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Feelings that people with depression suffer
this original text is written by me （Chinese pipoooo）in Chinese and published on domestic platforms （xiaohongshu）in China. The following is the English version by my translator：
Cold. Desolate. Devoid of life.
Gloom, sorrow, even the ache of farewell.
This scent embodies depression.
In my earlier essay on fragrances mirroring mental states,
I paired depression with Demeter’s "Funeral Home".
Why "Funeral Home" fits depression:
Its scent is deathly still, desolate,
with piercing cloying florals.
If it had a color, it would be gray.
Like stagnant water steeped with rotting carnations,
a tombstone cast in concrete.
Depression manifests as：
"Low Mood" – Pervasive despair, unshaken by circumstance
"Slowed Cognition" – Thoughts dragging through tar
"Deadened Will" – Even breath feels laborious
"Worthlessness" – "I am failure incarnate" "Helplessness" – "No one can save me"
"Hopelessness" – "The future is void"
Like this fragrance, it offers zero light.
Depression often carries self-harm impulses,
even suicidal urges – a longing for death.
This mirrors the perfume’s name: "Funeral Home".
On spraying:
• Surgical antiseptic stabs the nostrils
• Putrid florals choke the air
In that despair. What flows out is no longer blood, but corroded remnants of a soul.
(This critique focuses solely on scent artistry, nothing to do with the real situation!
In addition, what interesting is that the name of this perfume is translated as “call from heaven” on Chinese forums. It is a great translation which accurately and romantically describes this fragrance.
Cold. Desolate. Devoid of life.
Gloom, sorrow, even the ache of farewell.
This scent embodies depression.
In my earlier essay on fragrances mirroring mental states,
I paired depression with Demeter’s "Funeral Home".
Why "Funeral Home" fits depression:
Its scent is deathly still, desolate,
with piercing cloying florals.
If it had a color, it would be gray.
Like stagnant water steeped with rotting carnations,
a tombstone cast in concrete.
Depression manifests as：
"Low Mood" – Pervasive despair, unshaken by circumstance
"Slowed Cognition" – Thoughts dragging through tar
"Deadened Will" – Even breath feels laborious
"Worthlessness" – "I am failure incarnate" "Helplessness" – "No one can save me"
"Hopelessness" – "The future is void"
Like this fragrance, it offers zero light.
Depression often carries self-harm impulses,
even suicidal urges – a longing for death.
This mirrors the perfume’s name: "Funeral Home".
On spraying:
• Surgical antiseptic stabs the nostrils
• Putrid florals choke the air
In that despair. What flows out is no longer blood, but corroded remnants of a soul.
(This critique focuses solely on scent artistry, nothing to do with the real situation!
In addition, what interesting is that the name of this perfume is translated as “call from heaven” on Chinese forums. It is a great translation which accurately and romantically describes this fragrance.
Ohhhhh myyyy favourite fragrance from CN，，，，
The original text is written by Chinese people （me）and published on domestic platforms （xiaohongshu）in China. I'm not good at English（tolerant towards non- native English user plzzzz）. The following is the English version of my review by the direct translator：
I am utterly captivated by its core accord: a profound orris wrapped in the dry, roasted, caramelized sweetness of baked tea leaves. This fragrance takes an unconventional path, masterfully employing an intricate blend of aromachemicals to replicate tea extract, resulting in a more idealized olfactory experience. To draw a parallel: just as a painter harmonizes reality with inspired imagination—concealing warm and cool hues of similar luminance within local colors, or reimagining rigid compositions and forms through dynamic structures and fluid, pleasing lines—so too does this scent share an essence with its subject. Yet the perfumer’s artistry elevates it into something profoundly subjective and idealized.
Returning to Orris Tea Sense: this is the perfumer’s masterful, interpretive recreation of tea-osmanthus elegance. Enriched by the buttery smoothness of orris butter, it presents an oily, silky-smooth, almost creamy texture—lusciously sweet and utterly unforgettable upon first encounter.
Though I grew up in the far southern reaches below the Nanling Mountains, with a mother hailing from northern Fujian, I wasn’t steeped in the poetic tea culture of Jiangnan. Yet shared customs stir deep resonance within me. Can you, fellow fragrance lovers, envision that liminal hour between late afternoon and dusk in Jiangnan? Slanting sunlight falls upon whitewashed walls and dark-tiled roofs. Before you, tea brews warmly over a brazier. A dry breeze rustles through osmanthus trees, carrying their heady perfume blended with orchids. The powdery, velvety touch of orris sketches the elegant profile of a serene beauty seated beside you. On a porcelain plate rests a snow-white, sweet glutinous rice cake, drizzled with osmanthus-laced honey. This fragrance becomes an exquisitely vivid Jiangnan tea-scape—imbued with subtle Chinese lyricism and tea ceremony aesthetics—worn like an intimate aura that lingers close at hand, a whisper of scent caught in your sleeves.
