Gold Mirrors and Tongue Reflections – A Brief Introduction to the Academic Beginnings of the Tongue Diagnosis Tradition

Picture of Ioannis SolosBy Ioannis Solos


In pre-modern China, outbreaks of infectious/communicable diseases such as typhoid, plague, influenza, smallpox etc. were terribly common and dangerously contagious. Therefore, during such times, taking the pulse, speaking with the patient and even using acupuncture would often be a reckless way to interact with the sick.

For remedying this situation there was a great need for the development of a new approach in diagnosis, so physicians would be able to provide appropriate treatment while having minimal physical contact with the patient.

The first systematic Tongue Diagnosis system first appeared during the Jin and Yuan Dynasties, as an alternative to the Pulse method. It derived from the works of Scholar Ao (real name and period unknown) who was perhaps the first doctor to produce an ensemble of 12 tongue illustrations, in which appeared the common ailments of his era. Along with every image he also suggested a formula which – in his opinion – would be sufficient to appropriately manage each condition.

However, his manuscript, known as Little pieces of Gold (Shang Han Dian Dian Jin) was never meant to be public, and it appears that it has only been transmitted from teacher to selected disciples within closed circles, for centuries. This fact is also well described in Xue Li-zhai’s preface to the Scholar Ao’s Gold Mirror records, where it is said that:

‘Gentleman Ao set his own rules on the tongue diagnosis, and he thought that [they summarized] the essence for this special system. At the same time he wrote two books, the Little Pieces of Gold and the Gold Mirror Records, both [to be kept] as a secret and not be passed on. During [Emperor] Zheng De’s Wu-Chen year (1508) I met a person who was able to observe the tongue and prescribe [accordingly], and always with good clinical results. So I invited him to my home and tried to inquire about his method, but he refused to further elaborate about it.’

Page from "Scholar Ao's Gold Mirror Records"

A page from the Imperial compilation of the “Scholar Ao’s Gold Mirror Records” Underneath each illustration there is a short explanation and a treatment approach including an herbal formula. Qing Dynasty circa 1850.

Historically, in 1341, a scholar from the Hanlin Imperial Academy named Du Qing-bi acquired a copy of Ao’s manuscript. He edited the original text and further contributed to it, with an additional 24 illustrations to a total of 36. He therefore presented a more complete overview of the various tongue reflections according to his own ideas. His book was eventually named Scholar Ao’s Gold Mirror records (Ao Shi Shang Han Jin Jing Lu) (Illustration 1). This book was very easy to use, but also extremely profound. It demanded that the doctors work out the essence of the tongue differentiation system by studying the 36 tongues and then further developing their own personal understanding via clinical practice and meticulous research.

Du Qing-bi in his original introduction summarizes this as follows:

‘The earliest twelve tongues [in Ao’s manuscript] unfortunately did not cover all the [possible] patterns [and therefore] I [personally] added twenty four illustrations and [the appropriate] treatment method on the left side, containing the formula. From each section, [you should] advance progressively, in order to determine the subtleties of life and death.’

However, in rural areas where there were no doctors, common people could also match the patient’s tongue to the appropriate illustration (much like in Ao’s original system), and prescribe medicine in the hope that the patient could be saved.

Ma Chong-ru records this in his endnote as follows:

‘Although some places may lack good doctors, however they should have some reference materials to assist the situation. For those who have no [such materials to provide some] cure; only the destiny may determine their life and death. [Therefore] the easiest path to treat the cold damage is by using cut-blocks for printing and to spread [the knowledge].’

Illustration from “Essential Teachings on Tongue Observation in Cold Damage”

A tongue illustration from the “Essential Teachings on Tongue Observation in Cold Damage” and part of the summary on the grey tongue theory. Rare handwritten copy in the author’s possession, late Qing Dynasty, Guangxu era.

