A miniature shrine, also referred to in literature as a portable shrine,pocket shrine, or a travel altar, is a small, generally moveable shrine or altar. They vary greatly in size and architectural style, and by which region or culture produced them.
The Shrine does not perform weddings or baptisms because it is not a parish church. Bishops have designated it a national sanctuary of pilgrimage and prayer. The Catholic Church teaches that the sacraments are communal in nature — properly celebrated within the worshiping community, the parish. The current investigation sought to address several important issues concerning frequency-based acoustic measures of vocal deception, including 1) to provide a direct comparison of aggregate and local measures, 2) to dissociate effects of deception from stress, and 3) to establish an approach that reduces potential adverse effects of stress.
History[edit]
Antiquity[edit]
Egypt[edit]
The Ikhernofret Stela, dated to the Middle Kingdom of Egypt, is the earliest extant literary reference to a portable shrine. The stela is 100 cm high and made of limestone. Osiris is depicted standing under a winged sun disk facing Senwosret III. The text is laid out below Osiris in twenty-four horizontal lines. Underneath the text, Ikhernofret, a 12th dynasty treasurer under Pharaoh Senwosret III, is depicted at an offering table with his family.[1] It reads:
I acted as Son, Whom He Loves, for Osiris, First of the Westerners, I adorned the great [..] forever and ever. I made for him a portable shrine, the Bearer-of-Beauty of the First-of-the- Westerners, of gold, silver, lazuli, fragrant woods, carob wood, and meru wood, fashioned the gods belonging to his divine ennead, made their shrines anew.[2]
The New KingdomGurob Shrine Papyrus is a fragment of a workman's designs for a portable altar. It dates perhaps to the 18th Dynasty.
One of the best-known artifacts of Ancient Egypt is the Anubis Shrine, which is in a portable form, placed atop a palanquin. The statue of a recumbent jackal is attached to the roof of the shrine. The statue is made from wood, covered with black paint. The insides of the ears, the eyebrows, and the rims of the eyes, and the collar and the band knotted around the neck, are worked in gold leaf.
Phoenicia[edit]
Greece[edit]
Rome[edit]
By the early Imperial period, household shrines were known generically as lararia (plural lararium) because they typically housed a figure of a Lares, guardian deities in ancient Roman religion. Painted lararia from Pompeii show two Lares flanking a genius or ancestor-figure, who wears his toga in the priestly manner prescribed for sacrificers. Underneath this trio, a serpent, representing the fertility of fields or the principle of generative power, winds towards an altar. The essentials of sacrifice are depicted around and about; bowl and knife, incense box, libation vessels and parts of sacrificial animals. In households of modest means, small Lar statuettes were set in wall-niches, sometimes merely a tile-support projecting from a painted background. In wealthier households, they tend to be found in servant's quarters and working areas.
The placing of Lares in the public or semi-public parts of a house, such as its atrium, enrolled them in the more outward, theatrical functions of household religion.
Medieval[edit]
Asia[edit]
In Buddhism, portable shrines were made so that devout travelers with nowhere to worship could carry their shrines with them. The shrines were two-piece, and could be shut together to preserve the artwork.Miniature buddhas and goddesses could be carried in small lacquer cases carried on the wrist.
In Tibet, shrines called gau are worn as jewelry.
The mikoshi is a Japanese type of portable shrine used mostly during Shinto religious festivals called matsuri.
Christian Europe[edit]
The Monymusk Reliquary is an eighth-century Scottish reliquary made of wood and metal characterized by an Insular fusion of Gaelic and Pictish design and Anglo-Saxon metalworking, probably by Ionan monks. It is now in the National Museum of Scotland in Edinburgh. It is characterised by a mixture of Pictish artistic designs and Irish artistic traditions (perhaps first brought to Scotland by Irish missionaries in the sixth century), fused with Anglo-Saxon metalworking techniques, an artistic movement now classified as Insular or Hiberno-Saxon art. The casket is wooden, but is covered with silver and copper-alloy.
A particularly well-preserved portable shrine, the Shrine of the Three Kings in the Cologne Cathedral, is archetypal of the Romanesque style of reliquaries. The shrine is about 43 inches (110 cm) wide, 60 inches (153 cm) high, and 87 inches (220 cm) long. It is modeled after a basilica. Two sarcophagi stand next to each other, with the third sarcophagus resting on their roof ridges.
The great gilt-copper and enamelReliquary Shrine of Saint Eleutherius in the cathedral of Tournai (Belgium), one of the masterpieces of Gothic metalwork,[4] was commissioned by Bishop Walter de Marvis of Tournai, and completed in 1247,[5] on the occasion of the retranslation of relics of Saint Eleutherius of Tournai, traditionally the city's first bishop. The shrine takes the architectural form of a chasse or gabled casket.
Modern period[edit]
Colonial period[edit]
Nichos originated as a popular adaptation of the Roman Catholic retablo tradition of painting patron saints on wood or tin. Unlike the large, flat panels of retablo, nichos are small and built in shadow box style. Common structural conventions include hinged doors, carved borders, and multiple panels. Within the box there is a key object or central figure for whose honor or memory the nicho has been created. Nichos are usually painted with striking colors, often contrasting bright and dark, and tend towards garish. In addition to painted designs, nichos are decorated with all variety of images and objects from religious and popular culture.
World War I[edit]
During World War I, extremely small shrines (generally referred to as pocket shrines) became incredibly popular amongst soldiers, especially in France.
