Censer Research Articles

A bronze deposit excavated at Kalaureia in 2016. A statuette of the Herakles Chiaramonti type, a stand and a thymiaterion

This article presents three bronzes found on the island of Poros in 2016, during excavations in Area L, the presumed area of Kalaureia’s ancient settlement, c. 200 m to the south of the Sanctuary of Poseidon. The deposit included: 1. A statuette of the Herakles Chiaramonti type, here suggested to have been produced during the 2nd or 1st century BC; 2. A stand which may have functioned as a thymiaterion (incense burner) or a lamp stand. Judging from close parallels the stand was most likely produced during the 5th or 4th century BC; 3. A high-stemmed dish, which is interpreted as a thymiaterion contemporary with the stand. The items are tentatively suggested to have been used together, perhaps in religious veneration of Herakles. The bronzes are suggested to have been deposited either for what was intended to be temporary safe-keeping, or for religious reasons.

HOFIZ KHOREZMI’S "DEVON" AND PHYTONYMS

This article discusses one of the components of onomastics, phytomymics (phyto-Greek. Phyton-plant), and their usage in Hofiz Khorezmi’s "Devon." The study analyzes the skillful use of plant names by the poet for artistic purposes and the creation of artistic devices. Until now, the phytomymics in this work had not been the subject of study. During the analysis, the plant names used in Hofiz Khorezmi’s "Devon" are examined, categorized into semantic groups, and their variants—Arabic, Persian, and Turkic—are identified. Furthermore, the meanings these words convey in "Devon" are compared with how they were used in the works of Beruni, Mahmud Kashgari's "Devonu lug'otit turk," Alisher Navoi, and Babur. The forms of plant names used in the Uzbek literary language and how they are explained in the Uzbek explanatory dictionary are also analyzed. Examples are provided to explain phytomymics whose meanings have expanded today. The article compares how these phytomymics are explained in B.V. Miller's “Persian-Russian Dictionary,” the “Tajik-Russian Dictionary,” and the "Explanatory Dictionary of the Uzbek Language," conducting an etymological analysis. Additionally, the poetic devices created through these phytomymics are explained with examples. Each phytonym is given a specific definition. For example, "Isiriq" is a perennial wild plant from the family Zygophyllaceae. It contains alkaloids and is used in folk medicine for its healing properties, including being burned as incense. In modern Uzbek, the word "isiriq" has served as the root for words like "isiriqdon" (incense burner) and "isiriqchi" (incense seller). The word "isiriq" was borrowed from Persian into Old Uzbek. In "Devon," this borrowed word appears seven times in the sense of "isiriq" and "isiriq seed." This information enriches the article. The study holds significant value in examining the lexicon of the work. The materials researched in the article will be useful in creating the “Dictionary of the Language of Hofiz Khorezmi’s Devon," the "Dictionary of Borrowed Words in Uzbek," and the "Dictionary of Written Monuments," as well as in teaching specialized courses to students in the philology faculties of higher educational institutions.

Application and Exploration of Baoxiang Flower in Ceramic Incense Burner Design

Traditional Chinese decorative patterns are often based on animal and geometric elements. However, since the introduction of Buddhism during the Wei, Jin, and Northern and Southern Dynasties, plant and floral motifs have gradually emerged. During the flourishing period of Buddhist culture in the Tang Dynasty, plant-based decorative patterns were widely integrated into ceramics, metalware, and decorative arts. During this period, the Baoxiang flower pattern, influenced by foreign cultures, evolved into one of the distinctive traditional Chinese motifs. This study focuses on the artistic exploration of combining traditional floral patterns with the design and creativity of ceramic incense burners. By systematically analyzing the application of Baoxiang flower in ceramic incense burner design, through in-depth analysis of its historical evolution, cultural connotation, and artistic characteristics, and integrating modern design concepts and aesthetic trends, the innovative application of Baoxiang flower in ceramic incense burner design is explored. The research shows that the Baoxiang flower, with its unique artistic charm and profound cultural connotation, injects new inspiration and insights into ceramic incense burner design, enhancing its practicality, aesthetic appeal, cultural connotation, and artistic value.

