Vedic astrology has turned up with a helpful and efficient measure to forecast and recognize any persons fortune and upcoming contemplations. Vedic astrology readings can provide obvious understanding of persons future and issues and that too with the perfect curative results that can be pursued by any person. Vedic astrology can offer an insight of the skills, personality, behaviour, qualities, emotions, experiences, outlook with lucidity and simplicity.
Vedic astrology is the best way to obtain the information of any persons life history which is based upon constellation, well-known as Nakshatra system for any kind of forecasts. Vedic astrology is the oldest knowledge and discipline of astrology that has continued its standards and excellence with enormous control on the masses for obtaining supervision and assistance in their lives.
Veda studies tell us that knowledge presumes the normal law of Karma in which an individual lives in particular constraints fixed at some stage in his past and present life. Several aspects can control in finding the forecasts and readings that discloses for the reason that positions of the stars that varies from person to person. Any kind of change in the places of starts can bring end number of changes in the life of a simple individual and turn his life worse or better. It is Lagna that ensures the daily and yearly forecasts based on the time of birth and place where any person was born.
Vedic astrology is very popular in several parts of India that is based on the theory of zero degree measurement. Janma Rashi is one more feature that indicates the power of moon on any person at the time of his birth. Janma rashi and the position of the moon can mutually act the intellect of any individual and can sustain the harmonization of body and mind in a specific prototype. Stars wield their better and poor effects on every individual on the earth. Astrological cures are perfect solutions offered to triumph any difficult situations. Uses of gen stones, amulets, rudrakshas, metals are very common cures to manage adverse stages of life.
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Feng Shui is an ancient Chinese art that helps create balance and usher in prosperity and harmony. Feng Shui art dates back to over 7000 years. It is based on the study of energy (Chi) and how its circulation affects people. This circulation when blocked or distorted by our environment creates negative energy.
There are various products available in the market that unblocks Chi to bring in fortune and harmony. Feng Shui balances, harmonizes, creates peace, and balances the environment believers recommend that through Feng Shui one can live a life blessed with prosperity and happiness. Feng Shui harnesses the surroundings and unseen energy and helps navigate a person through problems.
Infinity, the figure 8 is one of Feng Shui’s symbol of boundless happiness. The figure is incorporated into stunning amulets that attract positive energy to bring balance to life. Feng Shui jewellery is all about empowering, protecting, balancing, and exquisiteness. The jewelry uses the finest quality stones, crystals, and pearls to enhance the Chi’s effects as well as your life, like for example the Marriage Charm Bracelet doubles the happiness of married life.
Mystical knot in Feng Shui jewelry symbolizes endless love. It represents long free life, far away from separation and heartbreak. It also denotes endless togetherness and undying love. This lucky love symbol is most suitable for ensuring lasting romance in married life.
Medicine Buddha Pendants symbolize the healing and perfecting health qualities of Buddhahood. These pendants are blessed with traditional Buddhist rituals and come in silk pouches along with few grains of rice from the blessing ritual. These pendants invoke the therapeutic power of the Medicine Buddha.
Yellow Jambhala, which is also called Wealth Buddha is a neckpiece made of Sterling Silver and Red Coral and it relieves the wearer form poverty and blesses with abundance. These pendants are blessed within traditional Buddhist rituals at the Yong He Gong Buddhist Lama Temple, China. The Yellow Jambhala is seated on a lotus flower, in his right hand, he holds a lemon, and in the left, a moneybag containing coins.
Kuan Yin Bodhisattva is a pendant that’s made of Sterling Silver and Rose Quartz and Kuan Yin manifests in any conceivable form to assist any being who seeks her blessings. Kuan yin is also sought after by childless women. Blessed Prayer Malas are blessed by Kuan Yin Bodhisattva Temple of Universal Salvation, China. Buddhist females wear these malas on the right wrist and males wear it on the left wrist.
White Jade 108 Bead Mala is generally used to assist in counting prayer repetition and it is worn for protection. White Jade stone symbolizes the essence of Kuan Yin, the Bodhisattva of Mercy and Compassion. Smokey Quartz 108 Bead Mala symbolizes the qualities of grounding and energy and thus it improves intuition with regards to challenges and responsibility. This Jade Male is also called the calming stone mala.
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The tree of life is a very important symbol of creation and where the entire meaning of the universe lies. To understand the meaning behind the tree of life, though, we have to go back before the universe even existed. Kabbalah teachings state that the origin of the universe and the world began by Gods creation of the ten sefirot, or the emanations, enumerations or characteristics of God. Some say that these sefirot represent the different parts of God, while others can look at these ten sefirot as the varying qualities of God himself or even the different parts and steps of the creation of the world or the universe.
The tree of life symbol shows the ten sefirot mapped out, with each circle within the tree of life representing one sefira, or one divine number. The different lines connecting each circle is said to represent the 22 letters of the Hebrew alphabet. Put these together and both make up the 32 paths to the secret of wisdom, or the meaning of existence and the universe. Ultimately, the tree of life shows how the divine plan or Gods Will is unfolded for us to meditate upon and take deep into our minds, hearts and souls.
At the top of the tree of life lies Keter (crown) the first sefira that emerged from God. Keter is said to symbolize the origin of the Will, the Nothingness from where the universe emerged. From Keter, others arose, and is said to slightly change or transform each sefira that rose after it. You will see that the left side of the tree of life continues with three sefirot: Binah represents understanding or the vessel with which emotions and reason brings one closer to God, Gevurah represents severity or the strength and judgment of God and Hod represents glory or surrender to God, as well as sincerity.
The right side of the tree of life is said to represent the polar opposites of the sefirot, and leans more towards how our souls and spiritual selves expand: Chokmah represents wisdom or the birth of ideas, Chesed represents kindness or the loving Grace of God and Netzach represents eternity.
The middle path, which balances the right and left sides of the tree of life contains three other sefirot, namely, Daat (central state of the unity of all ten), Tiferet (beauty of symmetry) and Jesod (foundation). The last sefira is Malchut or Kingship, where the actualization or the realization of the Divine Plan is experienced.