As a high school student entrenched in the frontline of academic intensity, my life traces a monotonous line between classroom and home, overwhelmed by relentless coursework, study plans, and standardized exams with scarce room to breathe. Trapped in life’s accelerated rhythm, I occasionally set down my pen. In those rare moments of pause, I catch the lingering trace of Orris Tea Sense on my skin and lose myself for half a day in its dreamlike Jiangnan tea ceremony—sipping tea to the sound of wind. With this consummate expression of Chinese poetry, it fills the voids of my high-speed existence. This is the scent’s perfect interpretation of beauty within tea.
Skin chemistry is unique to each individual; the above reflects solely my personal journey with this scent.
I am utterly captivated by its core accord: a profound orris wrapped in the dry, roasted, caramelized sweetness of baked tea leaves. This fragrance takes an unconventional path, masterfully employing an intricate blend of aromachemicals to replicate tea extract, resulting in a more idealized olfactory experience. To draw a parallel: just as a painter harmonizes reality with inspired imagination—concealing warm and cool hues of similar luminance within local colors, or reimagining rigid compositions and forms through dynamic structures and fluid, pleasing lines—so too does this scent share an essence with its subject. Yet the perfumer’s artistry elevates it into something profoundly subjective and idealized.
Returning to Orris Tea Sense: this is the perfumer’s masterful, interpretive recreation of tea-osmanthus elegance. Enriched by the buttery smoothness of orris butter, it presents an oily, silky-smooth, almost creamy texture—lusciously sweet and utterly unforgettable upon first encounter.
Though I grew up in the far southern reaches below the Nanling Mountains, with a mother hailing from northern Fujian, I wasn’t steeped in the poetic tea culture of Jiangnan. Yet shared customs stir deep resonance within me. Can you, fellow fragrance lovers, envision that liminal hour between late afternoon and dusk in Jiangnan? Slanting sunlight falls upon whitewashed walls and dark-tiled roofs. Before you, tea brews warmly over a brazier. A dry breeze rustles through osmanthus trees, carrying their heady perfume blended with orchids. The powdery, velvety touch of orris sketches the elegant profile of a serene beauty seated beside you. On a porcelain plate rests a snow-white, sweet glutinous rice cake, drizzled with osmanthus-laced honey. This fragrance becomes an exquisitely vivid Jiangnan tea-scape—imbued with subtle Chinese lyricism and tea ceremony aesthetics—worn like an intimate aura that lingers close at hand, a whisper of scent caught in your sleeves.
As a high school student entrenched in the frontline of academic intensity, my life traces a monotonous line between classroom and home, overwhelmed by relentless coursework, study plans, and standardized exams with scarce room to breathe. Trapped in life’s accelerated rhythm, I occasionally set down my pen. In those rare moments of pause, I catch the lingering trace of Orris Tea Sense on my skin and lose myself for half a day in its dreamlike Jiangnan tea ceremony—sipping tea to the sound of wind. With this consummate expression of Chinese poetry, it fills the voids of my high-speed existence. This is the scent’s perfect interpretation of beauty within tea.
Skin chemistry is unique to each individual; the above reflects solely my personal journey with this scent.
terrific！
The original text is written by Chinese people and published on domestic platforms in China. The following is the English version of the translator：
It feels like a rare privilege to have acquired this fragrance, given its significant price point and formidable scarcity.
Overall, Aurum d'Angkhor presents itself as grand, intricate, opulent, and possessed of an ineffably exquisite textural aura. Personally, I prefer its development on the blotters. The opening's honeyed, tart-sweet rose shares a kinship with Juriah from the same line (likely a shared base accord). Yet, this rich yet remarkably vibrant character is undeniably appealing and wears its complexity effortlessly.
From the heart notes, the fragrance unfurls dramatically: Saffron and Oud rise to prominence. They evoke an image for me: long-fingered hands, sun-bronzed skin adorned with Southeast Asian talismans, distinct knuckles visible, reaching from behind to cradle a central, fiercely crimson, exotic rose. An intoxicating, otherworldly aroma blooms, assailing the senses and striking a profound, almost mystical chord within. Coral and turquoise set in gold jingle softly, creating an infectious rhythm. This masterfully demonstrates perfume's unique magic: evoking synesthesia in its most abstract and elusive form. It naturally prompts our imagination to weave a wondrous experience engaging smell, sight, and sound. Furthermore, I believe this exemplifies how truly great fragrances possess inherent artistic merit and a vibrant life force.
