Door curtains are a way that Tibetans have developed to view auspicious symbols in their everyday life. Door curtains may be hung on the wall or placed over the space of a door frame. They can cover the door itself, or function as a door curtain, allowing the breeze to enter the house but keeping insects outside. As one enters the door the mind touches into the eternal sacredness of the symbols on the hanging.

The dorje, or vajra, is the quintessential symbol of Vajrayana Buddhism, which derives its name from the vajra itself. The Sanskrit term vajra means 'the hard or mighty one', and its Tibetan equivalent dorje means an indestructible hardness and brilliance like the diamond, which cannot be cut or broken. The vajra essentially symbolizes the impenetrable, immovable, immutable, indivisible, and indestructible state of enlightenment or Buddhahood. The form of the vajra as a scepter or a weapon appears to have its origin in the single or double trident, which arose as a symbol of the thunderbolt or lightning in many ancient civilizations of the Near and Middle East. Parallels are postulated with the meteoric hammer of the Teutonic sky-god Thor, the thunderbolt and scepter of the Greek sky-god Zeus, and the three thunderbolts of the Roman god Jupiter. As a hurled weapon the indestructible thunderbolt blazed like a meteoric fireball across the heavens, in a maelstrom of thunder, fire and lightning. The Buddhist vajra may be represented with one to nine prongs. It is designed with a central shaft that is pointed at each end. The middle section consists of two lotuses from which may spring, at each end, for example, six prongs of the dorje. Together with the projecting and pointed central shaft, each end thus becomes seven pronged. The outside six prongs face inwards towards the central prong. Each of these outside prongs arise from the heads of makaras (mythical crocodiles), which face outwards. The mouths of the makaras are wide open and the prongs emanate from the mouth like tongues of flame.  The vajra is generally two-sided but the vishvavajra or double dorje, the double thunderbolt has four heads representing the four dhyani Buddhas of the four directions namely, Amoghasiddhi for north, Akshobhya, who presides over the east, Ratnasambhava, lord of the south, and Amitabha who reigns over the west. It is the emblem of the crossed vajra that is inscribed upon the metal base that is used to seal deity statues after they have been consecrated. The vajra is indeed the most important ritual implement and symbol of Vajrayana Buddhism. It is so important that many of the Vajrayana deities have the word vajra prefixed to their names, two of them being Vajradhara and Vajrasattva. When used in ritual, the vajra is paired with the bell. It represents the masculine principle and is held in the right hand, the bell, held in the left hand, represents the female principle.

Dragons figure importantly in folk beliefs throughout Asia, and are dressed heavily in Buddhist garb. In India, the birthplace of Buddhism around 500 BC, pre-Buddhist snake or serpentine-like creatures known as the NAGA were incorporated early on into Buddhist mythology. Described as "water spirits with human shapes wearing a crown of serpents on their heads" or as "snake-like beings resembling clouds," the NAGA are among the eight classes of deities who worship and protect the Historical Buddha. Even before the Historical Buddha (Siddhartha, Guatama) attained enlightenment, the Naga King Mucilinda (Sanskrit) is said to have protected Siddhartha from wind and rain for seven days. This motif is found often in Buddhist art from India, represented by images of the Buddha sitting beneath Mucilinda's hood and coils.

Dzi bead (pronounced "zee") is a bead stone of mysterious origin worn as part of a necklace and sometimes as a bracelet. In Tibet, the bead is considered to provide positive spiritual benefit. These beads are generally prized as protective amulets and are sometimes ground up into a powder to be used in traditional Tibetan medicine.

The endless knot (Skt. shrivatsa; Tib. dpal be'u), also known as eternal knot or infinite knot, is a closed, graphic ornament composed of right-angled, intertwined lines. It overlaps without a beginning or an end, symbolising the Buddha's endless wisdom and compassion. It indicates continuity as the underlying reality of existence. It is conjectured that it may have evolved from an ancient naga symbol with two stylized snakes. The image signifies the dramatic interplay and interaction of the opposing forces in the dualistic world of manifestation, leading to their union, and ultimately to harmony in the universe. This fact is amply reflected in the symmetrical and regular form of the endless knot. The intertwining of lines represents how all phenomena are conjoined and yoked together as a closed cycle of cause and effect. Thus the whole composition is a pattern that is closed on in itself with no gaps, leading to a representational form of great simplicity and fully balanced harmony. Since all phenomena are interrelated, the placing of the endless knot on a gift or greeting card is understood to establish an auspicious connection between the giver and the recipient. At the same time, the recipient is goaded to righteous karma, being reminded that future positive effects have their roots in the causes of the present. This is because the knot represents a connection, a link with our fates, binding us to our karmic destiny. Not surprisingly, this is one of the most favorite symbols in Tibetan Buddhism, and often occurs on its own.

Feng shui (traditional Chinese: 風水; simplified Chinese: 风水; pinyin: fēng shuǐ; fung-shway in Mandarin or fung-shooy) is an ancient Chinese system of aesthetics believed to use the laws of both Heaven (astronomy) and Earth (geography) to help one improve life by receiving positive qi. The original designation for the discipline is Kan Yu (traditional Chinese: 堪輿; simplified Chinese: 堪舆; pinyin: kānyú; literally: Tao of heaven and earth). The term feng shui literally translates as "wind-water" in English. This is a cultural shorthand taken from the following passage of the Zhangshu (Book of Burial) by Guo Pu of the Jin Dynasty. Traditional feng shui practice always requires an extremely accurate Chinese compass, or luo pan, in order to determine the directions in finding any auspicious sector in a desired location.

Fire Puja. After receiving an initiation, one practices the tantric path, bound to accomplish the welfare of sentient beings. To be capable of doing this one must become enlightened, and on the initial stage of the tantric path to this goal, one must closely identify with the deity whose practice one is pursuing by meditation on the deity, reciting his/her mantras and by making a ritual fire offering. Performing the ritual fire puja offering pleases the deities who help the disciple gain accomplishments on the path. It also serves to remove the faults of badly or incompletely recited mantras and removes obstacles to a good meditative stabilization. There are four types of ritual fire puja offerings:
• Peaceful,
• Increasing,
• Subduing
• Forceful.
A Peaceful Ritual Fire Puja Offering may be performed to pacify the results of unwholesome action, or to clear away obstacles and defilements. It may also be done to forestall impending difficulties and illnesses which have manifested themselves through dreams and inauspicious omens. Peaceful and Increasing Ritual Fire Offerings can be performed for both one’s own and other’s benefit. Whereas the Subduing and Forceful Rituals can only be performed on behalf of others, for to forcefully subdue others for one’s own benefit would contradict the conduct of a Bodhisattva which is fundamental to Buddhist tantric practice.
A Subduing Ritual Fire Offering may be performed to subdue forces that are harming other sentient beings. A forceful ritual fire offering is performed against harmful forces or people, if attempts to subdue them have failed and they continue to harm others. A Forceful Ritual Fire Offering can be banish or instill such fear in the victim that he ceases to be harmful. When performing such a forceful ritual the master must be motivated purely by great compassion, not only for those being harmed, but also for those who are harming them. In Tibet these rituals were most often employed to dispel or subdue local disturbances, such as the harmful interference of spirits, possession by spirits, military aggression and so forth.

Garnet is a group of minerals that have been used since the Bronze Age as gemstones and abrasives. Garnets are most often seen in red, but are available in a wide variety of colors spanning the entire spectrum. The name "garnet" comes from the Latin granatus ("grain"), possibly a reference to the Punica granatum ("pomegranate"), a plant with red seeds similar in shape, size, and color to some garnet crystals.

Garuda is daring and fearless and abides in the north. With great strength and power it soars beyond without holding back. It symbolizes freedom from hopes and fears, the vast mind without reference point. It is a powerful antidote to the negative influences of Nagas (spirits) which can cause disease and all kinds of harm. Associations: main quality is wisdom, dominance over the sky, and the fire element. One of the earliest surviving images of Garuda is carved on the inner side of the middle architrave of the eastern gateway of Sanchi (Madhya Pradesh). He has also been richly mentioned in early Indian literature. The Rigveda calls him Garutman and describes him as a bird with 'beautiful wings'. The Mahabharata mentions Garuda as Amritaharanata who had stolen the heavenly nectar or amrita. Indeed, Garuda is widely represented in art, thought and literature.

A Gau, or ghau, box is a traditional Tibetan prayer box. The back of this box opens and allows you to keep a prayer or relic inside.

Gold is a chemical element with the symbol Au (from its Latin name aurum) and atomic number 79. It is a highly sought-after precious metal. The metal occurs as nuggets or grains in rocks, underground "veins" and in alluvial deposits. Gold is dense, soft, shiny and the most malleable and ductile of the known metals. Pure gold has a bright yellow color traditionally considered attractive. In medieval times, gold was often seen as beneficial for the health (even though it was not), in the belief that something that rare and beautiful could not be anything but healthy.
Gold plating/Gold Gilt is a method of depositing a thin layer of gold onto the surface of another metal, most often copper or silver,  by chemical or electrochemical means. Gold plating of silver is used in the manufacture of jewelry. Like copper, silver atoms diffuse into the gold layer, causing slow gradual fading of its color and eventually causing tarnishing of the surface. This process may take months and even years, depending on the thickness of the gold layer. A barrier metal layer is used to counter this effect. Copper, which also migrates into gold, does so more slowly than silver. The copper is usually further plated with nickel. A gold-plated silver article is usually a silver substrate with layers of copper, nickel, and gold deposited on top of it.
 Herbosense the Organic incense is a revolutionary, smoke-free formula, free of synthetic products, over 50% of the weight being active ingredients known for their beneficial effects. These sticks are made in line with fair-trade and ecological and ethical approaches. No solvent, no synthetic ingredients, no dye, smokeless.

Hindu Art paintings represent the elements of Hinduism, including Hindu gods and episodes from the Upanishads, created in the tradition of Indian painting. Whether you are a practicing Hindu or simply trying to find some inner peace, Hindu art is a beautiful and powerful way to bring aesthetic meaning into your life.

The incense burner / holder is used for burning incense, herbs, wood and other substances, to cleanse and purify the air. Burning incense  offers sweet air, raises vibrational rates and summons energies, relaxes the senses, and contains and concentrates power. The burning incense and smoke can be used as a concentration and focus point during meditation.

Our Indian Incense are selected for their originality and quality. Indian Incense is known as agarbattī in Hindi (अगरबत्ती) (and other Indian languages). India has a rich tradition of incense making that goes back centuries. Many Indian incenses have a unique scent that is not found in any other part of the globe. Indian incense can be divided into two categories: masala and charcoal. Masala incenses are made of dry ingredients, while charcoal incenses contain liquid scents. Masala incenses have several subgroups. Masālā is a word in Hindi meaning "spice mixture". It is commonly used when referring to curries or other food dishes. Masala incenses are made by blending several solid scented ingredients into a paste and then rolling that paste onto a bamboo core stick. These incenses usually contain little or no liquid scents (which can evaporate or diminish over time). Durbars are a sub-group of masala incense. They often contain ingredients entirely unfamiliar in the West and contain very complex scents. They are usually very slow-burning and are quite sweet and spicy in scent. They contain both solid and liquid perfumes in a binder which never quite dries out, making the incense sticks soft to the touch. Champas are a sub-group of durbars. They contain a natural ingredient indigenous to India called "halmaddi". Halmaddi is a grey semi-liquid resin taken from the Ailanthus Malabarica tree. It smells like the flowers of the plumeria tree. Plumeria flowers are known as champa flowers in India, hence the name of the incense group. Halmaddi is hygroscopic which means it absorbs moisture from the air. This can cause champa incenses to have a wet feeling to them. Nag Champa is probably the most famous incense of the champa group. Dhoops are another masala sub-group. They are an extruded incense, lacking a core bamboo stick. Many dhoops have very concentrated scents and put out a lot of smoke when burned.

 Indian Jade, also known as Aventurine, is a  variety of Quartz containing glistening fragments (usually mica), which can be cut and polished as a gemstone. 

