Censer

A censer, incense burner, perfume burner or pastille burner is a vessel made for burning

Often, especially in Western contexts, the term "censer" is used for pieces made for religious use, especially those on chains that are swung through the air to spread the incense smoke widely, while the term "perfume burner" is used for objects made for secular use. The original meaning of pastille was a small compressed mixture of aromatic plant material and charcoal that was lit to release the odour, and pastille-burners were designed for this, for use in the home. Pastilles were made at home until their heyday in the early 19th century, and the burners are often made in pottery or porcelain.^[1]

Some types could also be used as pomanders, where the perfume diffuses slowly by evaporation rather than burning.^[2]

For direct-burning incense, pieces of the incense are burned by placing them directly on top of a heat source or on a hot metal plate in a censer or thurible.^[3]

Indirect-burning incense, also called "non-combustible incense",^[4] is a combination of aromatic ingredients that are not prepared in any particular way or encouraged into any particular form, leaving it mostly unsuitable for direct combustion. The use of this class of incense requires a separate heat source since it does not generally kindle a fire capable of burning itself and may not ignite at all under normal conditions. This incense can vary in the duration of its burning with the texture of the material. Finer ingredients tend to burn more rapidly, while coarsely ground or whole chunks may be consumed very gradually as they have less total surface area. The heat is traditionally provided by charcoal or glowing embers.

For home use of granulated incense, small, concave charcoal briquettes are sold. One lights the corner of the briquette on fire, then places it in the censer and extinguishes the flame. After the glowing sparks traverse the entire briquette, it is ready to have incense placed on it.

For direct-burning incense, the tip or end of the incense is ignited with a flame or other heat source until the incense begins to turn into ash at the burning end. Flames on the incense are then fanned or blown out, with the incense continuing to burn without a flame on its own.

Censers made for stick incense are also available; these are simply a long, thin plate of wood, metal, or ceramic, bent up and perforated at one end to hold the incense. They serve to catch the ash of the burning incense stick.

In Taoist and Buddhist temples, the inner spaces are scented with thick coiled incense, which are either hung from the ceiling or on special stands. Worshipers at the temples light and burn sticks of incense. Individual sticks of incense are then vertically placed into individual censers.

The earliest vessels identified as censers date to the mid-fifth to late fourth centuries BCE during the

Among the most celebrated early incense burner designs is the hill censer (boshanlu 博山爐), a form that became popular during the reign of Emperor Wu of Han (r. 141–87 BCE). Some scholars believe hill censers depict a sacred mountain, such as Mount Kunlun or Mount Penglai. These elaborate vessels were designed with apertures that made rising incense smoke appear like clouds or mist swirling around a mountain peak.^[5] The Han dynasty scholar Liu Xiang (77–6 BCE) composed an inscription describing a hill censer:

I value this perfect utensil, lofty and steep as a mountain! Its top is like Hua Shan in yet its foot is a bronze plate. It contains rare perfumes, red flames and green smoke; densely ornamented are its sides, and its summit joins azure heaven. A myriad animals are depicted on it. Ah, from it sides I can see ever further than Li Lou [who had legendary eyesight].^[6]

Another popular design was the small "scenting globe" (xiangqiu 香球), a device similar to a pomander, but used for burning incense. The famed inventor and craftsmen, Ding Huan (1st c. BCE), is believed to have made these with gimbal supports so the censer could easily be used to fumigate or scent garments. This is described by Edward H. Schafer:

"Censing baskets" were globes of hollow metal, pierced with intricate floral or animal designs; within the globe, an iron cup, suspended on gimbals, contained the burning incense. They were used to perfume garments and bedclothes, and even to kill insects.^[7]

Other Chinese censers are shaped like birds or animals, sometimes designed so that the incense smoke would issue from the mouth. During the medieval period when censers were more commonly used in Buddhist and Daoist rituals, hand-held censers (shoulu 手爐) fashioned with long handles were developed.

Archeologists have excavated several censers from Han era tombs that contained aromatics or ashen remains. Some of these aromatic plants have been identified as maoxiang (茅香 "Imperata cylindrica, thatch grass"), gaoliangjiang (高良薑 "Galangal"), xinyi (辛夷 "Magnolia liliiflora, Mulan magnolia), and gaoben (藁本"Ligusticum sinense, Chinese lovage"). Scholars speculate burning these grasses "may have facilitated communication with spirits" during funeral ceremonies.^[8]

According to the Sinologist and historian

Thus all in all there is much reason for thinking that the ancient Taoists experimented systematically with hallucinogenic smokes, using techniques which arose directly out of liturgical observance. … At all events the incense-burner remained the centre of changes and transformations associated with worship, sacrifice, ascending perfume of sweet savour, fire, combustion, disintegration, transformation, vision, communication with spiritual beings, and assurances of immortality. Wai tan and nei tan met around the incense-burner. Might one not indeed think of it as their point of origin?[11]

These Waidan (外丹 "outer alchemy") and neidan (內丹 "inner alchemy") are the primary divisions of Chinese alchemy.

