by Carl F. Neal
After casting a circle, if you choose to use one, and invoking all of the elements, you may call to Bast and ask for her help in the work that you plan to do. As she is my patron goddess, this is something that I do frequently. Occasionally I follow an invocation similar to this one and do nothing more than offer my thanks for all that is given to me. Sometimes that process can lead me to tasks I was not aware that I needed to complete.
Before adding the incense pellet(s) to your censer, call upon Bast to work with you:
Great Goddess Bast
Patron Goddess of cats and
fierce protector of her children
We/I invite you to this circle we/I cast this night
Please bring to us/me your wisdom, your compassion, and your empathy
That we/I might be blessed with your energy
and guidance in all that we/I do here
Please accept this meager offering
to your mighty spirit.
Once the invocation and offering has been given, place the moist incense into your censer. Allow the scent to fill the space. To further raise energy and draw the power of Bast, you may wish to chant:
Join us/me Goddess, enter here tonight
Bring us/me your wisdom and power
If this is your will
You can continue to chant as long as you feel power raising. Be aware that this type of chanting can draw a great deal of energy and results in a very warm room when performed indoors. Once you feel the strong presence of Bast, move on to your other work. Be certain to thank the goddess any time you ask for her help or energy in any of the working that you do. When your work is done and you are releasing other powers, such as the elements, release Bast before any others. “Go if you must, stay if you will,” is a traditional way to release any power.
Invoking Earth Power
I have always felt that moist incense, especially traditional Japanese nerikoh, is closely tied to earth powers. This invocation is very similar to the Invoking Air meditation given in the powdered incense section, and it is aimed at the same purpose: to draw powerful elemental energy into your circle while forming a stronger personal bond and understanding of that element.
Generally when one is working with elemental powers, it is common to work within a magick circle. If this is your choice, then perform this meditation when you invoke the northern quarter of your circle. If you prefer to do this as a stand-alone meditation, you need not draw upon the other elements. The former method is preferred when calling upon earth powers to aid in the work you are doing, while the latter is better as a meditation on the nature and relationship with earth.
Carry your censer to the northern quarter of your circle or, if you are doing this outside a circle, place it so that you can face north and the censer is between you and the northern horizon. Light your charcoal if you have not already done so. While it is always important to ground yourself anytime you are working magick, I think it is especially important when working with earth energies. With that in mind, carefully ground yourself and focus on your breathing for a few moments to quiet your mind.
Add a single moist incense pellet to the heat and focus on the censer. Try to position the censer so that you are sitting, facing north, looking down on the censer so that you can see both it and the ground upon which it rests.
I believe you can enhance this process even further if you use a stone or clay censer placed directly on the ground. Clear your mind and allow your eyes, and even your nose, to see the earth energies gathered at your censer. If you are using this meditation to draw energy into your circle, focus on the ground and visualize earth energy coming up around your censer and into the circle. If you are using this as a meditation, you can watch the energy gather and pool around you, absorbing into you. Earth energy is warm and heavy and is extremely comforting.
Non-combustible incense has many uses in magick. It is the most popular way to incorporate incense into ritual magick. It offers scent, dancing smoke, and a level of control that is difficult to achieve with self-combusting incense. You do have a trade-off, naturally, as non-combustible incense requires an external heat source; is most subject to interference from breezes; and generally requires more paraphernalia. For the ease of preparation and more precise control it offers, non-combusting incense is the perfect choice in many situations.
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9
Asian-Style
Incense Burning
Nowhere has the art of the censer and charcoal been brought to a higher level than in Asia. Whether in China, Korea, Vietnam, Japan, or other parts of the Far East, the preparation and use of the censer is an art form. The techniques and approaches used in Asian censers are easy to apply to Western practices as well. Censers for magick, ritual, or just for pleasure all benefit from the detail and traditions of the Far East.
I want to preface this section by acknowledging that I am no Japanese incense master. I have not been formally schooled in kodo (and yes, there are many formal schools for learning kodo, including at least two in the United States), although I have been lucky enough to participate in several kodo ceremonies. What follows is my own interpretation of kodo and is definitely not the way that a Japanese master would teach the ceremony. Again, if you are interested in performing a true traditional kodo ceremony, there are several excellent books on the topic as well as videos and organizations that can give you traditional instruction.
In addition to the highly formal kodo ritual, there is also a wide assortment of incense games that have come from traditional Japanese sources. These games are easy to adapt to Western incense practices and you’ll find Westernized versions of several of these games later in this chapter.
Critical Elements of Asian-Style Burning
This approach to incense use relies on the availability of appropriate materials and, to do it well, a great deal of practice. Fortunately, it’s easy to translate many of the tools and techniques for any use from casual to high magick. There are three critical components to emulate the kodo-style of burning: ash, charcoal, and a mica plate.