During the Ming Dynasty, and following the popularity of the Scholar Ao’s Gold Mirror Records, appeared the Essential Teachings on Tongue Observation in Cold Damage (Shang Han Guan She Xin Fa) (now lost in the print version). This book was a lot more detailed, and containing a total of 137 tongues. (Illustration 2) The Essential Teachings on Tongue Observation in Cold Damage provided each tongue with a lengthy explanation, formulae, and a poem to assist memorization. Although significantly more detailed than Ao’s manuscript, it never surpassed its predecessor in popularity. It appears that matching up the patient’s tongue to one of the 137 illustrations was a much harder task, and the lengthy explanations ultimately confused the doctors who wanted to fathom the author’s “root” methodology.

Eventually, during the Qing Dynasty, Zhang Deng edited/simplified the Essential Teachings on Tongue Observation in Cold Damage down to 120 tongues. Like he states in his introduction to The Tongue Reflection in Cold Damage:

‘[In this work] I corrected the mistakes appearing on the text of Guan She Xin Fa, dismissed all of its disordered inaccuracies, and thrown away the information that was not concerned with the cold damage. I have also added materials from my father’s case studies and notes on treatment, as well as materials from my own personal experiences. In total there are one hundred and twenty illustrations.’

A handwritten version of “Tongue Reflection in Cold Damage”

A handwritten version of the “Tongue Reflection in Cold Damage” with coloured illustrations. This variation also fully presents the structure of the formulae mentioned in the text, in accordance with the tradition in “Scholar Ao’s Gold Mirror Records”. Late Qing or early Min Guo manuscript.

The Tongue Reflection in Cold Damage (Illustration 3) was much simpler and easier to use, and it was reprinted continuously until the 1960’s, when it was finally replaced by modern tongue manuals.

To summarize, the Scholar Ao’s Gold Mirror records and the Tongue Reflection in Cold Damage have intimately influenced the development of modern Tongue Diagnosis, and they are still regarded as the core materials for exploring the theory of tongue diagnosis in depth.


These days, I believe that in order to better facilitate the westward transmission of Chinese Medicine, scholars should present complete ideas about their specialty, and provide a functional understanding of both the content and the history of their chosen field. In my opinion, the best way to accomplish this is not by randomly translating famous books or by providing many alternative translations of the same texts over and over again, but by presenting collections of important manuscripts arranged in such a way that can clearly demonstrate how each branch of TCM was developed.

In my humble book the Gold Mirrors and Tongue Reflections, I provide a translation of both the Scholar Ao’s Gold Mirror records (Ao Shi Shang Han Jin Jing Lu) and the Tongue Reflection in Cold Damage (Shang Han She Jian).

Having been researching classical tongue diagnosis for nearly a decade, I now wish to present my modest collection of influential tongue monographs, not only with the publication of this book but also through a companion volume currently in progress. I hope that my work will positively contribute to the further development of tongue research in the west, and assist my fellow TCM practitioners to develop a proper understanding on the academic origins of Tongue Diagnosis before accessing modern manuals.

All illustrations come from the author’s private collection of tongue manuscripts.

© 2012 Singing Dragon blog. All Rights Reserved.

 

Prana Mudra with Cain Carroll

This is the second video in Cain Carroll’s ‘Mudra Moments’ series. See here for part 1: Apana Mudra.

In this two-minute mini-class, Cain Carroll introduces Prana Mudra, a traditional Indian hand mudra which improves overall vitality and immunity, activates the body’s self-healing capacity, improves concentration, and strengthens stamina and willpower.

More information on Prana Mudra, including technique, application, benefits and sanscrit notation, can be found in Mudras of India: A Comprehensive Guide to the Hand Gestures of Yoga and Indian Dance.

Apana Mudra with Cain Carroll

In this two-minute mini-class, Cain Carroll introduces Apana Mudra, a traditional Indian hand mudra which improves digestive health and elimination (including easing constipation and hemorrhoids), and helps to regulate the menstrual cycle (alleviating cramping, dryness and clotting).

More information on Apana Mudra, including technique, application, benefits and sanscrit notation, can be found in Mudras of India: A Comprehensive Guide to the Hand Gestures of Yoga and Indian Dance .