Jade is an ornamental stone. The term jade is applied to two different rocks that are made up of different silicate minerals. The English word 'jade' is derived from the Spanish term piedra de ijada (first recorded in 1565) or 'loin stone', from its reputed efficacy in curing ailments of the loins and kidneys. In almost all dictionaries, the Chinese character 'yù' (玉) is translated into English as 'jade'. However, this frequently leads to misunderstanding: Chinese, Koreans, and Westerners alike generally fail to appreciate that the cultural concept of 'jade' is considerably broader in China and Korea than in the West. A more accurate translation for this character on its own would be 'precious/ornamental rock'. It is seldom, if ever, used on its own to denote 'true' jade in Mandarin Chinese; for example, one would normally refer to 'ying yu' (硬玉, 'hard jade') for jadeite, or 'ruan yu' (軟玉, 'soft jade') for nephrite. Symbolic energy and beauty, the traditional and the modern are combined in jade in a particularly harmonious way. And in gemstone therapy it is said that jade 'stimulates creativity and mental agility on the one hand, while also having a balancing and harmonising effect.' So this beautiful gemstone brings us joy, vivacity and happiness all at the same time.

Japanese incense has a long history.  Known as ‘Koh’ in Japan, incense came to Japan from China, along with Buddhism, in the year 538 CE. It passed into the realm of the aristocracy centuries later as a source of amusement and enlightenment as they "listened to the fragrance" in their parlor games.
It wasn't until the 14th century in the Muromachi Era that incense reached the height of its popularity with the upper and middle classes of Japanese society, who used it as a mark of distinction and sophistication and to dispel unpleasant odors. It was around this time that samurai warriors began perfuming their helmets and armor with incense before going into battle as they prepared to meet their fate. Now, incense promises to become even more acceptable and desirable as a new dimension in gracious living that opens up a whole new world of spiritual awareness and understanding. From that point on, incense would become an important facet of Japanese culture. Initially, it was only imported from China, until eventually Japan began to make its own. Many of the current Japanese incense companies have been in existence for hundreds of years. Many other ingredients are also used in Japanese incense. They are chosen either for their scent or properties in Traditional Chinese Medicine. Most ingredients for Japanese incense come from India and South-East Asia. Agarwood and sandalwood are the two most important ingredients. Agarwood is known as jinkō in Japan, which translates as "incense that sinks in water," due to the weight of the resin in the wood. Agarwood is now considered  endangered species and its use in incense may soon diminish. Sandalwood is one of the most calming incense ingredients and lends itself well to meditation. The most valued sandalwood comes from Mysore in the state of Karnataka in India, where it too is endangered. Another important ingredient in Japanese incense is kyara (伽羅). Kyara is one kind of agarwood (Japanese incense companies divide agarwood into six categories depending on the region obtained and properties of the agarwood). Kyara is currently worth more than its weight in gold. Makkō (抹香 or 末香) is another ingredient used in Japanese incense. Makkō actually just translates as "incense powder". The incense powder that is normally being referred to is called tabu no ki (椨の木). Makko is used to bind the ingredients together. It is remarkable for being able to bind ingredients while having little scent of its own. Kōdō (香道 - Way of Fragrance) is the Japanese art of appreciating incense, and involves using incense within a structure of codified conduct. Though it is counted as one of the three classical arts of refinement, it is relatively unknown amongst modern Japanese people. Kōdō includes all aspects of the incense process - from the tools (香道具), which, much like tools of the tea ceremony, are valued as high art, to activities such the incense-comparing games kumikō (組香) and genjikō (源氏香).

Jataka tales form part of the canon of sacred Buddhist literature, this collection of some 550 anecdotes and fables depicts earlier incarnations -- sometimes as an animal, sometimes as a human -- of the being who would become Siddhartha Gautama, the future Buddha. Traditional birth and death dates of Gautama are 563-483 BC. The Jataka tales are dated between 300 BC and 400 AD.
Many of the tales are set in or near Benares, now called Varanasi, a city in north central India on the Ganges River. One of the world's oldest cities, Varanasi is the most sacred place for Hindus. Buddhists and Muslims also have important religious sites nearby. According to tradition, Buddha began his teaching at Sarnath a short distance from this city.

Our Hindu and Buddhist Jewelry collections have been put together from regions such as India, Tibet, Himalayans, Nepal, the orient and other traditional regions to bring you jewelry which will adorn you both spiritually and physically.  Whether you are practicing or simply trying to find some inner peace, our jewelry is a beautiful and powerful way to bring comfort to those who wear it. Wherever possible we have sourced our jewelry products which benefit fair-trade, those in exile, artisans and lama-craftsmen. As well as ensuring that the sale of these items benefits worthy causes, it also ensures that many of the products are individual and unique, quite often no two ever being exactly the same. In times past, what we now call jewelry was really charms and talismans. Holy men  wore bell anklets to warn the creepy-crawlies to get out of the way as an expression of non-violence. Jewelry has been worn throughout the ages by both men and women to protect themselves from snakes, ghosts, sorcery, bad luck, the evil eye and probably the mother-in-law.

Kalachakra means Time-Wheel, as "Kāla" is Sanskrit for Time and "Chakra" (or Cakra) is Wheel in Sanskrit (In Tibetan his name is dus.'khor). It is also translated as Time-Cycles. It is a complex Buddhist emblem symbolizing the Wheel of Time. The seven intertwined letters represent the seven words of the kalachakra mantra - 'Ham Ksha Ma La Va Ra Ya'.  Much in this tradition revolves around the concept of time and cycles: from the cycles of the planets, to the cycles of our breath and the practice of controlling the most subtle energies within one's body on the path to enlightenment. The Kalachakra deity represents omniscience, as everything is under the influence of time, he is time and therefore knows all. Similarly, the wheel is beginningless and endless.

In Tibetan Buddhism, the Kartika, Trigug, or Drigug, is a ritual flaying knife used in burial rituals, with the handle often crafted as a dorje.  It is also used in rituals to represent the cutting away of negativity. A tool of the wrathful female deities known as Dakinis, the kartika symbolizes the cutting of all things material, symbolized by the human body. When it is joined with the figures of Hayagriva, as in this ritual object, it is known as Hayagriva chopper.

Khatvanga (Alternatively Khatwangam/Khatwang/Khatvangam), (tib. Kha-tam-ga, kha-twan-ga), literally meaning ‘the limb’ (skt. Anga) or leg of a cot-bed, (skt. Khatva) is a long, club-like instrument originally created to be used as a weapon. It consists of a long eight-sided shaft which is sealed at its base with a single-pointed or half-vajra and crowned at its top with a crossed-vajra,a golden vase, a severed head, a decaying head, a dry skull and surmounted with a vajra or flaming trident. The vajrayana Khatvanga symbolises bodhicitta as the union of great bliss and emptiness. In the Buddhism it is also a particular divine attribute of Padmasambhava and endemic to his iconographic representation. The Khatvanga is also emblematic of Padmasambhava when depicted as an accoutrement of his divine consorts, Mandarava and Yeshe Tsogyal and according to the Twilight Language is representative of Yab-Yum in these examples.

Korean incense is closer in essence to Japanese style incense, though it tends to have a deeper and more fragrant smell. Very delicate, yet wonderfully fragrant.

Kundalini (kuṇḍalinī कुण्डलिनी) Sanskrit, literally "coiled". In Indian yoga, a "corporeal energy" - an unconscious, instinctive or libidinal force or Shakti, envisioned either as a goddess or else as a sleeping serpent coiled at the base of the spine, hence a number of English renderings of the term such as 'serpent power'. Kundalini is considered a part of the subtle body along with chakras (energy centres) and nadis (channels). The overall concept has many points in common with Chinese acupuncture.Yoga and Tantra propose that this energy may be "awakened" by such means as austerities, breath and other physical exercises, visualization and chanting. It may then rise up a subtle channel at the spine (called Sushumna) to the head, bringing psychological illumination. Each chakra is said to contain special characteristics. Yogis tend to attempt this alone, Tantrics in couples, both usually under the instruction of a guru. When Kundalini Shakti is conceived as a goddess, then, when it rises to the head, it unites itself with the Supreme Being (Lord Shiva). The aspirant becomes engrossed in deep meditation and infinite bliss.
Labradorite is truely a fascinatingly beautiful mineral. It’s a mineral whose charm is not fully noticed and may be overlooked if not viewed from the proper position. Generally a dull, dark looking mineral with no special virtue until the colorful shiller is observed glowing on the surface. Labradorite can produce a colorful play of light across cleavage planes and in sliced sections called labradorescence. The usually intense colors range from the typical blues and violets through greens, yellows and oranges. Some rare specimens display all these colors simultaneously.

A lamp, or Diya, is lit daily before the altar of the Lord. In some houses it is lit at dawn, in some, twice a day – at dawn and dusk – and in a few it is maintained continuously (Akhanda Deepa). All auspicious functions commence with the lighting of the lamp, which is often maintained right through the occasion. Light symbolizes knowledge, and darkness, ignorance. The Lord is the "Knowledge Principle" (Chaitanya) who is the source, the enlivener and the illuminator of all knowledge. Hence light is worshiped as the Lord himself. Knowledge removes ignorance just as light removes darkness. Also knowledge is a lasting inner wealth by which all outer achievement can be accomplished. Hence we light the lamp to bow down to knowledge as the greatest of all forms of wealth.

Lapis lazuli is a semi-precious stone prized since antiquity for its intense blue color. Lapis lazuli is a gemstone of the kind that might have come straight out of the Arabian Nights; a deep blue with golden inclusions of pyrites which shimmer like little stars. The euphonious name is composed from 'lapis', the Latin word for stone, and 'azula', which comes from the Arabic and means blue.  Lapis lazuli is regarded by many people around the world as the stone of friendship and truth. The blue stone is said to encourage harmony in relationships and help its wearer to be authentic and give his or her opinion openly.
Lota (Urdu: لوٹا, Hindi: लोटा) is an Urdu and Hindi word for a small, usually spherical water vessel of brass or copper used in parts of South Asia. It is commonly used to store or transfer small amounts of liquids like milk or water. It is also used in religious activities, like Hindu puja, or for purposes of ablution. When used for Hindu worships, it is often decorated with sindoor and/or turmeric powder, kalaawa.

Lotus seeds or Lotus nuts are the seeds of plants in the genus Nelumbo, particularly the species Nelumbo nucifera. Lotus Seed (Kamal Gatta) Mala promotes devotion and opens the heart.

A Mala or a rosary of prayer beads is an implement carried around by many Hindus and Buddhists. It is also called a Mala Japa. Mala translates from Sanksrit as "garland of flowers". Traditional Hindu Prayer Beads are made from Rudraksha,the dried fruit of the Elaeocarpus Ganitrus.  Rudraksha translates as "Shiva's Eye" or "Pleasing to the eye of Shiva".  These are not unlike the Christian rosary, or the beads used in Islam. The mala is used both in Hinduism and Buddhism for counting mantras, chants or prayers. Buddhist rosaries were likely adapted from Hinduism.  They are used to focus ones' mind and to count them as part of a practice. The  mala usually has at least 108 beads - this number probably originates to the 108 names for Hindu deities (incidentally, the same number is used in Islam to refer to God). A man breathes 21, 600 times every day. If one does 200 Malas of Japa, it becomes 21, 600; thereby, he does one Japa for every breath. The Buddhist story of the beads' origin is as follows: “Sakyamuni, the founder of Buddhism, paid a visit to king Vaidunya…Sakya directed him to thread 108 seeds of the Bodhi tree on a string, and while passing them between his fingers to repeat… ‘Hail to the Buddha, the law, and the congregation’… (2,000) times a day There are for example practices for which one is required to recite 100,000 mantras; obviously a simple counter is needed to keep track of this huge number.  Buddhist tradition also states that the 108 beads are representing the 108 human passions that Avalokiteshvara assumed when telling the beads. A lesser number of beads is also seen in various forms of Mahayana Buddhism, usually a number divisible by three. In Pure Land Buddhism, for instance, 27 beads rosaries are common. Many Chinese rosaries have only 18 beads; one for each of the 18 lohans.  Some, particularly Tibetan Buddhists often attach strings to their malas which have little sliding rings on them, these are to keep count of the number of malas; in such a way one can count up to 10,000 or even more on one mala. The word 'rosary,' which has obvious similarities to the mala, is said to have come from 'japa mala.' When Roman explorers came into India and encountered the mala, they heard 'jap mala' instead of 'japa mala.' 'Jap' means 'rose,' and the mala was carried back to the Roman Empire as 'rosarium,' and into English as 'rosary.'
Malachite is a carbonate mineral normally known as "copper carbonate" with the formula Cu2CO3(OH)2. Malachite often results from weathering of copper ores. The stone's name derives (via Latin and French) from Greek molochitis, "mallow-green stone", from molochē, variant of malachē, "mallow". Malachite was used as a mineral pigment in green paints from antiquity until about 1800. Malachite is an opaque, banded stone, the colors in the bands range from a very light green to almost deep green. Mining Malachite began as early as 4000 BC by ancient Egyptians. In the Middle Ages, malachite was worn to protect from black magic and sorcery. In Ancient Greece amulets for children were made of malachite. In the New Stone Age came the discovery of the possibility of extracting certain metals from the ores in which they generally occur. Probably the first such material to be used was malachite, then already in use as a cosmetic and easily reduced to copper in a strong fire. It is impossible to be precise about the time and place of this discovery, but its consequences were tremendous. Namely it led to the search for other metallic ores, to the development of metallurgy. Malachite is said to aid in the regeneration of body cells, creates calm and peace, and aids one's sleep. A gorgeous stone, Malachite is worn by many to detect impending danger. This beautiful green stone offers bands of varying hues and is believed by many to lend extra energy. It is believed that gazing at Malachite or holding it relaxes the nervous system and calms stormy emotions. Malachite is said to bring harmony into one's life. It is also believed that malachite gives knowledge and patience. Malachite is used as a children's talisman to ward off danger and illness. It is attached to infant's cradles.

