View allAll Photos Tagged incenseburner
[Hefei, Anhui, China] The main courtyard of the Mingjiao Buddhist temple of downtown Hefei, with a large incense burner in front of the red facade of traditional Chinese architecture with curved cornices, in an example of religion in China.
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©2016 Germán Vogel - All rights reserved - No usage allowed in any form without the written consent of the photographer.
Alexander Hamilton U.S. Custom House
One Bowling Green
New York, NY 10004
Classic period Maya Incense burner depicting the Rain God, AD 250-900 - Cayo District, Belize
Creative edit of a giant incense burner on the steps up to the big buddah at Tian Tan temple on Lan Tau island, Hong Kong.
September 2014
Reflections at Xiangji Temple (Grand Canal Hangzhou).
© Andy Brandl (2014) // PhotonMix Photography // Andy Brandl @ Getty Images
Don´t redistribute - don´t use on webpages, blogs or any other media without my explicit written permission.
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Located along Beijing-Hangzhou Grand Canal, Xiangji Temple is dated back to over 1,000 years ago. Originally built in Northern Song Dynasty (960-1127), the temple was then known as Xingfu Temple (兴福寺). Later Zhenzong of Song (宋真宗), the third emperor of Song Dynasty, renamed it Xiangji Temple. In late Yuan Dynasty (1271-1368), Xiangji Temple was destroyed in a fire and since then, it has been reconstructed several
times. Back then, it was the most famous temple in Gongshu District (拱墅区) of Hangzhou and played an important role in the communication of Buddhism.
Mummies of Ancient Eggypt: Rediscovering 6 Lives
From July 14 to October 26, the CaixaForum Madrid cultural space hostsed an exhibition made up of a collection of objects on loan from the British Museum in London, which explores the idea of mummification and analyzes the testimony of six people who lived in the Ancient Egypt.
This sample contains six mummies of people who lived between 900 and 150 BC. C. in Egypt. Thus, through a non-invasive investigation carried out with the most modern technology, the discoveries that have been achieved by the hand of these specimens are exhibited.
Through scientific and historical evidence, it is possible to observe what life was like in these lands, the tools and techniques used for mummification, the medicinal recipes with which they were cured, the diet of those people, cosmetics and adornments, music, cultural exchanges and even the role of women and children in the Egypt of the pharaohs.
Mummification became a common practice in ancient Egypt, believing that the body had to be preserved in order to reach the afterlife. For them death was just the beginning and this represented the separation between the body and the soul.
The first mummies are dated between 4000 and 3000 BC. C. and it is thought that this practice could have come from accidentally unearthing some corpses, which had dried due to the heat of the desert. By keeping much of their physical appearance, they tried to manually mimic this preservation. In this way, they dried the deceased by extracting the viscera from the body and then dehydrated them with natron and embalmed them.
La sahumadora es una mujer que porta un sahumerio en braseros durante las procesiones religiosas y su tarea es sahumar, es decir "dar humo aromático a algo a fin de purificarlo o para que huela bien". Las sahumadoras del Señor de los Milagros (Perú), usan hábito morado suelto, sin aberturas, con dos cordones blancos y una mantilla de igual color.
Room M of the Villa of P. Fannius Synistor at Boscoreale, buried by the eruption of Vesuvius in 79 CE, functioned as a cubiculum nocturnum - a bedroom. This particular panel shows a religious enclosure, with a polychrome marble incense burner (thymaterion) in the center, and a round tholos-style temple in the background with offerings of fruit (includes pomegranates on the right) and laurel. Laurel garlands also decorate the top of the portal.
The rear wall of the full fresco shows rocky terrain with balustrades and an arbor above, a small cave or grotto sheltering a fountain, and a small figure of Hekate below. In the center of the wall, between two columns, a parapet embellished with a yellow monochrome landscape supports a glass bowl filled with fruit.
The side walls of the room are symmetrical. Each wall is subdivided into four sections by a pilaster that defines the area of the couch and by two ornate columns. The paintings depict enclosed courtyards in which we glimpse the tops of statuary, rotundas, and pylons as well as vegetation. These precincts alternate with townscapes combining colonnaded buildings and projecting terraces.
Roman, ca. 50-40 BCE. Boscoreale, Italy (near Pompeii)
Metropolitan Museum of Art, New York (03.14.13a–g)
The architecture is the traditional Chinese temple style with grand red pillars, a golden roof adorned with blue friezes, yellow latticework, and multi-coloured carvings. This Taoist temple is not ancient. It was built in 1921 and named for Wong Chuping, a shepherd who began following Taoism at the age of 15. By the age of 55, it is said that he reached enlightenment and gained immortality. From that point on, he was referred to as Wong Tai Sin.
[Hefei, Anhui, China] Light and shadows on the entrance gate to the Mingjiao Buddhist temple in downtown Hefei, containing all classic elements of Chinese traditional gates, such as a pair of red lamps, a tall incense burner and typical red Chinese facade and roof.
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©2016 Germán Vogel - All rights reserved - No usage allowed in any form without the written consent of the photographer.
This was originally a school project. In 1973 I was living in Columbus, Ohio and making sales promotion calls for a paper distributor. One of my accounts was the Columbus College of Art & Design (CCAD) and my client was Bill Van de Velde, head of the Illustration and Design Department. I took two evening classes from him, this project was the first. The assignment was to do a strictly line drawing of as much stuff as you could cram in it. All the objects in the drawing were real things I had around my place. The pen drawing is just over 8½ x 10 inches. It was executed on a very smooth bristol board. I believe that I used technical pens on this piece.
