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Bill Endres

This essay examines complexities that attend digitizing a cultural heritage artifact that is sacred to a contemporary community. It argues that scholars must first determine how the artifact participates in the life of its community. If this participation is integral, scholars should treat the artifact as a present-day cultural phenomenon, inseparable from its community. To explain the implications of this shift, the author turns to ethnography, which has a lengthy tradition of interacting with communities for generating research. Photographing a sacred artifact is not unlike other ethnographic research, whether tape recording stories, collecting documents, or gathering information about social practices. To guide digital work, the essay proposes ethnographic ethical principles, demonstrating their value in digitizing the 8th-century St Chad Gospels at Lichfield Cathedral, England—supporting Jamie Bianco's recent call for an "ethical turn" in the digital humanities.

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Hsiao-wen Cheng

); riding in sedan chairs or carriages, or wearing veils in journeys outside their homes (Chapter 2); managing domestic finances and local family businesses (Chapter 3); engaging and negotiating with local admin­istration (Chapter 4); meditating, chanting, making sacred artifacts, and re­producing religious

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William Scott Green

thing to be venerated. The Torah scroll was rabbinism's most revered and sacred artifact, and its sanctity was socially dem- onstrated, objectified, and certified by a network of rabbinic behavioral injunctions. Thus, the sefer Torah -- both as scroll and as writing -- constituted the ubiquitous

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Peter J. Bräunlein

among the urban Thai middle class since the late 1980s. The portraits, usually obtained as gifts, display a kind of magical agency in that they are understood to have sought out their owners themselves. The focus of part III is on “Sacred Artifacts.” Galit Hasan-Rokem discusses religious material

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IRINA KYZLASOVA

abolishing the church clergy (March 4, 1918), a situation o f exceptional complexity arose. Fully appreciating the danger threatening Russia's priceless and ancient sacred artifacts, and with his own ideas about the challenges facing their protection, the patriarch believed it was essential to proclaim his

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Emma Loosley Leeming

environs of the monastic complex waiting until a sufficiently ‘pure’ person is judged worthy of the honour of recovering this sacred artefact. It is from the observation of the process of contemporary, post-Soviet myth-making in the Georgian Orthodox Church that one can perhaps best understand how the

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Phurpa Wangchuk and Annette Olsen

Juniperus pseudo-sabina Fisch are commonly used as incense, as sacred artefacts for statues, and as firewood. Rhododendron anthopogon D.Don , Bombax ceiba L. and Cinnamomum granduliferum (Wall.) Meisn. are often cut down for use as firewood. The roots of Onosma hookeri and Rubia cordifolia L., important

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Mikako Tomotari

Cultural Positioning of the Sanskrit Characters in the Moon Circles of Kiyomizu and Aoki The previous section of this essay examined the stone reliefs found in Imakumano Cave at Mt. Hiko and analyzed the sacred artifacts through 3 D imaging. This section focuses on the practice of Shugendo at Mt

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Ines G. Županov

expediting of relics were taken in Lisbon, and many of the objects initially destined for India were rerouted to other places, in particular Brazil. A cross and a clock with ‘many pieces of the holy cross’ intended for Japan never arrived. 42 For Valignano, formerly a jurist in saeculo , the ‘sacred

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Bosco B. Bae

to systems of practice and meaning have been documented, at the least, since the time of Evans-Pritchard’s account of Azande witchcraft (1937). More recently, David Hicks ( 2008 ), in his account of sacred artefacts in East Timor, illustrated the degrees of beliefs and attitudes persons can have with