Mandala Sets, (tib. Dultson Kyilkhor )means container of ressence. In Tibetan Buddhism Mandala sets represent the universe, as it is used in the Mandala Offering Ritual, where one symbolically offers the entire universe. For this several rings can be placed on top of each other filled with rice and precious objects. During the offering one recites mandala offering prayers. In the centre of the Mandala is Mount Meru, the central axis in the Buddhist cosmos. The Mandala is a tri-dimensional graphical and geometrical representation of the universe. The 'universe' is then offered over the head to show you would give the entirety of existence to help others attain enlightenment. It represents a combination of the enlightened mind and body of Buddha and is considered to have great power. The mandala represents the naturally balanced nature of the outer world and the inner mind.

Common throughout Buddhism and an important aid to Tantric meditation are the mandalas. These are diagrams which show deities in spiritual or cosmic connections. A mandala can be formed in many ways, in can be painted or drawn on paper or cloth, engraved on stone or metal, or drawn on the ground using coloured stones. The making of a mandala can require a few days. For this the monks will prepare themselves in advance by fasting and prayer. Whilst monks ‘draw’ the mandala, quite often other monks will stand behind them following the work attentively.  The mandala is often drawn without any notes or models to work from.  All the lines and regions are disposed around the centre point. This centre point signifies the All.  Once the drawing is complete, the mandala then becomes the concern of the lamas or senior monks.  The symbolism of the mandala is both psychological and cosmological. It signifies the relationship between Eternity and time, the Absolute and man, and between the Light and the forces of Darkness. It is also a tantric symbol of integration. The symbolism is dynamic. It takes the seeker from the periphery to the centre, from Illusion and Death to Reality and Life. The symbolism is that of progress. Once the ritual is over the mandala will be destroyed. This represents the teaching that nothing is permanent. The Mandala itself is centred on the symbols and images. This represents the nucleus of a new self.  The circumference is formed of three concentric circles. The outer circle is of flames.  This outer circle has fiery edges burning the surrounding darkness and chaotic forces of the unconsciousness. It is transforming them into other shapes.The middle circle is of Vajras. These represent the absolute transcendental. The mandala is the higher self that cannot be destroyed by forces of consciousness. It is a sacramental area that cannot be touched.The inner circle is formed of Lotuses. This represents the spiritual rebirth and awakening.In between the Vajra and Lotus circles, there is a circle of graveyards or cremation grounds. This is a symbol of the transmutation between the two worlds of heaven and earth.  This is representative of the Lower and Higher consciousnesses. Within the three circles is a palace, and it is this which is the mandala proper. The palace has four gates, each with an image of a wrathful guardian.  These are the guardians of integrity. They keep out the surging forces of consciousness. The mandala is given its colours. There are five symbolic colours, green, yellow, blue, red and white.  The five colours are given five directions, north, south, east, west and centre. There is also a sixth point, known as Eternal Life, which is above the mandala, outside time and outside space.In relation to the Buddha, the images developed into five archetypal Buddhas. These figures collectively form a mandala pattern. The five Buddhas are also known as Jinas, meaning conquerors, as they have overcome ignorance and entered the realm of Reality. They are also referred to as Tathagatas, perfect ones, or Dhyani Buddhas, meditation Buddhas. The central figure, representing reality itself, is flanked by four other Buddhas at the cardinal points. These four represent the four principles of reality, Wisdom, Compassion, Generosity and Action.  Though there are four different images, they represent just the one Buddha with different aspects of the experience of Enlightenment. They demonstrate how the five skandas, aspects of personality, can be transformed. The images are quite often depicted with their Tantric ‘female counterparts.’ These represent the feminine ‘knowledge’ and the male ‘skilful method.’ The highest reality is achieved with the union of both the masculine and the feminine principals. This inter-joining is called the yab-yum, ‘father-mother’ attitude. Yab being the father representing method, and yum the mother representing knowledge. It is this interpretation alone that should be placed upon the yab-yum images. There is no pornographic or erotic interpretation as often mistakenly seen in ‘western’ eyes.

The purpose of meditation is to cultivate those states of mind that are conducive to peace and well-being, and to eradicate those that aren’t. Happiness is a state of mind, therefore the real source of happiness lies in the mind, not in external circumstances. If our mind is pure and peaceful we’ll be happy, regardless of our external conditions, but if it is impure and unpeaceful, we will never find happiness, no matter how much we try to change our external conditions.The purpose of meditation is to cultivate those states of mind that are conducive to peace and well-being, and to eradicate those that aren’t. Meditation is a mental discipline by which one attempts to get beyond the reflexive, "thinking" mind into a deeper state of relaxation or awareness. Meditation often involves turning attention to a single point of reference. It is recognized as a component of many religions, and has been practiced since antiquity. It is also practiced outside religious traditions. Different meditative disciplines encompass a wide range of spiritual and/or psychophysical practices which may emphasize different goals -- from achievement of a higher state of consciousness, to greater focus, creativity or self-awareness, or simply a more relaxed and peaceful frame of mind. The word meditation originally comes from the Indo-European root med-, meaning "to measure." From the root med- are also derived the English words mete, medicine, modest, and moderate. It entered English as meditation through the Latin meditatio, which originally indicated every type of physical or intellectual exercise, then later evolved into the more specific meaning "contemplation."

The Tibetan Melong or Shamanic Mirror is an ancient mystical device that has far ranging applications.  Its origin dates back 5000 years to the ancient pre-Buddhist era of the original Tibetan Bon shamans, who were the astrologers, healers, soothsayers and magicians of the nomadic inhabitants of the Tibetan plateau.  When Buddhism came to Tibet , many of these practices were absorbed into it giving Tibetan Buddhism some of its distinctive qualities.  Today the melong is still used and worn by many lamas, astrologers and shamanic healers. The melong is a polyvalent symbol, divine attribute, and quality of the enlightened mindstream or bodhicitta. Can be used in ceremonies or worn as a pendant.

The moonstone is characterised by an enchanting play of light. Indeed it owes its name to that mysterious shimmer which always looks different when the stone is moved and is known in the trade as 'adularescence'. In earlier times, people believed they could recognise in it the crescent and waning phases of the moon. This gemstone is surrounded by a good deal of mystique and magic. In many cultures, for example in India, it is regarded as a holy, magical gemstone. In India, moonstones are also regarded as 'dream stones' which bring the wearer beautiful visions at night. In Arabic countries, women often wear moonstones sewn out of sight into their garments, for in their cultures the moonstone is a symbol of fertility. This enchanting gemstone belongs to the large mineral group of the feldspars, of which almost two thirds of all the rocks on Earth consist. The moonstone is actually the feldspar variety known as 'adularia', a potassium aluminosilicate of gemstone quality, which is also found in the European Alps near the Adula Group – hence the name 'adularia'. Another synonym for moonstone is 'selenite', from the Greek 'selene' ('moon'). Moonstones are treasures of Nature with a sensual and seductive aura. Not only do they like to be looked at and admired a lot; they also thrive on being worn and moved about a good deal, for only then can the soft shimmer of light which makes this gemstone so desirable really come into its own.

Like Sume-e paining and haiku poetry,the Japanese art of incense famous for its mystery and subtlty. Morning Star incense, the perenial favorite and best-selling line of Japanese incense, embodies both of these qualities. Much more sutble than Indian or Tibetan incense, it invokes the mysterious fragrances of the natural world without overwhelming you with smoke. Morning Star is the perfect ''every-day'' incense. It is equally suitable for meditation, relaxation, setting a peaceful mood for discussion, reading or listening to music. Each box of Morning Star incense comes with a ceramic tile incense burner.

Navaratna, literally a Sanskrit compound word meaning "nine gems", is a talisman or accessory set with nine gems. Essentially Navaratna is a jeweled yantra or astrological layout consisting of nine different gems used to balance or strengthen all the 9 planets recognized by Jyotish or Sidereal Astrology. In this sense Navaratna is considered a talisman. In Hindu astrology, earth is considered the centre of the universe and the nine planets are the navagrahas. Each of these planetary positions supposedly have an influence throughout an individual's course of life. Hence, wearing these nine gems is said to provide an astrological benefit.

Nepalese incense differs from most other regions’ incense. For instance the sticks don't have a central wooden or bamboo core, and they're usually much thicker than Indian incense sticks. Their composition is also usually quite different, Nepalese incense is of a herbal nature, which you can normally see from the fibrous appearance of the sticks. As well as being designed as an aid to (Buddhist) meditation, Nepalese incense varieties also have medicinal or therapeutic properties. Many are regarded as helpful in relieving stress - both physical and mental - and several types are also used to treat altitude sickness... which is very useful, given the mountainous nature of Nepal.

Nippon Kodo's devotion to making fine incense follows a long and honoured tradition that started more than 400 years ago and can be traced back to Jyuemon Takai, better known as Koju, a skilled artisan in the art and the principal provider of precious rare and exquisite aromas to the Emperor of Japan and his Court. Many of those pleasing and enduring high-quality incense fragrances, which the company continues to produce to this day, are based on the original formulas created by Koju and later by Yujiro Kito, who was hailed as the genius of fragrance during the Meiji restoration period in the 19th century - around the time that Japan opened its doors to the world and began to modernize itself.
Three of those early incense products that were very much in vogue then and are still very popular today in Japan, as well as other countries around the world, are: Hana-no-Hana, Wakako and Taikan. Their traditional wood and floral aromas, along with other popular and fashionable scents, are being reproduced today by Nippon Kodo in modern factories in Japan using the most advanced methods and technology.

Offering bowls are not simply bowls are also powerful reminders of the seven aspect of Buddha as well as the ways we request his guidance through prayer, confession, prostrating ourselves and celebrating the positive qualities of all things. What we place in the bowls is equally important as each offering has meaning. Traditionally, the offerings were: cool water to drink, symbolizing the eight merits and auspiciousness; pure water, symbolizing purity of body; flowers or plants for the pleasure of Buddha's eyes, symbolizing generosity; incense, symbolizing discipline; a butter lamp, symbolizing wisdom because ignorance is darkness and wisdom is brightness; a fragrance, symbolizing devotion; and fruits or sweets, which express gratitude and can lead to the trance state of samadhi. Often, to prevent against feelings of greed or self - importance that could destroy virtue, the seven offering bowls are simply filled water.  According to Vajrayana teachings, each person has the potential to reach the enlightenment of Buddha. One way in which we may assimilate the ideals of Buddhism is through the rituals of meditation and transformation inspired by offering daily gifts at a personal alter. Each morning, seven copper or brass or silver bowls on the altar are filled with water or substances atha appeal to the senses in the practice of giving. The offering is made each morning, and removed and recycled at sunset.  It is the act of offering and not the offerings themselves that focus the mind on the teachings of Buddha, and free you from worldly concerns and delusions of grandeur. Though there is simplicity in giving the gift, the gesture is powerful and helps strenghten the mind. As you fill the bowls each morning, you're reaffirming the dedication of your body and mind to the cultivation of goodness and wisdom in the world.

