Search Results (28)

One of the indicators of high social status of women in ancient societies is the funerary costume, whose main element is the headgear. In our previous work, we drew attention to several female burials in the first half of the 6th century BC, which featured funerary headdresses adorned with gold plaques of several types. All of them come from the territory of forest-steppe Scythia. During recent excavations at one of the largest necropoleis of the Bilsk hillfort, a burial mound of the last quarter of the 6th century BC yielded another grave of a member of the local elite, whose funerary headdress was decorated with gold plaques. Among the objects placed in the grave was a unique set of Central European leather items (a belt and a cap), which, although not belonging to the funerary costume proper, were nevertheless used in the funerary rite. Being found among sacred objects, the belt and the cap may be attributed to female ceremonial dress, emphasizing the special position of the deceased woman in society. The state of preservation of these items makes it possible to reconstruct their shape; trace a number of features of cut and manufacturing technique, as well as the design of a previously unknown type of Central European headdress of the Hallstatt period; propose their reconstruction; discuss the probable place of manufacture of these unique artifacts and the mechanism by which they reached the barrow necropolis of forest-steppe Scythia; and extend the chronological framework of the period of burials of elite women in this region. Full article

Silk fabrics and caftans preserved in the Topkapı Palace Museum collection constitute a distinguished group of cultural heritage objects reflecting the advanced weaving technologies, refined metal-thread use, and sophisticated natural dyeing practices of Ottoman court textile production. In this study, selected ceremonial caftans attributed to five Ottoman sultans were examined through a multidisciplinary and multi-analytical approach to characterize their structural, chromatic, and chemical properties. Color characteristics were evaluated in the CIE L*a*b* color space, while yarn properties, weave structures, and production techniques were investigated by optical microscopy. The morphology and elemental composition of the metal threads were analyzed using scanning electron microscopy coupled with energy-dispersive X-ray spectroscopy (SEM–EDX), and dyestuffs were identified by high-performance liquid chromatography with diode-array detection (HPLC–DAD). The results show that compound silk weaving structures were widely used in Ottoman court textiles, metal threads were predominantly silver-based and often gold-gilded, and dyestuffs with high fastness properties were preferentially selected. The revised manuscript situates these findings within a broader international literature on historical textile analysis and natural dye characterization, while using only a limited number of directly relevant studies from the authors’ previous work. The present study therefore provides new, object-specific and comparable data for the scientific documentation, material characterization, and conservation-oriented understanding of Ottoman textile heritage. Full article

This study examines the Vajra Exorcism Dance—commonly known as “Beating the Devils” (tiao buzha)—as performed at Yonghegong Lamasery in Beijing, positioning it as a quintessential example of monastic Nuoxi in which ritual form serves as the active embodiment of doctrinal content. By situating the performance within its historical, religious, and socio-political contexts, this paper argues that the dance’s choreography, iconography, music, and costumes are not merely aesthetic expressions but systematically structured manifestations of Vajrayana Buddhist soteriology and cosmology. Through a semiotic and performative analysis of ethnographic, historical, and visual sources, the study demonstrates how each formal element is meticulously designed to fulfill the ritual’s core objectives: the destruction of mental defilements and the establishment of a purified sacred realm. Furthermore, the paper investigates how the ritual’s transformation—from an imperial ceremony under Qing patronage to a public urban spectacle—reflects an ongoing negotiation between esoteric efficacy and popular accessibility, with its continued survival dependent upon this dynamic symbiosis. Full article

The George Washington University holds a collection of African objects donated by a private collector in the 1970s, many of which are culturally misattributed. Among the objects are two large wooden posts cataloged as “house posts” from Côte d’Ivoire. These posts exhibit two distinct sections, each resembling material culture used in ceremonial traditions, but together have not been identified in existing museum collections or scholarly sources. This paper documents the findings of an investigation into the provenance and the cultural context of these posts through the analysis of the objects’ materiality, stylistic characteristics, and possible market production to determine a framework for their ethical handling and restitution. What do the combined objects reveal about the interconnectedness of Western market demands and the creation of African tourist art from the 1970s? And what are the implications of these unique forms of African material culture in the conversation on museum reforms and ethical display? The research points to the blurred boundaries between authentic ritual objects and the fabrication of “authenticity” for Western consumption. The goal of this paper is to reveal the possible connections between carvers producing objects for the tourist market within the social and cultural environment of the Senufo workshop system. The paper argues that the objects in the George Washington University collection were adapted for a Western market and audience. Through a comparative analysis of cultural ideographs from surrounding cultures in the area, records of workshops and economic production, the paper concludes that the objects were not produced for sacred use but more likely for commercial purposes, and that their cultural value is not diminished. Instead, they represent another form of expression developed by carvers who adapted Indigenous forms to satisfy Western market demands. Full article