Look out for more videos in the series of Mudra Moments coming soon to the Singing Dragon blog.

Master Wu plays ‘Misty Clouds Over the Xiao and Xiang Rivers’ on a silk stringed Qin

In this exclusive performance, Master Zhongxian Wu plays ‘Misty Clouds Over the Xiao and Xiang Rivers’, on a silk-stringed Qin.

 

 


Master Zhongxian Wu is the lineage holder of four different schools of Qigong and martial arts. He was Director of the Shaanxi Province Association for Somatic Science and the Shaanxi Association for the Research of Daoist Nourishing Life Practices. Since 1988, Master Wu has instructed thousands of students, both Eastern and Western. He synthesizes wisdom and experience for beginning and advancing practitioners, as well as for patients seeking healing, in his unique and professionally-designed courses and workshops. Please visit www.masterwu.net for details about his teachings.

© 2012 Singing Dragon blog. All Rights Reserved.

A Real Pain in the Neck! By Noah Karrasch, author, bodyworker and educator

Picture of Noah KarraschOne of my mentors developed some quite interesting ideas. Much as I’d like to share them specifically and credit him, he and his wife long ago decided that to keep his message pure, they didn’t want him quoted or credited, because they feared his work and ideas would be misrepresented. So, sort of like the reverence with which I hold MY interpretation of John Pierrakos’ work in CORE Energetics, I’d like to share a bit of MY interpretation of a different take on neck pain, fuzzy headedness, and poor health in general. I’ve sprung forth from the wisdom of the unnamed mentor.

We’ve all heard the term “Get your head on straight,” and most of us can see or feel how our heads live too far forward, in front of the rest of our bodies. Many of us use bodywork, postural work, or other awareness therapies to help us hold our heads high and keep them there. It’s not easy! Between driving, sitting in cars and recliners, pursuing intense close detail and breath-holding work (as a hobby or professionally), or for any of a hundred more reasons, we tend to sit and stand with our heads in front of our trunks and hearts, instead of allowing the heart to arrive first and the head to ride on top.

an image of the Atlas wedge in bad alignment

Bad alignment of the Atlas wedge

Image of the Atlas wedge in good alignment

Good alignment of the Atlas wedge

Let’s examine the bones involved here, namely the cranial bones including the occipital bone right at the back base of the skull. Just below it we find the seven cervical vertebrae or spinal bones. Imagine these seven have fingers on each side of the main body, and a little tail at the back of each, with muscle tissue running in every direction to/from all of them. Any one of these bones can get jammed/shortened/twisted in a way that nerve impulses leaving the spinal column above or below that bone get slowed down. It’s hard to send the full message through a clogged channel. As these cervical bones gets out of line, not only the neck, but the head, shoulders, and even arms and wrists can suffer. So, how do we keep the head on straight?

This mentor believed that demons and entities attached themselves to us, right at that place on the back of the neck where skull and neck meet. He claimed the physical sensation generated by these psychic attacks caused the first cervical or atlas bone to move forward, further jamming the spinal column, with the occiput and the axis bone immediately below the atlas pinching this atlas forward and tight.

I never particularly liked the language of demons and entities and for years I simply thought of these ‘energies’ as negative thought forms. After all, if they’re shortening and tightening your neck in a way that deprives your brain of energy, aren’t they negative? In the last couple of years I’ve been reassessing that term and now call these energies ‘unresolved’ thought forms. To me, I’ve therefore assumed responsibility for that which is occupying my space; even if it was directed at me (positively or negatively) by someone else. I believe in trying to take the ‘negative’ out of the situation and working instead at resolving the thought form in the mental and spiritual realms before tackling the physical body.

To that end, ask a client to sit, stand, or lie straighter or longer with chin down, back, and into the chest while the back of the neck pushes straight back; then to breathe. While they breathe I encourage them to allow angers and anxieties to leave even before I apply gentle neck traction. Then, with all these pieces in place, I believe we do the work of helping clients find their true north, their ‘up’. As they physically allow opening, some of the unresolved thought forms can move themselves. Or, as they work to release unresolved thought forms, won’t the neck feel looser? Won’t blood and nerve supply nourish the brain and suddenly make thoughts clearer?