I decided add color to this piece in early March of this year, 2021, and used SketchClub on my iPad to accomplish this. It took way more time than I expected! I’ve forgotten the actual colors of most of the items, so I just had to wing it. Hope you enjoy this.
Time and devotion have cloaked this guardian in emerald moss, each droplet of water an offering, each prayer a whisper woven into the green. At Hozenji Mizukake Fudoson, worshippers follow the mizukake ritual—pouring water over the statue as a gesture of faith, purification, and good fortune. Over the years, the moisture has allowed nature to take root, transforming the stone into a living symbol of resilience and devotion. Here, belief is not just spoken but nurtured, where moss and prayers grow side by side.
Just for kicks, I'm posting this COPYRIGHT-FREE image for anyone to use in any way they like, with one requirement: send me a courtesy email. For web use, please also link back to this page (www.flickr.com/photos/lsaly/9466455337/).
creativecommons.org/licenses/by/3.0/
Unless otherwise indicated, all other images in my photostream are copyrighted and require my permission for usage in any medium, print or digital.
Cheers! - Andrew
Nike, the winged goddess of victory, forms the support of this thymiaterion or incense burner. A dove surmounts the openwork lid of the incense bowl. The goddess gestures with her right hand, while pulling her garment to the side with her left. The thymiaterion was originally brightly colored, and still retains traces of red and blue paint.
This Nike's pose and costume are similar to contemporary large-scale marble statues of women known as korai. The shape of the censer and its openwork lid also suggest the influence of metal prototypes.
Greek, from Sicily, ca. 500-475 BCE. Terracotta with white slip and polychromy (red, dark blue, black, and white).
Getty Villa Museum (86.AD.681)
The mountainous terrain surrounding the port of Muscat, Oman and the incense burner that stands out along the shoreline.
[Hefei, Anhui, China] Looking up the staircase to the entrance gate of the Mingjiao Buddhist temple of Hefei, in the middle of the urban city downtown district, ascending towards and incense burner and Chinese red lamps.
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©2016 Germán Vogel - All rights reserved - No usage allowed in any form without the written consent of the photographer.
This view was taken looking north from beside the Hall of Preserving Harmony. The Hall is the last of three in the Outer Court of the Forbidden City in Beijing.
Beyond the Gate of Heavenly Purity is the Inner Court, which housed the official residences of the Emperor (the Palace of Heavenly Purity) and Empress (the Palace of Earthly Tranquility). Between the palaces is the Hall of Unity where the Emperor (Yang) and Empress (Yin) could meet in harmony.
The assemblage in the foreground is looking at a ceremonial ramp, part of the Imperial Way. This particular ramp is carved from a single piece of stone 16.57m long, 3.07m wide, and 1.7m thick. It weighs some 200 tonnes and is the largest such carving in China, featuring elaborate and symbolic bas-relief carvings.
In front of the Gate of Heavenly Purity can be seen two enormous brass bowls, which were used to burn incense. A further example can be seen through the right-hand door in the gate in the courtyard beyond. A pair of large Imperial guardian lions can also be (partially) seen in front of the gate.
Scanned from a negative.
On the bezel, a youthful, unbearded Herakles stands leaning on his club, with his Nemean lionskin knotted around his neck and draped over his right arm. With his left hand, he holds out a fluted phiale, or offering dish, over a tripod thymiaterion (incense burner). Both Herakles and the incense burner stand on a wavy ground line. The hoop of the ring has a carinated ridge bisecting it and stylized griffin heads on the shoulders below the bezel.
Greek, made in Greece or Italy, about 400 BCE. Gold.
2.1 × 1.6 cm (13/16 × 5/8 in.)
Getty Villa Museum (2019.13.5)
Strobist: D300 was set to commander mode and M (1/128) 1 SB-800 set to M and 1/50 was set off to the left of the camera and pointed up at the smoke (just out of frame) 1 SB-600 set to M and 1/128 was just off to the right of camera pointed at the gargoyle just for a soft fill light on the left side of the gargoyle :)
Lhassa Tibet
Le temple ou monastère du Jokhang est le premier temple bouddhiste construit au Tibet. Cœur spirituel de Lhassa et lieu de pèlerinage depuis des siècles, il est situé dans le quartier du Barkhor.
Au premier plan un sankang (brûleur d'encens).
Il y en avait, aux quatre points cardinaux où l'encens brûlait continuellement pour apaiser les dieux protégeant le Jokhang.
D'après diapositive.
Incense burners (Greek thymiateria) were important cult implements throughout the ancient Mediterranean world. This South Italian terracotta example of the second half of the 4th century BCE is exceptionally complex and rare: five women crowned with flowers are shown around a wellhead. The iconography reflects a local cult, probably that of Demeter and Kore who were widely worshipped in Southern Italy and Sicily at the time.
Each of the women carries different objects: a phiale (libation bowl), a pomegranate, a mirror, a skein of wool, a bird, et al.
Greek, South Italian, Tarentine, second half of the 4th century BCE.
Metropolitan Museum of Art, New York (2012.546)
The early phase of Gnathian pottery is distinguished by a wide range of colors, well represented by this piece. At the top of the shaft, between leaves in relief, appear two Nikai - personifications of Victory - also in relief, with pink drapery and various tonalities of yellow on their hair and feathers.
Greek, South Italian, Apulian, Gnathian, added color, ca. 350-325 BCE.
Met Museum, New York (26.60.74).