Ceremonial deployed with the aim of displaying and perpetuating power was a shared practice across the medieval Mediterranean. Processions, ceremonies, and ritual acts created solidarity and consensus, naturalized dominion, and conveyed legitimacy while minimizing dissent and threats to social and political hierarchies. Such ceremonial acts were carried out in the public spaces of Mediterranean cities, connecting people, objects, and places in multisensory displays. This paper will explore the relationship between urban spaces and ritual and focus on the architectural contexts where ceremonies and rituals were performed. Three cosmopolitan Mediterranean cities—Cairo, Constantinople, and Venice—will serve as case studies for analyzing how richly ornamented architectural structures were employed as the staging areas for spectacle. Their prominent placement and ornamentation highlighted the theatricality of ceremony and defined a multisensory cityscape that was meant to overwhelm the senses and impress participants and spectators alike. Full article

The “hand-waving sacrifice” is a large-scale sacrificial ceremony with more than 2000 years of history. It was passed down from ancient times by the Tujia ethnic group living in the Wuling Corridor of China, and it integrates religion, sacrifice, dance, drama, and other cultural forms. It primarily consists of two parts: ritual content (inviting gods, offering sacrifices to gods, dancing a hand-waving dance, etc.) and the architectural space that hosts the ritual (hand-waving hall), which together constitute Tujia’s most sacred ritual space and the most representative art and culture symbol. Nonetheless, in existing studies, the hand-waving sacrifice ritual, hand-waving hall architectural space, and hand-waving dance art are often separated as independent research objects, and little attention is paid to the coupling mechanism of the mutual construction of space and ritual in the process of historical development. Moreover, with the acceleration of modernization, the current survival context of the hand-waving sacrifice has undergone drastic changes. On the one hand, the intangible cultural heritage protection policy and the wave of tourism development have pushed it into the public eye and the cultural consumption system. On the other hand, the changes in the social structure of traditional villages have led to the dissolution of the sacredness of ritual space. Therefore, using the interaction of “space-ritual” as a prompt, this research first uses GIS technology to visualize the spatial geographical distribution characteristics and diachronic evolution process of hand-waving halls in six historical periods and then specifically analyzes the sacred construction of hand-waving hall architecture for the hand-waving sacrifice ritual space throughout history, as well as the changing mechanism of the continuous secularization of the hand-waving sacrifice space in contemporary society. Overall, this study reveals a unique path for non-literate ethnic groups to achieve the intergenerational transmission of cultural memory through the collusion of material symbols and physical art practices, as well as the possibility of embedding the hand-waving sacrifice ritual into contemporary spatial practice through symbolic translation and functional extension in the context of social function inheritance and variation. Finally, this study has specific inspirational and reference value for exploring how the traditional culture and art of ethnic minorities can maintain resilience against the tide of modernization. Full article

Yangzhi jingshui 楊枝淨水 (willow twigs and clean water) are part of one of the most popular rituals used in Chinese Buddhist practices. In order to preserve dental health and eliminate bad odors, the Vinaya texts specify rules on chewing willow twigs as a form of tooth brushing in one’s daily facial washing process. Willow twigs are also frequently employed in Esoteric (mijiao 密教) rituals, where they are accompanied by spells to create intricate ceremonies that have the power to heal illnesses, ward off bad luck, and bring about happiness and tranquility. For the development of this ritual in China, the usage of yangzhi jingshui was not originally connected to any particular deity, but later on, the ritual became primarily linked to Avalokitêśvara (Guanyin, 觀音), who was believed to use them as crucial tools for healing and saving lives. The symbolic meaning of using willow and water has been thoroughly discussed by Master Zhiyi 智顗 (538–597) and then has since developed into the more complete Repentance Practice of Guanyin (Guanyin chanfa 觀音懺法). Using yangzhi jingshui to save people as well as trees is also an important aspect described in Buddhist biographies and Chinese novels, such as Gaoseng zhuan 高僧傳 [The Biographies of Eminent Monks], Song Gaoseng Zhuan 宋高僧傳 [Biographies of Eminent Monks in the Song Dynasty], and stories of collected in Taiping guangji 太平廣記 [Extensive Records of the Taiping (xingguo) Period], Lunhui Xingshi 醒世輪回 [Reincarnation Stories to Awaken the World], and Xiyou ji 西遊記 [Journey to the West], which all demonstrate the rich cultural significance of this ceremony. Through the narratives of monks, the worship of Yangliu Guanyin, and its portrayal in the literature, yangzhi jingshui evolved from a cleansing tool in scriptures to a ritual object in Esoteric Buddhist healing ceremonies, ultimately becoming a common Buddhist practice. While new elements were added over time, its core themes of healing and purification have remained consistent. Full article

