pandal exteriors, but today the art motif extends to elaborate interiors, executed by trained artists, with consistent stylistic elements, carefully executed and bearing the name of the artist.
The sculpture of the sculpture itself has evolved. The worship always depicts Durga with her four children, and occasionally two attendant deities and some banana-tree figures. In the olden days, all five sculptures would be depicted in a single frame, traditionally called pata. Since the 1980s however, the trend is to depict each sculpture separately.
From the medieval period up through present day, the Durga puja celebrates the goddess and brings the Hindu community together by integrating modernised aspects of entertainment and technology, while still maintaining the religious worship.[16]
Customs[edit]
Durga puja mood starts off with the Mahishasuramardini – a two-hour radio programme that has been popular with the community since the 1950s.[17] While earlier it used to be conducted live, later a recorded version began to be broadcast. Bengalis traditionally wake up at 4 in the morning on Mahalaya day to listen to the enchanting voice of the late Birendra Krishna Bhadra and the late Pankaj Kumar Mullick on All India Radio as they recite hymns from the scriptures from the Devi Mahatmyam (Chandi Path).[18]
A girl is dancing in the final day of durga puja, Mohaprovu Temple, Dhaka, Bangladesh
During the week of Durga Puja, in the entire state of West Bengal as well as in large enclaves of Bengalis everywhere, life comes to a complete standstill. In playgrounds, traffic circles, ponds—wherever space may be available—elaborate makeshift structures called pandals are set up, many with nearly a year's worth of planning behind them. The word pandal means a temporary structure, made of bamboo and cloth, which is used as a temporary temple for the purpose of the puja. While some of the pandals are simple structures, others are often elaborate works of art with themes that rely heavily on history, current affairs and sometimes pure imagination.
Durga Puja Dhak Sample Sound
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A 47 second sample of Dhak playing during Durga Puja.
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Devi's Aagman & Gaman:
It is a popular belief that Devi arrives and departs in some form of transportation which predicts the lives of people for the coming year. There are various forms like Palki, Nouka (Boat), Ashwa(Horse), Gaj (Elephant),etc. each having its own significance. For eample the departure by horse signifies devastation as was the case in early day's after any war. Coming by boat signifies natural gifts like a good harvest.
Somewhere inside these complex edifices is a stage on which Durga reigns, standing on her lion mount, wielding ten weapons in her ten hands. This is the religious center of the festivities, and the crowds gather to offer flower worship or pushpanjali on the mornings, of the sixth to ninth days of the waxing moon fortnight known as Devi Paksha (lit. Devi = goddess; Paksha = period; Devi Paksha meaning the period of the goddess). Ritual drummers – dhakis, carrying large leather-strung dhak –– show off their skills during ritual dance worships called aarati. On the tenth day, Durga the mother returns to her husband, Shiva, ritualised through her immersion into the waters[19]–– Bishorjon also known as Bhaashan and Niranjan
At the end of six days, the sculpture is taken for immersion in a procession amid loud chants of 'Bolo Durga mai-ki jai' (glory be to Mother Durga') and 'aashchhe bochhor abar hobe' ('it will happen again next year') and drumbeats to the river or other water body. It is cast in the waters symbolic of the departure of the deity to her home with her husband in the Himalayas. After this, in a tradition called Vijaya Dashami, families visit each other and sweetmeats are offered to visitors (Dashami is literally "tenth day" and Vijay is "victory").
Durga Puja commemorates the annual visit of the Goddess with Her children to Her parents' home, leaving finally on the Dashami to be re-united with Shiva. This leaving ceremony is symbolised by the immersion of the sculptures on Dashami.[8]
Durga Puja is also a festivity of Good (Ma Durga) winning over the evil (Mahishasur the demon). It is a worship of power of Good which always wins over the bad.
Durga puja mantra[edit]
Durga Puja Mantra
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A 51 second sample of Durga Puja Mantra recited in Sanskrit.