This powerful symbol can act as a strong reminder to us about our interconnectedness with each other and the entire universe, as well as the paths one must take to be able to attain Gods Divine Plan for him. As such, some have created sacred jewelry such as amulets or even tree of life pendant to let the wearer feel the power and the cosmic meaning of the tree of life.
This intricate tree of life pendant, for instance, created by cosmic jewelry artist David Weitzman, can be worn as a sign of unity and love.
The Tree of Life is one of the most familiar of the Sacred Geometry Symbols, Weitzman explains. The Tree of Life pendant forms the key to God’s original creation. The pendant fits exactly to the Seed of Life and the Flower of Life.
The tree of life, as such, is our own key and gateway to the supreme being and to unlock the secrets of the universe, including the secrets to our own inner souls.
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tree of life pendant
Tree of Life
You can buy or purchase handmade Tibetan jewelry from a variety of venues, both online and in person. Sometimes you will find some great deals on jewelry and other times, you will need some significant cash to make a good investment. Check out the reputation of the seller and ask all the questions you want before you make your purchase. It”s a good idea to find out up front if your seller can guarantee the authenticity of the items you are purchasing or tell you that there is no return or exchange policy. Most companies are quite flexible in this challenging economy and willing to work with you.
Whether in daily life, during festivals, or go for worship, people in Tibet are always wearing in a variety of accessories from head to toe. Dainty and beautiful Tibetan Silver Ringis a common seen jewelry, and now,Handmade Tibetan Silver Ring becomes the cherished goods in our store. Vintage Tibetan Silver Ring will definitely make a great, reasonably gift for yourself or your loved ones on any occasion.
Minority”s jewelry reflects rich cultural connotation and bold styling. Known for mysterious, beautiful, and vintage, Tibetan jewelry has long formed an outstanding and unique style. Sterling Silver Wrist Chain plays an important role in winning praise from all over the world. The classic and adorable Vintage Sterling Silver Wrist Chains in our store are all assured belong to Handmade Sterling Silver Wrist Chain, which represents a high level of hand making crafts of Tibet.
Tibetan Turquoise is one of the oldest protection amulets, and was also known as a symbol of wealth in many ancient cultures, strength and protection from harm, psychic sensitivity and connection to the spirit world. The turquoise is the symbol of friendship and brings peace to the home.
With strong ethnic characters and beautiful appearanceTibetan jewelry formed a outstanding and unique group of its own. Tibetan Bracelets are one of the most striking jewelries. Handmade Tibetan Bracelets which are hand crafted by artisans using various materials demonstrate excellent manual skills and high aesthetic taste, and stand for luxury and rich.
Under the stylish design, Tibetan jewelry implies the archaized style and a unique charm and appeal of art, and they can not be replaced by any other ethnic style jewelry. The most vivid example of Tibetan jewelry is Tibetan Necklaces. Handmade Tibetan Necklaces reflect rich Tibetan ethnic cultural connotation and bold styling. We shall bring you pleasure surprises if you set your eyes on our jewelries.
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Hellenistic Glass
The Hellenistic period chronologically covers the conquests of Alexander the Great (356-323 BC), the fall of the Persian Empire, in particular, the Achaemenid Empire (550-330 BC) and, finally, the beginning of the expansion of the Roman Empire (second half of the 1st c. BC – 476 AD aprox.) in the Mediterranean and the surrounding regions in Europe, western Asia and northern Africa as well.
Glass production was stimulated by the intention of imitating precious and semi-precious stones, as well as rock crystal (from the introduction of translucent or transparent glass onwards) (Goldstein 1979). Glass vessels were made after the forms and types of metal and ceramic contemporary vessels (Grose 1989). However, apart from stylistic cohesion, glass industry at all times has to be treated on its own right in terms of the material itself, technological processes and the end-products.
Hellenistic glass industry was a craft based on previous technological tradition of the Classical period and even the Late Bronze Age (Harden 1969; Grose 1981; Grose 1989). However, despite the deep rooted bonds with the past, a distinct break was made by Hellenistic craftsmen and new manufacturing techniques and types of vessels and other objects were introduced these three centuries preceding the invention of glassblowing. Perhaps the most important feature of the glass industry of this period was the transition from a limited production of luxury objects consumed by the elite strata of the society to the mass production of affordable glass vessels used by the broader public to satisfy everyday needs (Goldstein 1979; Grose 1984).
Glass Vessels
The core-formed glass vessels in the Mediterranean, from 525 to 50 BC, were the most numerous and widespread (Tatton-Brown and Andrews 2004). Nonetheless, the core-forming manufacturing technique is the best represented in the archaeological record and, most probably, the earliest technique employed (Goldstein 1979). The production of the core-formed type (see also Glassmaking Techniques) in the second half of the 1st mil. BC is divided in three groups, namely Mediterranean Group I (525-450 BC), II (325-200 BC) and III (150-50 BC), and only the first group belongs to the Classical period. The distinction made is based on a combination of changes in vessel types produced and in decoration patterns, as well as on the limited number of archaeological finds from the intermediate periods (Harden 1981).
Core-formed vessels were generally small in size, close vessels, always opaque in aspect, and designed to contain mainly perfumes, scented oils and cosmetics (Tatton-Brown and Andrews 2004). Most common shapes among core-formed vessels were alabastra, amphoriskoi, aryballoi and lentoid aryballoi, oinochoai (jugs), and for the first time in the Hellenistic period hudriskai (three-handled flasks) and unguentaria (unguent bottles) (Fossing 1940).