It is also important to understand that traditional kodo is focused entirely on a single aromatic: aloeswood. Naturally, this implies a limitation that isn’t actually present. When I first learned that kodo only used aloeswood (with the occasional inclusion of sandalwood), I felt that it would be quite limited. That belief grew from a lack of experience with aloeswood. As I gathered experience with this remarkable aromatic and came to understand that this was not a limitation, I also opened up my thinking with regards to all aromatics. Aloeswood and sandalwood in particular, but all aromatics to differing degrees, vary widely from plant to plant, valley to valley, region to region, and continent to continent. Learning to detect the subtle (and sometimes not so subtle) differences between different types and grades of aloeswood not only helps refine and improve one’s incense palate but heightens awareness of the subtle differences in all aromatics.
David Oller once told me, in the midst of a heated discussion, that he could create at least a hundred different sandalwood combinations, each with a unique scent, out of his personal collection alone. I believed him then and I believe him now. Of course, we were debating the value of recipes for incense blends1 and not the subtleties of scents in sandalwood, but no matter. His statement is still very accurate and important for any user (be it an incense “connoisseur” or a complete novice) to understand and always remember.
Ash
One of the keys to the Asian approach to censers is something I’ve mentioned before: ash. Ash is a key to all aspects of loose incense burning in Asia. The ash most commonly used, often called white ash due to its light color, is generally pure ash from bamboo. Because of this, the ash has virtually no scent even when heated. Ash used in rituals (such as the kodo ceremony) is generally of the highest quality and therefore produces the least scent. It is often sold in fancier co
ntainers and labeled “ceremonial ash.” Even “ordinary” white ash is excellent for any censer.
Charcoal
A second important part of the Asian approach to loose incense is the charcoal. Unfortunately, we in the West have gotten used to low-quality “self-lighting” charcoal. The problems with this type of charcoal are many fold because self-lighting charcoal is loaded with potassium nitrate (also called saltpeter). This creates several problems. The potassium nitrate creates a foul odor. Even if the charcoal is allowed to sit and “vent,” its smell is still horrid. Any aromatics you burn on such charcoal will blend their scents with that foul odor. This is always a problem for incense users, but it is particularly bad if you are trying to enjoy some very expensive aloeswood or sandalwood!
We know that self-lighting charcoal burns very hot, and this is the exact opposite of what incense users need, especially for kodo. High temperatures cause aromatics to burn very quickly. A sliver of aloeswood could cost $30 or more, which would be gone in a matter of seconds on self-lighting charcoal. It will burn so quickly that you might never be able to pick out the scent of the wood at all.
Self-lighting charcoal can even harm your ash. The scent from the saltpeter can permeate the ash and cause the ash itself to smell. Although the scent can be reduced through proper care, it is far better to keep the ash scent-free rather than trying to repair it after the fact. The ash from self-lighting charcoal smells almost as much as the burning charcoal does.
Rather than using this low-quality self-lighting charcoal, proper Asian charcoal is made from low-scent ingredients with no potassium nitrate. It is made from pure charcoal powder (usually bamboo, but sometimes other woods are used) and a binder so that it can be shaped into bricks. Low-scent charcoal generally burns just as long as self-lighting but at a much lower temperature. Beyond the lower temperature, Asian charcoal is also safe to bury below the surface of the ash in the censer. As mentioned in chapter 7, burying the charcoal is an excellent way to gain control over the temperature of the burning aromatics.
Mica Plate
A final key factor in Asian-style loose incense is a mica plate. This thin layer of mica (a mineral) is generally edged with silver (to make it easier and safer to handle) and placed atop the ash over the burning charcoal. This provides a flat surface to hold the aromatics. The plate also serves to heat the aromatics evenly, as the mica will heat to a consistent temperature over the whole plate.
The combination of ash, low-scent charcoal, and a mica plate give incense users nearly complete control over the temperature of the aromatics. As the next section will show, this ancient approach to incense burning is perhaps the best system ever devised short of modern electric incense heaters. Some of us think that the ancient approach is still superior to modern heaters.
Preparing the Censer
As with many other processes that have caught the Asian imagination, incense burning has been elevated to high art. The preparation of the censer has many rituals associated with it, but I will only touch on these lightly in their traditional role. As you will see, these traditions lend themselves well to magickal use. Although I will discuss and show several of these traditions, any readers who wish to learn more about Asian incense traditions will find several excellent books on the topic. Check this book’s bibliography for the titles of the best-known books on the topic.
To prepare a censer in the kodo-style, you will need two round censers (a ceramic censer called a koro is traditional and its shape will produce the most satisfactory result), ash to fill the censers, two identical bricks of low-scent charcoal, tongs (small pliers will usually work), a toothpick or skewer, a pair of tweezers, and a mica plate (a small ceramic tile could be substituted).
Light the Charcoal
Never use self-lighting charcoal for this style of burning. Traditionally, the charcoal is held in metal tongs over a flame. Turn the charcoal regularly to allow all the edges to light. The charcoal is then placed in a separate censer just for allowing the charcoal to properly warm. This allows the charcoal to glow evenly and completely and to discharge any minor scent it might have. When the censer used for actual incense burning is prepared, the burning charcoal is transferred to the prepared censer.