Scent, Art and Astronomy: New Light on Tang Incense Spheres and Their Global Connections

This paper explores the cultural and scientific connections between China, India and Iran through examining a specific type of incense burner with a gimbal device. Similar artefacts have been found in Tang China (618–907 ce), Seljuk (1037–1194 ce) and Mamluk (1250–1517 ce) Central/West Asia, and Renaissance Europe, while textual references complicate the historical narrative. Additionally, the structural resemblance of the object to an armillary sphere and its inner gimbal device add scientific significance. By examining these objects in connection with each other, and thoroughly analysing the relevant sources, this paper argues for an earlier and continuous circulation of these artefacts. It pays close attention to the cultural significance and material features of Tang incense spheres, revealing them as multicultural items potentially influenced by Persian and Central Asian production or importation.

Study on the Incense Burners Unearthed from the Tomb of Marquis of Haihun of the Han Dynasty: Focusing on Boshanxianglu with Phoenix and Tortoise Designs

This paper explores the stylistic features and artistic significance of the “Boshanxianglu with Phoenix and Tortoise Designs” unearthed from the recently discovered Han dynasty burial site (92~59 BCE) of Liu He, the Marquis of Haihun, located in Nanchang, Jiangxi Province, China. It discusses the incense burner’s function, consumer group, and cultural context that contributed to its widespread adoption.Liu He, the grandson of Emperor Wu, held the titles of King of Changyi and Marquis of Haihun. He was also deposed as an emperor. The sixteen bronze incense burners found in his tomb are a testament to the prevalent beliefs in immortality and the aspirations of the royal family. The symbolism of the phoenix and tortoise on the “Boshanxianglu with Phoenix and Tortoise Designs” encapsulates the themes of longevity and immortality, hinting at a journey to the celestial realm. As Confucianism-based rationalism gained traction during the later Han dynasty, notions of ascension evolved, leading to a decline in the popularity of incense burners adorned with phoenix and tortoise motifs. This type of incense burner was discovered in upper-class males’ study chambers or reception areas, suggesting their predominant usage among men.In Nangnang, a Han commandery on the Korean Peninsula, various incense burners influenced by Chinese styles were used. The standout discovery of the “Boshanxianglu with Phoenix and Tortoise Designs” at the Sŏgamni No. 9 site, suggests a tailored approach to incense selection and usage based on individual preferences, purposes, and consumption habits within Nangnang society.

