Lavishly made Chinese Fragrance a feast of sensational scents
Chinese Fragrance and the art of scent
Yellow glass censer, Four-character mark of Qianlong and of the period (1736 – 1795) Qing dynasty, Glass
The history of Chinese fragrance
With a little twirl, I sprayed a spritz of perfume into the air and moved through it. After placing the bottle back on the shelf, I dusted my collection of perfumes and headed out. This little routine has become a ubiquitous trend, and the fashion industry is expanding it by creating new Chinese fragrance and unique scents.
Pair of New Year woodblock print with censer and flower design, Qing dynasty (1644 – 1911), Woodblock printing on paper, Zhangzhou, Fujian Collection of Shanghai Museum
There is rising demand for customised lotions, aura-cleansing room sprays, and even Myers-Briggs Type Indicator (MBTI) tests to match individuals to personality assessment-derived essential oils.
Upon enjoying my contemporary blends, I couldn’t help but wonder: where did this all begin?
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That curiosity led me to the Fragrance of Time: In Search of Chinese Art of Scent exhibition at the Hong Kong Museum of Art (HKMoA).
Gold-painted stone Sakyamuni Buddha dedicated by Shi Huiying, First year of Zhongdatong period (546), Southern Liang Stone, Collection of Shanghai Museum
Before stepping into the exhibition, I felt trepidation. For decades, contemporary five-star hotels have used scents to create a calming ambience in their lobbies, but how could a museum exhibition communicate anything meaningful about something as intangible as ancient Chinese fragrances?
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I was hopeful the exhibition, co-organized with the Shanghai Museum had some answers.
The exhibition began with a bronze incense burner called a censer. Hill Censer with Phoenix and Turtlestand is a Grade 3 national treasure.
Hill Censer with Phoenix and Turtlestand, Han dynasty (206 BCE – 220 CE), Bronze, Collection of Shanghai Museum
The hill censer was the most distinctive type from the Han dynasty (202 BC–220 AD).
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Designed with a conical lid, hill censers are believed to be miniature depictions of Mount Penglai, a mythical sacred mountain off the eastern coast of China.
Hill censers objects of artistic beauty and spiritual significance
More elaborate versions of these censers incorporate forests, animals and human figures. Hill censers serve as a transport to an imaginative world, objects of artistic beauty and spiritual significance.
Censer with lion-form knob, Ming dynasty (1368 –1644), Bronze, Collection of Shanghai Museum
When lit, scented smoke rises through the apertures, creating a scene reminiscent of clouds or mist at a mountain peak – a divine portal connecting to the immortal realm.
Homes constructed from natural, fragrant wood were another way scents helped people ascend to the heavens. However, only the wealthy could afford to build such homes.
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A more attainable alternative is a house-shaped censer, which became a symbol of a grandeur lifestyle available only to the elite. The Carved Red Lacquer Incense Box in the form of the Imperial Palace is a striking example.
Carved red lacquer incense box in the form of imperial palace, Qing dynasty (1644 – 1911), Lacquer, Shanghai Museum Collection
This lacquerware box exemplifies the finest craftsmanship of the Qing dynasty (1644–1911). Every detail, from the beams and ridge to the eaves, colonnades, railings, and base, is adorned with intricate geometric floral patterns.
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Resting on a Sumeru throne with four hollowed levels, the censer doubled as a storage for incense sticks. Standing before it, it is easy to imagine a wisp of agarwood or sandalwood smoke escaping from the drawer, offering mythical transport in time and place.
Jade Hanging Censer a marvel of craftsmanship
Amongst all the exhibits, my favourite is the Jade Hanging Censer Carved with Openwork Floral Design and Six Loop Handles. Another marvel of craftsmanship, it showcases the sophisticated jade-carving technique from the mid to late Qin era.
Jade hanging censer carved with openwork floral design and six loop handles, Qing dynasty (1644 –1911), Jadeite, Collection of Hong Kong Museum of Art
The artefact’s interlocking chain rings are carved from a single piece of light-green jadeite. Each loop can move independently.
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This intricate design represents a celestial connection between human artistry and nature. Together with the delicate use of precious material, this piece is a reminder of why jade holds such profound importance to Chinese people.
Five-piece altar set in fencai enamel on rouge red ground, Jingdezhen ware, Six-character mark of Qianlong and of the period (1736 – 1795), Qing dynasty, Ceramics Collection of Shanghai Museum
As I continued exploring the exhibition, it dawned on me that the creation of scents has stood witness to the development of Chinese history.
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Fragrances were created by smoking, burning, pan-frying or boiling raw materials. During the Tang dynasty (618–907), new materials such as oil, balm, and tincture were introduced through the Silk Road from the Middle East and the West, adding to the diversity of fragrance options.
Glass perfume bottles, Tang dynasty (618–907)
Among the most coveted items were glass-bottled perfumes adored with images from their exotic origins.
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Amulets and charms – often crafted from metal and animal bones – with intricate hollowed-out designs could serve as containers for scented balms, blending fragrance with personal adornment.
Amulets and charms in various materials
By the Song (960–1279) and Yuan (1271–1368) dynasties, fragrances became more accessible, expanding beyond rituals and the nobility.