Contemporary developments[edit]
Some contemporary artists, particularly in Asia where domestic altars remain a cultural and spiritual staple, have acted as inspiration for a number of works.
Design[edit]
The Japanese design firm moconoco released a kamidana (literally 'god shelf') modeled after the iPhone in order to 'seamlessly incorporate [the altar] into modern environments.'[6] The front is etched with an image of the Ise Grand Shrine.
Fine art[edit]
In 2007, several contemporary Maya artists collaborated and released an artist's book in the form of a portable Maya shrine. Along with 12 candles and small effigies of animals, they contain three books entitled Hex to Kill the Unfaithful Man, Mayan Love Charms, and Magic for a Long Life.
The Korean artist Yeesookyung exhibited his piece Portable Temple, based on traditional East Asian folding screens, at the Mongin Art Center, South Korea in 2008.
Technology[edit]
Commerce[edit]
Gallery[edit]
Early 13th-century chasse used to hold holy oils
Example with vermiculated gilded background, and enamelled figures.
13th-century Chasse of Saint Exupère
The Becket Casket, c. 1180-1190, Limoges, with the popular subject of the martyrdom of Thomas Becket.
Limoges, with apostles and angels
Gothic goldsmith's chasse, Cologne
Very elaborate French 13th-century chasse reliquary of Saint Taurin, Évreux (Eure)
Later French reliquary; certainly a house, but perhaps not a chasse
A nat sin in Yangon, Burma
Spirit house, Bangkok
Spirit houses at a private house, Phetchaburi, Thailand
Spirit houses protect a business, Thailand
Spirit house, Hua Hin
Cambodian-style spirit houses.
Ceremonial spirit houses among the Itneg (lef to right) the pangkew, two tangpap, and an alalot (1922, Philippines)
Kalangan spirit house, Itneg people (1922, Philippines)
A spirit house in Livingstonia, Malawi (c. 1910)
A shrine to the east of Pubersdorf in Austria
A shrine near Luže in Slovenia
A shrine in Waldorf in Germany
A shrine in Hesselbach, Germany
'Leixnertaferl' shrine near Neustadt an der Donau in Lower Bavaria
Wayside shrine by Auksūdys, Lithuania
Memento more cake mac os. 19th century LatgalianCatholic wayside shrine at The Ethnographic Open-Air Museum of Latvia
19th century SuitiProtestant column shrine from Alsunga at The Ethnographic Open-Air Museum of Latvia
A typical, small roadside kandilakia. Athens, Greece
A larger kandilakia for a church in Thessaloniki, Greece
A large kandilakia for the Metropolitan Church in Thessaloniki, Greece
A kandilakia which serves Analipsi Church in Volos, Greece
Kandilakia for Saints Constantine & Helen Church in Thessaloniki, Greece
The interior of the kandilakia for Analipsi Church
Wooden column shrine in Garsdorf, Bavaria
Stone column shrine in Vřesovice, Czech Republic
Roofed column shrine in Mali Lipoglav, Slovenia
See also[edit]
References[edit]
- ^'The Literature of Ancient Egypt', William Kelly Simpson, p425–427, Yale University Press, 2003, ISBN0-300-09920-7
- ^Breasted, James Henry (2001). Ancient Records of Egypt. University of Illinois Press. ISBN0-252-06974-9.
- ^Hill, G. (1911). Some Graeco-Phoenician Shrines. The Journal of Hellenic Studies, 31, 56–64. doi:10.2307/624736
- ^'Doubtless the most sumptuous of all midthirteenth century reliquaries now remaining to us' was the opinion of Marvin Chauncey Ross ('The Reliquary of Saint Amandus', The Art Bulletin18.2 [June 1936: 187–197] p. 187).
- ^Otto von Falke and H. Frauberger, Die Deutsche Schmeltzarbeiten des Mittlealters, (Frankfort) 1904:105, gives the date of completion.
- ^http://www.spoon-tamago.com/2015/02/25/kamidana-shiro-a-contemporary-japanese-altar-modeled-after-an-iphone/
- ^Keep, Dean. 'The portable shrine.' Australian Journal of Communication 36.1 (2009): 62.
Home > HCAS > HCAS_PUBS > HCAS_JOURNALS > TQR Home > TQR > Vol. 17 > No. 30 (2012)
Article Title
Authors
Abstract
What does an autoethnography look like? How do you conduct reliable qualitative research when you are both the researcher and the researched? Where do you find truth as an adult when you discover your life as a child was full of secrets? In his book 'A Need to Know: The Clandestine History of a CIA Family', author H. J. Goodall (2006), tells the story of his personal journey investigating his own life growing up with a father who was a counter-intelligence offer in the cold-war era. While this narrative is an engaging and readable account, it is also a work that probes questions of identity, family codes of language, and the multiple contexts and questions of truth. Furthermore, Goodall's writing provides a working example of methodology and theory used in autoethnography.
Keywords
Autoethnography, Qualitative Research, Truth, Language
Publication Date
7-23-2012
Creative Commons License
This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 International License.
DOI
10.46743/2160-3715/2012.1750
Recommended APA Citation
Cline, T. C. (2012). When Language Lies: Truth, Silence, and Codes of Deception. The Qualitative Report, 17(30), 1-6. https://doi.org/10.46743/2160-3715/2012.1750
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Quantitative, Qualitative, Comparative, and Historical Methodologies Commons, Social Statistics Commons
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