by Carl F. Neal
Amber: Amber is preserved tree resin and comes from a wide variety of trees. I always try to introduce people to the incredible power within incense itself, so consider this: for any resin to be classified as “amber,” the resin must be at least 100,000 years old. Just imagine an aromatic that has spent its first phase of life growing within a massive, prehistoric tree, reaching into the sky and feeding on sunshine and rain. The material was then forced out of the tree and into the ground for thousands or even millions of years. Think about how much energy such a resin would contain. That is why I’ve always treated amber as a resin associated with earth powers. Some amber was buried under the surface for 200 million years. Interestingly, I’ve never encountered an amber that is appropriate for both making jewelry and making incense. For some reason, the most beautiful amber I’ve ever seen smelled quite awful when burned.
Benzoin (Styrax tonkinensis or S. benzoin): Benzoin is graded into either benzoin Sumatra or benzoin Siam, based on its origin. The two types create significantly different scents, but both are widely used in incense making and perfumery as a fixative.
Camphor (Cinnamomum camphora, et.al.): To me, camphor has one of the cleanest scents of any aromatic. I’m always reminded of a clean room when I smell camphor. The incense community has long debated the difference in scent between natural and synthetically produced camphor, but I think the jury is still out on that one.
Cedar (Cedrus spp.): Cedar is found in many different parts of the world. Different species have their own unique properties but cedarwood has been used in incense throughout written history, and we can safely assume it was used long before then. Most evergreen trees produce resins and woods that make wonderful additions to incense.
Cinnamon/Cassia (Cinnamomum zeylanicum or C. cassia): It surprises most Americans to know that the majority of the “cinnamon” they’ve eaten in their lives was actually cassia. While both are considered “cinnamon” by the USDA, they are distinct plants that have very similar scents. Incense is made from the bark of both of these botanicals, but cassia generally produces better results in incense. Cinnamon and cassia are “hot” aromatics that can lead to nose and throat irritation if used in a high ratio in incense. In small amounts, this is an amazing aromatic.
Clove (Syzygium aromaticum or Caryophyllus aromaticus): This humble herb is actually the unopened flower bud of an evergreen tree. Clove not only has a wonderful scent (it is often at the heart of incense named “spice”) but it also is a tool for incense makers to create incense that burns hotter. A higher burn temperature can help to burn aromatics in the mixture that won’t otherwise burn in self-combustible incense.
Copal (Bureseru microphylla): True copal resin comes from one particular evergreen tree and a few of its cousins. While the trees do grow on other continents, true copal comes only from Latin America. It is available in many different grades and colors depending on the particular species of tree, its age, and how it is harvested. In the current marketplace you can find virtually any resin labeled as “copal.” Purchase from a reputable seller who can verify the origin of the copal for sale to ensure you are getting the proper resin. I have rarely found a well-cured resin with a scent that was unappealing, so no matter what resin you buy, the odds are good that you’ll enjoy it. I think that consumers should know what they are paying for, and it is up to the seller to make that clear.
Dragon’s Blood (Calamus draco or Daemonorops draco):Without a doubt, this is one of my favorite resins, maybe even my favorite out of all aromatics. Dragon’s blood is a dark, dense resin. It gets its name from its thick liquid nature and dark red color. It is a heavy, dominating scent that is excellent alone but should be used sparingly in blends of incense to avoid overpowering the other scents.
Frankincense (Boswellia spp.): Frankincense resin is also called olibanum or boswellia. Olibanum actually refers to frankincense from a particular region, but this name is commonly used to describe all frankincense. Frankincense is likely the most famous of all aromatics in the West. Popular since ancient times, some cultures have used frankincense in unfathomable quantities. Its importance in ancient Western history is truly brought home when one considers that it was one of the three aromatics that the Eastern kings, or wise men, brought to the infant Jesus.