It’s simple; it’s not easy!

 


© 2012 Singing Dragon blog. All Rights Reserved.

Master Zhongxian Wu demonstrates a section of the Fire Dragon Martial Arts Form

In this exclusive video, view a powerful demonstration of a section of the Fire Dragon Martial Arts Form, from Master Zhongxian Wu.


Master Zhongxian Wu is the lineage holder of four different schools of Qigong and martial arts. He was Director of the Shaanxi Province Association for Somatic Science and the Shaanxi Association for the Research of Daoist Nourishing Life Practices. Since 1988, Master Wu has instructed thousands of students, both Eastern and Western. He synthesizes wisdom and experience for beginning and advancing practitioners, as well as for patients seeking healing, in his unique and professionally-designed courses and workshops. Please visit www.masterwu.net for details about his teachings.

Copyright © Singing Dragon 2012.

 

Using Shiatsu to Support Infant Development, Step by Step: An Interview with Karin Kalbantner-Wernicke

‘An important part of what we do is trying to put parents and baby in a different connection, where the parents are more aware about the needs of the baby – and also aware of their own needs.’

In this interview, author and Shiatsu practitioner Karin Kalbantner Wernicke recounts the travels through Japan that helped her to compile the techniques that form Baby Shiatsu, describing the very real benefits that these techniques can bring to parents and to babies from both Eastern and Western medical practice.

Picture of Karin Kalbantner-Wernicke


What is Baby Shiatsu and why is it so important for young children?

Baby Shiatsu is a special form of Shiatsu which really looks into the development of the baby from both a Western and Eastern viewpoint. It follows what we know about infant development from Western medicine, but we also use the Eastern viewpoint to look at how the meridians develop. When you use both approaches together, they give a more complete understanding of a child’s development, and of the interaction between parents and children.

It is also really important, in our opinion, that Baby Shiatsu supports the child at the stage they are at in the present, without any preconceived ideas of what the child should be doing either now or later on in life. When doing Baby Shiatsu, we are just thinking about what is necessary for the child now, and what a parent can do now to help their child take their next step in their own time.

Baby Shiatsu also offers so much support for the little daily problems – when babies are teething, when they can’t sleep, if they have gas. There are so many simple techniques from Shiatsu that parents can use to support their child.

How did you develop this approach?

That’s a long story! Many years ago I studied Shiatsu and I lived in Japan. While I was there, I was of course influenced by their approaches to health. After coming back to Germany I met my husband who had previously worked as a doctor in the Philippines. As he was also interested in Oriental Medicine we went together to Japan where he studied Shonishin (special acupuncture for children). I’m also a physical therapist, and my husband is a doctor, and we both specialise in working with children and babies.

When we were in Japan, we wanted to understand how all of these different therapies help children and babies – where they differ and what they have in common. So we travelled around Japan, we made a film, and we analysed what different therapists were doing and the impacts that these different techniques had. We also met families who used techniques passed from mother to mother to mother, through the generations. During this time, we discovered many techniques and views, and we put them together with what we already knew from theory and practice. You see, in Japan one thing that we saw was that sometimes, even though the techniques worked wonderfully well, the therapists themselves couldn’t explain why they worked. We, with our education in oriental medicine, modern physiotherapy and western development could really see how these varied approaches support one another, and how they work together. This is what Baby Shiatsu is based on, but it is growing year by year. New studies and observations continue to bring out new ideas and techniques, and we take this all in, as well as feedback that we get from parents and colleagues.

What are the changes that you see when you work with children?

You can see many changes – for example, when you do Baby Shiatsu in the hand and arm with a baby, suddenly the baby can develop a real consciousness of their hand – you see them realise ‘this is my hand!’

