View allAll Photos Tagged incenseburner
Weihrauchgefäß im Teotihuacau-Stil, ca. 250 - 600 n. Chr., Fundort Los Chatos, Escuintla, Guatemala
Bei diesem typischen zweiteiligen Räucherständer mit theaterbühnenartiger Ausführung steht eine menschliche Figur bzw. eine Maske in einer kleinen Bühne, die wohl eine Tempelfassade darstellt. Sie trägt großen Ohr- und Halsschmuck und der T-förmige Nasenanhänger verdeckt ihren Mund.
Weihrauchopfer waren Bestandteil der Maya-Rituale und stellten die am meisten verbreitete Opferform dar. Die in der Ausstellung in Speyer gezeigten Weihrauchgefäße, deren aufwändige, theaterähnliche Ausführung von der zentralmexikanischen Stadt Teotihuacan beeinflusst war, befanden sich im Besitz der herrschenden Oberschicht.
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Incense burner in Teotihuacau style, approx. 250 - 600 AD, found at Los Chatos, Escuintla, Guatemala
On this typical two-piece incense burner, which looks like a theater stage, a human figure or a mask stands on a small stage which might represent the facade of a temple. The figure wears big ear and neck jewelery while the nose pendant in T-form hides the mouth.
Incense offerings were part of the Maya rituals and were the most widely spread type of offerings. The eleborate theatre-like incense burners, shown at the exhibition at Speyer, were influenced by the city Teotihuacan in Central Mexico and were in the possession of the ruling upper class.
A comic actor sitting on a round altar wears the costume and mask of a slave in Greek comedies. His dress consists of a short tunic over long-sleeves, long-legged tights, a mantle, and sandals. The mask, with a knit brow over the silver-inlaid eyes, broad nose, and trumpet-like mouth all framed by a rolled arrangement of the hair, is designed for comic effect and would have been used for the role of a leading slave. The actor leans back on his right hand, keeping his left hand in his lap. The left hand is pierced to hold a detachable object, in this case a wig (see 87.AC.143.2). The altar is decorated with a relief scene of a trio of Cupids holding garlands of fruit, grain, pine needles, and pinecones bound together with ribbons. The actor and the altar on which he sits take the form of a thymiaterion (incense burner). The top of the altar pivots open to allow incense to be placed inside, while the bottom is perforated, allowing the smoke and fumes from burning to rise through the figure’s hollow body and emerge from his mouth.
Roman, bronze with silver inlay, first half of 1st c. CE.
Getty Villa Museum (87.AC.143.1)
Created for the Make It Interesting challenge #4 - Incense burner.
Thanks to The hills are alive and to beggs for the original image.
Thanks also to The Ghost of a Flea for the cool texture.
My Buddah, my picture. Shot with Fuji Finepix J100w. Northern Lights texture, mine.
Kaleidoscopes made with Serif PhotoPlus X3.
19th Century, Japan
Medium: Bronze
This bronze incense burner represents the God of Longevity, mounted on a deer. The deity became widely popular during the Edo period (1615 – 1868) in Japan. His large forehead and wrinkled face are symbolically associated with longevity and wisdom.
Cincinnati Art Museum
DSCF4321
Bronze mountain incense burner (Boshan Lu) with animal emblems of directions (Eastern Blue Dragon, Southern Red Bird, Western White Tiger, Northern Dark Warrior Camel) and a man leading a cart and a child on a panther as stand derived from Hellenistic Bacchic models. Found in Tomb #2, Dou Wan, Mancheng, Hebei, China. Chinese, Western Han, 206 BC - 9 AD. From the Hebei Provincial Museum, Shijiahuang. Special exhibit: Age of Empires: Chinese Art of the Qin and Han Dynasties (221 B.C.–A.D. 220). Metropolitan Museum, New York, New York, USA. Copyright 2017, James A. Glazier
This ancient object is also in the Iqa-bet, next to the Church of Abba Afse in Yeha, Tigray Region, northern Ethiopia.
It is similar to a piece from Tigray now in the National Museum in Addis Ababa, Ethiopia, but considerably cruder. The object in the National Museum is described as a "stone incense burner" dating to the 6th or 5th century before the common era.
(I am again indebted to the blog "Will's Way" willdoherty.org/wordpress/?cat=71 for the information about the similar object on display in Addis; the author is more thorough about documenting his museum photos than I am. If you follow the link to the blog and scroll down, you will come to the entry on the National Museum in Addis. There you will find a photo of the incense burner that looks so much like this object,)
Alas, I didn't think to peer at the top of the piece, so I do not know whether the top is solid or concave, like an incense burner. Let's just assume this is an incense burner, OK? It keeps everything neat and tidy.
