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9783777439488: Holy Smoke: Censers Across Cultures

Sinopsis

Religious art from four continents and across cultures – seeing and smelling the sacred.

Holy Smoke: Censers Across Cultures investigates the practice of incense – the use of material objects to communicate with the divine – in religious context as it has been used in cultures worldwide across historical periods, religions, and cultures.

The fragrant smoke of incense filling the air can be witnessed in any tradition, whether polytheistic or monotheistic, whether in the Ancient Near East, or Medieval Europe. Censers are ubiquitous among religious paraphernalia, and on a truly global scale. Focusing on case studies not only places the censer in a constellation of other religious artefacts, but also relocates the importance of rituals that have long been placed at the margins of the study of religion, art and ritual. Emerging from this, we hope, is a better grasp of the role of sensorial elements in the fostering of the devotional practices of world religions.

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Acerca del autor

Beate Fricke's research focuses on the history of images in the Middle Ages, relics in Early and High Medieval Art as well as objects as archives of a history of applied arts, knowledge transfer and trade in the global "Middle Ages". Before joining the University of Bern in 2017, she was Professor for Medieval Art at the University of California, Berkeley.

De la contraportada

Draws on religious art from four continents to investigate the materiality of the sacred.

Burning incense has been a widespread religious practice throughout history and remains so today. The censer and its fragrant, wafting smoke are a basic material exchange between humans and gods and can be found across historical periods, religions, and cultures. Surprisingly, however, little scholarly attention has been given to censers and the rituals they facilitate.

Holy Smoke: Censers Across Cultures investigates the practice of incense―the use of material objects to communicate with the divine―in religious contexts. The book considers the material fabrication of censers themselves, as well as the role of incense within religious ceremonies. Centering the censer not only places the object in a constellation of other religious artifacts, but also relocates rituals long relegated to the margins of religion, art, and ritual. This broad, comparative study will interest scholars in the fields of art history, archaeology, cultural history, anthropology, religious studies, and performance studies.

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