But what is really important for us is to teach parents to see what their baby or young child needs – when it’s time for a break, when it’s time to cuddle, when it’s just time to do nothing. When this baby becomes conscious of their hand, he or she needs time to lay there, to look at their hand, to touch their hand, whereas most of the time the parent just wants to go on. It’s difficult to understand when to slow down. Nowadays, parents want so much for their baby. An important part of what we do is trying to put parents and baby in a different connection, where the parents are more aware about the needs of the baby – and also aware of their own needs.

In your book you show that Baby Shiatsu can also be used to help parents support themselves – can you tell us about that?

There is a Japanese saying: ‘If you want to strengthen the baby, strengthen first the mother or father.’ When we are doing mother-baby shiatsu classes it’s very important to always work on the same developmental theme, or Qi flow, with both baby and mother. Nowadays, more and more fathers and mothers are coming together to sessions with baby and that’s great – it really supports the whole family and many of these techniques get great feedback from the parents. Parents can even use the techniques that we teach them on each other if they have any problems.

Baby Shiatsu is so simple to use, and because we don’t use oil and the baby remains clothed you can do it everywhere – if you have a few minutes to spare you can do it with the hands, or with the feet. It’s really very practical.


© 2012 Singing Dragon blog. All Rights Reserved.

A Meditation on Scent

By Jennifer Peace Rhind, author of Essential Oils 

Photo: Singing Dragon author Jennifer Peace Rhind

Author photo: Robert Taylor

The ultimate goal of meditative practice is to reach the state of pure awareness that is known as Nirvana, enlightenment or truth. However, it is the secondary benefits of meditation that are regarded as more achievable, and these are improvements in physical, mental and emotional health. Meditation allows us to detach ourselves from the transient realm of the mind and emotions, and enter a mode of awareness and allowing, or receptivity. There are two main approaches – concentration (associated with Yoga) and mindfulness (or insight, a Buddhist practice).

Scents, in the form of oils, candles or incense, are often used to enhance meditation. An appropriate fragrance can encourage a meditative state. Indeed, the preparation of the scent, such as lighting the candle or joss stick might even form part of a personal ritual that precedes meditation. However, despite this close association, scent is usually an adjunct, not the focus of the meditation. The focus might be concentrating on a flame, a mantra, or the breath, or, in the case of mindfulness meditation, allowing an unbroken, detached attentiveness to any thoughts and sensations that arise.

So, how has scent become linked with meditation? The use of aromatic substances to elicit particular responses via the sense of smell was integral to many cultures and life practices. These early uses included sacred and ritualistic practices such as anointing with fragrant oils and offering rites to gods; embalming and medicinal practices; as cosmetics, fumigants and mood-altering substances; as spiritual and philosophical healing systems; and for ritual stimulation of dreams and visions. Therefore aromatic substances were from the earliest times used as a means to alter mental states as well as for pleasure. It is now well established that scent can alter moods, perhaps by imparting a sense of calm, or clarity, or vitality. Some fragrances can even bringing about altered states of consciousness. For example, many shamanistic practices involve burning aromatic plants to alter consciousness and allow communication with the animal, plant and spirit worlds. It was priests and shamans who were the first healers of the psyche…

Meditation often begins by focussing the mind and attention on a sensory stimulus –usually a visual or auditory one. From there, you progress to the point of being alert and receptive, and eventually the division between the self and the focus of the meditation becomes blurred and disappears. As the mode of consciousness changes, different perceptions come and go.

Therefore scent too can become the initial focus of a meditation. We can focus on the scent, becoming aware of the different layers, as the top notes fade while the middle and base notes emerge. Analysis is not needed, and this removes us from the ‘problem solving’ state of mind and aids the shift to receptiveness – so we become centred in awareness rather than our mind. The interesting thing about scent meditation is that it seems to encourage creative awareness.

The following scent meditation can be used with the fragrances of essential oils, and you might like to start with the oils that we have highlighted. It is best to dispense a couple of drops on a smelling strip or blotting paper to allow an even and unhindered evaporation; this allows the true fragrance to evolve. The meditation was originally designed by the artisan perfumer and psychotherapist, Mandy Aftel, and has been adapted from her original script.