No description of this photo would be complete without praise for the beauty and simplicity of the small cup to the left of the incense burner. The cup is exquisitely formed and decorated. The thin light-colored fillet that encircles the cup at the level of the handle or lug is what makes the piece such a triumph of design. I wonder whether it was for ritual or household use. I wouldn't mind having a set of four . . .
Closeup of a terracotta statuette of winged Nike, which supports a thymaterion (incense burner). Here we can see remains of the bright pigments which would have once covered the entire sculpture. Blue pigment (probably Egyptian Blue) can be seen on her wavy chiton, and red pigment can be seen on her himation (the border is mostly missing, but the himation was pinned to one shoulder, falling diagonally across her torso).
Greek (Sicilian)
ca. 500-475 BCE
Getty Villa Museum (86.AD.681)
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I think they were really popular in the 30's or so. My grandmother's sister had one, also. Of course the badly matched paper shade is a newer addition. The Buddha is holding an incense burner.
A incense burner emitting smoke at Clarence Ville, a Housing and Development Board (HDB) estate off Alexandra Road, Singapore.
Bronze mountain incense burner (Boshan Lu) with animal emblems of directions (Eastern Blue Dragon, Southern Red Bird, Western White Tiger, Northern Dark Warrior Camel) and a man leading a cart and a child on a panther as stand derived from Hellenistic Bacchic models. Found in Tomb #2, Dou Wan, Mancheng, Hebei, China. Chinese, Western Han, 206 BC - 9 AD. From the Hebei Provincial Museum, Shijiahuang. Special exhibit: Age of Empires: Chinese Art of the Qin and Han Dynasties (221 B.C.–A.D. 220). Metropolitan Museum, New York, New York, USA. Copyright 2017, James A. Glazier
This is one of some 18 bronze incense burners on the terraces around the Hall of Supreme Harmony. The Hall is the main building in the Outer Court of the Forbidden City in Beijing.
Elsewhere on the interweb someone reports that each of the 18 represents a different province in Qing Dynasty China.
My beloved made a rare special request for a version of yesterday's incense burner but done up in a nice faux granite. I was happy to oblige because it gave me an opportunity to improve on the construction process. (Yesterday's was seriously wonky.) #polymerclay #polyclay #incenseburner #fauxgranite #fauxstone #notcast #notpoured #handbuilt #easytomake
#containersandvessels #the100dayproject #tbbt100 #tbbtvessels
🌳Frankincense is a tree sap that gives a sweet pine-like aroma when heated. It's been used since ancient times to heighten spirituality✨, to cleanse a room⚪ and to ward off bad spirits.👻
Frankincense also helps mental clarity🙋, relaxation💆 and is anti-fungal🌞. Research has shown that it may help with pain relief, depression and anxiety. The special smell comes from special molecules⚛.
Frankincense is often part of a coffee ceremony. An invitation to attend one considered a mark of friendship or respect and is an excellent example of Ethiopian hospitality.
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My friend needs a new incense burner so she asked me to keep my eyes open for one. I decided to make one for her from a Wades koala and a vintage spoon rest.
Beijing, Forbidden City, Hall of Supreme Harmony
The Hall of Supreme Harmony is the largest hall within the Forbidden City in Beijing, China. It is located at its central axis, behind the Gate of Supreme Harmony. Built above three levels of marble stone base, and surrounded by bronze incense burners, the Hall of Supreme Harmony is one of the largest wooden structures within China. It was the location where the emperors of the Ming and Qing dynasties hosted their enthronement and wedding ceremonies.
Together with the Hall of Central Harmony and Hall of Preserving Harmony, the three halls constitute the heart of the Outer Court of the Forbidden City.
The Hall of Supreme Harmony rises some 30 metres above the level of the surrounding square. It is the ceremonial center of imperial power, and the largest surviving wooden structure in China. It is eleven bays wide – with the main room being nine bays wide – and five bays deep, the numbers nine and five being symbolically connected to the majesty of the Emperor. The six pillars nearest the imperial throne are covered with gold, and the entire area is decorated with a dragon motif. The Dragon Throne, in particular, has five dragons coiled around the back and handrests. The screen behind it features sets of nine dragons, again reflecting the "nine-five" symbolism. The Hall of Supreme Harmony features an exquisite throne made of red sandalwood, and formerly used by the emperors of the Qing dynasty.
Set into the ceiling directly above the throne is an intricate caisson decorated with a coiled dragon, from the mouth of which issues a chandelier-like set of metal balls, called the "Xuanyuan Mirror", a reference to the Yellow Emperor, a mythological Chinese ruler. According to legend, the metal balls will fall and strike dead any usurper to the throne.