Juniper ( Juniperus spp.): Junipers are found in many parts of the world. Not only the foliage of the tree is used but juniper berries are also used in incense making. The strong evergreen scent is matched by the uniquely sharp characteristics of the juniper. Juniper berries are also called sloe berries and are sometimes used to flavor gin. Juniper has long been considered a sacred aromatic.
Mastic (Pistacia lenticus): This gum has a fairly strong, distinct scent and has been used since antiquity. It was even chewed in some cultures to freshen breath. Incense makers often seek Greek mastic, but it is not produced only there. As one of the softer gums, mastic requires great skill to incorporate it into self-combusting incense.
Myrrh/Sweet Myrrh (Opoponax) (Commiphora myrrah/C. karaf or Opoponax chironium): Myrrh and opponax (also known as sweet myrrh) are often confused in labeling but will never be confused in scent. True myrrh has a bitter, earthy, and dark aroma that only works well when skillfully combined with other aromatics. This botanical is interwoven with many ancient tales. Sweet myrrh, or opponax, has an enchanting scent that is a much lighter and, as the name implies, sweeter scent.
Palo Santo (Bursera graveolens): This is a sacred wood from the Amazon Rainforest. It has only been available commercially for the last decade or so, but it is a truly amazing addition to the incense world. Its strong scent will often draw the attention of animals, so I usually include it in any animal-focused magick. The wood is so filled with resin that after chipping it, the wood must be allowed to dry before further refining it to powder.
Patchouli (Pogostemon patchouli): This famous aromatic is one of the two defining scents of the 1960s counterculture. Patchouli has a distinctive scent that (in my experience) people either love or hate. I am one of the few who has moved from the ranks of the haters to the lovers. Patchouli is a unique aromatic because of the way it is processed. Unprocessed patchouli has an ordinary “green herb” scent. Once it is properly aged and fermented, however, it takes on its classic scent. It is an excellent aromatic for incense making once it is properly prepared. If you’ve ever tried to use patchouli grown at home and been disappointed by the scent, this is the probable reason.
Pine (Pinus spp.): This very common wood makes an excellent base material for incense. It burns hot, it’s inexpensive, and it’s easily acquired. I was surprised to see a discussion in a recent incense-making book about using bases like pine with the advice that using a base is optional and, if used, it won’t alter the energy of your incense blend. That’s just not true. The addition of any materials to your incense can alter both the scent and the energy of any blend. In addition to the wood, pine resin and needles can be used as aromatics. Although needles can be used as a base material, I don’t recommend it because they tend to produce more smoke than does the wood.
Piñon Pine (Pinus edulis): This pine of the southwestern United States produces an amazing resin. I have had the great joy of harvesting piñon, which is quite easy, as piñon generously leaves large chunks of resin on the ground all around it. If you harvest fresh resins like this, you either need to give them many months to cure or boil the water out of them before they are suitable for powdering. You can use “younger” resins in loose incense blends, but expect large amounts of smoke and occasional crackling from the water still in the resin.
Sage (Salvia officinalis or S. apiana): Salvia officinalis is the common “garden sage” that most of us have in our spice racks. The term “sage” is most commonly associated with white sage (Salvia apiana). This classic Native American aromatic is renowned for its cleansing and healing properties. It is not to be confused with “desert” sage (Artemisia tridentata or A. tripartita), which is a com
pletely different plant.
Sandalwood (Santalum album): Here I refer to yellow or white sandalwood. Although there is another wood named “red sandalwood,” the two species are not related. This threatened species of tree is slow-growing and needs to mature to a certain age before it can be harvested. Thus, sandalwood can be expensive.
Storax (Liquidambar orientalis): Often found in combination with calamus, storax has a sweet scent that can overpower lesser aromatics. This balsam has been used by man for millennia as an intense addition to incense blends. It will enhance your intentions, but beware of overindulging yourself.
Sweet Grass (Hierochloe odorata): This amazing Native American aromatic still grows and is gathered wild. Traditionally braided into long strands and used as a smudge bundle, sweet grass is not at all a limited botanical. When combined with an appropriate base wood, sweet grass is also an excellent aromatic for use in self-combusting incense. Easily available in North America, the growth in international trade means it can now also be found anywhere in the world.