During the second half of the 3rd c. BC a new type of glass vessels, that of mosaic glass, emerged in the Hellenistic world. They are also called illefiori (=thousand flowers) because of the decorative impression of the technique. The group of mosaic glass consists mostly of fused and slumped broad plates and shallow dishes with upright or out-splayed rims or hemispherical bowls. Sub-groups of mosaic glass production are etwork or acework hemispherical bowls and vessels with meandering or spiral decorative patterns that imitate onyx. Often these bowls had a rim formed of a single etwork cane of spirally twisted threads which gives a triped effect (Tatton-Brown and Andrews 2004). It is best represented in burial contexts from several large tombs in Canosa di Puglia (ancient Canusium) in Italy (Grose 1989). They are open vessels since they are made with a mould but still opaque, like the widely produced core-formed vessels.
The origins of the mosaic glassworking technique are traced back in the 15th c. BC in the Mesopotamian glassmaking centres, such as Tell-al-Rimah, Aqar Qf and Marlik. Although the mosaic technique at the time was practiced in a desultory way, it is the predecessor of the elaborated mosaic vessels of high quality of the Alexandrian workshops, after the foundation of the city of Alexandria in Egypt in 332 BC by Alexander the Great, which is said to be the main production centre of these vessels (Harden 1969; Goldstein 1979).
By the early 2nd c. BC, monochrome drinking vessels, mainly hemispherical and sub-conical bowls were introduced. They were made in considerable quantities in the Syro-Palestinean coast and were widely traded and exported to several trading centres throughout the Mediterranean. Earlier examples were made of clear greenish, brownish or almost colourless glass, while later on they often had green, amber, blue or wine-purple colour. Usually, they were decorated with linear-cut concentric circles at the bottom or right under the rim either on the inside or the outside (Tatton-Brown and Andrews 2004). They were made in an open mould, which is in fact a relatively cheap technique that requires less effort put and it was this that allowed their large-scale production.
Within the production of these drinking vessels, from the mid-2nd c. BC onwards, translucent or transparent glass tableware (plates, dishes, bowls, drinking vessels, such as skyphoi, footed bowls or handled cups) was introduced; glass tableware production once established enjoyed several glassworking centres and contributed in the dramatic increase of the Hellenistic glass industry (Grose 1981; Grose 1984; Tatton-Brown and Andrews 2004). This was the first time that glass vessels were widely consumed by the broader public as a widespread commodity, something that continued ever since and was achieved in a higher degree with the invention of the even more economical glassblowing technique.
During the 1st c. BC, new types of monochrome glass vessels were introduced and ribbed bowls started to be produced. They were mould-press bowls with ribs on the outside and their production centres were concentrated in the Levantine region and the Syro-Palestinean coast, like the monochrome hemispherical/conical bowls.
However, the production of luxury glass vessels did not cease and glass vessels imitating precious metal vessels (gold- and silver-ware) were produced with new glassworking techniques to satisfy the needs of the elite social strata market. Gold-sandwich glass vessels and gold-band alabastra were innovations of the late Hellenistic period addressed to a more limited range of wealthy customers. The manufacturing techniques were the same, namely the mould-press and core-form mosaic techniques respectively (Harden 1969; Grose 1989). However, they were developed further more in order to achieve a quite elaborate decorative aspect.
Other Glass Objects
Hellenistic glass industry included also a range of other objects, mainly for decorative purposes. The broadest groups of glass objects were these of glass beads and inlays, like in all periods since the introduction of glassmaking in the ancient world. The mass production of glass beads of many varieties is well represented in the context of a Hellenistic glass workshop in Rhodes, where 10,000 beads of 40 different shapes and colours have been found (Weinberg 1983; Triantafyllidis 2002). Rings, pendants, gemstones, amulets, small sculptures were also made with the mould-casting technique (Grose 1989).
Inlays were produced to decorate wooden articles, furniture, chests, sarcophagi and jewellery in combination with other, often precious materials, such as gold leaf or ivory (Ignatiadou 2002). For example, glass inlays decorated the ionic capitals of north porch of the Erechtheion in the Athenian Acropolis (Stern 1999). Inlays were deeply rooted in the Egyptian glassmaking industry and their production, with the mosaic technique after the Pharaonic tradition, continued to flourish during the Hellenistic period with old or new repertories inspired from the Greek world (Nenna 2002). Game counters and gaming pieces were made also as one way to recycle scrap glass left over from the manufacture of other articles (Ignatiadou 2002).
Like in many other occasions, these objects are well represented and archaeologically found along with various types of glass vessels in rich burial contexts, e.g. this of Amphipolis (Romiopoulou 2002).
Glassmaking and Primary Production Centres
Glassmaking and glassworking were considered two totally separate crafts and took place in different regions (Grose 1981). Each craft was characterized by its own technological tradition, know-how and equipment. Glassmakers and glassworkers did not need to have an understanding of glass vessel manufacture and primary production respectively, in order to carry out their tasks (Stern 1999).
Glassmaking had to take place as close as possible to the sources of the raw materials used, namely sand and mineral natron when it comes to the Hellenistic period (Shortland et al. 2006). Raw glass was traded throughout the Mediterranean in the form of ingots (Stern 1999) and it was then worked and shaped into vessels, inlays, jewellery, etc., in numerous sites of the Hellenistic world.
Hellenistic glass is the typical soda-lime-silica glass, to which lime was not intentionally added, but it was provided through the agent of sand (Turner 1956a). Although, it cannot be argued with certainty where the Hellenistic primary production of raw glass was geographically located from the archaeological record, we can hypothesize that a large part of glass production took place in the Syro-Palestinian coast or the broader Levantine region and Egypt . In favor of this argument are comments of classical writers of the period or a little later, like Strabo (63 BC) who mentioned river Belus on the Syrian coast to have been used for glassmaking or even by writers other such as Pliny the Elder (23-79 AD) or Tacitus (ca. 56-ca. 117 AD) (Turner 1956b). However, archaeological evidence firmly indicate that primary production of glass, as well as glassworking took place on the island of Rhodes in the Aegean, during the Hellenistic period and, particularly, after the foundation of the city of Rhodes in 408 BC, and even earlier through the Classical period (Weinberg 1983; Triantafyllidis 1998; Rehren 2005).
