Incense Magick (7 page)

[contents]

3

Incense Ingredients

M
any books will give you a more in-depth look at the huge variety of aromatics that are used in incense making. The listing that follows isn't intended to be comprehensive or detailed but rather just an introduction to the wide world of incense. Check the bibliography of this book for some good ideas on where to go with your research. Remember that any associations that might be mentioned in the descriptions here should not be taken as a rigid fact. Spend time with the aromatics and they will speak to you and guide you in their use. For those who purchase incense, find an incense maker who will disclose the ingredients or create custom incense for your needs if you want specific blends. If all else fails, you can buy single-aromatic incense and use the air-mixing technique described in chapter
6
.

Aromatics

Acacia
(
Acacia senegal
):
Also known as “gum Arabic,” it has a somewhat astringent scent, almost like a mint. The scent is quite mild, and acacia is primarily used in incense for its magickal properties or as an incense binder.

Aloeswood
(
Lignum aquilariae
):
Aloeswood is normally graded into one of six different types (kyara, rakoku, manaka, manaban, sumotara, and sasora) based on the place of origin. This is the most highly regarded aromatic in Japanese incense (and the foundation for the kodo ceremony) and is treasured across the world. Also known as iron wood, agarwood, and eaglewood, aloeswood is endangered in the wild.

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 completely 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.