Vetiver (Vetiveria zizanioides): Vetiver, more commonly called khus khus, is a unique aromatic with a distinct scent. Khus khus is generally thought of as an Indian spice rather than an incense ingredient. This is one of the many reasons that a certain form of incense stick has come to be called masala (“spice”). Roots of this grass have been used in incense for many generations. This is another strong herb that can overpower more subtle ones. I find it ideal for grounding, be it in a magick ritual or just relaxing after a hard day.
Yohimbe (Pausinystalia yohimbe): Not traditionally considered for incense, yohimbe root is a very interesting aromatic. While often associated with love (or, more accurately, physical love), it has shown me its ability to aid in visions. This is a case where listening to an herb told me something I would not have otherwise guessed. Though difficult to work with, once you use an incense containing yohimbe, you may never do divination again without it.
Endangered and Rare Ingredients
While some botanicals are abundant and easily located, some are rare and more difficult to find. Sadly, some are endangered and are facing extinction. How we treat Mother Earth and her gifts to us says a great deal about us and our respect for Nature. As incense users (and incense makers) we have legal, moral, and ethical obligations to use Earth’s resources wisely.
I want to briefly discuss two primary incense ingredients that are endangered. These botanicals have been in use for thousands of years and are amazing gifts from Nature. The loss of either of these would be far more than a loss to incense users. It would not only deprive future generations from enjoying them in incense, soaps, perfumes, and more—it would also be a tragic loss of biodiversity.
Aloeswood
Aloeswood is one of the most unique aromatics. It is not only taken from a particular species of tree but it also requires some very special circumstances to transform into the aromatic that is so beloved. The resin that we treasure is only formed when the tree itself is under attack, such as from insect infestation (this is likely the evolutionary reason that the resin develops) or a physical wounding from animals. This unique circumstance is why aloeswood is such a rare and precious commodity.
Aloeswood grows in some very poor regions of the world, yet it is more expensive than gold in its highest-quality forms. It should not be surprising, then, that where the trees grow, natives exploit them for profit. Frankly, I feel we have no right to criticize them for their desire to feed and clothe their families. As a result of the profits to be made, the trees have suffered terribly from overharvesting. As if that weren’t bad enough, because of the peculiar circumstances required to create commercially useful aloeswood, there are those who will intentionally inflict damage on the trees in an effort to force the development of the precious resin. This results in many trees, including quite young ones, suffering intentionally inflicted wounds in the hopes of harvesting resin. Sadly, many of these trees die without producing any resin, which leads to a smaller and smaller species population every year.
Before we are too critical of the people doing these things, consider their plight. Poverty eats away at the soul, and if someone offered you a relatively large amount of money for something that was growing all around you, wouldn’t it be nearly impossible to say no? Your first thought would likely be about feeding your children, not worrying that you are selling precious wood to poachers.
The real source of the problem with poachers lies with the consumers. Consumers must know the source of their endangered materials in order to ensure that they are coming from legal, legitimate sources. Such sources do exist, but only the consumer can take the responsibility for looking into this.
Aloeswood is treasured in many cultures. It is used in perfumes and incense, plus there are those who collect aloeswood with the intent to simply hold it in their collection or resell it to another collector. All of this points to the fact that aloeswood is recognized as a true treasure.
In order to incorporate aloeswood into perfume, the resin’s essential oils have to be extracted. This process requires large quantities of wood. The quality of the oil depends on the quality of the resin as well as the skill of the person distilling the oil. That means that extracting oils (which are used in some incense as well) has the potential to destroy a great deal of aloeswood for a very small return.