Glassworking Centres and Spatial Distribution
As it is already argued, glassworking took place in several centres of the Hellenistic world. Raw glass was brought to glassworkers in the form of ingots, except from the Rhodian workshop which included both glassmaking and glassworking, and in turn they produced glass vessels, inlays, jewellery, etc., which were then widely traded. Although most probably core-formed vessels were traded for their content, mosaic or monochrome and transparent tableware were traded per se. Major glassworking centres were located at the Syro-Palestinean coast, e.g. monochrome hemispherical bowls, and in Alexandria, since its foundation in 332 BC, e.g. mosaic glass vessels and inlays (Nenna 2002). The reputation of the Alexandrian workshop is well understood from luxury glass vessels decorated with Egyptian-style buildings or characteristic scenes found as far as Italy and Afghanistan or, even, produced there (Auth 2001). Glass vessels, both core-formed and mould-press, were also made in Ionia, Cyprus, Sidon, the Levant, Tel Anafa in Upper Galilee, Rome and Roman Italy, Crete, Macedonia (Grose 1981; Grose 1984; Barag 1985; Ignatiadou 2002; Jennings 2002).
Particularly interesting is the core-formed vessels trade and spatial distribution, since this was the group produced throughout the Hellenistic period from its very beginning to the invention of glassblowing (ca. 50 BC). Core-formed bottles, along with other types of glass vessels, are found throughout the Mediterranean in the Aegean (e.g. Delos, Crete, Athens), throughout Greece, Asia Minor and western Asia (e.g. Ephesus, Sardis, Dura-Europos, Babylon, Nimrud, Nineveh, the Levant, Phoenicia), Magna Greacia (e.g. Rhegium, Morgantina) and Italy, Mesopotamia, the Balkans, Russia, the transalpine lands, Spain (Emporion) and the Balearics, northern Africa (Carthage) and Cerne on the Atlantic coast of Africa (Harden 1956; Harden 1969; Harden 1981; Grose 1984; Barag 1985; Jennings 2002).
Glassworking Techniques
e must never consider any technology in antiquity to have been a single process without variations Goldstein 1979
Glass production of vessels or other glass objects was mainly of two distinct technological traditions, these of core-formed glass and mould-press or cast glass (Grose 1981). A lot of work has been done trying to understand how these techniques were actually employed (Harden 1956; Harden 1969; Goldstein 1979; Grose 1981; Harden 1981; Frank 1982; Grose 1984; Tatton-Brown and Andrews 2004; Gudenrath 2004)
Core-formed glass: is the best represented and probably the earliest manufacturing technique applied. First, a core with the bottle shape was shaped around a metallic rod most probably by a combination of clay, sand, mud and/or animal dung. Then, molten glass was either trailed onto the core with the aid of a second tool or directly from dipping it into a container of molten glass. The surface was smoothed by continual re-heating and rolling on a flat slab. Finally, vessels were removed from the metallic rod, they slowly cooled down in a side chamber of the glass melting furnace and, then, the core material was scraped out of the interior. Common body colours were translucent dark or cobalt blue, opaque white, brown, red or olive-green and of the decoration opaque yellow, orange, white or turquoise trails in zigzag or feather patterns. This technique limited considerably the size of the vessels, which were mainly close vessels with thick walls.
Mould-press or cast glass: it was first practiced by the Hellenistic glassworkers from the 3rd c. BC onwards. Although different decorative results were achieved by variations in colours, the technique was virtually the same for mosaic, monochrome hemispherical bowls, transparent tableware and gold-sandwich vessels, both luxurious fine ware and more affordable types. Mould-press or cast vessels were mainly open bowls, shallow dishes and jars, but some closed vessels were produced as well. They were made from a single mould on which a piece of glass was slumped.
Mosaic glass: vessels, namely bowls and plates, as well as inlays were produced with the mosaic technique. A multicoloured effect is achieved as a result of a variety of diverse cane configurations and colour combinations fused together and then slumped on an open mould.
etwork: a type of mosaic glass made of canes of spirally twisted glass threads of different colours laid side by side.
Gold-sandwich glass: also found for the first time during the Hellenistic period. It technique consists of a andwich of two decolorized glass layers which enclose a sheet of gold leaf between them. The vessels were formed of two castings and they were carefully ground and polished.
Cold-cutting: grinding and polishing by the application of stone-cutting techniques and by using harder materials, such us quartz. It was used as a supplementary technique to other processes as finishing and decoration.
References
Ashton, S.A., 2008. Ptolemaic and Roman Memphis as a Production Centre. In: Martinon-Torres, M. and Rehren, Th. (eds), Archaeology, History and Science; integrating approaches to ancient materials. Walnut Creek: Left Coast Press, CA, 101-115.
Auth, S.H., 2001. Luxury Glasses with Alexandrian Motifs. Journal of Glass Studies 43, 39-44.
Barag, D., 1985. Catalogue of Western Asiatic Glass in the British Museum, vol. I. London: British Museum Press.
Cummings, K., 2002. A History of Glassworking. London: A&C Black.
Fossing, P., 1940. Glass Vessels before Glass-Blowing. Copenhagen: Ejnar Munksgaard.
Frank, S., 1982. Glass and Archaeology. London: Academic Press.
Goldstein, S.M., 1979. Pre-Roman and Early Roman Glass in the Corning Museum of Glass, New York.
Grose, D.F., 1981. Hellenistic Glass Industry Reconsidered. Annales du 8e Congres de l Association International pour l Histoire du Verre, 61-72.
Grose, D.F., 1984. The Origins and Early History of Glass. In: Klein, D. and Lloyd, W. (eds), The History of Glass. London: Orbis Publications, 9-37.
Grose, D.F., 1989. Early Ancient Glass; the Toledo Museum of Art. New York: Hudson Hills Press.
Gudenrath, W., 2004. Techniques of Glassmaking and Decoration. In: Tait, H. (ed), Five Thousands Years of Glass (revised edition). London: British Museum Press, 213-241.