The drydown might not be its most universally appealing phase, but it is arguably its most uniquely fascinating. The warmth of jasmine, sandalwood, and beeswax coexists with a wild, smoky, dry tobacco. Intriguingly, I also perceive a deep, caramel-like richness – not sweet, but profoundly resinous. While its source eludes me, it elicits the involuntary thought: "Quality ingredients truly work wonders." That said, I must acknowledge the potential influence of psychology; objectively, the price is substantial, and few wish to feel their significant investment was misplaced.
Beyond the main structure, there are captivating nuances. Firstly, its dazzling, baroque, and fantastical character isn't solely due to the prominent notes mentioned. Rather, it's the dense, complex bouquet of florals weaving throughout the entire composition that provides the crucial, defining flourish. My nose struggles to dissect it, and the note pyramid confirms an almost dizzying array – a true immersion into the stunning aesthetics of maximalism, delivering the profound impact that is the absolute antithesis of minimalism.
Secondly, a purely personal and peculiar perception: In the late mid to base notes, my nose interprets an illusion reminiscent of 'steamed rice' – soft, comforting, slightly milky. Scouring online communities revealed no others sharing this specific impression. I suspect this delightful quirk arises from the interplay of the white florals, sandalwood, and beeswax. Alas, my knowledge has limits; if any fellow enthusiasts have insights, I'd be most grateful.
Finally, regarding skin vs. blotter: The blotter wins for me. My preference leans towards lighter expressions. On skin, the oud and tobacco dominate, projecting a more assertive, unrestrained aura. On paper, the floral and honeyed facets shine brighter, resulting in a more graceful, radiant opulence.
In summation, this is an exceptional composition. For those with the means looking to explore the world of Attars, this stands as an undeniable, essential experience.
Skin chemistry is unique to each individual; the above reflects solely my personal journey with this scent.
It feels like a rare privilege to have acquired this fragrance, given its significant price point and formidable scarcity.
Overall, Aurum d'Angkhor presents itself as grand, intricate, opulent, and possessed of an ineffably exquisite textural aura. Personally, I prefer its development on the blotters. The opening's honeyed, tart-sweet rose shares a kinship with Juriah from the same line (likely a shared base accord). Yet, this rich yet remarkably vibrant character is undeniably appealing and wears its complexity effortlessly.
From the heart notes, the fragrance unfurls dramatically: Saffron and Oud rise to prominence. They evoke an image for me: long-fingered hands, sun-bronzed skin adorned with Southeast Asian talismans, distinct knuckles visible, reaching from behind to cradle a central, fiercely crimson, exotic rose. An intoxicating, otherworldly aroma blooms, assailing the senses and striking a profound, almost mystical chord within. Coral and turquoise set in gold jingle softly, creating an infectious rhythm. This masterfully demonstrates perfume's unique magic: evoking synesthesia in its most abstract and elusive form. It naturally prompts our imagination to weave a wondrous experience engaging smell, sight, and sound. Furthermore, I believe this exemplifies how truly great fragrances possess inherent artistic merit and a vibrant life force.
The drydown might not be its most universally appealing phase, but it is arguably its most uniquely fascinating. The warmth of jasmine, sandalwood, and beeswax coexists with a wild, smoky, dry tobacco. Intriguingly, I also perceive a deep, caramel-like richness – not sweet, but profoundly resinous. While its source eludes me, it elicits the involuntary thought: "Quality ingredients truly work wonders." That said, I must acknowledge the potential influence of psychology; objectively, the price is substantial, and few wish to feel their significant investment was misplaced.
Beyond the main structure, there are captivating nuances. Firstly, its dazzling, baroque, and fantastical character isn't solely due to the prominent notes mentioned. Rather, it's the dense, complex bouquet of florals weaving throughout the entire composition that provides the crucial, defining flourish. My nose struggles to dissect it, and the note pyramid confirms an almost dizzying array – a true immersion into the stunning aesthetics of maximalism, delivering the profound impact that is the absolute antithesis of minimalism.
Secondly, a purely personal and peculiar perception: In the late mid to base notes, my nose interprets an illusion reminiscent of 'steamed rice' – soft, comforting, slightly milky. Scouring online communities revealed no others sharing this specific impression. I suspect this delightful quirk arises from the interplay of the white florals, sandalwood, and beeswax. Alas, my knowledge has limits; if any fellow enthusiasts have insights, I'd be most grateful.
Finally, regarding skin vs. blotter: The blotter wins for me. My preference leans towards lighter expressions. On skin, the oud and tobacco dominate, projecting a more assertive, unrestrained aura. On paper, the floral and honeyed facets shine brighter, resulting in a more graceful, radiant opulence.
In summation, this is an exceptional composition. For those with the means looking to explore the world of Attars, this stands as an undeniable, essential experience.
Skin chemistry is unique to each individual; the above reflects solely my personal journey with this scent.