During the T’ang period, incense was used by upper-class people for personal hygiene, romantic rendezvous, and deodorizing the interior of edifices. These included places of worship, dwellings, and work-spaces. Dating back to the seventh century AD, the kuanhuo (changing of fire) ceremony took place, where people would cleanse their homes with incense. However, in some parts of East Asia, incense burners were used as a way to tell time

In the Far East, incense was used as a way to tell time because it was a simple mechanism and generally not a fire hazard. Time increments were marked off on each incense stick to show how much time had passed, then placed in a ritual tripod vessel known as a ting. During imperial coronations, incense sticks would be used to tell how long the ceremony was. Other variations of incense is the spiral incense coil. The spiral incense coil was used to measure time for longer durations. One spiral equated to one night. This type of incense was mainly used by the five ‘night watches’ of the community. The length of their shifts and breaks were determined by the time increments marked off on the spirals.^[12]

Tiangong censers are used for religious reasons in China^[13]

Incense burners (miqtarah in Arabic) were used in both religious and secular contexts, but were more widely utilized in palaces and houses. The earliest known examples of dish-shaped incense burners with zoomorphic designs were excavated in Ghanza,^[14][15] while the earliest examples of zoomorphic incense burners are from 11th-century Tajikistan.^[16] It is most likely that this practice was inspired by Hellenistic style incense burners^[15] as well as the frankincense trade present in the Arabian peninsula since the 8th century BCE.^[17]  

A wide variety of designs were used at different times and in different areas. Pottery and stone incense burners were the most common while those made of metals were reserved for the wealthy. Artisans created these incense burners with moulds or the lost-wax method. Openwork zoomorphic incense burners with

Koro (Japanese: 香炉, kōro), also a Chinese term, is a Japanese censer often used in Japanese tea ceremonies.

Examples are usually of globular form with three feet, made in

Used domestically and ceremonially in Mesoamerica, particularly in the large Central-Mexican city of Teotihuacan (100–600 AD) and in the many kingdoms belonging to the Maya civilization, were ceramic incense burners. The most common materials for construction were Adobe, plumbate,^[21] and earthenware. These materials can be dried by the sun and were locally sourced, making them the perfect material for a Mayan craftsman. Censers vary in decoration. Some are painted using a fresco style technique or decorated with adornos,^[22] or small ceramic ornaments. These decorations usually depicted shells, beads, butterflies, flowers, and other symbols with religious significance that could to increase rainfall, agricultural abundance, fertility, wealth, good fortune or ease the transition of souls into the underworld.^[23] To identify precious materials such as jadeite and quetzal feathers, important visual markers of status,^[22] artists used colorful paints.

Used to communicate with the gods, these censers functioned for acts of religious purification. Incense would be presented to the divine being. In fact, some people were appointed the position of fire priest. Fire priests dealt with most tasks related to incense burning. Some rituals involved a feast, which would be followed by the fire priest igniting a sacred brazier in the temples. It was given to the divine beings and deities as offerings on a daily basis. The practice would end at the sound of a trumpet made from a conch shell. Another function of incense was to heal the sick. Once recuperated, the diseased would present some incense to the appropriate gods to repay them for being cured.^[24] Made up of copal (tree resin), rubber, pine, herbs, myrrh, and chewing gum, the incense produced what was described as "the odor of the center of heaven."^[25]

The shape of incense burners in the Maya southern lowlands reflected religious and cultural changes over time. Some censers were used in funerals and funerary rituals, such as those depicting the Underworld Jaguar or the Night Sun God. When a king would die, ‘termination rituals’ were practiced. During these rituals,

In the

Some Orthodox Christians use a standing censer on their icon corner (home altar).

In the Latin Church and its Latin liturgical rites of the Catholic Church and some other groups, the censer is often called a thurible, and used during important offices (benedictions, processions, and important Masses). A common design for a thurible is a metal container, about the size and shape of a coffee-pot, suspended on chains. The bowl contains hot coals, and the incense is placed on top of these. The thurible is then swung back and forth on its chains, spreading the fragrant smoke.

A famous thurible is the Botafumeiro, in the cathedral of Santiago de Compostela. Suspended from the ceiling of the cathedral, the swinging of this 5-foot (1.5 m) high, 55 kilogram silver vessel is an impressive sight.^[27]

One of the explanations for the great size of the Botafumeiro is that in the early days it was used to freshen the air in the cathedral after being visited by droves of travel-weary pilgrims. It was also once believed that the incense smoke guarded against contracting the many diseases that plagued the populace in past centuries.^[27]

Some thuribles were based on an architectural motif, for example the Gozbert Censer from the Cathedral of Trier inspired by the Temple of Solomon.^[29]

Hindus have traditionally used an earthen censer called a Dhunachi for burning incense with coal, though coconut husk is also used. The vessel has a flared shape with a curved handle and an open top. There are also brass and silver versions.

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  Incense burner from Assur, Iraq. Circa 2400 BC. The Pergamon Museum, Berlin
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  Lidded incense burner (xianglu) with geometric decoration and narrative scenes. Han dynasty, 2nd century BCE
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  Bronze incense burner inlaid with gold; from the tomb of

  Western Han

  period, 2nd century BC
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  Gilt-bronze Incense Burner of Baekje, National Treasure of Korea No. 287
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  Chinese porcelain stool (1575-1600) with Ottoman metallic mounting and modifications (1618) for use as an incense burner Turkish and Islamic Arts Museum.
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  Incense burner of the Wenchang Temple in Yilan County, Taiwan
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  Insect-Cage Incense Burner, late 19th to early 20th century, by Tetsunao, Japan.
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  Rabbit-shaped censer, Japan, 19th century, sentoku with cloisonne top
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  Japanese koro, 1890, from the Khalili Collection of Japanese Art
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  British pottery pastille burner, c. 1821-1850
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  Wedgwood stoneware pastille burner, 1830–50
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  Censer for an Altar Cross, 1150-1175 AD, German, Lower Saxony. Cleveland Museum of Art
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  Copper alloy censer from Kashmir, 9th–10th Centuries AD, British Museum^[30]
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  Thurible with bells
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  Brass incense burner at Jaffna museum, Sri Lanka.
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  A large censer in front of the Taipei Baoan temple
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  Incense Burner in the Form of an Elephant. Eastern Iran or northern India. Late 12th or early 13th century AD. Khalili Collection.

• Crotalus
• Dabqaad
• Mabkhara
• Thurible