In the Ming dynasty, the emperors held court here to discuss affairs of state. During the Qing dynasty, emperors held court far more frequently. As a result, the location was changed to the Inner Court, and the Hall of Supreme Harmony was only used for ceremonial purposes, such as enthronements, investitures, and imperial weddings.
The original hall was built in 1421 during the Ming dynasty, destroyed seven times by fires during the Qing dynasty, and rebuilt for the last time in 1695–1697. After a reconstruction in the 16th century, the dimensions of the hall were reduced from around 95 by 48 metres to its present measurements, 65 by 37 metres. Inability to find sufficiently large logs was cited as the cause for this change.
Spherical incense burner with courtly motifs
Räucherkugel mit höfischen Motiven
Brass inlaid with silver
Northern Iraq, second half 13th century
Pergamonmuseum, Berlin
When we sit on the deck at night, the bugs can be a bit annoying. We've found that burning an incense stick helps a lot, but there's not much room on my little table for a large burner. I usually end up poking the stick in a plant. This little black cube takes up no space and it can stay out in the weather with no problem. Polymer clay to the rescue!
#polymerclay #incenseburner #stickincense #bugrepellant #black #cube #blackcube #premo #sculpey #patiodecor #containersandvessels #the100dayproject #tbbt100 #tbbtvessels
Here's part of my "Inner / Outer Journey" lithography project. A real, live litho stone hand-worked with lithography crayons and inks.
We are fortunate to get to work with lithographic stones here at the university, as there are few left out there in the world. The original quarry used for mining them has been closed for a while now.
Anyway, this is a counter etch of the first image (you can see a proof pulled from the first version here on Flickr), BEFORE etching. The photo here shows the stone surface in mid re-draw, after counter etching more than 50% of the original image. I basically knocked out the background to create the new version of the image, with the incense burner lit.
Scanned from film shot in 2001
Sensō-ji is an ancient Buddhist temple located in Asakusa, Taitō, Tokyo, Japan. It is Tokyo's oldest temple, and one of its most significant.
Formerly associated with the Tendai sect, it became independent after World War II. Adjacent to the temple is a Shinto shrine, the Asakusa Shrine.
The temple is dedicated to the bodhisattva Kannon (Avalokitesvara). According to legend, a statue of the Kannon was found in the Sumida River in 628 by two fishermen, the brothers Hinokuma Hamanari and Hinokuma Takenari. The chief of their village, Hajino Nakamoto, recognized the sanctity of the statue and enshrined it by remodeling his own house into a small temple in Asakusa, so that the villagers could worship the Kannon.
The first temple was founded in 645 C.E., which makes it the oldest temple in Tokyo. In the early years of the Tokugawa shogunate, Tokugawa Ieyasu designated Sensō-ji as tutelary temple of the Tokugawa clan.
The Nishinomiya Inari Shrine is located within the precincts of Sensō-ji; and a torii identifies the entry into the hallowed ground of a Shinto shrine. A bronze plaque on the gateway structure lists those who contributed to the construction of the torii, which was erected in 1727.
During World War II, the temple was bombed and destroyed. It was rebuilt later and is a symbol of rebirth and peace to the Japanese people. In the courtyard there is a tree that was hit by a bomb in the air raids, and it had regrown in the husk of the old tree and is a similar symbol to the temple itself.
Dominating the entrance to the temple is the Kaminarimon or "Thunder Gate".
This imposing Buddhist structure features a massive paper lantern dramatically painted in vivid red-and-black tones to suggest thunderclouds and lightning.
Beyond the Kaminarimon is Nakamise-dori with its shops, followed by the Hōzōmon or "Treasure House Gate" which provides the entrance to the inner complex.
The Nakamise-dori shops themselves are part of a living tradition of selling to pilgrims who walked to Sensō-ji.
Within the temple itself, and also at many places on its approach, there are omikuji stalls. A suggested donation of 100 yen, will buy an omikuji (fortune written on a small piece of paper). You place the money in an honour box and shake a small cylinder containing sticks with numbers written on them. Shake the cylinder until one of the sticks falls out and pull your fortune from a drawer with the corresponding number. If your fortune is bad, tie the paper onto a nearby string so that the wind can disperse the bad luck.
In the temple forecourt is an incense burner. Here you will usually see a group of visitors fanning smoke from the burning incense over themselves. The incense is believed to have healing powers, and so fanning the smoke over your ailment will help to heal it. If you suffer from headache, fan some of the smoke over your head.
Within the temple is a quiet contemplative garden kept in the distinctive Japanese style.
Within the precincts stand a stately five-story pagoda and the main hall, devoted to Kannon Bosatsu.