Om is composed of three letters, A, U, and M. These symbolise the practitioner´s impure body, speech, and mind. Within Buddhism they are also said to represent they also symbolise the pure exalted body, speech, and mind of a Buddha. Om is the primordial sound, the first breath of creation, the vibration that ensures existence. Om sign signifies God, Creation, & the One-ness of all creation. Om is a sacred syllable representing Brahman, the impersonal Absolute of Hinduism — omnipotent, omnipresent, and the source of all manifest existence. Brahman, in itself, is incomprehensible; so a symbol becomes mandatory to help us realize the Unknowable. Om, therefore, represents both the unmanifest (nirguna) and manifest (saguna) aspects of God. That is why it is called pranava, to mean that it pervades life and runs through our prana or breath. Om provides a dualistic viewpoint. On one hand, it projects the mind beyond the immediate to what is abstract and inexpressible. On the other hand, it makes the absolute more tangible and comprehensive. It encompasses all potentialities and possibilities; it is everything that was, is, or can yet be. It is omnipotent and likewise remains undefined.
 The Om Mani Padme Hum mantra is the most widely used of all Buddhist mantras. Tibetan Buddhists believe that saying the mantra (prayer), Om Mani Padme Hum, out loud or silently to oneself, invokes the powerful benevolent attention and blessings of Chenrezig, the embodiment of compassionOm Mani Padme Hum. The first, Om is composed of three letters, A, U, and M. These symbolise the practitioner´s impure body, speech, and mind; they also symbolise the pure exalted body, speech, and mind of a Buddha. Mani, meaning jewel, symbolises the factors of method-the altruistic intention to become enlightened, compassion, and love. Padme, meaning lotus, symbolise wisdom. Purity must be achieved by an indivisible unity of method and wisdom, symbolised by the final syllable hum, which indicates indivisibility. om mani padme hum, mean that in dependence on the practice of a path which is an indivisible union of method and wisdom, you can transform your impure body, speech, and mind into the pure exalted body, speech, and mind of a Buddha. It is said that you should not seek for Buddhahood outside of yourself; the substances for the achievement of Buddhahood are within.
Onyx is a cryptocrystalline form of quartz. Pure black Onyx is common, and perhaps the most famous variety. The name comes from the Greek word 'onyx', which means nail or claw. The story is that one day the frisky Cupid cut the divine fingernails of Venus with an arrowhead while she was sleeping. He left the clippings scattered on the sand and the fates turned them into stone so that no part of the heavenly body would ever perish.
Opal seems to reflect all of Nature’s splendour in the manifold opulence of fine Opals: fire and lightnings, all the colours of the rainbow and the soft shine of far seas. Numerous legends and tales surround this colourful gemstone, which can be traced back in its origins to a time long before our memory, to the ancient dream time of the Australian aborigines. It is reported in their legends that the creator came down to Earth on a rainbow, in order to bring the message of peace to all the humans. And at the very spot, where his foot touched the ground, the stones became alive and started sparkling in all the colours of the rainbow. That was the birth of the Opals. The group of fine Opals includes quite a number of wonderful gemstones, which share one characteristic: they shine and sparkle in a continually changing play of colours full of fantasy, which experts describe as “opalising”. The name Opal was probably derived from Sanskrit “upala“, meaning ”valuable stone“. This was probably the root for the Greek term “opallios”, which translates as “colour change”. In the days of Roman antiquity there existed a so-called “opalus”, or a “stone from several elements”. So the ancient Romans may already have had an inkling why the Opals show such a striking play of colours. For ages people have been believing in the healing power of Opal. It is reported to be able to solve depressions and to help its wearer find the true and real love.
 
In Asia, the peacock feathers are considered auspicious and protective. In both the Buddhist traditions, the peacock's influence is mainly in the realm of worldly appearance.  (This is in contrast to the swan which is a symbol of the higher realms). Hence, the Mother-of-Buddhas, Mahamayuri-vidyarajni (Skt.) has a peacock as her vehicle.  In Japan, she appears as Kujaku. Since a potentially deadly emotion such as anger is depicted as a serpent, and the peacock is immune, the peacock also symbolizes victory over poisonous tendencies in sentient beings.  In the discourse, The Wheel of Sharp Weapons, a Buddhist treatise by Dharmarakshita, the peacock is credited with an ability to neutralize and use black aconite (aconitum ferox) as a nutriment.  This highly toxic plant, also known as “'wolf-bane,” is an important ingredient in traditional Asian medicine including that of Tibet.  Mixed with other ingredients, it was used in treatments for mental illness, among other complaints. Palden Lhamo, (pron. Penden Hamo, Skt. Shri Devi) the dark blue protector of all Tibetan Buddhist denominations who rides her mule through a burning sea of blood is sheltered by a peacock-feather umbrella. The association of this jewel-tone bird with its sun-like fan of a tail evocative of the Wheel of Dharma -- the Buddha's teachings; its connection to the ideas of immortality and compassion, and the unification of views or opposites, as well as the correspondence with the Garden which is the Pure Land, demonstrates in Mahayana Buddhism the archetypical nature of the relationship between the peacock and Amitabha.In the depiction of this Buddha of Eternal Light, he is seated under a tree; we see its flowers and leaves peeking through the pavilion.  Tenga Rinpoche says, " . . . birds, in particular, have strong desire and craving, so, as a symbol of craving transformed into discriminating wisdom, Amitabha's throne is supported by peacocks." There are actually eight peacocks that support his throne, one at each corner of the base.  They stand for the idea that no matter the misdeeds committed during one's lifetime[s], rebirth is possible in Sukhavati, the Pure Land of Great Bliss that is the Western Paradise of Opameh [Tibetan for Amitabha].  Any and all evil-doing is eventually absorbed.Six peacock feathers arranged as a fan ornament the vase [bumpa] and sprinkling utensil used for distributing the blessing or purifying water in Tibetan Buddhist empowerments and other rituals.  In this role they are not only a symbol of compassion, but also a symbol of immortality by virtue of their capacity to absorb and neutralize, and to act as a universal antidote against poisons including the kleshas [imperfections or obscurations] such as anger, greed and ignorance that are inherently human.  

A pearl is a hard, roundish object produced within the soft tissue (specifically the mantle) of a living shelled mollusk. Just like the shell of mollusks, a pearl is made up of calcium carbonate in minute crystalline form, which has been deposited in concentric layers. The ideal pearl is perfectly round and smooth, but many other shapes of pearls (baroque pearls) occur. The finest quality natural pearls have been highly valued as gemstones and objects of beauty for many centuries, and because of this, the word pearl became a metaphor for something very rare, very fine, very admirable and very valuable. Valuable pearls occur in the wild, but they are very rare. Cultured or farmed pearls make up the majority of those that are currently sold. Pearls from the sea are valued more highly than freshwater pearls. Imitation or fake pearls are also widely sold in inexpensive jewelry, but the quality of the iridescence is usually very poor, and generally speaking, fake pearls are usually quite easy to distinguish from the real thing. Pearls have been harvested, or more recently cultivated, primarily for use in jewelry, but in the past they were also stitched onto lavish clothing, as worn, for example, by royalty. Pearls have also been crushed and used in cosmetics, medicines, or in paint formulations. In several European languages, the word "pearl" is synonymous with "bead", which can lead to confusion during translation.

Peruvian incense is a 100% natural product, hand crafted from plants & resins native to the Andes Mountains or Rain Forests. Peruvian incense is known throughout Peru as medicines for cleansing, purification, and good fortune. The lighting of the incense represents the intention of prayer, being released into the energy field to come forth and manifest. Most incense in Peru is incense is produced by hands, carefully holding a meditative space while they blend and shape the sticks. The sticks are then dried and packaged in handmade boxes. The incense wood sticks can be used in a clothes drawer, as natural insect-repellant and as an eliminator of mildew odors and mold spores. Our Peruvian incense is a created by a Fair Trade project with people receiving a living wage and working in a cooperative environment.

The Phurba is a three-sided peg, stake or nail like ritual implement traditionally associated with Tibetan Buddhism or Bön. The Sanskrit term for phurba is kilaya. Vajrakilaya or Dorje Phurba is the divine 'thoughtform' (Tibetan: sprul pa) that governs the Phurba, Kilaya or Kila. A phurpa, sometimes called a "magic dagger", is a tantric ritual object used to conquer evil spirits and to destroy obstacles. It is utilized in magic rituals by high level tantric practitioners. The word phurpa is used primarily in Central Tibet, while the word phurbu is used more often in Kham, Amdo and Ladakh. The phurba or kilaya is one of many iconographic representations of divine "symbolic attributes" of Vajrayana and Hindu deities, respectively. When consecrated and bound for usage , the phurba are a nirmanakaya manifestation of Dorje Phurba or Vajrakilaya. One of the principal methods of working with the phurba and to actualize its essence-quality is to pierce the earth with it; sheath it; or as is common with Himalayan shamanic traditions, to penetrate it vertically, point down into a basket, bowl or cache of rice (or other soft grain if the phurba is wooden).  The component phur in the word phurpa is a Tibetan rendering of the Sanskrit word kila, meaning peg or nail. The phurpa is an implement that nails down as well as binds. It was thus by stabbing a phurpa into the earth, and thereby nailing and binding the evil spirits, that Padmasambhava, regarded as the inventor of this implement, consecrated the ground on which the Samye monastery was established in the eighth century. Whatever the original shape of the Indian kila may have been (none has survived), it seems very likely that in Tibet the form of the phurpa, with its three-sided blade, was suggested by the pegs that were driven into the earth to hold the rope stays of the tent. Due to the essentially nomadic nature of life in ancient Tibet, the tent was an important part of their routine. While traveling it was used by all, the peasants, the traders, the royalty, nobility and even the exalted monks. Indeed, the peg of the tent is the prototype of the phurpa. Its triple blade is really not a dagger but a peg, precisely the kind of peg used to secure tents. The triple blade of the phurpa symbolizes the overcoming or cutting through of the three root poisons of ignorance, desire, and hatred, and also represents control over the three times of past, present and future. The triangular shape represents the element of fire and symbolizes wrathful activity. The tenacious grip of the makara-head at the top of the blade represents its ferocious activity. When using the phurpa, the practitioner first meditates, then recites the sadhana of the phurpa, and then invites the deity to enter the phurpa. As he does so, the practitioner visualizes that he is frightening and conquering the evil spirits by placing the evil under the point of the phurpa. Or sometimes the practitioner visualizes throwing the phurpa in order to impale and subdue the spirits. The success will depend on the practitioner's spirituality, concentration, motivation, and his karmic connections with the deity of the phurpa and the evil spirits.

