Design Observer

About
Books
Job Board
Newsletters
Archive
Contact



Observatory

About
Resources
Submissions
Contact


Featured Writers

Michael Bierut
William Drenttel
John Foster
Jessica Helfand
Alexandra Lange
Mark Lamster
Paul Polak
Rick Poynor
John Thackara
Rob Walker


Departments

Advertisement
Audio
Books
Collections
Dear Bonnie
Dialogues
Essays
Events
Foster Column
From Our Archive
Gallery
Interviews
Miscellaneous
New Ideas
Opinions
Partner News
Photos
Poetry
Primary Sources
Projects
Report
Reviews
Slideshows
The Academy
Today Column
Unusual Suspects
Video


Topics

Advertising
Architecture
Art
Books
Branding
Business
Cities / Places
Community
Craft
Culture
Design History
Design Practice
Development
Disaster Relief
Ecology
Economy
Education
Energy
Environment
Fashion
Film / Video
Food/Agriculture
Geography
Global / Local
Graphic Design
Health / Safety
History
Housing
Ideas
Illustration
India
Industry
Info Design
Infrastructure
Interaction Design
Internet / Blogs
Journalism
Landscape
Literature
Magazines
Media
Museums
Music
Nature
Obituary
Other
Peace
Philanthropy
Photography
Planning
Poetry
Politics / Policy
Popular Culture
Poverty
Preservation
Product Design
Public / Private
Public Art
Religion
Reputations
Science
Shelter
Social Enterprise
Sports
Sustainability
Technology
Theory/Criticism
Transportation
TV / Radio
Typography
Urbanism
Water


Comments (5) Posted 04.04.11 | PERMALINK | PRINT

Constantin Boym

True East



Incense burners displayed in Oman market. All photos: Constantin Boym

Ever since I came to the Middle East, I have been looking for authenticity. Visitors often search out authentic food. As a product designer, I wanted to find local, truly authentic products: things invented, made and used by locals and their families. This proved to be far from easy. The vast marketplace — from souks to supermarkets — offers products that inevitably fall into one of two categories: multiple reiterations of European/American prototypes, or commercial items specifically concocted for tourist consumption.

Then I discovered mabkhara. The proof of these objects’ authenticity starts with the fact that the word does not translate well into English. Most often we use a descriptive expression, “incense burner.” Sometimes, it goes by the confusing word “censer.” (“Distinguish from sensor, censure, and censor,” warns Wikipedia.) In all cases, the word and the object have come to symbolize in Western culture the alien and exotic — a component of Oriental allure, much celebrated in European literature and the arts of the last two centuries.

To be sure, the incense burner has been a familiar presence in many religious services outside the Middle East. In the Catholic Church, a censer suspended on chains is called a thurible, and is used for important masses. In the Greek and Russian Orthodox churches, censers are even more widespread. Every prayer and ritual, from christening to burial, is accompanied by a deacon swinging a panikadilo. In neither religion may a layperson handle the burner; that right is reserved only for the ordained.



In ancient China and Japan, the use of censers was more open-ended and democratic, yet the object clearly maintained spiritual connotations. The Middle Eastern mabkhara, by contrast, is not a religious object. It relates first and foremost to the home, where it is a part of daily family traditions, some of which are uniquely Arabic. Take, for instance, the practice conducted by men and women alike of airing and perfuming their clothes. They accomplish this by standing over a burning censer for a few moments to let the aromatic smoke permeate their garments. When guests are hosted for meals, it is common to burn incense in the majlis (special living room reserved for entertaining). At the end of the evening, the hostess circles the room with the burner, as if to refresh the air. This sends a clear signal that the party is over.

Daily use of incense burners is integral to the sensorial culture of the East. The famous scents of the Orient: frankincense, myrrh, laudanum, sandalwood (oud), which remain the mainstay of all perfume manufacturing, derive from resins produced by desert trees grown only on the Arabian Peninsula. Since ancient times, harvesting and trading these substances has been a source of wealth for the region, and the cause of many attempted conquests. The olfactory has been celebrated in every aesthetic medium from The Arabian Nights to the elaborate secret gardens of Oriental architecture.