Harden, D.B., 1956. Glass and Glazes. In: Singer, C., Holmyard, E.J., Hall, A.R. and Williams, T.I. (eds), A History of Technology, vol. II; the Mediterranean Civilizations and the Middle Ages. Oxford: Clarendon Press, 311-346.
Harden, D.B., 1969. Ancient Glass, I: Pre-Roman. Archaeological Journal 125, 46-76.
Harden, D.B., 1981. Catalogue of Greek and Roman Glass in the British Museum, vol. I. London: British Museum Press.
Ignatiadou, D., 2002. Macedonian Glass-working in the 4th c. BC. In: Kordas, G. (ed), 1st International Conference: Hyalos, Vitrum, Glass; History, Technology and Conservation of Glass and Vitreous Materials in the Hellenic World. Athens, 63-70.
Jennings, S., 2002. Late Hellenistic and Early Roman Glass from the Souks Excavations in Beirut, Lebanon. In: Kordas, G. (ed), 1st International Conference: Hyalos, Vitrum, Glass; History, Technology and Conservation of Glass and Vitreous Materials in the Hellenic World. Athens, 127-132.
Nenna, M.D., 2002. New Research on Mosaic Glass: Preliminary Results. In: Kordas, G. (ed), 1st International Conference: Hyalos, Vitrum, Glass; History, Technology and Conservation of Glass and Vitreous Materials in the Hellenic World. Athens, 153-158.
Rehren, Th., Spencer, L. and Triantafyllidis, P., 2005. The Primary Production of Glass at Hellenistic Rhodes. In: Cool, H. (ed), Annales du 16e Congres de l Association International pour l Histoire du Verre, Nottingham, 39-43.
Romiopoulou, K., 2002. Glass Finds from Graves at Amphipolis. In: Kordas, G. (ed), 1st International Conference: Hyalos, Vitrum, Glass; History, Technology and Conservation of Glass and Vitreous Materials in the Hellenic World. Athens, 71-77.
Shortland, A., Schachner, L., Freestone, I. and Tite, M., 2006. Natron as a flux in the early vitreous materials industry: sources, beginnings and reasons for decline. Journal of Archaeological Science 33, 521-530.
Stern, E.M., 1999. Ancient Glass in Athenian Temple Treasures. Journal of Glass Studies 41, 19-50.
Tatton-Brown, V. and Andrews, C., 2004. Before the Invention of Glassblowing. In: Tait, H. (ed), Five Thousands Years of Glass (revised edition). London: British Museum Press, 21-61.
Turner, W.E.S., 1956a. Studies in Ancient Glasses and Glassmaking Processes; part III, the Chronology of the Glassmaking Constituents. Journal of the Society of Glass Technology 40, 38-5
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Londo(Xpert4u.co.uk) 22nd Decemeber 10 : Gemstones are mainly minerals and are made from fragmentation of rocks. There are some non-minerals such as amber which are also considers as a gemstone and are used in jeweleries or other adornments as well.
Gemstones are used in jeweleries by cutting and polishing them to give them desired shape. There are both synthetic and artificial gemstones available in the market. There are so many gemstones available in the nature. Mostly gemstones are hard minerals but due to flexible nature of some soft minerals they are used in jeweleries and are often considered as gemstones. The color of these gemstones are having very attractive feature and don’t have any color of their own.
Their color depends on the nature of light but color of some gemstones are changed by manipulating the impurities present in it.Gemstones add extra charm to the beauty. People who are fashion lovers always admire the qualities of gemstones. If you want to become a style icon among your friends,colleagues,relatives and neighbours etc. and wants to have a special feel then you must go for this gemstones. This is the only option which suits your personality and give a classy look also.
Gemstones can be embedded in so many things such as rings,bracelets,amulets,anklets,earrings and neck pieces also. These gemstones are used in other adornments also to give serve you more spices. Nowadays few of the gemstones are getting more attention from the customers such as crystals gemstones and loose gemstones. These mentioned gemstones are getting more popular among people just because of its fine quality and brightness.
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Judaica are the beautiful Jewish ceremonial objects which carry great religious, spiritual and family significance. For generations, these have been exchanged as gifts by the Jewish, as well as people of other race and religion, on special occasions and events to express ones love and concern towards the recipient . Judaica gifts not only receive the appreciation of the recipient, but they quickly become the treasured family heirlooms that are passed from one generation to the other.
As each one of the Judaica gifts is a work of pure art and a blend of fine art and beauty, it fills the occasion with grandeur and magnificence. This perhaps is the reason why these items are also used as home dcor items.
Some of the most popularly used Judaica ceremonial objects are the Silver Shabbat candlesticks, silver Kiddush cup, Challah cover, and Challah knife. These are the classic Judaica gifts to enhance the mood, feeling, and beauty of the Shabbat ceremony. The beautiful silver candlesticks when light fill the home with sanctity and purity and the silver Kiddush cup for wine and challah knife and cover for the bread complete the event.
The other great Judaica gift is the Menorah candlestick. It presents the original 7-branched lamp that stood in the Temple in ancient Jerusalem and is a powerful symbol of immense spiritual and historical value. The Menorah is also recognized as a symbol of God’s miracle at the end of the ancient Jewish fight for freedom.
Judaica jewelry also makes beautiful and heartfelt gifts. For example, there is Israel jewelry which lets the wearer feel both the pride and passion of the traditional and modern Islam and the decorative five-fingered Hamsa hand which is believed to ward off evil spirits. Available in exquisite styles and design patterns, these jewelry pieces are both fashionable, as well as meaningful. They enhance the life of the wearer and satisfy their quest for spirituality and real meaning of life and death.
Jewish Figurines, Jewish Pens, Jewish Magnets, Jewish Placards, the Menorah, Key holders, Washing Cups, and Messianic Holy Vessels are some other options that Judaica gifts offer. Based on ones individual preference and taste, one can buy any of these gifts to make the special ones in their lives feel really special and loved.