A prayer flag is a panel or rectangular cloth often found strung along mountain ridges and peaks high in the Himalayas to bless the surrounding countryside or for other purposes. Unknown in other branches of Buddhism, prayer flags are believed to have originated with Bön, which predated Buddhism in Tibet. The Indian Buddhist Sutras, written on cloth in India, were transmitted to other regions of the world.  These sutras, written on banners, were the origin of prayer flags. Legend ascribes the origin of the prayer flag to the Shakyamuni Buddha, whose prayers were written on battle flags used by the devas against their adversaries, the asuras.  The legend may have given the Indian bhikku a reason for carrying the 'heavenly' banner as a way of signifying his commitment to ahimsa. This knowledge was carried into Tibet by 800 CE, and the actual flags were introduced no later than 1040 CE, where they were further modified. The Indian monk Atisha (980-1054 CE) introduced the Indian practice of printing on cloth prayer flags to Tibet. There are two kinds of prayer flags: horizontal ones, called lung ta (meaning "Wind Horse") in Tibetan, and the vertical Darchor. "Dar" translates as "to increase life, fortune, health and wealth", "Cho" translates as "all sentient beings". Lung Ta (horizontal) prayer flags are of square or rectangular shape and are connected along their top edges to a long string or thread. They are commonly hung on a diagonal line from high to low between two objects (e.g., a rock and the top of a pole) in high places such as the tops of temples, monasteries, stupas or mountain passes. Darchor (vertical) prayer flags are usually large single rectangles attached to poles along their vertical edge. Darchor are commonly planted in the ground, mountains, cairns or on rooftops and are iconographically and symbolically related to the Dhvaja. Traditionally, prayer flags come in sets of five, one in each of five colors. The five colors represent the elements, and the Five Pure Lights and are arranged from left to right in a specific order. Different elements are associated with different colors for specific traditions, purposes and sadhana:
• Blue (symbolizing sky/space)
• White (symbolizing air/wind)
• Red (symbolizing fire)
• Green (symbolizing water)
• Yellow (symbolizing earth)
Traditionally, prayer flags are used to promote peace, compassion, strength, and wisdom. The flags do not carry prayers to 'gods,' a common misconception, rather the Tibetans believe the prayers and mantras will be blown by the wind to spread the good will and compassion into all pervading space. Therefore, prayer flags are thought to bring benefit to all. By hanging flags in high places the "Wind Horse" will carry the blessings depicted on the flags to all beings. As wind passes over the surface of the flags which are sensitive to the slightest movement of the wind, the air is purified and sanctified by the Mantras. The prayers of a flag become a permanent part of the universe as the images fade from exposure to the elements. Just as life moves on and is replaced by new life, Tibetans renew their hopes for the world by continually mounting new flags alongside the old. This act symbolizes a welcoming of life changes and an acknowledgment that all beings are part of a greater ongoing cycle.

Tibetan prayer wheels (called Mani wheels by the Tibetans) are devices for spreading spiritual blessings and well being. Rolls of thin paper, imprinted with many, many copies of the mantra (prayer) Om Mani Padme Hum, printed in an ancient Indian script or in Tibetan script, are wound around an axle in a protective container, and spun around and around. Typically, larger decorative versions of the syllables of the mantra are also carved on the outside cover of the wheel. Tibetan Buddhists believe that saying this mantra, out loud or silently to oneself, invokes the powerful benevolent attention and blessings of Chenrezig, the embodiment of compassion.    Viewing a written copy of the mantra is said to have the same effect -- and the mantra is carved into stones left in piles near paths where travelers will see them. Spinning the written form of the mantra around in a Mani wheel is also supposed to have the same effect; the more copies of the mantra, the more the benefit.  Traditionally wheels were not used at all in Tibet except for spiritual purposes -- carts and similar wheeled devices were known from other cultures, but their use was intentionally avoided. The earliest known mention of prayer wheels is in an account written by a Chinese pilgrim, in 400 AD, while traveling through the area now known as Ladakh. The idea is said to have originated as a play on the phrase "turn the wheel of the dharma," a classical metaphor for Buddha's teaching activity. Mani wheels are found all over Tibet and in areas influenced by Tibetan culture. There are many types of Mani wheels, but small hand-held wheels, like the one shown here, are the most common by far. Tibetan people carry them around for hours, and even on long pilgrimages, spinning them any time they have a hand free.   Larger wheels, which may be several yards (metres) high and one or two yards (meters) in diameter, can contain myriad copies of the mantra, and may also contain sacred texts, up to hundreds of volumes.

A puja thali is the plate in which all the items required to perform the worship or the puja of the God and Goddess are kept. The puja items include Roli for tilak, Akshat, Ghanti (bell), a small Kalash filled with water, Kalava to tie around the wrist, gold or silver coins, aarti-diya and some colorful flowers. The puja-thali has special significance for the festival of diwali in which the worship of Goddess Lakshmi is the main theme. Agarbatti, camphor, coconut, betel, betel leaves, sandalwood paste, candles, flowers, seasonal fruits and sweets (as Prasad) and silver or gold coins having image of Goddess Lakshmi, Lord Ganesh, Om, Swastika or Shree are also kept in a thali.

 
Each denomination of Tibetan Buddhism and even each lineage has a "genealogical" chart that is known as the Refuge Tree.  In it are represented the founders and teachers in an arrangement that symbolizes the interconnectedness of the various groups. As the Dalai Lama explains:
"Within the context of Tibetan Buddhism, the importance of lineage extends far beyond the ordinary sense of a particular line of inheritance or descent. Lineage is a sacred trust through which the integrity of Buddha's teachings is preserved intact as it is transmitted from one generation to the next. The vital link through which the spiritual tradition is nourished and maintained is the profound connection between an enlightened master and perfectly devoted disciple. The master-disciple relationship is considered extremely sacred by all the major schools of Tibetan Buddhism."
Practitioners use the Refuge Tree and / or a Field of Merit to visualize their lineage and chain of devotion, of merit and of obligation and protection.  It is depicted as a wondrous tree with several branches.  By means of artistic convention, even the branches at the back of the tree are indicated. In the sky overhead with the sun and the moon is usually found the samboghakaya form of the founding buddha, and the bodhisattvas and dakinis associated with the lineage.  On the upper branches are the founding human members and closer to the ground, we see the 20th-century masters. Living teachers are not depicted. At the foot of the great tree, are the dharma protectors and the various kinds of offerings.  At the bottom of the scroll or poster, are often representations of those who are taking refuge in the particular tree.  Practitioners can imagine themselves there, and also, they can imagine a forest of similar trees belonging to the other lineages knowing that the Buddha, Shakyamuni appears above all of them. 

Rose quartz is one of the most desirable varieties of quartz. The pink to rose red color is completely unique, unlike any other pink mineral species. The color is caused by iron and titanium impurities. Rose quartz is known as the "love stone", and can be used to attract love, promote self-acceptance or, on a more spiritual level, love of whatever you hold sacred or Divine. It is extremely supportive for the broken-hearted or recently bereaved. In addition, this wonderful crystal has a deadening effect on electromagnetic stress, and it is beneficial to keep some near your computer.

 
Rosewood refers to a number of richly hued timbers, often brownish with darker veining but found in many different colors. Native to southern regions of Asia, rosewood is a hard, beautifully veined wood that has been prized throughout the East by Emperors and the populace at large for centuries. A rosewood tree, while a relatively fast grower, can reach heights over 100 feet, and is naturally termite resistant. The leaves and flowers are reputed to have medicinal properties, including fighting tumor growth.
The seed of the Rudraksha tree (Elaeocarpus granitrus) holds a very special place in Hinduism, and is credited to possess mystical and divine properties. Necklaces made of Rudraksha beads are considered auspicious as well as powerful, and are supposed to have profound astrological and health benefits. It is believed that one who wears Rudraksha is untouched by sins, and is protected from all impious deeds or thoughts. ‘Rudraksha’ has its etymological origin in the Sanskrit words, ‘Rudra’ and ‘Aksha’. ‘Rudra’ is another name for Lord Shiva, and ‘aksha’ means teardrop. Mythological tales have it that the Rudraksha plant was born out of Lord Shiva’s tear drops. Ancient scriptures, such as ‘Shiva Purana’, ‘Padma Purana’ and ‘Srimad Bhagavad’ mention the greatness and wonderful powers of the Rudraksha. For thousands of years, they have adorned the bodies of sages and saints leading a fearless life in far-flung frontiers seeking enlightenment and liberation. According to the Ayurvedic medical system, wearing Rudraksha can have a positive effect on the heart and nerves, and relieve you from stress, anxiety, depression, palpitations and lack of concentration. It is also known for its anti ageing effect, and electromagnetic and inductive properties. People with high blood pressure have been found have benefited from the use of Rudraksha seeds. 
Sandalwood is the name for several fragrant woods and their essential oil. Most are medium-sized hemiparasitic trees of the Santalaceae family of the genus, Santalum. The most notable members of this group are Santalum album, Indian Sandalwood and Santalum spicatum, Australian sandalwood. Several other members of the genus species also have fragrant wood and are found across India, Australia, Indonesia and the Pacific Islands. Sandalwood has been valued for centuries for its fragrance, woodworking and for various purported medicinal qualities. The fragrant wood of Pterocarpus santalinus is referred to as Red sandalwood. In Buddhism, sandalwood are considered to be of the Padma (lotus) group and attributed to the Bodhisattva Amitabha. Sandalwood scent is believed to transform one's desires and maintain a person's alertness while in meditation. Sandalwood is also one of the more popular scents used for incense used when offering incense to the Buddha.

Santoshi Mata (Devnagari: संतोषी माता), meaning the mother of contentment, is a relatively recent Hindu female divinity. She is particularly worshipped by women of North India. Maa Santoshi is an emblem of love, contentment, forgiveness, happiness and hope. It is so believed that fasting and praying for her for 16 consecutive Fridays brings peace and prosperity in ones family. Santoshi Maa inspires an individual to cherish family values and to come out of the crisis with one's determination. Santoshi Maa is widely worshipped throughout India and Nepal and by Indians residing outside India. She emerged as a deity in 1975, following the airing of the religious film Jai Santoshi Maa. As depicted in that film, she is the daughter of Ganesha.

 
Sapphire refers to gem varieties of the mineral corundum, an aluminium oxide (Al2O3), when it is a colour other than red. The English word sapphire derives from the Hebrew sapir (via Greek sapphiros). The mineral corundum consists of pure aluminium oxide. Trace amounts of other elements such as iron, titanium and chromium give corundum their blue, yellow, pink, purple, orange or greenish colour. Although blue is considered the normal colour for sapphires, they can be found across a full range of spectral colors as well as brown, colorless, grey and black.  The oldest sapphire finds are in Ceylon, or Sri Lanka as it is known today. There, people were already digging for gemstones in ancient times.

Sarnath is one of the most famous Buddhist centers of India and is located 6 km north of Hindu pilgrimage center Benares - in Uttar Pradesh, near the highway to Ghazipur.
The earliest remains at Sarnath are from the Mauryan period ascribed to Emperor Ashoka the great. The Lion Capital is the national emblem of India. The Dharmarajika Stupa was built by Ashoka, and it was expanded and enlarged several times up to the 12th century CE.  The structures here were destroyed by repeated invasions - and by gradual neglect - and what are seen today are the results of repeated reconstruction efforts.
The Dhamekh stupa is a cylindrical tower, 143 feet high and 93 feet high. The stones in each layer were bound together by iron clamps. This tower dates back to the Gupta period.
The Chinese traveller Hsuen Tsang who visited India in the 7th century CE, speaks of the glory of Sarnath and of the structures that existed then.
A modern temple to Buddha has been built here in the 20th century, housing several of the Buddhist relics excavated here.  On Buddha Purnima, the birthday of Buddha, relics of the Buddha are taken out in procession. The archeological museum at Sarnath houses several Buddhist sculptures and relics.  The Mahabodhi library here houses a rich collection of Buddhist manuscripts and writings.

The Shiva Linga or Lingam (also, Linga,  Sanskrit लिङ्गं liṅgaṃ, meaning "mark" or "sign") is a symbol for the worship of the deity Shiva. The use of this symbol for worship is an ancient tradition in India extending back at least to the early Indus Valley civilization. The worship of the Shiva-Linga originated from the famous hymn in the Atharva-Veda Samhitâ sung in praise of the Yupa-Stambha, the sacrificial post. Another theory is that Shiva linga might have been originated from the erect memorial topes of Buddhists consecrated in the memory of Buddha. The very poor, who were unable to build big monuments, used to express their devotion to him by dedicating miniature substitutes for them. Scholars note that similar instances are still seen in the case of Hindu temples in Varanasi and other sacred places of India where those, who cannot afford to build temples, dedicate very small temple-like constructions instead. Siva means auspiciousness and linga means a sign or a symbol. Hence the Sivalinga is regarded as a "symbol of the great God of the universe who is all-auspiciousness." Siva also means one in whom the whole creation sleeps after dissolution. Linga also means the same thing—a place where created objects get dissolved during the disintegration of the created universe. Since, according to Hinduism, it is the same god that creates, sustains and withdraws the universe, the Sivalinga, represents symbolically God Himself. The Sanskrit term लिङ्गं liṅgaṃ, transliterated as linga has many meanings, including a mark, sign or characteristic. It has a number of specific uses in Sanskrit that are derived from this general meaning. Images of Shiva are of two kinds: iconic (anthropomorphic) and aniconic. The former represents Shiva as a human being while the latter envisages an abstract origin for him. In this manner is Shiva different from other deities. The images of all other deities bestow only sensuous enjoyment since they are invariably represented in an anthropomorphic form, appealing solely to the sense organs. But Shiva grants both enjoyment and spiritual release. As an icon, he has the body of man, but in his aniconic form he is visualized as the cosmic pillar. Yet this pillar also evokes his phallus. As an abstract shape, the pillar symbolizes a purely conceptual reality that cannot be sensed in material terms. Visually however, the shape of the cylindrical pillar with a rounded top resembles that of the phallus. Also when the time came for Shiva to reveal himself to both Brahma and Vishnu, he did so in the form of a linga. Hence the linga is an object of the greatest sanctity, more sacred than any anthropomorphic image of Shiva. Not surprisingly thus, the innermost sanctuary of all Shiva temples is reserved for the linga, while the outer precincts of the sacred architecture may show him in his human form. Indeed, though his iconic images abound, no such image ever occupies the center of attention in a Shiva temple, this honor being reserved exclusively for his linga. The linga is not just the organ of generation, but a sign of the progenitor and the essence of cosmic manhood manifested in the microcosm. By worshipping it we are not merely deifying a physical organ, but recognizing a form that is both eternal and universal.

