What defines the essence of Quanzhou? “Fragrant smoke rising to reach all nine realms”—perhaps no word captures it better than “incense.”
Incense carving is not only a cultural symbol of Quanzhou’s way of life, but also a shining emblem of the city along the Maritime Silk Road. When the world speaks of incense carving, it looks to Quanzhou.

The origins of incense culture in China can be traced back to the pre-Qin period. By the time of the Spring and Autumn and Warring States periods, aromatic plants had already become commonly used in daily life. Classical works such as the Book of Songs (Shijing), Songs of Chu (Chuci), and the Classic of Mountains and Seas (Shan Hai Jing) contain extensive references to fragrant herbs. In Qu Yuan’s Li Sao, no fewer than 18 types of incense materials are mentioned, with fragrance often used as a metaphor for noble character and unwavering loyalty.

As dynasties changed and foreign trade developed, exotic spices began to enter China and gradually became essential items in aristocratic life.

After the Sui and Tang dynasties, with the rapid rise of Buddhism and Taoism, incense culture became increasingly widespread and was officially incorporated into court rituals.

From the Song and Yuan dynasties onward, incense was imported in large quantities, and the tradition of literati incense appreciation began. Incense became an art form, extending into the lives of the general public. The renowned painting Along the River During the Qingming Festival even vividly depicts multiple scenes involving the use of incense.

During the Song and Yuan dynasties, Quanzhou was known as the “largest port in the East,” rivaling Alexandria in Egypt. It became a major hub for international trade and an important center for the circulation of spices and incense materials, once described with the phrase: “Merchants from all nations gather to the sound of the rising tides.”

The Pu Shougeng family, descendants of foreign merchants, introduced foreign incense-making techniques to Quanzhou. From that point on, Quanzhou’s incense industry gained true historical significance, beginning a long period of development and transformation. It became a vital chapter in the history of Chinese incense culture.

By the Ming and Qing dynasties, incense use had deeply permeated everyday life. Incense tables and stands became typical furnishings in scholars’ studios and spaces for refined leisure.

Amid ongoing refinement and innovation, the invention of incense sticks in the late Qing period marked a significant milestone in the history of Chinese incense culture.

In Quanzhou—immersed in a rich atmosphere of incense tradition—artisans began to boldly experiment with incense as a creative medium, giving rise to a new category in Chinese incense culture: incense carving.

The widespread popularity of incense among the people was closely tied to the spread of religion in Quanzhou. Known in ancient times as the “Buddhist Kingdom”, Quanzhou relied on three sticks of incense for all acts of devotion—whether praying to the gods or honoring ancestors.

rant smoke weaves through the nine realms”—with incense in hand, the believer holds a ladder to the divine.

Incense carving, born from the unique cultural soil of Quanzhou, is a creation distinct to the evolution of Chinese civilization, and a precious gem of world heritage.

“As flowers turn toward the sun, so do people find joy in fragrance.”
Incense carving is not merely the continuation of traditional incense culture—it is the refinement and elevation of a representative Chinese craft, and a renewed declaration of Eastern aesthetic philosophy and historical depth to the world.

Tracing back through history, the true origins of incense carving can be found in the late Qing Dynasty, when scholar Zeng Qiu established the incense shop Qingyuan Hall. Initially focused on producing and selling various incense products, the business later passed to his son Zeng Jipei, who made incense his full-time profession.

To broaden the appeal of incense and enrich the sensory experience of its use, he began to expand upon traditional blended incense techniques (合香) by integrating new elements of form, function, and aesthetics. This marked the early development of incense carving as a unique art form.

Under the third-generation inheritor, Wei Aiguo, incense carving entered a new chapter amid the broader revival of incense culture. He brought together the principles of traditional blending, artistic carving techniques, and the Chinese philosophy of “medicine and food from the same source” to shape incense carving into a craft suited for modern lifestyles.

What was once an intuitive practice began to evolve into a systematic discipline, ultimately becoming a representative intangible cultural heritage of Quanzhou. With this transformation, the brand EastAdore was born, dedicated to preserving and continuing this remarkable legacy of incense carving in the new era.

Take a stroll through the streets of Quanzhou, and you can still catch glimpses of the past—a city once filled with drifting fragrance.

So what truly defines the impression of Quanzhou? Perhaps nothing captures it better than one single word: incense.

Folk beliefs have been passed down through generations—not as feudal superstition, but as a devotion of the soul. This is the spiritual fragrance.

The art of incense has endured for a thousand years—not by standing still, but through innovation and evolution. This is the fragrance of pursuit.