A meditation on scent

Prepare your chosen essential oil, and sit in a comfortable position, in a place away from other smells and distractions. You might like to close your eyes and count backwards from 30 to help to still your thoughts, or take a few unforced, deep, slow breaths. Then, hold the scent to your nose; sniff a few times to gain an initial impression. Then, focus your attention on your sense of smell, and continue to sniff, as needed, for a few moments. Notice the different notes that emerge, and then let them go. The scent will keep changing, sometimes obviously, sometimes this will be subtle. Discard any mental distractions that arise and keep returning to the scent. Then, holding the scent to your nose again, inhale deeply three times. You might like to open your eyes while you imagine your consciousness dissolving outward to the scent, feel as though you can touch it, merge with it, flow into it. When you feel you have reached the point of saturation, close your eyes again, and detach yourself from all senses but smell.

Descend deeply inside, bearing the essence of the scent you have chosen, and touch it with your vision of the scent. Build an inner picture of the essence – the essence of the essence. Imagine it as an object, or something abstract, a sound, a colour or shape, a plant, an animal, a scene, a place – anything that seems to you to be conjured by the deep impression of the scent. Turn outward again, and consciously smell the scent again. Repeat the outer phase and inner phase until you feel that the experience has reached a natural conclusion.

You will find that each scent you meditate upon creates a different internal image and meditative experience.

 
Meditation adapted from Aftel, M. (2001) Essence and Alchemy: a book of perfume London: Bloomsbury
 

© 2012 Singing Dragon blog. All Rights Reserved.

Five essential oils – an Introduction to Plant Derived Scents and their Role in Wellbeing. Part Five: Bitter Orange

This is the final post in Jennifer Peace Rhind‘s exploration of five essential oils and their roles in wellbeing. Click through to read earlier posts on NeroliBenzoinCardamom and Virginian Cedarwood.

Photo: Singing Dragon author Jennifer Peace Rhind

Author photo: Robert Taylor

Bitter orange

The bitter orange tree, Citrus aurantium subspecies amara, has been cultivated for its fragrance products for many years – as we have already learned how its blossoms yield neroli, the leaves and twigs yield petitgrain (meaning ‘little seed; look for the suffix ‘fol.’ to indicate that it is derived from leaves), also an important constituent of colognes, and the small fruits (suffix ‘fruct.’) yield bitter orange oil from their peel.

These fruits have a long history of culinary and medicinal uses. The liqueur, Curacao, is flavoured with the unripe fruits. The tree is native to Asia; and so its flowers and fruits form part of Oriental medicine – mainly as remedies for the myriad of disorders of the digestive system, as a cardiac tonic and for anxiety.

So, unlike the other aromatics in this short series, we turn exclusively to perfumery to discover bitter orange’s tradition of use. The citrus oils are some of the most volatile of raw materials of perfumery – they form the top notes – the ones that reach the nose first. Bitter orange oil has indeed a citrus odour, but in contrast with its close relation sweet orange, it is subtle, fresh, with a fairly tenacious floral undertone, and is considered by artisan perfumers to be more interesting. In perfumery, bitter orange is used in eaux de cologne (like its close botanical relatives neroli and petitgrain), but it is also is important in many other categories of fragrance. It gives a light, green-floral citrus freshness to the top notes of a composition; however like all of the citrus oils, this is short-lived and rapidly disappears as the fragrance heart develops. The tenacity and persistence of the citrus oils is poor in contrast to most of the other natural aroma materials.

However, in aromatherapy this tenacity issue is much less of a problem. The carrier oil used for massage will help slow down the rapid evaporation of the citrus oil in the prescription, and the scent is strong enough to be noticeable when first presented to a client. There have been several studies investigating the impact of citrus scents on mood, and it could be reasonably assumed that some of the mood benefits identified would apply to bitter orange. Citrus peel oils can decrease autonomic nervous system arousal (characteristic of stress) and promote feelings of cheerfulness and vigour, so the use of citrus oils to alleviate depression and stress is now a well-established aromatherapy practice.

