Taiwan Today

Incense—the very word con­jures up an atmosphere of mysticism and mystery, an aura of sanc­tity, a mental picture of smoke drifting upward into tangible darkness, a sense of reverence. But in Taiwan the fragrant product is also seen as a promising line of business for aspiring entrepreneurs, as well as for those who find themselves on the margins of society.

Anyone interested in Taiwan’s folk religion and culture is certain to be fas­cinated by the island’s incense and incense labeling. Taiwan has developed into what can only be described as a modern, consumer society, but despite that—maybe even because of it—both the product and its packaging have con­tinued to gain in importance and popular­ity over the years. Even more important for those interested in Chinese culture and design, this incense trade, with its many thousands of small vendors, has gener­ated some of the most colorful commercial labeling to be found anywhere in recent years.

In the complex mixture of Buddhism, Taoism, and native animism that makes up Taiwan’s present-day religious scene, incense smoke typically represents the atmosphere of heaven and serves as a kind of ethereal medium linking man with the realms above. On a more practical level, it can be seen as a means of paying respect to the gods, honoring ancestors, and even enhancing the prospects for divine inter­vention in earthly affairs. Thus, outside the island’s many temples, where frugal farm­ers may once have bought a few sticks of incense in order to enlist the gods’ help in securing a bountiful harvest, the affluent urban faithful now purchase large quantities of the product in hopes of heavenly help with business matters, games of chance, and affairs of the heart.

At one time, most of the incense sold for such purposes was either marketed loose or was crudely wrapped in newspa­per or red paper, with the name of the retailer stamped on the outside in black ink. Today, however, things are different. Just as in other industries, widespread affluence and more demanding consumers have forced those who market the product to offer more.

Although the incense itself is still turned out in small factories that have probably changed little over the past half century, entrepreneurs in an increasingly competitive urban marketplace must now emphasize brand identity. It is no longer enough to rely on the special secret ingredients that each maker adds to a relatively standard base of aloe, sandalwood, and ginseng. They need packaging and graphic design that will set them apart from their competitors.

Fortunately, these are things that the countless small printing plants on the island have been happy to provide. With high-quality, low-cost color printing facilities, they have made it possible for incense sellers to offer consumers a more distinctive and attractive product. Today, even the smallest incense operation can have its own colorful product labels and take advantage of the insatiable desire of Taiwan consumers for something that at least seems new and different.

The specific designs and motifs that appear on these labels reflect the limited size of most incense retailers. Since they usually lack the resources and knowledge of sophisticated advertising techniques that larger companies in other lines might take for granted, they have had to rely on their own cultural experience and intui­tion. Working with their printers, many of whom actually specialize in incense labels, they create designs that not only cleverly exploit consumer psychology, but also help to preserve Taiwan’s traditional cul­ture and beliefs.

While true originality of design may be relatively rare, incense labeling does combine tradition with commerce in a remarkable way. Taking advantage of what most Westerners would see as an exceedingly relaxed relationship between business and religion, the creators of Tai­wan’s incense labels have turned a host of Taoist gods, Buddhist personages, fairies, ancient sages, dragons, and unicorns into a celestial sales force.

Almost every label reflects this mixture of religious and commercial concerns. They feature themes that are at once visually attractive and able to influence potential buyers with a traditional message. Simply portraying a particular deity or cultural icon is clearly not considered sufficient. In almost every case, the symbols used are ones that are in some way meant to link contemporary folk beliefs with the imperatives of consumption.

The many labels featuring Chi Kung (濟公), a historical personage reputed to have supernatural powers, provide an excellent example of the way in which sellers of incense blend spir­itual matters with the secular demands of the marketplace. Often grouped with the eighteen disciples of Buddha, he is most frequently depicted striding across the clouds. Noted for his skills in curing illness and settling legal disputes, Chi Kung is just the one to help out those suffering from excesses and vexations of city life or business problems.

Kuan Kung (關公) is also a big favorite of Taiwan incense vendors. Like Chi Kung, General Kuan is an actual his­torical figure. He lived during the Three Kingdoms period in the 3rd century A.D., and was noted for his loyalty to friends and country. After Kuan was killed by his enemies, he gradually came to be considered a deity by the common people because of these qualities. In traditional design motifs, he is often pictured together with two of his subordinates.

The particular appeal of the illustrious general on present-day incense packaging owes much to the existence of a large Taipei temple that bears his name, as well as to the prevailing belief that he can bring justice and good luck to those who honor him. In contemporary urban society, with its fiercely competitive business climate, access to such assistance is predictably in wide demand.

Equally popular with the incense­ burning set is Ho Hsien-ku (何仙姑), one of the Taoist immortals. Ho, who is typi­cally pictured standing on a lotus petal and brandishing a flywhisk, is acclaimed for her ability to resolve domestic problems and assist with household management. Needless to say, these talents make her a big favorite with Taiwan housewives, who tend to be among the most dedicated sup­porters of the island’s temples, as well as with many incense marketers, who see her as an exceptionally effective sales agent.

Matsu (媽祖), a goddess who also comes from the Taoist tradition, has even greater appeal on the island. As the pro­tector of sailors, she is immensely popu­lar throughout Taiwan for reasons that are related to history and geography. The early Chinese settlers, who came primarily from Fujian province, made the perilous crossing from the Mainland in small crafts, and many of their de­scendants have attributed their safe ar­rival to the intervention of Matsu.