Prepare the Primary Censer
Once the charcoal is lit and resting in a safe place, the primary censer can be prepared. Begin by filling the censer roughly two-thirds full of ash. Again, white ash is best, but any low-scent ash can be used. If you are recycling ash (which is an excellent idea) you might want to screen it first. The simplest way to accomplish that is to pour the ash through a wire mesh sifter. I don’t recommend sifters that use an arm to force the ash through the screen (like many flour sifters have) as any resins or other soft materials can become trapped in the mesh and prove very difficult to remove. It is better to pour the ash into the sifter and gently shake it until all of the ash has passed through. This step also helps to trap additional air in the ash which will improve the burning characteristics of the charcoal buried beneath the ash.
You can sift the ash directly into your censer, but it is usually easier to sift it onto a sheet of paper and then pour the ash into the censer. Whichever way you choose to do it, once the ash is in the censer, lightly tap the censer on a solid surface to slightly compact the ash. Don’t overdo it or you’ll lose some of the benefits of sifting the ash. Once the ash is in the censer, level it out (most easily accomplished by gently shaking it side to side). Use an unlit charcoal brick the same size as the one you’ve lit to make an impression in the center of the ash. The impression should be as deep as the charcoal brick is tall. Carefully remove the charcoal brick (perhaps using tongs) and it will leave a perfect space for the burning charcoal.
Ash-filled censer with an impression for charcoal.
Place the Charcoal and Build the Volcano
Once the burning brick is completely glowing and the ash is prepared in the primary censer, you can transfer the charcoal. Obviously, the charcoal is hot and can easily burn you. Use tongs, pliers, or (more traditionally) metal chopsticks to transfer the charcoal into the impression in the charcoal. Place it into the impression very carefully so that it is level with the top of the ash or slightly below the level.
At this point comes the first truly delicate part of the process. Carefully begin to mound ash over the top of the charcoal. The goal with this step is to create a “mountain” or “volcano” of ash over the top of the charcoal. You want to create a tapered mound of ash that comes to a point directly over the burning charcoal. This volcano should be roughly 1½ inches tall, although the height should be adjusted to fit the censer you are using. The volcano should never extend beyond the top of your censer.
Ash “volcano.”
Once the ash volcano has been formed, you can then create many different traditional and non-traditional shapes in the ash. Simple parallel lines or lines that are drawn in opposition to one another are often added. You can also draw magickal symbols or forms into the volcano if you desire, just make certain to draw quickly as the charcoal is burning away under the ash. Once you’ve drawn any desired symbols in the ash, a hole needs to be put through the center of the ash to the charcoal. Use a skewer or toothpick to penetrate the center of the volcano all the way down to the surface of the charcoal.
Piercing the volcano with a toothpick.
Place the Plate
Once the hole is pushed into the volcano, the mica plate can be placed on the top. The mica should be placed directly over the hole in the volcano. If no mica plate is available, a small ceramic tile or metal plate may be substituted. In a pinch, even a small square of aluminum foil could be used. The plate rests over the hole, which is directly above the charcoal. This means the heat will travel upward to the plate, creating indirect heat for your aromatics. Once all the elements are in place, you will have great control over the heat in your censer. If you find that
the plate is not heating enough, you can gently push it down farther into the ash volcano. If you find that it is too hot, you can remove the plate, add a tiny bit of ash to the top of the volcano and replace the plate or, more simply, remove the plate and use your skewer to push the charcoal down a bit more into the ash, and then replace the plate. The farther apart the charcoal and the plate rest, the cooler the plate will be. The closer the two rest, the warmer the plate will become.
Using this approach for loose incense will allow you to get the most from every aromatic you burn. It gives you great control over the heat applied to the aromatics, keeps smoke to an absolute minimum and produces the purest scent possible short of creating joss sticks or cones. Although the technique seems elaborate, it is actually fairly simple once you become familiar with it.
Listening to Incense
What has been discussed so far is strictly part of the mechanical aspects of this Asian technique. This is, in fact, the least important factor when you examine the heart of kodo and kodo-inspired incense burning styles. The most important aspect of kodo, at least from some perspectives, is touching the power of the amazing aromatics. These incense materials are so revered that the experience transcends merely smelling the incense. The Japanese teach a tradition of “listening to” incense. While it may seem an odd way to look at things, with further thought and experience you will learn that there is a tremendous amount to be said for this approach to most areas of your incense use.
I have taught all of my students to use incense burning as an opportunity to learn and grow. I always reinforce the idea that no particular traditional association or practice will work for everyone, and if it does it may not work in the same way. I encourage everyone to begin building their “incense vocabulary” by taking time to sit with single ingredients and “listening” to what that aromatic has to say. If you still your mind and allow yourself to hear, aromatics will whisper their secrets to you. When I learned of the terminology used in kodo that described exactly what I had taught for years, I knew that this form of art had truly deep roots.