If you are interested in buying the Judaica jewelry, you may visit luckycharmsusa.com Here you would find genuine Judaica jewelry in a wide range, made by the finest designers from across the world. In addition, here you may also buy amulets, talisman, lucky charms, rings, pendants, keychains, baby pins, wall hangings, and other home decoration items depicting the Star of David, the Hamsa, the evil eye, and other religious and spiritual signs and symbols.
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Social relations
In Ghana,In general, Ghanaians emphasize communal values such as family, respect for the elderly, honoring traditional rulers, and the importance of dignity and proper social conduct. Individual conduct is seen as having impact on an entire family, social group and community; therefore, everyone is expected to be respectful, dignified and observant in public settings and in most every aspect of life. Naming ceremonies, puberty initiations, marriage and death are all marked by family ceremonies, and while Ghana has the highest percentage of Christians in West Africa, belief in traditional animist religions is still common. Seasonal festivals serve to bring a whole tribe or clan together in spectacular fashion.
Customs are often passed on through the extended family. While the customary leaders or chiefs, are given historical authority over social, family, and land-related matters. Relationships within traditional society are based on family membership, inherited status, and ancestral beliefs. In modern society, relationships are determined by achieved status, formalized education, membership in professional associations, and ethnic affiliation. The result is that, even those who live primarily in the modern urban setting remain bound to traditional society through the kinship system and are held to the responsibilities that such associations entail.
No part of Ghana, however, is ethnically homogeneous. Urban centers are generally ethnically mixed due to migration to towns and cities in search of employment. Rural areas, with the exception of cocoa-producing areas that have attracted migrant labor, tend to reflect more traditional population distributions. One overriding feature of the country’s ethnic population is that groups to the south who are closer to the Atlantic coast have long been influenced by the money economy, Western education, and Christianity, whereas ethnic groups to the north, who have been less exposed to those influences, have come under Islamic influence. These influences were not pervasive in the respective regions, however, nor were they wholly restricted to them.
In urban centres, the degree of traditionalism or modernism demonstrated by an individual is, to a large extent, determined by the length of residency in an urban setting, level of education, the degree of Westernization and, in some measure, by religious affiliation. Professionals in economics, politics, education, administration, medicine, law, and similar occupations constitute the elite of their respective groupings. Taken as a whole, however, such elites do not compose an upper class. The individuals who constitute the elites come from different social and ethnic backgrounds and base their power and social status on different cultural values. Most of them continue to participate in some aspects of traditional society and socialize with members of their own or other lineage groups. Most importantly, they do not regard themselves as an elite group.
People
Female figure on a gourd, Akan peoples. The mudfish, crescent moon and star decorations establish this vessel as one commissioned for the grave of a chief or paramount chief.
On the basis of language and culture, historical geographers and cultural anthropologists classify the indigenous people of Ghana into five major groups. These are the Akan, the Ewe, MoleDagbane, the Guan, and the Ga-Adangbe.
Ashanti
Main article: Ashanti people
The Ashanti people of the Akan, from which nearly half of the Ghanaian population is descended, comprise the largest ethnolinguistic group in Ghana and one of the few matrilineal societies in West Africa. The matrilineal system of the Akan continues to be economically and politically important. Each lineage controlled the land farmed by its members, functioned as a religious unit in the veneration of its ancestors, supervised marriages, and settled internal disputes among its members.
Ashanti kings, once renowned for their splendour and wealth, retained dignitary status after colonization. Celebration of the Ashanti kings lives on in the tradition of the Golden Stool (see Arts & Crafts, below). The Ashaniti are noted for their expertise in several forms of craft work, particularly their weaving, wood carving, ceramics, fertility dolls, metallurgy and kente cloth (see Arts & Crafts, below). Traditional kente cloth, is woven in complex patterns of bright, narrow strips. It is woven outdoors, exclusively by men. In fact, the manufacture of many Ashanti crafts is restricted to male specialists. Pottery-making is the only craft that is primarily a female activity; but even then, only men are allowed to fashion pots or pipes depicting anthropomorphic or zoomorphic figures.
The various Akan groups speak various dialects of Twi, a language rich in proverbs, and the use of proverbs is considered to be a sign of wisdom. Euphemisms are also very common, especially concerning events connected with death. The Ashanti village is the primary social and financial unit, and the entire village typically participates in major ceremonies.
Fanti
The coastal Akan (Fanti) were the first to have relations with Europeans during the “Scramble for Africa”. As a result of long association, these groups absorbed aspects of British culture and language. For example, it became customary among these peoples to accept British surnames.
A young Ghanaian standing on a partially submerged tree branch near the Wli Lower Falls, located in the Volta Region.
The language is Fanti
Ew
Main article: Ewe people
The Ewe people occupy southeastern Ghana and parts of neighboring Togo and Benin. The Ewe are essentially a patrilineal people, the founder of a community became the chief and was usually succeeded by his paternal relatives. Ewe religion is organized around a creator deity, Mawu, and over 600 other deities. Many village celebrations and ceremonies take place in honor of one or more deities.
Coastal Ewe depend on the fishing trade, while inland Ewe are usually farmers and keep livestock. The local variations in economic activities have led to craft specialization. The Ewe also weave kente cloth, often in geometrical patterns and symbolic designs that have been handed down through the ages.
Mole-Dagbani
Mole-Dagbani is spoken by about 15 percent of the nation’s population, the name of which is a portmaneau of two closely related languages: Moore language (Mole), spoken by the Mossi, and Dagbani language (Dagbane) spoken by the Dagomba, two related peoples. The majority of the Mossi live in Burkina Faso, which the Dagomba mainly reside in Northern Ghana. Its speakers are culturally the most varied. For centuries, the area inhabited by Mole-Dagbane peoples has been the scene of movements of people engaged in conquest, expansion, and north-south and east-west trade. Hence, Hausas, Gurunsi, Fulanis, Zabaremas, Dyulas and Bassaris are all integrated into the Dagbani areas, and many speak the language. For these reasons, a considerable degree of heterogeneity, particularly of political structure, developed here. Many terms from Arabic, Hausa and Dyula are seen in the language, due to the importance of trans-Saharan and West African trade and the historic importance that the Islamic religion has had in the area.