Biomass energy is a significant yet often overlooked energy source in many developing nations, particularly in households where it is utilized in highly inefficient ways. This inefficiency stems from the direct combustion of wood, charcoal, leaves, agricultural residues, and animal dung for cooking purposes. A substantial portion of the Ethiopian population relies on traditional biomass energy, a dependence influenced by socioeconomic factors and residential location. In this study, we focus on traditional coffee vendors operating on the streets of Bahir Dar who utilize traditional biomass for coffee preparation. We aim to investigate the accessibility and health implications of traditional biomass utilization among these women coffee vendors. We employed a mixed-methods research approach with a concurrent research design to achieve our objectives. Data were analyzed quantitatively through descriptive statistics and qualitatively through thematic analysis. Both the descriptive and textual data indicate that women traditional coffee vendors (WTCVs) rely on traditional biomass energy because customers expect the ceremonies to be performed using it, as it holds significant traditional and cultural value. While traditional biomass energy is relatively accessible, the vendors’ limited income often restricts their ability to secure it consistently. Consequently, their dependence on traditional biomass, combined with poor working conditions, negatively impacts their respiratory health and heightens the risk of burns and injuries. Full article

This paper aims to shed new light on the religious function and symbolic meaning of parasols (san 傘) in Buddhist ritual practices, tracing the origins of the concept and examining its representations in texts and art. The author focuses on manuscripts, particularly the “Liturgies for Installing Parasols” (Ansan wen 安傘文) from Dunhuang, and argues that parasols were used as special ritual instruments to guard the local community. Their sacred power stemmed from the apotheosis of the parasol’s practical function of shielding and protecting people, which was further enhanced by beliefs surrounding the “Mother of Buddhas with Great White Canopy” (Da bai sangai fomu 大白傘蓋佛母) in the late Tang and Five Dynasties. Erecting parasols or carrying them in processions around the city was considered equivalent to demarcating boundaries, establishing defenses, and creating sanctuaries. Whether worn as a protective object, placed at the city’s four gates as a symbol of safeguarding passage, or installed in processions, the Great White Canopy Dhāraṇī and the practice of installing parasols distinguished the inside from the outside, self from others, and purity from impurity. This practice not only had the power to expel plagues and disasters, but also solemnified spaces, bringing blessings, purification, health, and peace. The parasol’s practical functions were continuously extended and mythologized, becoming a central object in rituals aimed at sanctifying space. The rise of the Great White Canopy Dhāraṇī belief in Dunhuang further reinforced its role in local customs. This method of spatial sanctification reflects the internal logic of esoteric Buddhist practices while sharing conceptual and technical similarities with traditional Chinese apotropaic arts (fangshu 方術) and Daoist exorcistic rituals. Through the grand and regular performance of these ceremonies, political legitimacy and communal well-being were successfully established. Full article

This paper explores the rituals enacted in or connected with two medieval churches, one walrus ivory cross and a central topic of medieval devotion, Christ’s passion. During Easter Week these memorialised the site in Jerusalem dedicated to the burial of Christ, the holiest place in Christendom. It focuses on the physical elements, the spaces, the paintings and sculpture, the ceremonial objects and relics and the performative nature of rituals associated with them. The Regularis Concordia, composed in Winchester at the end of the 10th century for the use of Benedictine monasteries included sung liturgical enactments based on the gospel accounts of Christ’s burial and resurrection. At the same time, in Saxony, the Abbey at Gernrode was founded for the use of women, secular canonesses, with a space in the south aisle that seems to have represented Christ’s place of burial and was later incorporated into two chambers evoking the Holy Sepulchre Chapel in Jerusalem. In the 12th century in Winchester Cathedral, a Holy Sepulchre Chapel was decorated with wall paintings depicting Christ’s death and resurrection. Around this time, the walrus ivory cross known as the Cloisters Cross was created and appears to have been designed for use in the increasingly elaborate liturgical enactments. The paintings at Winchester Cathedral, the sculpture at Gernrode and the Cloisters Cross each evidence the significance of evoking Christ’s passion and how liturgical space and objects served to bring it to life. Full article

Gamification has emerged in higher education as an innovative approach that engages and stimulates student participation and active learning, through the integration of game elements in the learning experience. This study presents a case study in the field of Information Systems, based on the use of gamification, through the use of Lego bricks, to learn SCRUM. The participants in the study include 12 first-year students, enrolled in the curricular unit of Information Systems, in the academic year of 2022/2023, at a Portuguese Higher Education Institution. The objective of the study is to analyze student’s understanding of the SCRUM approach, in regard to: (1) how students understand the different roles of SCRUM and the objective of each ceremony; and (2) how students understand the structure of the SCRUM framework. Findings from the study show that students who engaged in the gamified learning environment demonstrated higher comprehension of SCRUM roles, scoring significantly better on assessments compared to their non-participating peers. In general, students felt that the gamification experience achieved its objectives. Future work aims to bring the game closer to the reality of the software development process, making it more aligned with the lego4scrum methodology approach. Full article