訒齋 崔晛의 記文 연구

Injae Choi Hyun(訒齋 崔晛, 1563~1640) was a mid-Joseon Dynasty bureaucrat and literary figure, and many of his writings remain in literary collections. First of all, if we review the existing studies on Choi Hyun, it is found that most of them examined the world of life, politics, thought, and academia of Injae focusing on Chinese poems(漢詩), Socha(疏箚), Hangeul lyrics <Yongsaeum(龍蛇吟)> and <Myeongwoleum(明月吟)>, the novel <Geumsaeng Yi Munrok(琴生異門錄)> and the record of the envoy's journey <Jocheon Ilrok(朝天日錄)>. These studies have a lot to do with the political activities of Injae, and generally highlight his statesman aspect of patriotism (worrying about the country and loving the people). Recently, in 2023, a related academic conference was held at the Gumi Neo-Confucianism History Museum with a special exhibition on the theme of Injae, and here again, Injae was reexamined as a statesman of practical practice and patriotism. Considering the political position, historical background, life and history of Injae, it is clear that Injae is a statesman of practical practice and patriotism. However, even though it has been a long time since Injae was known in academia, research on him in the field of literature is still somewhat lacking. Therefore, in this paper, we will first look at the record writings(記文), which has not yet been properly studied among the works of Injae. A total of 7 record writings are included in Volume 10 of 『Collected Writings of Teacher Injae(訒齋先生文集)』, and I will introduce these record writings in an overview and introduce them, and examine how his writing talent as a skilled writer of the time and the reality of his literary view of containing Tao through sentences(文以載道) are embodied. There are a total of seven essays in Injae’s record writings, and <Kimsanhyangsadanki(金山鄕射堂記)> and <Munsohyundongmokki(聞韶縣桐木記)> were written voluntarily by him. <Girojaeki(棄老齋記)> and <Manchudangki(晩翠堂記)> were written at the request of Cho Yun-ji and Kwon San-lip, the owners of the buildings, and <Geumneungkwanjungkunki (金陵館重建記)> was written at the request of Jung Yu-han(鄭維翰). The <Naksansansubyungki(洛山山水屛記)> is a brief record written in a book made by Huh Gye after touring Mt. Naksan, and the <Jeoksangsanbo- gyeongsahwangrobongki(赤裳山寶鏡寺香爐峯記)> is a record of bronze mirrors and incense burners excavated from the old palace site of Jeoksang Mountain Fortress at the request of Zen Master Deokwoong. Among Injae’s record writings, not a single piece of Sansuyuki written after traveling has survived, which is different from the fact that in other writers' record writings, it occupies the largest proportion along with the records of buildings. In his spare time, he toured Mt. Juwangsan, Mang- yangjeong, Mt. Geumosan, and Mt. Wolsansan, and also went boating at Imaeyeon. Some of the Chinese poems left behind after the tour include the <Jeungdohaengsangin(贈道行上人)> written after the tour of Mt. Wolsansan, and the poem <Jeungjirisanseungseong> which was written about an impression of the sightseeing of Mt. Kumgangsan after meeting the monk Seong-eun of Mt. Jirisan following a tour of Mt. Kumgangsan. It can be seen that Injae left the excitement of sightseeing mainly in poetry rather than in the Sansuyuki. It is presumed that the reason he did not leave behind any Sansuyuki works compared to other literary travelers of his time was because of his pragmatic nature, where he understood the record writings in terms of ‘record preservation.’ <Kimsanhyangsadanki(金山鄕射堂記)> and <Munsohyundongmokki(聞韶縣桐木記)> show the recommendation and discipline(勸戒) seeking to restore ancient rites and the ways of saints, and a wish for restoration after the Japanese invasions of Korea, while <Geumneungkwanjungkunki(金陵館重建記)>, <Girojaeki(棄老齋

Archaeometric study of Maya pottery from Comalcalco, Tabasco, Mexico

In this paper, structural, morphological, and mineralogical characterizations of Maya archaeological pottery from Comalcalco, Tabasco, Mexico are presented. The fired clay ceramic samples were taken from Maya settlements, previously classified in traditional way, using the type-variety method from physical and cultural features. It is shown that the ceramics studied have some similarities and differences, indicating that the classification by type-variety must be complemented with physicochemical characterization techniques to issue more compelling proposals about Maya ceramics. Physicochemical analysis revealed that the raw materials used by ceramic groups to manufacture different types of pottery such as vases, cups, incense burners and pots have the same composition and origin than the raw materials located in the surrounded region of the archaeological site. Quite similar mineralogical compositions were found between the various studied ceramic materials which indicate a great knowledge of the manufactured materials type. However, significant differences in fired temperatures and carbon concentration were observed which may be related to type of materials used as fuel (organic materials) and whether such ceramics were fired in open or pit ovens.

Retracted: Morphological Bias of Ancient Artifacts: A Case Study of Incense Burners in Ming and Qing Dynasties

Retracted: Morphological Bias of Ancient Artifacts: A Case Study of Incense Burners in Ming and Qing Dynasties

Analisis Semiotika Roland Barthes pada Bukhur dalam Tradisi Islam

This article discusses bukhur is a small piece of aromatic wood or a mixture of traditional natural ingredients, with the main ingredient being wood (oudh) soaked in fragrant oil and blended with other natural materials. The purpose of this research is to understand bukhur in the Islamic tradition by identifying its denotation, connotation, and mythology found within the symbol of bukhur. This research method employs a qualitative descriptive research approach. The data analysis in this study utilizes Roland Barthes' semiotic analysis, which employs the signifier and signified system to explore denotation, connotation, and myths associated with bukhur. And this research result explains that by using semiotic analysis, it can be understood how signs and symbols in the incense burner play an important role in shaping religious identity.