Guan
The Guan are believed to have migrated from the Mossi region of modern Burkina around A. D. 1000. Moving gradually south, through the Volta valley, they created settlements along the Black Volta, the Afram Plains, in the Volta Gorge, and in the Akwapim Hills before moving onto the coastal plains.
Ga-Adangbe
Main article: Ga people
The Ga-Adangbe people (named for the common proto-Ga-Adangbe ancestral language) inhabit the Accra Region, Easten Region, Togo and Benin. The Adangbe inhabit the eastern plain, while the Ga groups, occupy the western portions of the Accra coastlands. Both languages are derived from a common root language, modern Ga and Adangbe languages are still similar.
Despite the archeological evidence that proto-Ga-Adangbe-speakers relied on millet and yam cultivation, the modern Ga reside in what used to be fishing communities, and more than 75 percent of the Ga live in urban centers. The presence of major industrial, commercial, and governmental institutions in the city, as well as increasing migration of other people into the area, has not prevented the Ga people from maintaining aspects of their traditional culture.
The role and status of women
Main article: Women in Ghana
Women in premodern Ghanaian society were seen as bearers of children, retailers of fish, and farmers. Within the traditional sphere, the childbearing ability of women was explained as the means by which lineage ancestors were allowed to be reborn. In precolonial times, polygamy was encouraged, especially for wealthy men. In patrilineal societies, dowry received from marrying off daughters was seen as a traditional means for parents to be acknowledged for taking good care of their daughters. Also to thank them for the good training.
To help rural women transition into the modern world, the city of Nsawam has created the “Dora-Project for young rural women”.
In rural areas of Ghana, where agricultural production was the main economic activity, women worked the land. Coastal women also sold fish caught by men. Many of the financial benefits that accrued to these women went into upkeep of the household, while those of the man were reinvested in an enterprise that was often perceived as belonging to his extended family. This traditional division of wealth placed women in positions subordinate to men. In traditional society, marriage under customary law was often arranged or agreed upon by the fathers and other senior kinsmen of the prospective bride and bridegroom.
Among matrilineal groups, such as the Akan, married women continued to reside at their maternal homes. Meals prepared by the wife would be carried to the husband at his maternal house. The wife, as an outsider in the husband’s family, would not inherit any of his property, other than that granted to her by her husband as gifts in token appreciation of years of devotion. The children from this matrilineal marriage would be expected to inherit from their mother’s family. The Ewe and the Dagomba, on the other hand, inherit from fathers. In these patrilineal societies where the domestic group includes the man, his wife or wives, their children, and perhaps several dependent relatives, the wife was brought into closer proximity to the husband and his paternal family. Her male children also assured her of more direct access to wealth accumulated in the marriage with her husband.
The transition into the modern world has been slow for women. On the one hand, the high rate of female fertility in Ghana in the 1980s showed that women’s primary role continued to be that of child-bearing. On the other hand, current research supported the view that, notwithstanding the Education Act of 1960, which expanded and required elementary education, some parents were reluctant to send their daughters to school because their labor was needed in the home and on farms. Resistance to female education also stemmed from the conviction that women would be supported by their husbands. In some circles, there was even the fear that a girl’s marriage prospects dimmed when she became educated.
Despite these resistances, women have risen to positions of professional importance in Ghana. Early 1990s data showed that about 19 percent of the instructional staff at the nation’s three universities was female. Of the teaching staff in specialized and diploma-granting institutions, 20 percent was female; elsewhere, corresponding figures were 21 percent at the secondary school level; 23 percent at the middle school level, and as high as 42 percent at the primary school level. Women also dominated the secretarial and nursing professions in Ghana. When women were employed in the same line of work as men, they were paid equal wages, and they were granted maternity leave with pay.
Festivals
Ashanti yam ceremony, 19th Century by Thomas E. Bowdich
The celebration of festivals in Ghana is an essential part of Ghanaian culture. Several rites and rituals are performed throughout the year in various parts of the country, including child-birth, rights of passage, puberty, marriage and death. Most of the celebrations are attended by entire villages and are strictly observed by the traditional elders of the respective ethic groups.
The Panafest is held every summer. It is celebrates Ghanaian roots. People from other African countries, as well as African-Americans with roots in Ghana, often visit the country and celebrate their heritage.
The Homowo Festival-The word “Homowo” literally means hooting at hunger. Traditional oral history tells of a time when the rains stopped and the sea closed its gates. A deadly famine spread throughout the southern Accra Plains, the home of the Ga people. When the harvest finally arrived and food became plentiful, the people celebrated with a festival that ridiculed hunger.
Kobine is a traditional dance and festival unique to the Lawra area of north western Ghana. The dance and the festival named after it are celebrated in September and October to mark the end of a successful harvest.
Literature
See also: List of African writers (by country)#Ghana
The literary tradition of northern Ghana has its roots in Islam, while the literature of the south was influenced by Christian missionaries. As a result of European influence, a number of Ghanaian groups have developed writing systems based on Latin script, and several indigenous languages have produced a rich body of literature. The principal written Ghanaian languages are the Twi dialects of Asante, Akwapim, and Fante. Other written languages are Nzema, Ewe, Dagbane, Ga, and Kasena (a Grusi language). Most publications in the country, however, are written in English.
Music
A Kpanlogo
Main article: Music of Ghana
There are three distinct types of Ghanaian music: ethnic or traditional music, normally played during festivals and at funerals; “highlife” music, which is a blend of traditional and mported music; and choral music, which is performed in concert halls, churches, schools and colleges.
Southern Ghanaian music incorporates several distinct types of musical instruments including:
Axatse -is a type of rattle or idiophone. It is constructed by hollowing out a gourd or calabash. Beads are attached with string which is woven in a fishnet design.
Gankogui -is a double bell or gong. It is constructed from iron. In Ewe music in general, and during Atsi in particular, gankogui keeps the time.