The only caution regarding bitter orange, and some other citrus oils, is that they are phototoxic. This means that they should not be applied to skin that will be exposed to ultraviolet (UV) light, because burning can result. Phototoxic compounds in citrus peel oils are present because they are obtained by an expression process (literally squeezing the volatile oil out of the peel) rather than distillation. These molecules are quite large in comparison to the small ones found in essential oils, and they are not volatile (that is, they don’t evaporate) so they cannot be distilled. The phototoxic molecules can also be absorbed in to the top layer of the skin, and stay there for a few hours. If the skin is then exposed to sunlight, the molecules can absorb the UV light and store it before releasing it into the skin in a quick burst. The IFRA (International Fragrance Research Association) issue safety guidelines regarding the levels of such oils in products; the maximum limit for bitter orange oil in fragrance is 1.4%, at time of writing.

When you smell bitter orange, the top notes will appear fast and fleeting – citrus zest first, then the green notes, the floral notes will appear, and the heart is sweeter and slightly fruity. It is difficult not to smile and feel more at ease when bitter orange starts to make its impact, frustration and anger can diminish, making space for clarity of thought and the energy for creativity and innovation, or simply leaving the negative behind and making a fresh start.


© 2012 Singing Dragon blog. All Rights Reserved.

 

Five essential oils – an Introduction to Plant Derived Scents and their Role in Wellbeing. Part Four: Virginian Cedarwood

This post continues Jennifer Peace Rhind‘s exploration of five essential oils and their roles in wellbeing. Click through to read earlier posts on NeroliBenzoin and Cardamom.


Photo: Singing Dragon author Jennifer Peace Rhind

Author photo: Robert Taylor

Virginian cedarwood

Although it is commonly called cedar, Virginian cedarwood essential oil is in fact derived from a species of juniper – Juniperus virginiana. This tree and its wood, and the incense derived from its wood holds an important place in Northwest/Pacific Indian tradition. The Cherokee tell that cedar wood holds powerful protective spirits. Pieces of cedar wood are placed in medicine bags, and also above the doors of homes to ward off evil spirits. Cedar wood was also used to make totem poles and ceremonial drums. In ceremony and prayer, cedar is burned – and in common with other practices involving incense/smoke this is to carry the prayers to the Creator. In traditional and contemporary sweat lodges, cedar wood is used along with sage and other herbs such as sweetgrass, having a purifying function, and similarly cedar branches are used in house blessing ceremonies. It is interesting that the Pacific Northwest tribes say that not only does cedar drive away evil and negative energies but also brings in good energies.

Virginian cedarwood oil is distilled from the waste, powdered wood from sawmills, as the wood itself is an important commodity. The main use is in the manufacture of pencils, but it is also used in furniture manufacture, including the traditional ‘cedar chest’.

In aromatherapy, it is the essential oil from a true cedar – Atlas cedarwood – that is used in preference to that of Virginian cedarwood. This is possibly because of the mention in some texts that Virginian cedarwood is not recommended in pregnancy – although this is an unsupported caution. However, it is widely used in perfumery to impart woody notes in scented soaps and other toiletries. In artisan perfumery it is a useful top note, contributing soft, fresh, woody and faintly earthy characteristics, giving a very ‘natural’ sensation.

When you engage with the smell of Virginian cedarwood essential oil there are no real surprises – it really is reminiscent of the wood itself – with a gentle, fresh coniferous, slightly resinous, woody top, a more balsamic woody body and a dry, woody dryout. The scent will be ‘familiar’ to many of us, and is reminiscent of the forest environment too, so perhaps this is connected with its ability to promote a sense of resilience and inner strength. The scent can be likened to having an ‘inner anchor’, and can help in times of transformation, such as when redundant negative habits are being discarded and replaced with independence of mind and spirit.


Read tomorrow’s post to discover the properties of Bitter Orange.

© 2012 Singing Dragon blog. All Rights Reserved.