Shoyeido Incense is known and respected for its integrity. They are one of the few traditional incense manufacturers in Japan, who continue to purchase select ingredients, produce incense by hand, and distribute it with sincere care to customers for enhanced enjoyment. The purity of our ingredients and the spirit they endorse in producing incense are equally important. The work begins with the inspection of the ingredients. Even the same grade of a bushel of an herb will emit a delicately different fragrance from another. From lot to lot, master blenders work very hard to make subtle adjustments to retain the consistent fragrance of a particular incense. They consider the process to be an artistic endeavor rather than mere "production". Human sensitivity is highly-valued for Shoyeido's incense making. The density of a single stick of incense matters significantly. Fineness or coarseness of ground ingredients affect its burning temperature. Natural incense needs to breathe. If it is too dense, it burns at a lower temperature which changes the scent. On the other hand, if it is too loose, it burns at a higher temperature and the fragrance may be diminished. Shoyeido's incense comes from a truly genuine heritage of 300 years. Without a supporting core stick, our incense delivers the pure essence of the ingredients. Their incense maintains a fine balance between density and rigidness for handling. People at Shoyeido are meticulously involved with every detail of the process of incense making; from the ingredients to the manufacturing, and to the refined and artistic packaging. Only in this way, Shoyeido knows, the purity of incense can be enjoyed.

Singing bowls (also known as 'Himalayan bowls' or 'rin' or suzu gongs in Japan) are a type of bell, specifically classified as a standing bell. Rather than hanging inverted or attached to a handle, standing bells sit with the bottom surface resting. The sides and rim of singing bowls vibrate to produce sound. Singing bowls were traditionally used throughout Asia as part of Bön and Tantric Buddhist sadhana. Today they are employed worldwide both within and without these spiritual traditions, for meditation, relaxation, healthcare, personal well-being and religious practice. Singing bowls were historically made in Tibet, Nepal, India Bhutan, China, Japan and Korea. Today they are made in Nepal, India, Japan and Korea. The best known type are from the Himalayan region and are often called ''Tibetan singing bowls.'' In Buddhist practice, singing bowls are used as a support for meditation, trance induction and prayer. For example, Chinese Buddhists use the singing bowl to accompany the wooden fish during chanting, striking it when a particular phrase in a sutra, mantra or hymn is sung. In Japan and Vietnam, singing bowls are similarly used during chanting and may also mark the passage of time or signal a change in activity. Singing bowls are played by the friction of rubbing a wooden, plastic, or leather wrapped mallet around the rim of the bowl to produce overtones and a continuous 'singing' sound. High quality singing bowls produce a complex chord of harmonic overtones. Singing bowls may also be played by striking with a soft mallet to produce a warm bell tone.

The skull cup, (skt. kapala) is fashioned from the oval upper section of a human cranium. It serves as a vessel for a vast number of Vajrayana deities, mostly wrathful. As a ritual implement, the selection of the right skull is of immense importance for the success of the ritual. The skull of a murder or execution victim is believed to possess the greatest tantric power; the skull of one who has died from a violent or accidental death, or from a virulent illness, possesses a medium magical power; the skull of a person who died peacefully in old age has virtually no occult power. The skull of a child who died during the onset of puberty also has great potency, as do the skulls of miscegenated or misbegotten child of unknown paternity, born from the forbidden union of castes, out of wedlock, from sexual misdemeanor, or particularly from incest. The 'misbegotten skull' of a seven or eight-year-old child born from an incestuous union is considered to possess the greatest power in certain tantric rituals. Here the vital force or potential of the skull's 'previous owner' is embodied within the bone as a spirit, rendering it as an effective power object for the performance of tantric rituals. As the libation vessel of the Vajrayana practitioner, the skull cup essentially parallels the clay pot (kumbha in Sanskrit) of the Vedic sacrifice, the alms bowl of the Buddha, and the sacred water vase (Kalasha in Sanskrit) of the bodhisattvas. As a receptacle for sacrificial offerings presented to wrathful deities, it parallels the precious tray containing auspicious substances-the jewels, flowers, or fruit presented to peaceful deities. In its most benign symbolism, as the begging bowl or food vessel of an ascetic, the skull cup serves as a constant reminder of death and impermanence.

Smoky quartz or Smokey quartz, also known as Cairngorm or Cairngormstone is a brown to black variety of quartz caused through the natural (or artificial) irradiation of aluminium-containing rock crystal. A very dark brown to black opaque variety is known as morion. Smoky quartz is a brown transparent quartz that is sometimes used for unusual faceted cuts.  This variety was sometimes known as smoky topaz in the past, though the term is incorrect and misleading.

Ritual spoons are used in "holy water" and "lamp oil lighting" and have been used in Hindu Pujas and ceremonies for centuries. The oil lamp is called a sukunda and the spoon is called a sumicha. Lighting the sukunda is an important social and religious obligation.

The Sri Chakra or Shri Yantra is a yantra formed by nine interlocking triangles that surround and radiate out from the bindu point, the junction point between the physical universe and its unmanifest source. It represents Sri Lakshmi, the goddess of abundance on all levels, in abstract geometric form. It also represents Tripura Sundari, "the beauty of the three worlds." Four of the triangles points upwards, representing Shiva or the Masculine. Five of these triangles point downwards, representing Shakti or the Feminine. Thus the Sri Yantra also represents the union of Masculine and Feminine Divine. Because it is composed of nine triangles, it is known as the Navayoni Chakra. Together the nine triangles are interlaced in such a way as to form 43 smaller triangles in a web symbolic of the entire cosmos or a womb symbolic of creation. Together they express Advaita or non-duality. This is surrounded by a lotus of eight petals, a lotus of sixteen petals, and an earth square resembling a temple with four doors. Sri Yantra is one of the most auspicious, important and powerful Yantras, which not only gives the maximum benefit, but also proves beneficial for almost everybody. It is the source of attaining all worldly desires & fulfilling all wishes through inner cosmic power & mental strength. "Shree Yantra" - Shree meaning wealth and Yantra - Meaning "Instrument" - The Instrument for Wealth The Shree Yantra brings about material and spiritual wealth. Sri Yantra has that unexplained power to fulfill all our wishes and change our life for the better. Shree Yantra is definitely the answer to all the problems and negativity in our life. Any Person using Shree (shri) Yantra achieves much greater affluence, peace and harmony. Shree Yantra helps in breaking all the Obstacles in our life. It helps us push indefinitely and easily the limits of growth - both spiritually and materialistically. There are negative energies around us in greater or smaller magnitude. These negative energy stands in our way of achieving greater success, affluence, Harmony and Peace.

The sterling silver standard has a minimum millesimal fineness of 925. Sterling is an alloy of silver containing 92.5 % pure silver and 7.5 % other metals, usually copper.  

Tantra (Sanskrit तन्त्र ; "weave" denoting continuity), tantricism or tantrism is any of several esoteric traditions rooted in the religions of India. It exists in Hindu, Bönpo, Buddhist, and Jain forms. Tantra in its various forms has existed in South Asia, China, Japan, Tibet Korea, Cambodia, Burma, Indonesia and Mongolia. Although he cautions against attempting a rigorous definition of tantra, Tantra has been given the following working definition: Tantra is that Asian body of beliefs and practices which, working from the principle that the universe we experience is nothing other than the concrete manifestation of the divine energy of the Godhead that creates and maintains that universe, seeks to ritually appropriate and channel that energy, within the human microcosm, in creative and emancipatory ways..According to Tantric practitioner Lama Thubten Yeshe: ...each one of us is a union of all universal energy. Everything that we need in order to be complete is within us right at this very moment. It is simply a matter of being able to recognize it. This is the tantric approach.

Thai incense plays an important part of life in Thailand and is in much demand around the world. The basic ingredients of Thai incenses are natural wood powders from managed plantations & hand cut bamboo splints. Added to this are the fragrant ingredients comprising resins, plant oils and aromatic herbs. The more expensive and exclusive the product, the more complex and varied are the additives which can be drawn from the whole gamut of natural fragrances. Akin to what a candle does to a darkened room, the aroma of incense offers warmth and tranquility to the senses of its enthusiasts. Thus, it serves as little wonder that its origins are deeply rooted in the spiritual and religious practices of the Orient. An essential element in virtually all Oriental religious offerings. It is seen in all Buddhist temples where fragrant smoke spirals up from countless sticks placed in front of the presiding Buddha spirit-houses honoring all manner of potent forces. The incense is constant, the ritual of its use however, is complex and varied.

A Thangka is a painted or embroidered Tibetan banner which was hung in a monastery or a family altar and carried by lamas in ceremonial processions. In Tibetan the word 'than' means flat and the suffix 'ka' stands for painting. The items in this collection are stunning and will bring much pleasure whether they are used for religious or ornate purposes.The art is functional, never signed and the strict ethos is on accuracy and intricacy, allowing the traditional rules of iconometry to ensure spiritually beneficial images are created. As such the true techniques take years to master and a lifetime to perfect. Images are considered receptacles of the divine and treated with the utmost respect.
Tibetan art is the visual and symbolic interpretation of the Buddha's teachings and philosophy. Imagery is used to guide and support an individual's spiritual progress.

Thod dbyug, (skt. Kapala Danda) is weilded or held by many deties. The skull-club derives from the Kapalakas skull-topped staff or khatvanga and is crowned by a half Vajra.