Kaganu-is a narrow drum or membranophone about two feet tall, its head is about three inches in diameter and it is open at the bottom.
Kidi -is a drum about two feet tall, its head is about nine inches in diameter and has a closed bottom. The Kidi responds to calls from the lead drummer.
Atsimevu-is the lead drum. It is a narrow drum approximately four feet tall and its head is about eleven inches in diameter.
Sogo-is the largest of the supporting drums used to play Atsi. In other pieces it is used as a lead drum. It is about two and a half feet tall, its head is about ten inches in diameter and it is closed at the bottom.
Kpanlogo- Carved from a single piece of wood, and covered in skin to create the drum head.
Northern Ghanaian music incorporates the following instruments:
North and Northeastern Ghana is known for talking drum ensembles, goje fiddle and koloko lute music, played by the Gur-speaking Frafra, Gurunsi and Dagomba nations, as well as by smaller Fulani, Hausa, Mande-speaking Busanga and Ligbi peoples.
Upper-Northwestern Ghana is home to the Dagara, Lobi, Wala and Sissala peoples, who are known for complex interlocking Gyil folk music with double meters. The Gyil is a close relative of the Balafon. The musical traditions of the Mande Bissa and Dyula minorities in this area closer resemble those of neighboring Mandinka-speaking areas than those of other Upper-Northwestern groups.
Cuisine
Main article: Ghanaian cuisine
Ghana has diverse traditional dishes from each ethnic group,tribe and clan. Generally though,most Ghanaian dishes are made up of a starchy portion,and a sauce or soup saturated with fish,snails,meat or mushrooms.
Arts and crafts
Kente weaving is a traditional craft among the Ashanti people of Ghana. A kente cloths is sewn together from many narrow (about 10 centimetres (3.9 in) wide) kente stripes. This image shows different patterns of typical Ashanti Kente stripes.
Kente Cloth
Kente is one of the symbols of the Ghanaian chieftaincy, which remains strong throughout the country, particularly in the areas populated by members of the culturally- and politically dominant Ashanti tribe. The Ashanti’s chief, known as the Asantehene, is perhaps the most revered individual in the country. Like other Ghanaian chiefs, he wears bright Kente, gold bracelets, rings and amulets, and is always accompanied by numerous ornate umbrellas (which are also a symbol of the chieftaincy itself). Weaving is a highly developed craft, with dozens of standardized and named textile designs. The colors and patterns of the Kente are carefully chosen by the weaver and the wearer.
Kente cloth is worn primarily in the southern part of the country and n contrast to other forms of traditional weaving – is reserved mainly for joyous occasions. It is also quite appropriate for outsiders to wear it for religious and festive occasions.
Adinkra Symbols
During the 13th Century, the asante people developed their unique art of adinkra printing. Hand-printed and hand-embroidered Adinkra clothes were made and used exclusively by the royalty and spiritual leaders for devotional ceremonies and rituals. Each of the motifs that make up the corpus of adinkra symbolism has a name and meaning derived from a proverb, a historical event, human attitude, animal behavior, plant life, or shapes of inanimate and man-made objects. These are graphically rendered in stylized geometric shapes. Meanings of motifs may be categorized as follows: Aesthetics, Ethics, Human Relations and Religious concepts.
This brass ornament was produced by Ashanti craftsman, and originally used to keep precious gold dust. The lid is decorated with a village scene; the chief is sitting under his umbrella playing owari (a type of African bead game).
Wood carving
Traditional wood carvings are divided into many branches, each with its own specialists. Among the major products are wooden sculptures and talking-drums (ntumpane).
The famous wooden “stools” are symbolic and
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Nearly all people have some gold or silver jewellery. But some people like gold jewelry more and others prefer silver. Why? Women often say that gold jewellery doesnt pass them or that on the contrary, they dont like silver. The reasons for such preferences can be numerous. Often fashion, good looks and price are important. But not always these are the only reasons. In this article we will tell you about all advantages of gold or silver jewellery.
Gold is one of the most known metals all over the world. Of course, it is a precious metal and we know that it is expensive. But the gold is also one of the most ancient metals in the world: it was known since Neolithic age. There is even a version, that gold was the first metal known by people. Nowadays gold is a symbol of wealth, high social status and nobility of its owner. Gold was an important value during all human history. It was used as international currency and was always thought more reliable than cash, because gold is eternal value. Earlier people associated gold with sun, maybe because the shining of gold reminded them of the sun. Gold jewellery is thought to add confidence and self-assurance. At the same time gold jewellery worn on the chest: chains, necklaces, pendants are thought to have calming effect. Gold ring are great for purposeful people: businessmen, sportsmen, etc. They help them to overcome difficulties and reach their goals. Golden earrings are ideal for women. They help them to feel their feminine power and become more self-confident.
Gold is also often used in designer jewellery with precious stones, because it is an ideal frame for them. Sapphires, rubies, emeralds, tourmalines, amethysts, turquoises set in yellow gold look really luxury and great. But for transparent diamonds white gold is better. It will emphasize their whiteness and delightful shining.
Some people also take gold designer jewellery as talisman. It is believed that gold is especially good for businessmen, chemists, designers, program developers and builders. In Chinese culture gold is associated with active mens Jan energy. In the East gold was used to heal chronic fatigue and depressions. Maybe, thats why it was though ideal for older people.
Silver is also extremely popular precious metal. It is known since ancient time and was always highly valued by people of all cultures. Today gold is more expensive than silver, but there is also a lot of luxury silver jewellery with precious stones. White silver shining ideally passes to the gemstones. Amber, agate, Morion, tourmaline, jade, moonstone and many others are made used in silver jewellery. Silver designer jewellery with amethysts, pearls and opals also looks great and luxurious. In astrology silver is often associated with moon. Since the earliest times many amulets were made form silver. IN the East silver is connected with feminine passive In energy. Today vintage silver jewellery is extremely popular.
On the whole both gold and silver designer jewellery is top fashion and attractive and its better to choose it accordingly to your individual style and taste.
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