The evolution of incense burners can be traced back to the Spring and Autumn and Warring States periods. Their form and function continuously evolved with the times, incorporating religious, ritual, and artistic elements.
Origins and Early Forms (Spring and Autumn and Warring States Periods to the Han Dynasty) During the Spring and Autumn and Warring States periods, the use of incense burners began to emerge, but their early function was not strongly associated with religious rituals. Zhao Xihu, in his *Dongtian Qinglu Ji: Gu Zhongding Yiqi Bian*, points out that the ancients initially used "Artemisia" (mugwort) to communicate with the gods, without forming a custom of burning incense; therefore, there were no dedicated incense burners in the early stages. By the Han Dynasty, the Boshan burner became the mainstream form. Its shape originated from the mythical "Boshan Immortal Mountain," with the lid carved with overlapping mountains, symbolizing a fairyland at sea. Incense was burned inside by burying charcoal at the bottom edge of the ash. This design continued into the Tang and Song Dynasties. The popularity of the Boshan burner reflects the Han Dynasty's imagination and pursuit of a fairyland, and at the same time, it laid the foundation for the cultural connotation of incense burners as "communication with the gods through incense burning."
Form Inspiration and Functional Expansion (Tang and Song Dynasties)
During the Tang and Song Dynasties, the form of incense burners began to draw inspiration from ancient ancestral temple ritual vessels. Zhao Xihu noted that later incense burners often imitated the forms of ancient vessels, such as the "Jue Lu", which imitated the bronze jue of the Shang and Zhou Dynasties, and the "Suanni Lu" , which imitated the ancient juzudou, a type of high-footed food vessel. During this period, the materials and craftsmanship of incense burners significantly improved. In the Tang Dynasty, bronze hand warmers with lion-shaped handles appeared, using lion-shaped decorations to emphasize majesty. In the Song Dynasty, porcelain became the mainstream material, such as the Jingdezhen kiln's shadow-blue string-patterned three-legged incense burner and the official kiln's celadon-style incense burner, with simple and elegant shapes reflecting the Song Dynasty's aesthetic inclination towards "refinement." Functionally, incense burners expanded from religious ceremonies to literati gatherings and daily incense burning, becoming a carrier of lifestyle aesthetics.
Diverse Development and Technological Innovation (Yuan Dynasty to Present)
Incense burners in the Yuan Dynasty further innovated in form and craftsmanship, such as the white-glazed openwork striped incense burner, which enhanced the diffusion of fragrance through openwork design, combining practicality and artistry. During the Ming and Qing dynasties, the materials and decorations of incense burners became more diverse, incorporating bronze, porcelain, jade, and lacquerware. Their shapes encompassed various themes, including antique imitations, animals, and plants, and the craftsmanship reached its peak. For example, Xuande incense burners, renowned for their superior bronze quality and warm patina, became representative of Ming dynasty incense burners.
The evolution of incense burners throughout history not only reflects technological advancements and aesthetic changes but also embodies a cultural transformation from religious rituals to everyday aesthetics. Their forms evolved from the celestial imagery of the Boshan burner to the solemnity of antique ritual vessels, and then to the refined elegance of literati objects, ultimately forming a diverse and inclusive incense culture system.