Sadhukarn, a sacred music composition performed ritually to salute and invite divine powers to open a ceremony or feast, is played in Thailand, Cambodia, and Laos. Different countries have unique versions, arranged based on musicians’ skills and en vogue styles. This study presents the results of multivariate statistical analyses of 26 different versions of Sadhukarn main melodies using non-metric multidimensional scaling (NMDS) and cluster analysis. The objective was to identify the optimal number of parameters for identifying the origin and relationships among Sadhukarn versions, including rhyme structures, pillar tone, rhythmic and melodic patterns, intervals, pitches, and combinations of these parameters. The data were analyzed using both full and normalized datasets (32 phrases) to avoid biases due to differences in phrases among versions. Overall, the combination of six parameters is the best approach for data analysis in both full and normalized datasets. The analysis of the ‘full version’ shows the separation of Sadhukarn versions from different countries of origin, while the analysis of the ‘normalized version’ reveals the rhyme structure, rhythmic structure, and pitch as crucial parameters for identifying Sadhukarn versions. We conclude that multivariate statistics are powerful tools for identifying relationships among different versions of Sadhukarn compositions from Thailand, Laos, and Cambodia and within the same countries of origin. Full article

The “ceremonial” forms of swords and daggers—that is, bladed weapons decorated with precious metals—occupy a special place in the culture of the early nomads. For the Scythian period, we know at least 76 ceremonial objects from 61 sites, corresponding to 3.5% of the total sample. More than half of the finds come from the northern Black Sea region (mainly Ukraine). Ceremonial forms are represented in all morphological categories (from daggers to extra-long swords), but their distribution is slightly different. Most akinakai belong to the average and long swords. Most Scythian akinakai in Eurasia belong to the dagger and short sword groups. Although most Scythian swords and daggers fall into the Middle Scythian period, most ceremonial forms belong to the last phase of Classical Scythian culture. This period is a veritable “golden autumn” of Scythia with its huge royal burial mounds and abundance of gold, perfectly illustrating our argument that conspicuous consumption coincides with periods of political and social instability. After the peak of the proliferation of ceremonial akinakai in the third quarter of the 4th century BC, we observe a generation later the complete disappearance of Classical Scythian culture, along with its characteristic weapons, horse harnesses, and animal style. Full article

This article sets out to trace the trans-religious journey of two objects in the western Mediterranean at the end of the fifteenth century. The expulsion of Jews from all Spanish territories in 1492–1493 instigated the movement of objects from Jewish to Christian hands. Among these were a pair of Torah finials that belonged to the Jewish community of Cammarata, Sicily, where they were set on top of the rods around which the Torah scroll was rolled. These two finials were sold in Sicily and, through a chain of merchants and ecclesiastics, arrived at the Cathedral of Palma and were incorporated into the local Christian liturgy, a process that continued well into the twentieth century. This article analyzes the use and performance of the finials in their different liturgical settings and examines their conversion from Jewish ceremonial objects to ecclesiastical implements. It concludes with a discussion of temporality in studying converted objects, a factor that played a key role in the finials’ migration between socio-religious contexts and resulted in the creation of multifaceted objects. Full article

A powerful bead network that wove together a transcontinental tapestry of cultures predated the Spanish invasion of the Americas. Beads created in the northeastern Atlantic world found themselves in Aztec and Incan territories, as did beads made from rocks found in the Pacific Northwest, all of which had been borne along trade networks that have existed for ages. Sixteenth-century illustrations found in the Mexican codices demonstrate the traditional manufacture of beads, which were used for a range of quotidian and ceremonial purposes. Since medieval times, Spaniards employed beads, called rescate, as currency for inequitable trade, whether for slaves or precious metals. The Spanish invasion introduced beads manufactured in other parts of the world to the Americas to form part of the ceremonial and spiritually endowed objects and ceremonies, and vice versa, American beads made their way into Spanish clothing and religious objects such as the rosary. A significant infusion of new beads from Spain rushed into the American bead network in the sixteenth century, some of which had international origins from places such as Venice, India, and West Africa. As material objects, beads negotiated intercultural relationships in powerful ways throughout the Spanish empire: beads were involved in treaties, territorial agreements, prayer, spiritual relations, wayfinding, and most importantly, ceremony. This article maps out the collision of bead networks within the sixteenth-century Spanish empire so as to flesh out the similar and innovative uses of beads, whether among Native American, Afro-descendant, or European communities, and their connection to spiritual and ceremonial practices. Full article