Depicting Scent: Incense Burners in the French Engravings of the 18th Century

This article is devoted to the comparative study of images of the incense burner, i.e. a device for filling the interior with a pleasing scent. The author refers to materials from French design and book engravings of the eighteenth century. The article contains descriptions and results of a comparative analysis of engraved images of incense burners in the works of French decorators and illustrators of the eighteenth century. A comparative study of incense burners as a sketch of an interior item and as the entourage of a book illustration makes it possible to trace the changes in their typology, style, and semantics over the eighteenth century. The article refers to engraved sketches of incense burners in the projects of French architects and ornamentalists of the eighteenth century, such as J. Bйren, B. Turreau, J.-M. Oppenord, J.-F. Blondel, J.-Ch. Delafosse, J.-F. de Nefforge, J.-F. Boucher, R. De La Londe, and J.-F. Forty. Secondly, it draws upon book engravings depicting incense burners created by such artists as C. Gillot, L.-F. Dubourg, H.-F. Gravelot, F. Boucher, Ch. Eisen, J.-J.-F. Le Barbier, K.-P. Marillier, J.-M. Moreau le Jeune, J. de Sиve, and A. Borel. As a result of the description and analysis of images, the author determines the genres and features of the iconography of the incense burner. A comparative analysis of design and book engravings helps address the problem of the genesis of the image of the incense burner in illustrations. The author substantiates the direct influence of design engravings on the images of incense burners in book illustrations and at the same time, the absence of a “literal” influence of literary texts, pointing out the stable continuity of images of the incense burner in similar works of illustrators for different editions of the same literary text. In a comparative aspect, the article analyses the semantics of images of the incense burner in the design and book engravings, noting the predominance of the sensual-hedonistic connotation of the images of the incense burner over the eighteenth century.

국립중앙박물관 소장 청자 투각칠보문뚜껑 향로를 받치는 토끼 조형의 맥락과 함의

This study discusses the symbolism of the rabbit statue on the base of a celadon incense burner with an openwork auspicious-character design lid in the National Museum of Korea. Chapter II analyzes the overall design of the incense burner, pointing out that although the rabbit statue is small in size, it is a three-dimensional figure with detailed carving of each part of the body and inlaid techniques used to express the eyes, making it an important component that embodies artistry beyond a simple base. Chapter III explores the spectrum of perceptions of the rabbit by examining rabbit sculptures from before the Goryeo period. As a symbol of fertility and longevity, thought to be a guide to the quick passage of the souls of the dead to the afterlife, rabbits were attached to funerary urns in the Silla period. They were depicted as moon symbols in Goguryeo tomb paintings and Unified Silla roof-end tiles. In Unified Silla, rabbits were also carved into royal tombs as members of the Twelve Great Deities to show the despotic kingship of the kings guarding the tomb, or were majestically displayed in stupas to represent the authority of Bhaisajyaguru. In Chapter IV, the meaning of the three rabbits supporting the incense burner was derived from three aspects. First, the intention of the rabbit's representation on the incense was inferred from the similarities between the rabbit's self-sacrifice and the offering of incense in The Jataka Tales of the Rabbit's Original Life (Sasa Jataka), which is to burn oneself and offer it to the gods. Since the rabbit was Buddha in the previous life, the life in which he practiced the great act of selflessness, it is believed that the rabbit was chosen to stand alone on the base of the incense burner, even though it does not symbolize absolute physical power. Through this carving of the rabbit, it can be seen that the 12th-century Goryeo people understood the offering of incense and the act of self-sacrifice in the same context. Second, the appearance of rabbits in historical texts and geographical journals from the Three Kingdoms and Goryeo periods was examined. In doing so, the chapter describes who recognized rabbits as auspicious animals in addition to being a symbol in Buddhism. Third, it discusses the internationalization of Goryeo culture, which is reflected in the sculpture of the atlas that supports the top. It is interpreted that the incense burner represents the cosmopolitanism of Goryeo culture because the rabbit statue on the incense burner was arranged in a form similar to the atlas statues popular in ancient Greece, Persia, and India and spread along the Silk Road.

A Unique Assemblage of Late Islamic Magical Artifacts from Netafim 2: A Campsite on the Darb al-Hajj, Southern Israel

Abstract Many remains of the Muslim pilgrimage road from Cairo to Mecca, the Darb al-Hajj al-Maṣri are preserved in the Eilat region of southern Israel. These include sections of the road, camps, and other associated structures. Most of these remains date to the Mamluk and Ottoman periods. In one camp (Netafim 2), an assemblage of unusual objects was found, including fragmentary clay rattles, votive clay incense burners, anthropomorphic and perhaps zoomorphic clay figurines, a cluster of colored quartz pebbles, and some seashells. The fabric of the clay objects indicates that they originated in Egypt. Based on the nature of the assemblage and a literary survey, this study suggests that the discussed artifacts were related to popular magic. The magical rituals, whose nature is yet unclear, were likely carried out at the site by professional sorcerers, who offered their services to pilgrims making the hajj.