The Tibetan Flag is intimately connected with the authentic history and royal lineages of Tibet which are thousands of years old. Furthermore, in the Tibetan Royal year 820 or in the seventh century of the Christian era, at the time of the Tibetan religious King Song-Tsen Gamp the Great extensive land of Tibet was divided into large and small districts known as "gö-kyi tong-de" and "yung-g'i mi-de". From these large and small districts, an army of 2,860,000 men was chosen and stationed along the borders of Tibet, and the subjects thus lived in safety. The bravery and heroism of the Tibetan people at that time in conquering and ruling even the adjacent empire of China is well-known in world history. At that time, it is recorded that the regiment of Yö-ru tö had a military flag with a pair of snow-lions facing each other; that Yä-ru mä had a snow-lion with a bright upper border; that of Tsang Rulag, had a snow-lion standing upright, springing towards the sky; and the flag of ü-ru tö had a white flame against a red background, and so forth. In this way. the regiments of each area had its own individual military standard. Continuing with that tradition up to the beginning of the twentieth century, various regiments within the Tibetan army have had military flags with either a pair of snow-lions facing each other, or a snow-lion springing upwards and so forth. In the latter part of this period, during the rule of His Holiness the Great Thirteenth Dalai Lama, this eminent spiritual and temporal ruler of Tibet enacted many modifications in administrative policies in accordance with international customs. Based on the formats of previous Tibetan military flags, His Holiness improved upon them and designed the present, modern national flag. With an official proclamation, He declared that this would be the uniform, standard flag to be adopted by all Tibetan military defence establishments. Since the time of that proclamation, all Tibetan regiments have likewise adopted this flag as their standard. The colour scheme of the Tibetan national flag gives a clear indication of all aspects of Tibet in its symbolism such as the geographic features of the religious. snowy land of Tibet, the customs and traditions of Tibetan society, the political administration of the Tibetan government and so forth. History attests to the fact that Tibet is one of the most ancient nations of the world. Therefore, in all the three regions of Tibet, irrespective of caste and creed, this national flag inherited from our ancestors is universally accepted as a common, peerless treasure and even today still continues to be highly respected and esteemed as in the past.
In the centre stands a magnificent thickly snow clad mountain, which represents the great nation of Tibet, widely known as the Land Surrounded by Snow Mountains.
Across the dark blue sky six red bands spread representing the original ancestors of the Tibetan people: the six tribes called Se, Mu, Dong, Tong, Dru and Ra which in turn gave the [twelve] descendants. The combination of six red bands (for the tribes) and six dark blue bands for the sky represents the incessant enactment of the virtuous deeds of protection of the spiritual teachings and secular life by the black and red guardian protector deities with which Tibet has had connection for a very long time.
At the tip of the snow mountain, the sun with its rays brilliantly shining in all directions represents the equal enjoyment of freedom, spiritual and material happiness and prosperity by all beings in the land of Tibet.
On the slopes of the mountain there proudly stand a pair of snow lions blazing with the manes of fearlessness, which represent the country's victorious accomplishment of a unified spiritual and secular life.
 The beautiful and radiant three coloured jewel held aloft represents the ever-present reverence respectfully held by the Tibetan people towards the Three Supreme Jewels (the Buddhist objects of refuge: Buddha, Dharma and Sangha).
 The two coloured swirling jewel held between the two lions represents the peoples' guarding and cherishing the self discipline of correct ethical behaviour, principally represented by the practices of the ten exalted virtues and the 16 humane modes of conduct.
Lastly, the surrounding border of yellow adorning the perimeter represents the spread and flourishing in all directions and times of the purified gold like teachings of the Buddha.
Tibetan incense usually refers to a common style of incense found in Tibet, Nepal, and Bhutan. The incense is an important representation of the Tibetan culture. Tibetan incenses can quite often contain 30 or more ingredients. Tibetan Incense comes from a centuries old tradition of combining special medicinal and therapeutic substances derived from herbs, plants, flowers, leaves, grass, wood, bark, and even spices and minerals in the strict accordance to ancient traditional recipes, that when burned, deliver an aroma which can help to sooth and calm a restless mind. As a rule, Tibetan Incense is made by rolling sticks from pasty compound, so there is no bamboo sticks inside as in Indian incense. In Tibetan medical field, Tibetan incense is recognised as a way of treatment for sicknesses. Authentic Tibetan incense originates either from traditional monastery or medical college/hospital formulation. In many cases Tibetan incense follows a particular ‘lineage’ which can be traced back to the originator. Much Tibetan incense is now made in Buddhist centres and monasteries outside of Tibet by monks and artisans-in-exile.
Tiger eye is a chatoyant gemstone that is usually yellow- to red-brown, with a silky luster. A member of the quartz group, it is a classic example of pseudomorphous replacement by silica of fibrous crocidolite. Tiger eye with its bands resembles an eye of tiger, so it is received its name due to this similarity. Roman soldiers wore tiger's-eye for protection in battle. Tiger Eye was thought to be all seeing due to its appearance. Tiger Eye is used for focusing the mind. It is said that Tiger Eye offers protection during travel, strengthens convictions and confidence. This very warm stone is beneficial for the weak and sick Tiger eye allegedly relieves high blood pressure. Tiger eye wear is very helpful in the presence of following diseases: bronchial asthmakidney, rheumatic heart disease, otitis and psoriasis.

Tibetan Tingsha (or Ting-Sha) (Tibetan: ཏིང་ཤགས་; Wylie: ting-shags) are small cymbals used in prayer and rituals by Tibetan Buddhist practitioners. Two cymbals are joined together by a leather strap or chain. The cymbals are struck together producing a clear and high pitched tone. Tingsha are very thick and produce a unique long ringing tone. Traditional tingsha were made from special bronze alloys that produce harmonic overtones. Tingsha instantly strike an echo within the heart. Their purpose is to summon, therefore Tingsha call us to awareness, to remember who we are, and to recognise our priorities in the world. The Tingsha draw their name from the Tibetan syllables ‘ting’ (ringing sound of metal) and ‘sha’ (hanging), and their meaning can be translated as ‘hanging cymbals’. The Tingsha are individually handcrafted by the ancient Tibetan method of sand-casting, where an upper and lower mould are made from fine wet sand which is then baked several times over a charcoal fire. When the moulds are ready, the molten bell metal is poured. After casting, each individual Tingsha is skilfully tuned by hammering around the thick outer rim to create a perfectly matching pitch for each pair. There are three main techniques for striking the Tingsha to create a sustained sound.
The leather thong is hold between fingers and thumb just above the centre of each cymbal.

- Suspend the Tingsha horizontally, a few inches apart, then draw them together so that their edges strike.
- Suspend one Tingsha horizontally while holding the downward-striking Tingsha vertically in the opposite hand.
- Hold both Tingsha vertically, at right angles, and strike edges together with a simultaneous movement of both hands.

As hanging chimes, the Tingsha may be suspended by their leather thong from two hooks and struck with a wooden striker. The paired Tingsha may also be separated to create two individual cymbals, with a striker attached to each end of the divided leather thong. Traditionally, Tingsha are used in guidance prayers and food offerings for the dead; in burned foods and water offerings for the ‘hungry ghosts’ or tormented spirits; in burned food offerings for the ‘four classes of guests’. These rituals are performed by Tibetan monks, and they can be repeated daily, or as a cycle of a hundred thousand offerings.Used in meditation, when Tingsha (cymbals) strike each other they produce a clear, pure sound. This indicates the beginning and the end – at the beginning you let go of everything except the clean moment of here and now; at the end you awaken physically and spiritually in the here and now of material reality.

Among the instruments associated with Tibetan Buddhism are dung, trumpets played in pairs for morning and evenings calls to prayer, preludes, and processions. The Tibetan word dung means "shell," and when used alone or followed by dkar it refers to a conch-shell trumpet. When combined with other qualifying words, it denotes different types of trumpets; as with rkang-dung "femur trumpet" or Kangling. Kangling trumpets are traditional Tibetan bone horns and are played with Chod practice: rag-dung ("brass trumpet"); and dung-chen ("large trumpet") or Long Horn. The Long Horns are an essential component of the monastic music of the Tibetan Buddhism.  Some of these horns are so large that the monks will often rest the end in a wooden support when playing them in a single location, but they are used in processions as well, in which case the end of the unwieldy instrument will rest on the shoulder of other monks who walk ahead of the ones playing the instruments. For portability, the horn is made in sections that collapse telescopically from its fully extended length. 
Closely related to culinary basil, holy basil is known as TULSI in South Asia and is an important sacred plant.  The name 'tulsi' connotes "the incomparable one". It is believed to protect against misfortune and represents purity, harmony, serenity and luck. The essential oil from holy basil contains a compound called eugenol which has antiseptic activity. It can kill germs such as bacteria, reduce inflammation and deter insects.

Turquoise is an opaque, blue-to-green mineral that is a hydrous phosphate of copper and aluminium. It is rare and valuable in finer grades and has been prized as a gem and ornamental stone for thousands of years owing to its unique hue. The turquoise is ancient, yet again and again it finds itself back in fashion. Its shining sky blue is one of the most popular trend colours in the world of jewellery and fashion. Turquoise gemstone has been esteemed for thousands of years as a holy stone, a bringer of good fortune or a talisman. In earlier times, turquoises were even responsible for the material wellbeing of the wearer. The Persian scholar Al-Qazwini, for example, wrote: 'The hand that wears a turquoise and seals with it will never see poverty.' Turquoises were often worn on the turban, and often surrounded with pearls, in order to protect their wearer against the 'evil eye'. As talismans, they adorned daggers, sabres and the bridles of horses. It was not until the time of the crusades that they came to Europe. Indeed it is from that period that the name 'turquoise' originates, meaning 'Turkish'. At all times and over the world, turquoises have been worn as natural protection against the powers of darkness. The colour of the turquoise makes us feel happy and cheerful, for in it the light blue of the sky and the stimulating green of the sea are combined. Indeed it is such an inimitable colour that we have coined a term specifically for it in our languages: turquoise. Anyone choosing a turquoise is sure to enjoy a piece of Heaven ... on Earth.
 The Vajra, or dorje, is the quintessential symbol of Vajrayana Buddhism, which derives its name from the vajra itself. The Sanskrit term vajra means 'the hard or mighty one', and its Tibetan equivalent dorje means an indestructible hardness and brilliance like the diamond, which cannot be cut or broken. The vajra essentially symbolizes the impenetrable, immovable, immutable, indivisible, and indestructible state of enlightenment or Buddhahood. The form of the vajra as a scepter or a weapon appears to have its origin in the single or double trident, which arose as a symbol of the thunderbolt or lightning in many ancient civilizations of the Near and Middle East. Parallels are postulated with the meteoric hammer of the Teutonic sky-god Thor, the thunderbolt and scepter of the Greek sky-god Zeus, and the three thunderbolts of the Roman god Jupiter. As a hurled weapon the indestructible thunderbolt blazed like a meteoric fireball across the heavens, in a maelstrom of thunder, fire and lightning. The Buddhist vajra may be represented with one to nine prongs. It is designed with a central shaft that is pointed at each end. The middle section consists of two lotuses from which may spring, at each end, for example, six prongs of the dorje. Together with the projecting and pointed central shaft, each end thus becomes seven pronged. The outside six prongs face inwards towards the central prong. Each of these outside prongs arise from the heads of makaras (mythical crocodiles), which face outwards. The mouths of the makaras are wide open and the prongs emanate from the mouth like tongues of flame.  The vajra is generally two-sided but the vishvavajra or double dorje, the double thunderbolt has four heads representing the four dhyani Buddhas of the four directions namely, Amoghasiddhi for north, Akshobhya, who presides over the east, Ratnasambhava, lord of the south, and Amitabha who reigns over the west. It is the emblem of the crossed vajra that is inscribed upon the metal base that is used to seal deity statues after they have been consecrated. The vajra is indeed the most important ritual implement and symbol of Vajrayana Buddhism. It is so important that many of the Vajrayana deities have the word vajra prefixed to their names, two of them being Vajradhara and Vajrasattva. When used in ritual, the vajra is paired with the bell. It represents the masculine principle and is held in the right hand, the bell, held in the left hand, represents the female principle.
The way in which Sentient Beings are locked into endless cycles is depicted in the Buddhist image of the Wheel of Life, or ‘Wheel of becoming,’ ‘bhavacakra.’The Wheel of Life is held-up by the Lord of death, Yama. Yama is wearing a crown of five human skulls which are said to represent the elements of radical transformation.  He is depicted holding up a ‘mirror’ to show us how we live. This ‘mirror’ is the Wheel of Life.The Wheel is formed of four concentric circles, one inside the other. The innermost circle is the ‘hub’ of the Wheel and forms the centre.The centre of the wheel depicts aspects of our ego, hatred, ignorance and greed. The snake represents hatred, the pig represents ignorance and the cockerel represents greed. These represent the teaching known as The Three Fires, or alternatively, The Three Poisons. They are shown either eating each other or regurgitating one another. This illustrates the endless cycles of compulsion under which those in their power are caught.In order to show that it is possible to move from realm to realm there is a second circle between the central circle and the six worlds of experience.  This second circle is divided into two halves, a light side and a dark side. On the dark side, people are shown moving down to the hell realm. They are plunging headlong downwards, chained together, with expressions of fear and horror.  On the light side the people are moving up to enlightenment, depicted carrying rosaries and prayer wheels, decently clad, and with expressions of joy.The third circle is divided into six segments, which represent the Realms of Existence.  These segments also represent the states of mind that we can experience here-and-now.  So it is possible to look at the segments as states of mind as well as realms of existence. Within each segment there appears a Buddha.  This portrays a manifestation of the Bodhisattva Avalokitesvara representing the element of absolute compassion.  Each Buddha figure appears in a certain colour, and offers the things that are needed to those in each segment. We shall take a look at the six segments individually:
 Realm of Bliss
The upper segment represents pleasure and bliss and is also known as the Realm of the gods.  This is the realm where every wish and desire is met. The segment is representative of a state of joy and meditation. This is how the gods live in heaven. It can be said to be a state of higher aesthetic enjoyment. When in this state we need to remind ourselves that it doesn’t last, it is not the same as bliss in Nirvana.The Buddha appears white in this realm bearing musical instruments. The Buddha is playing the melody of impermanence, as music is the means of liberation from this realm.
Realm of Asuras
The next segment is that of the Asuras, the Titans, the anti-gods. The power seekers. Their will-power only makes them capable of understanding force.  They are heavily built and are in a state of perpetual war for the celestial tree. The segment represents a state of competitiveness, aggressiveness, jealously and suspicion. It is striving after endless material wealth, seeking superiority and domination. When in this state, we need to take the next step which is intellectual insight.The Buddha appears green in this world, with a sword representing a symbol of knowledge, a transformation of wisdom.
 Realm of Pretas
Next is the Realm of Pretas, the realm of unsatisfied spirits, of hungry ghosts. They appear naked and deformed. They have swollen bellies and tiny mouths. They are always grasping and cramming. The segment represents neurotic desire, where the desire is greater than what the object can provide. An example may be replacing sex with chocolate for example. When we are in this state we need to seek objectivity, to see what it is that we really desire, and where this desire is coming from.The Buddha appears red in this realm, with Heavenly gifts, and showers the Beings with food and drink; as the only way to substitute the desire for Truth and Knowledge is with sensual desire.
Realm of Suffering
The lower segment represents pain and suffering and is also known as the Realm of Nirya or of Tormented Beings.  This is a hell realm and is presided over by Yama. He is depicted holding a mirror of karma. He sees everything done, said and thought by Beings. If they have acted badly they are taken away to be tormented. This segment represents acute mental suffering, insanity and continued frustration. When in this state the next stage is two-fold; to gain respite from suffering and then Buddhahood, Nirvana. The Buddha appears a Bluish/Grey colour in this realm, bearing a flame. The flame symbolises purification which is the means of liberation from this realm. The Buddha also gives the Beings nectar/ambrosia, the food of the gods.
Realm of Animals
The fifth segment, opposite that to the Realm of Asuras, represents the world of animals. The animals represent blind passive surrender to instinct and necessity.  They live in an idyllic existence without preying on one-another. This is representative of purely sensual indulgence, of natural desires such as food and sex. This is a state of savagery, and the next step is to become civilised. The Buddha appears Blue in this segment, with a book in order to liberate the animals by way of articulate thought and reason.
Realm of Humans
The sixth segment, being the segment to the left of the Realm of Bliss, is the Realm of Humans. In this realm, freedom of choice is symbolised by the different activities people are involved in, such as buying, selling, talking, meditating, and carrying corpses to the funeral pyre. This segment represents the state of human consciousness, an awareness of our own self and others; where we can devote ourselves to spiritual development. The next stage from human existence is to reach the spiritual stage.The Buddha appears yellow in this realm, with an Alms Bowl and the three- ringed Staff of the spiritual mendicant, the insignia of spiritual life.
Then moving outwards, the outside rim of the wheel is the Twelve-fold Chain of Causation, also known as Dependent Origination. This is depicted as follows;