Early on, it was discovered that burning incense was the most efficient, and perhaps most spectacular, way to generate and transmit scent. According to Diane Ackerman’s seminal book A Natural History of the Senses, the practice itself has flowed in a current — one that’s wafted downward rather than upward: first incense burning was directed toward the gods, then toward rulers and their court, until eventually it reached the people, becoming a truly popular tradition. The burner has likely followed the same trajectory — evolving from a precious vessel to a basic object for domestic use.



Functional requirements for an incense burner are very simple. The object has to be stable, and it benefits from a handle if it’s meant to be carried. The top, where one places a burning charcoal briquette, must obviously be fire-resistant. Beyond these simple needs, the object can take any imaginable shape and almost any size. And it does. Form does not follow function here. If anything, form follows material and traditional way of making. Every Middle Eastern country has a preferred material, special techniques and a particular formal expression. In addition, there are many contemporary kitsch versions that defy description. (I have started collecting and cataloguing various regional varieties of mabkhara.)

When designers stumble upon a new, relatively unexplored product typology, they immediately start thinking about making a design contribution of their own. Does the world need a new incense burner? What kind of “design improvement” might be made for an object that already serves its purpose so well? Perhaps I need to stay in the Middle East a little longer before I answer these questions.
Share This Story

RELATED POSTS


Accidental Mysteries, 03.25.12


My Studio H Experience


Jeff Miller on Timing


True East


Native American Design



RSS Subscribe to Comment Feed

Comments (5)   |   JUMP TO MOST RECENT >>

I'm a designer based in Beirut-Lebanon, i've never seen this item before, most probably its used only in the gulf region in the middle east.
great article! I love it.. and while reading i started to imagine how can the Mabkhara be redesigned now in a new modern way yet knot loosing its identity.
sara scharaf
04.05.11 at 04:41

hmmm i'm also based in Beirut and I've seen this a million times.

Christians use it in their houses or in whatever shop they own every morning. One of my childhood memories is going to buy bread for and walking past a barber shop where the owner always used to burn it to "protect his business".

The small wax-like stones are given for free in Church usually with a small photograph of a saint.

I've only known it to be used in a religious way though, never as a perfume.

My mother never used it because, unfortunately, the smell made my dad dizzy.
JE
04.05.11 at 05:45

Hi Constantin!

I love the article. It was a funny coincidence, because I was talking with my doctor this morning about the relationship between smell and our sense of well-being and health.

Having been out here in SF for 2 years now, I have begun to see my fair share of alternative medicines and forms of medicine, well-being, and spirituality.

It was interesting, because we started talking about the role of ritual in well-being and ritual being a large part of spirituality and cultural tradition. (My doctor is pretty cool, by the way.)

Sometimes, simply have a routine of doing something that is good for your senses can actually really be good for you. It was interesting to see in how this object of spiritual ritual became a part of everyday life, and even social rituals of entertaining and personal beauty. It is so much more the routine and the relationship you build with the object, than the object itself.

Hope you are are having a good time!






Christine Park
04.05.11 at 03:35

at first i thought its a mini bbq clay pot.. :) unique
cooking-varieties.blogspot
04.11.11 at 03:03

GR international is a reputed manufacturers and exporters of Agarbathis, Incense Sticks and Incense Stick in India.
http://grincense.com/about_us.html
SandalWood Incense Manufacturers
04.21.11 at 05:23



LOG IN TO POST A COMMENT
Don't have an account? Create an account. Forgot your password? Click here.

Email


Password




|
Share This Story



In 1986, Constantin Boym founded Boym Partners Inc. in New York City. His studio's designs, many of which are produced in partnership with his wife, Laurene, include tableware for Alessi and Authentics, watches for Swatch, lighting for Flos, showrooms and retail displays for Vitra and exhibition installations for many American museums.
More >>

DESIGN OBSERVER JOBS