METAL OBJECTS FROM EXCAVATIONS AT THE JOASAPH SITE (JERICHO) IN A PHOTOGRAPH OF THE 1880–1890s

At the end of the 19th century, one of the Russian photographers took pictures of items collected on the site which Father Joasaph bought in 1883. Later, the area was transferred to the Imperial Orthodox Palestine Society. Now it houses the Museum and Park Complex that belongs to the Russian Federation. An analysis of ceramic objects in one of the photographs was published earlier. This article discusses the second picture, which contains objects made of bronze and iron. Their analysis made it possible to identify the liturgical function of a significant part of the objects: an incense burner on chains, high stands – candelabra for oil lamps (3 items) and one such lamp; a fragment of a libation vessel shaped as a dog. One item shown in the photo remained unattributed despite numerous consultations. In general, the composition of the finds supports the authors’ assessment of the site as belonging to a Christian community, possibly a monastery or a pilgrimage home.

The Making of White Porcelain Incense Burner in Early Chosŏn and their Uses in Royal Ceremonies

This study focuses on white porcelain incense burners used for royal ancestral rites in Chosŏn. Starting from early examples of Confucian incense burners, I have examined their production process and characteristics. As incense burning was an essential part of Confucian rites, incense burners also became important vessels. The earliest examples are found at Pŏnch’ŏn-ri site No. 21, dated to 1420-40, and they likely resemble the prototypes of ceremonial incense burners made of metal. Incense burners were influenced by the changes in the Chosŏn society and incense burning methods, and they took the shape of ding with cover. This testifies to the effort made to prepare suitable burners for Confucian rituals. Surviving records state that incense burners were to convey the simple and rustic beauty of the earth, and to work as simple <i>so-gi</i>, which were likely the reasons for making incense burners in white porcelain. It is also noteworthy that early Chosŏn style and uses continued to influence those of the mid-and late Chosŏn. In conclusion, the material of white porcelain and the shape of incense burners were chosen according to their uses, and they developed independently of metalware, not as mere substitutes.

A Study on Sanskrit Characters on Silver-inlaid Incense Burners of the Goryeo Dynasty

A Study on Sanskrit Characters on Silver-inlaid Incense Burners of the Goryeo Dynasty

Study on the Technology of one Tricolor Duck-shaped Incense Burner in Chenghua Period of Ming Dynasty

Study on the Technology of one Tricolor Duck-shaped Incense Burner in Chenghua Period of Ming Dynasty

Does Smoke Mean Fire? Illumination, Incense, and the Senses in Late Antique Synagogues

Synagogues remain among the best studied institutions of Late Antiquity. Associated scholarship commonly considers activities of prayer or scriptural recitation once conducted within synagogues and impacts of their architectural and visual programs on visitors. Yet, regardless of recent interest in embodied dimensions of ancient life, attention to Jews' sensory experiences inside these buildings remains rare. As inspired by Karaite critiques of Jewish practices of lighting lamps and incense in late ancient synagogues, this analysis addresses this lacuna by taking a distinctive approach. It reconsiders diverse artifacts discovered in excavations of synagogues and their surroundings in the Levant, North Africa, and Europe, including fragments of glass, stone, bronze, and ceramic lamps; preserved images in floor mosaics; and remains of bronze and ceramic censers. Read in tandem with rabbinic textual evidence from Roman Palestine, assessments of these texts and artifacts inspire considerations of how historical uses of lamps and incense burners implicate atmospheric elements of ancient synagogues, including experiential illumination and olfaction, which heretofore evaded notice. The ensuing discussion thus inspires new vantages on Jewish sensory and devotional landscapes in past time and challenges bifurcated notions of public versus private expressions of piety among Jews inside their synagogues, homes, and study halls.