i/ The uppermost portion of the chain represents ignorance, symbolised by a blind person. Then, moving clockwise,
ii/ symbolised by a potter, on wilful actions depends relinking consciousness,
iii/ symbolised by a monkey, on relinking consciousness depends body and mind,
iv/ symbolised by three or four men in a boat, on body and mind depend the functioning of the six senses,
v/ symbolised by houses with doors and windows, on the functioning of the six senses depends sense experience,
vi/ symbolised by lovers, on sense experience depends feeling,
vii/ symbolised by a man whose eye is pierced by an arrow, on feeling depends craving,
viii/ symbolised by a man drinking, on craving depends attachment,
ix/ symbolised by a monkey, or a man clinging to a fruit tree, on attachment depends becoming,
x/ symbolised by a pregnant woman, on becoming depends birth process
xi/ symbolised by a woman giving birth, on birth process depends rebirth
xii/ symbolised by an old man, on rebirth depends old age, disease and death, and the continuation…

Outside of the Wheel of Life, to the left there often appears a white full moon and figure of a hare, representing the spiritual path. It could seem that there is no escape to this endless cycle. But there is a way out. In the top right-hand corner outside of the Wheel of life is the Buddha Sakyamuni. He stands free from the Wheels, pointing to the spiritual path as a testament to the fact that the cycle of ignorance, desire and attachment can be broken.

The Symbol Yin Yang represents the ancient Chinese understanding of how things work. The outer circle represents "everything", while the black and white shapes within the circle represent the interaction of two energies, called "yin" (often black) and "yang" (often white), which cause everything to happen. They are not completely black or white, just as things in life are not completely black or white, and they cannot exist without each other.  While "yin" would be dark, passive, downward, cold, contracting, and weak, "yang" would be bright, active, upward, hot, expanding, and strong. The shape of the yin and yang sections of the symbol, actually gives you a sense of the continual movement of these two energies, yin to yang and yang to yin, causing everything to happen: just as things expand and contract, and temperature changes from hot to cold. The concepts of Yin and Yang and the Five Agents provided the intellectual framework of much of Chinese scientific thinking especially in fields like biology and medicine The organs of the body were seen to be interrelated in the same sorts of ways as other natural phenomena, and best understood by looking for correlations and correspondences. Illness was seen as a disturbance in the balance of Yin and Yang or the Five Agents caused by emotions, heat or cold, or other influences. Therapy thus depended on accurate diagnosis of the source of the imbalance.

There are many styles of Yoga and we hope we can provide a small insight into them here. Anusara (a-nu-sar-a), means "flowing with Grace," "going with the flow," "following your heart." Founded by John Friend in 1997, Anusara Yoga is a hatha yoga system that unifies Universal Principles of Alignment with a non-dual Tantric philosophy that is epitomized by a "celebration of the heart." In this philosophy we take the premise that everything is supreme Consciousness - nothing exists that is not supreme Consciousness. It encompasses a vision of totality in which each person is seen as equally divine in every part - body, mind, and spirit. The body and mind are honored as sacred vessels through which the divine radiance of supreme Consciousness can shine. Each of us is regarded as essentially good, so there is a lot of acceptance and allowance in this system for difference and deviation. Ashtanga (ash-tang-a) is the system of Yoga taught by Sri K. Pattabhi Jois at the Ashtanga Yoga research institute in Mysore, India. This method of Yoga involves synchronizing the breath with progressive series of postures - a process producing intense internal heat and a profuse, purifying sweat that detoxifies muscles and organs. The result is improved circulation, a light and strong body, and a calm mind. Bikram's Beginning Yoga Class is a twenty-six asana series designed to scientifically warm and stretch muscles, ligaments and tendons, in the order in which they should be stretched. Bikram Yoga's twenty-six posture exercises systematically move fresh, oxygenated blood to one hundred percent of your body, to each organ and fiber, restoring all systems to healthy working order, just as Nature intended. Proper weight, muscle tone, vibrant good health, and a sense of well-being will automatically follow. The Sanskrit word hatha is thought to be derived from the verbal root hath which means "to force" or "hold firmly" and thus Hatha Yoga is sometimes called "forceful yoga." It is also thought to be the combinates of two words ha meaning "sun" and tha meaning "moon" and thus Hatha Yoga is said to balance the opposing energies of the body - sun and moon, male and female, etc. Hatha Yoga is most often identified with the practice of physical postures (asana) and breathing techniques (pranayama). Sri Swami Satchidananda described Integral Yoga as: "...a flexible combination of specific methods to develop every aspect of the individual: physical, intellectual, and spiritual. It is a scientific system which integrates the various branches of Yoga in order to bring about a complete and harmonious development of the individual." The word ISHTA has a two-fold definition. In Sanskrit, it means developing a personal yoga practice that meets your individual needs. ISHTA also stands for the Integrated Science of Hatha (the physical practice of yoga that creates balance), Tantra (the yogic philosophy that recognizes the perfection in all beings), and Ayurveda (the Indian science of healing).  Iyengar yoga emphasizes posture and the development of balance and alignment. To support students' explorations of postures, Iyengar yoga makes use of a wide variety of props: belts, blocks, pillows, and balls. Iyengar is one of the most widely practiced yoga techniques in the West. It was developed in India by B.K.S. Iyengar and responds to individuals with varying limitations and capacities for accomplishing postures. Iyengar yoga is noted for great attention to detail and the precise alignment of postures. Kripalu Yoga puts a great emphasis on the mechanics of Yoga - proper breath and alignment - as well as in the inner, spiritual dimensions of Yogic practice. Students are encouraged to honor "the wisdom of the body" and to work according to the limits of their individual flexibility and strength. There are three stages in Kripalu Yoga. Stage one focuses on learning the postures and exploring your body's abilities. Stage two involves holding the postures for an extended time, developing concentration and inner awareness. Stage three is called "Meditation in Motion," in which movement from one posture to another arises unconsciously and spontaneously. Kripalu Yoga was developed by Yogi Amrit Desai, who was inspired by his teacher, Swami Kripalvanandaji, a Kundalini Yoga master from India. Kundalini Yoga in the tradition of Yogi Bhajan, who brought the style of Yoga to the West in 1969, focuses on the controlled release of kundalini energy, thought to reside at the base of the spine. This style of Yoga pays particular attention to breathwork, which aims to get energy moving quickly, but it also involves classic poses, coordination of breath and movement, and meditation. Power Yoga combines the ancient "eight limbs" of Yogic wisdom revfealing a systematic set of proven age-old principles, physical practices, attitudes, and perspectives. Power Yoga uncovers the root causes of stress and provides the means to conquer it, demonstrates the value of exercise and attitude, and harnesses the power of discipline and inner balance. It is a muscle-shaping, mind-sculpting workout that crosses all borders and appeals to any person who has the desire for true and permanent changes in his or her body and life. Sivananda is one of the world's largest schools of Yoga. It is very supportive to beginners. Developed by Swami Vishnu-Devananda and named for his teacher, Swami Sivananda, Sivananda Yoga follows a set structure that includes breathing, classic asanas, relaxation, as well as principles of diet and positive thinking.

A yogini is the female origin of a practicing male yogi: having a steadfast mind cultivated by the disciplined pursuit of transcendence through Yoga. Tantric scholars have written about yoginis as independent, outspoken women with a gracefulness of spirit without whom Yoga can fail in its purpose and remain sterile.
 
The word yoni (Sanskrit योिन yoni) is the Sanskrit word for "divine passage", "place of birth", "womb" in the sense of 'source of life' rather than a human organ, or "sacred temple" (cf. lila). The word also has a wider meaning in both profane and spiritual contexts, covering a range of meanings of "place of birth, source, origin, spring, fountain, place of rest, repository, receptacle, seat, abode, home, lair, nest, stable". The yoni is also considered to be symbolic of Shakti or other goddesses of a similar nature. In classical texts such as Kama Sutra, yoni refers to vagina. Possible Lingam-Yonis have been recovered from the archeological sites at Harappa and Mohenjo-daro, part of the Indus Valley Civilization. There is strong evidence to support cultural continuation from the Indus Valley Civilization (Harappan; Indus-Sarasvati) to Vedic, Hindu and Tantra. (The word Yoni (יוני) is also short for the name Yonatan יונתן (Hebrew) or Jonathan (English), with the Hebrew word for "God's gift".Yoni has also been associated with Kali, "the dark one" who is the "blood-consuming consort" of Shiva.

Yukata is a casual cotton kimono worn in Japan during the summer months. Yukata, which is much easier to wear than silk kimono, is enjoyed for its lightness in weight and the coolness it offers during  hot and humid summers. Traditionally, yukata was patterned with indigo; present-day modern yukata is now usually patterned in brightly colored florals. The word yukata comes from the words 'yu' (bath) and 'katabira' (underclothing). Linen yukata were first worn by court nobles, hundreds of years ago,after taking a bath. The kimono, meaning clothing in Japanese, has been worn by Japanese men and women from the Early Nara period (645 - 724) to the present. An ankle-length gown with long, full sleeves it is wrapped left over right across the chest and secured at the waist by a broad sash known as an obi.