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It soon became an essential part of daily life across all social classes. Scented sachets emerged as one of the most worn accessories. These small pouches, typically made from silk, held fragrant powders or dried floral plants and were often hung from belts or tucked into loose sleeves.
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Dried Chinese medicinal herbs were sometimes used as fillings to ward off infectious diseases or even bad luck. Most notably, embroidered sachets became symbols of love.
Pair of kidney-shaped purses with seed stitch and couched gold embroidery of antiquities motifs, Late Qing dynasty, Textile Collection of Hong Kong Museum of Art
They were exchanged between lovers as tokens of affection and commitment. In this way, scents, usually associated with the temporary, could preserve memories and personal sentiments.
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Scenting personal items, such as garments and bed linens, was another way to perfume the body, a practice still used in many cultures.
Left: Covered glass censer with animal mask design imitating coral Late 19th century, Glass, Right: Covered censer with animal mask design and double dragon-shaped handles, Qing dynasty (1644 – 1911), Jade, Collection of Shanghai Museum
During a layover in Dubai, I remembered watching men stand over plates of incense, letting the scented smoke infuse their traditional thobes [Arab robes].
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As they went on to their flight, they left a lingering trace of aroma behind them. This practice is more than just a routine – it is a way of asserting oneself, especially in a world incessantly moving.
Noblewoman waits for the scented smoke to infuse her robe
This same impression is depicted in Chen Hongshou’s Lady Reclining on Cage over a Censer. The painting conveys deep feelings of isolation and confinement.
Lady reclining on a cage over a censer (details), Not dated, Chen Hongshou (1598 – 1652), Hanging scroll, ink and colour on satin, Collection of Shanghai Museum
It depicts a noblewoman daydreaming, looking afar while she waits for the scented smoke to infuse her robe.
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Nearby, her young son plays alone, watched over by a servant girl. This scene offers a poignant glimpse into the contrast between a luxurious lifestyle and an emotional detachment from the surroundings.
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Incense burning is often used today to purify the home, dispel negative energy and create a calming environment.
Lacquer incense table engraved with landscape and pavilion design with giangin technique, Qing dynasty (1644 – 1911), Lacquer, Collection of Shanghai Museum
This was also the practice of the literati during the Ming dynasty (1368–1644). It was an essential part of their intellectual and artistic pursuits.
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In this exhibition, there are two scrolls from the original four-screen Eighteen Scholars series, created by an anonymous artist in the distinctive academic style of the Southern Song.
Left: Playing Zither and Dancing with Cranes, Right: Viewing and Writing Calligraphy, The Eighteen Scholars (calligraphy and zither), Ming dynasty (1368 –1644), Hanging scroll, ink and colour on silk Collection of Shanghai Museum
The paintings, titled Playing Zither and Dancing with Cranes and Viewing and Writing Calligraphy, depict literati enjoying their leisure activities, all while lighting censers to enhance the ambience.
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These artworks highlight incense as an indispensable companion to the contemplative nature of such scholarly pursuits. It is also a reminder that art, in any form, is often about creating a sanctuary where the mind can wander, reflect, be understood and be inspired.
Grey pottery censer with bamboo joint design, Liangzhu culture (ca. 3300 – 2300 BCE), Neolithic period Pottery,
Shanghai Museum Collection,
The exhibition hits home because Hong Kong’s Chinese name translates as fragrant harbour. Tsim Sha Tsui, where HKMoA is located, was known as Heung Po Tau.
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It was a port central to the trade of agarwood, resin and other raw materials transported from Guangdong and other northern Chinese provinces.
Round fan inlaid with carved agarwood in lingzhi and orchid design, Qing dynasty (1644 – 1911), Wood, Shanghai Museum Collection
Additionally, even today, incense burning remains a crucial element in religious ceremonies and serves as a communication medium between the living and the afterlife.
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The ascending smoke into heaven conveys prayers and wishes to ancestors and deities. These connections make the exhibition relatable and resonate with local audiences.
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Smell is the overlooked sense. We often view the past through sights and sounds, overlooking the more intimate perception offered by scents.
Hill Censer in Green Glaze, Han dynasty (206 BCE – 220 CE), Pottery, Collection of Shanghai Museum
This exhibition combines historical depth, cultural aesthetics, and sensory engagement to reveal the significant role that fragrances have played throughout Chinese history.
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Fragrances connect the physical and heavenly realms, transport us to calming environments, provide a connection to Chinese ancestry, help us mark our territory and anchor our memories, and scent containers can even be considered jewellery.
Front: Kidney-shaped purses with seed stitch and couched gold embroidery of antiquities motifs, Late Qing dynasty, Textile. Back: other amulets and charms in various materials
On my way home, my tear ducts were attacked by the overwhelming odour escaping a perfume shop.
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This was a clear reminder that the fragrant harbour near Tsim Sha Tsui is not always fragrant. Although not pleasing, this only deepened my appreciation for the more pleasant experience at the museum, now locked in my memory.
Text Shek Man / Photos Shek Man and courtesy of the Hong Kong Museum of Art