高麗時代 卍字文 透刻香爐 연구

The incense burner of 卍 character expressed as an openwork in the Goryeo period is characterized by three legs, a cylindrical body, and a 卍 character on the lid. The incense burners of 卍 character expressed as an openwork during the Goryeo period were made of bronze and celadon, and it is thought to have been influenced by the Northern Song Dynasty. An incense burner of 卍 character expressed as an openwork in the Northern Song dynasty can be confirmed through the excavated artifacts from the tomb of the Ru family of the Lantian County in Shanxxi Province and the excavated artifacts from the Taozhulucun village of Zhejiang Province. The incense burners of 卍 character expressed as an openwork of the Northern Song Dynasty were made of stone and bronze, and it seems to have been in vogue briefly from the late 11th century to the early 12th century. In Goryeo, incense burner of 卍 character expressed as an openwork of the Northern Song dynasty type II was accepted and the Goryeo type I incense burner was made with bronze. The type II incense burner was made of celadon. It is estimated that the incense burner of 卍 character expressed as an openwork in the Goryeo period was made in the late 11th century to the first half of the 12th century. It is presumed that the incense burner of 卍 character expressed as an openwork in the Goryeo period was used as a memorial service for temples and burials in tombs.

18~19세기 龍珠寺의 佛敎香爐

Yongjusa temple located in Hwaseong was founded in 1790 with the support and interest of King Jeongjo. Yongjusa temple founded as a royal family temple was enshrined in Buddhist statues and Buddhist paintings. The incense burner called Wenwangding and Xuandelu for Buddhist rituals was a gift from King Jeongjo, which King Jeongjo collected and appreciated during his time as the prince. Wenwangding and xuandelu show the trend of imitating ancient bronze that was popular in the late 18th century of Joseon dynasty, and the inscriptions of wenwangding had a clear Confucian justification. Wenwangding and xuandelu were found to be brass through X-ray fluorescence analysis. The Buddhist incense burner of Yongjusa temple continued to keep imitating ancient bronze vessels like li-shaped incense burner and gui-shaped incense burner in the 19th century. According to inscriptions, the li-shaped incense burner was made in Shinyu year for the second room. The Shinyu year is supposed to be seen in 1860, and the second room is considered to be for use in the wooden chamber of Hoseongjeon Hall. The gui-shaped incense burner was made with the support of Yiunseo and Yihangseo. What the royal family gave this kind of incense burner to temples was accustomed to use the ritual vessels close to ancient bronze vessels on the basis of ritual books. The royal family used the ritual vessels.

Археологические находки из памятников Республики Калмыкия в музеях России (количественный анализ)

Introduction. Archaeological collections to have resulted from excavations in the territory of Kalmykia are currently stored at different museums of Russia, namely: Palmov National Museum of Kalmykia (Elista), Saratov Oblast Museum of Local History and Lore (Saratov), State Historical Museum (Moscow), and several other public museums of the region. Goals. The article attempts a comprehensive analysis of museum collections to have arrived from archaeological sites of Kalmykia. The finds were explored from a number of aspects, such as origin, archaeological era, materials, inventory categories, level of investigation, use in exhibitions, availability in published catalogues. Results. The study clarifies the mentioned museums contain over 8.000 items, and more than 7.000 of the latter come from funerary sites (kurgan burials and altars), as well as from single scattered burials; over 1.000 finds have resulted from excavations of settlements (hillforts). The bulk of the latter date from the Mesolithic to the Bronze Age. For items from funerary monuments, the figures are somewhat different, namely: 1.819 (40.6%) attributed to the Bronze Age, 1.442 (32.2%) — Early Iron Age, 1.222 (27.3%) — Middle Ages. The assessment of distribution by individual burials reveals the average for all collections is 2.4 finds per burial. The calculated distribution of finds by materials used shows those number a total of 60 different designations. Most them are made of clay — 40.6%, iron — 16.2%, bronze — 11.4%. The rest of the finds are made of flint, bone, stone, etc. The insight into distributions by inventory categories examines almost 6.000 items to reveal the absolute majority of the latter are pottery and incense burners (over 2.500 items), while finds classified as tools and weapons are slightly fewer (more than 1.400 units). Another major cluster is compiled from personal jewelry and personal utensils — over 1.000 units.