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Mantras, the integral part of Durga puja are accompanied by the rhythmic beatings of the dhak, smell of the incense sticks,"ululu ""dhoono", and flowers. These create the atmosphere of Durga puja. Chanting of mantras in Sanskrit is essential part of the Durga Puja festival.[20] This is a part of Durga Puja's Pushpanjali Mantra:
“Om Jayanti, Mangala, Kali, Bhadrakali, Kapalini. Durga, Shiba, Kshama, Dhatri, Swaha, Swadha Namahstu Te.
Esha Sachandana Gandha Pushpa Bilwa Patranjali, Om Hrring Durgaoi Namah[21]
”
Durga Slokas (which is also known as Devi Mantra)[22] praises Durga as symbol of all divine forces. According to the sloka, Durga is omnipresent as the embodiment of power, intelligence, peace, wealth, morality etc. A part of Durga Sloka is as follows:[23]
“Ya Devi sarva bhuteshu Matri rupena samsthita
Ya Devi sarva bhuteshu Shakti rupena samsthita
Ya Devi sarva bhutesu Shanti rupena samsthita
Namestasyai Namestasyai Namestasyai Namoh Namah”
Translation:
“The goddess who is omnipresent as the personification of universal mother
The goddess who is omnipresent as the embodiment of power
The goddess who is omnipresent as the symbol of peace
I bow to her, I bow to her, I bow to her”
Transform of the community or Sarbajanin puja[edit]
Celebrations inside a house, during Durga puja, Calcutta, 1840.
Initially the Puja was organised by rich families since they had the money to organise the festival. During the late 19th and early 20th century, a burgeoning middle class, primarily in Calcutta, wished to observe the Puja. They created the community or Sarbojanin Pujas.
These Pujas are organised by a committee which represents a locality or neighbourhood. They collect funds called "chaanda" through door-to-door subscriptions, lotteries, concerts etc. These funds are pooled and used for the expenses of pandal construction, sculpture construction, ceremonies etc. The balance of the fund is generally donated to a charitable cause, as decided by the committee. Corporate sponsorships of the Pujas have gained momentum since the late 1990s. Major Pujas in Calcutta and in major metro areas such as Delhi and Chennai now derive almost all of their funds from corporate sponsorships. Community fund drives have become a formality.
Despite the resources used to organise a Puja, entry of visitors into the Pandal is always free. Pujas in Calcutta and elsewhere experiment with innovative concepts every year. Communities have created prizes for Best Pandal, Best Puja, and other categories.
Creation of the sculptures[edit]
Durga Puja Sculpture in the making at Kumortuli, Kolkata
The entire process of creation of the sculptures (murti) from the collection of clay to the ornamentation is a holy process, supervised by rites and other rituals. On the Hindu date of Akshaya Tritiya when the Ratha Yatra is held, clay for the sculptures is collected from the banks of a river, preferably the Ganges. There is age-old custom of collecting a handful of soil (punya mati) from the nishiddho pallis of Calcutta, literally 'forbidden territories', where sex workers live, and adding it to the clay mixture which goes into the making of the Durga sculpture.[citation needed] After the required rites, the clay is transported. An important event is 'Chakkhu Daan', literally donation of the eyes. Starting with Devi Durga, the eyes of the sculptures are painted on Mahalaya or the first day of the pujas. Before painting on the eyes, the artisans fast for a day and eat only vegetarian food.