As a consequence, this deity is consid­ered by many to be the cultural and spir­itual mother of the island. She enjoys universal popular respect, and those in need of assistance from above are very likely to turn to her for it. With such cre­dentials, it is hardly surprising that so many in the incense business seek her help in marketing. She holds out the promise of aid to all, and her fame and reputation are unmatched.

The Buddha is also frequently featured on incense packs. In addition to occupying a promi­nent place in folk religion, he appeals to the many in Taiwan who adhere to one or another of the more or less ortho­dox schools of Buddhism. Since these Buddhists tend to use more incense than other religious groups, label designers appear to see the Buddha as providing an especially effective way of generating sales. Moreover, unlike some of the other personages featured on incense labels, he has the ability to appeal not only to his own followers, but also to the wider world.

The God of Longevity is also a big favorite on incense labels and certainly one of the most popular figures in all of Chinese folk design. Gentle and benign in appearance, he personifies the culture’s long-standing respect for the elderly and is privy to the secrets of a long life, which Chinese everywhere seek with great deter­mination. He is typically pictured on incense labels with a peach and crane, both traditional symbols of immortality in their own right.

The peach and crane are not the only props that designers call upon to pump up sales. A wide variety of other symbols can be found on incense labels as well, either in starring or supporting roles. At one time or another it seems that they have made use of almost every kind of auspicious symbol in the lexicon of Chinese motifs, not excepting a wide range of flora and fauna.

Deer, for instance, are widely used on labels, both as focal points and as supple­ mental design elements. Believed in Chinese mythology to live to great age, they have become symbols of longevity. Among other things, their horns find wide application in China’s traditional medi­cine. Frequently joining the God of Lon­gevity on incense packaging, deer not only offer potential buyers an alluring link with nature, but also the hope of enduring good health.

Various mythical animals such as the qilin (Chinese unicorn) and the phoenix are also widely used. The former, with an appearance that is exotic by any standard, is associated with benevolence, rectitude, and longevity—all qualities that those purchasing incense for religious purposes are likely to want to emphasize. Although the myths surrounding the qilin date back to the very beginning of Chinese civiliza­tion, the fact that it does not prey on other living things makes it acceptable to Bud­dhists, as well as to those of Taoist or Con­fucian persuasions.

The phoenix possesses qualities just as sought after as those of the qilin. Aside from the exceptional color and beauty that it brings to incense labels, the phoenix sig­nals peace and prosperity and is reputed to possess enormous influence as far as the begetting of children is concerned. Given the emphasis in Chinese society on the perpetuation of the family line, this latter attribute packs a special punch, highlight­ing the possibilities for divine help in securing descendants, as well as good for­ tune.

In terms of floral decoration, bamboo is undoubtedly one of the most common motifs. A plant noted for its strength even in the face of adversity, it is an emblem of durability and rectitude. With countless practical uses, ranging from food and medicine to furniture and even roofing thatch, this graceful member of the grass family is a design natural. It is most frequently used in a subordinate role to reinforce auspicious themes on incense labels and conjure up positive images of Taiwan’s agrarian past for today’s jaded city dwellers.

The plum blossom is also widely employed on incense labels. Often depicted in the stylized form typical of clas­sical Chinese paintings, it adds an austere elegance to almost any incense package design. The pervasiveness of this traditional motif helps reassure incense buyers about cultural authenticity, an important consideration for a product used in religious practice. And, no doubt, the presence of the plum blossom, which flowers in the cold of early spring, also says a lot to consumers about persever­ance and quality.

An almost equally popular plant on labels is the pine. Featured either in the form of sprigs, or on occasion whole trees, it represents steadfastness and longevity. These qualities undoubtedly derive from the fact that the pine thrives in even the rockiest, most inhospitable places and is impervious to the vicissi­tudes of the coldest winter weather. Need­less to say, while such qualities do not translate directly into increased sales of incense, they do provide consumers with attractive and generally reassuring imagery, particularly when used in con­junction with other symbols, such as the God of Longevity.

Overall, the pine and the countless other motifs that grace Taiwan’s incense packaging provide an enter­taining and informative introduction to Chinese folk culture and popular reli­gion. Rendered in simple, earthy colors and designed to catch the eye of the con­sumer, they grab the attention of the devout in Taiwan, as well as almost any­one else who happens upon them. Those who know little about traditional Chi­nese culture and religions will find such incense labels a pleasant, painless, and completely irresistible introduction to the subjects.

Westerners visiting Asia will also discover that packs of Taiwan incense provide a welcome alternative to the usual run of touristy kitsch they are usu­ally exposed to during their travels. Typically selling for less than US$1, these cultural ephemera are among the most authentic and reasonably priced souvenirs anywhere. So, if you are plan­ning to visit Taiwan, be sure to pick up a few packs of incense for yourself and for your friends at home. They are cer­tain to enjoy this thoughtful and unique gift!

Taiwan-based editor Roger Meyer is a writer on and a collector of popular cul­ture artifacts and commercial package art.

Copyright © 1996 by Roger Meyer