In incense, the wood itself is most often used. Even low-quality aloeswood has an amazing scent, and incense makers generally add the wood to their blends. In Japanese kodo (a formal Japanese ritual akin to the famous Japanese Tea Ceremony), tiny splinters of aloeswood are enjoyed slowly and individually. As far as environmental impact goes, incense making can be far less destructive than perfumery, but that does not relieve us of our duty to ensure we aren’t hastening the destruction of this amazing aromatic species.
The clear danger here is that our love of aloeswood could eventually lead to its demise. Overharvesting could lead to extinction by destroying the old-growth trees as well as the destruction of the habitat in the process. The other major danger is one that I have already mentioned: poachers. This is one of the primary ways that we as consumers can help to protect all of the vital resources on Earth, including aloeswood: knowing the source of your materials is key. Purchasing from established, reputable vendors is a great way to protect these resources.
Making your best effort is the only good approach, apart from simply never using any endangered materials. There are two drawbacks to avoiding the use of these materials: The first is that you deny yourself and others from enjoying these amazing aromatics. I admit, that is a bit self-serving, but it needs to be included in your thinking. The second reason is less obvious. The money spent buying these aromatics from legal, legitimate sources helps to support the efforts to conserve and protect these resources.
This all sounds a bit depressing, but there is hope on the horizon. In recent years sustainable, managed aloeswood has come onto the market. While still lacking some of the depth that much older trees can produce, I can’t begin to thank enough those who have worked to make these projects come to life. Without them, it is doubtful if future generations would get to enjoy the wonder of aloeswood.
The first hope is the Agarwood Project. The Agarwood Project is sponsored by the Rainforest Project (TRP) and is intended to preserve aloeswood while providing economic support for communities as well. One key aspect of the project is planting and harvesting sustainable aloeswood populations. There is a pilot project in Vietnam right now that is already producing commercial aloeswood. While the quality of this farmed aloeswood has not reached the level of the wild harvested wood, the aloeswood coming out is very nice and improving in quality every year. This is the kind of project that all incense users should support. The future of other aromatics might hinge on the success of projects like this one. The Agarwood Project has been ongoing for some years now, which is why we are able to buy products
resulting from it, and it demonstrates the foresight that is needed to save our precious natural resources. I am deeply grateful to everyone involved in this project and hope that it serves as a model for future economically aware conservation efforts.
In 2007 the second agarwood conference was held in Thailand. This was a gathering of specialist from around the world whose goal was to save this species of tree while keeping the needs of native populations, governments, and ecological realities in mind. The conference discussed a wide variety of topics including legislation, nurseries, genetics, sustainability, and more. Visitors heard lectures, attended discussions, and spent time in the field as well. Again, I hope that this is a model for future conservation.
Sandalwood
There is perhaps no more universally used aromatic than sandalwood. While there are several varieties of yellow or white sandalwood and scents can vary widely within those species, they are all, in a word, awesome. Sandalwood is another unusual plant that is actually quasi-symbiotic. As a result, it only grows and produces its distinctive scent in the perfect environment. Yellow sandalwood is one of the most amazing aromatics I have used. Its scent is strong, ranging from dark and woody to light and sweet. It mixes well with virtually any other aromatic. And not only does it have remarkable olfactory qualities, it also has excellent burning and magickal properties.
I should point out that, although red sandalwood is in even more danger than white or yellow sandalwood, this discussion is specifically aimed at the white/yellow variety. I haven’t purchased red sandalwood in several years and may not purchase any again until I see improvements in the longevity of the red sandalwood species.
Sandalwood is used as a ritual aromatic in many cultures and serves as a holy substance as well. Nowhere is this truer than in India. In this distant land, sandalwood is much more than a nice-smelling wood; it is sacred and serves in many different revered roles. As a result, it has a place in many different phases of life. From birth to death, sandalwood accompanies people at critical moments of life. Traditional funerals in India have often included the burning of huge quantities of sandalwood. When you consider the size of the population of India and the ever-shrinking supplies of sandalwood, it is easy to see the problem. The rituals of death are so important in most cultures, that we cannot overstate the importance of this issue to many in India.