An artisan painting the sculpture's eyes at Kumortuli
Many Pujas in and around Kolkata buy their sculptures from Kumartuli (also Kumortuli), an artisans' town in north Calcutta.[24]
In 1610, the first Durga puja in Kolkata was supposedly celebrated by the Roychowdhuri family of Barisha. Though this was a private affair, community or "Baroyari" Durga puja was started in Guptipara, in Hooghly by 12 young men when they were barred from participating in a family Durga puja in 1761. They formed a committee which accepted subscriptions for organising the puja. Since then, community pujas in Bengal came to be known as "Baroyari" ("baro" meaning "12", and "yar" meaning "friends"). In Kolkata, the first "Baroyari" Durga Puja was organised in 1910 by the "SanatanDharmotsahini Sabha" at Balaram Bosu Ghat Road, Bhawanipur. At the same time, similar Baroyari Pujas were held at Ramdhan Mitra Lane and Sikdar Bagan. The Indian freedom struggle also had an influence on Durga puja in Kolkata. In 1926, Atindranath Bose initiated the first "Sarbojanin" Durga puja in which anybody—irrespective of caste, creed, and religion—could participate in the festivities. This was consciously done to instill a feeling of unity.[25]
Environmental impact[edit]
Environmental hazards from the materials used to make and colour the sculptures pollute local water sources, as the sculptures are brought directly into the river at the end of festivities. Efforts are underway to introduce eco-friendly materials to the artisans who make the sculptures. West Bengal has been credited by its own environmental agency as being possibly the first Indian State to successfully curb the use of hazardous paints. However, by their own account, only two-thirds of the sculptures made are currently coloured with eco-friendly paints.[26]
Commercialization of Hindu festivals like Durga Puja in the last quarter of 20th century have become a major environmental concern as devout Hindus want bigger and brighter sculptures. Environmentalists say the sculptures are often made from hazardous materials like cement, plastic, plaster of Paris, and toxic paints.[27]
The Shwedagon Pagoda is a 99 metres gilded pagoda and stupa located in Yangon, Burma. The pagoda lies to the west of Kandawgyi Lake, on Singuttara Hill, thus dominating the skyline of the city. It is the most sacred Buddhist pagoda for the Burmese with relics of the past four Buddhas enshrined within: the staff of Kakusandha, the water filter of Koṇāgamana, a piece of the robe of Kassapa and eight strands of hair from Gautama, the historical Buddha. Uppatasanti Pagoda is an exact replica of Shwedagon Pagoda in Naypyidaw, the new capital of Burma.
According to legend, the Shwedagon Pagoda has existed for more than 2,600 years, making it the oldest historical pagoda in Burma and the world. According to tradition, two merchant brothers, Taphussa and Bhallika, from the land of Ramanya, met the Lord Gautama Buddha during his lifetime and received eight of the Buddha's hairs in 588 BCE. The brothers traveled back to their homeland in Burma and, with the help of the local ruler, King Okkalapa of Burma, found Singuttara Hill, where relics of other Buddhas preceding Gautama Buddha had been enshrined.
According to some historians and archaeologists, however, the pagoda was built by the Mon people between the 6th and 10th centuries CE.
There are four entrances to the Paya that lead up a flight of steps to the platform on Singuttara Hill. The eastern and southern approaches have vendors selling books, good luck charms, Buddha images, candles, gold leaf, incense sticks, prayer flags, streamers, miniature umbrellas and flowers. A pair of giant leogryphs called chinthe (mythical lions) guard the entrances and the image in the shrine at the top of the steps from the south is that of the second Buddha, Konagamana. The base or plinth of the stupa is made of bricks covered with gold plates.
Above the base are terraces that only monks and men can access. Next is the bell-shaped part of the stupa. Above that is the turban, then the inverted almsbowl, inverted and upright lotus petals, the banana bud, and then the crown. The crown or umbrella (hti) is tipped with 5,448 diamonds and 2,317 rubies. Immediately before the diamond bud is a flag-shaped vane. The very top, the diamond bud is tipped with a 76 carat (15 g) diamond.
The gold seen on the stupa is made of genuine gold plates, covering the brick structure and attached by traditional rivets. Myanmar people all over the country, as well as monarchs in its history, have donated gold to the pagoda to maintain it. The practice continues to this day after being started in the 15th century by the Mon Queen Shin Sawbu, who gave her weight in gold.