Top Notes 
Heart Notes 
Base Notes 
01/09/2024
DrB1414
148 Reviews
DrB1414
1
Ancient yet familiar
Bing Ma Yong from Auphorie is quite a peculiar olfactory journey that succeeds in portraying the vision it draws inspiration from while pulling from the roots of vintage perfumery aesthetic. If I were to guess, works like Guerlain's Djedi.
It is a dark and mysterious perfume, with vintage bits and an ancient aura around it. Contradictory, the opening is surprisingly bright and joyful. An intricate introduction displaying aldehydes, spices, oranges, and vague floral notes. A cooling breath from the cloves transporting a faint floral accord and a zesty orange breeze. It lasts about 5 minutes before it starts to darken slowly and surely. The orris and vetiver pair together to help suggest a terracotta, dry clay-like accord. The orris feels earthy, rooty, and powdery, while the vetiver only amplifies its rooty facets hinting at the idea of life underneath the earth. The interplay creates this dry clay accord, not wet, as some compositions might unfold, such as Olympic Orchids Salamanca. The powderiness of the orris seems to suggest the dust that collected over the terracotta figures. In the base, the perfume shifts to a dusty, worn leather accord, lots of musks, mostly civet, spicy sandalwood, and the everlasting orris. It ends here and stays like that for many hours. I love this stage. It smells beautifully in the sillage, always throwing out subtle different facets. Sometimes more of the civet, others the spicy sandalwood, powdery orris, or old leather. As bright as the opening is, the darker the final stage feels.
It walks in the footsteps of compositions like Djedi and its more modern interpretation in Sultan Pasha's Thebes. It beautifully portrays the discovery of the first Qin Emperor's Mausoleum and the atmosphere inside its tomb. Climbing the hill, where the air is clear, the flowers bloom and spices permeate the air from the nearby small shops only to unveil the heaviness of a two thousand years' scent, inside the tomb.
IG:@memory.of.scents
It is a dark and mysterious perfume, with vintage bits and an ancient aura around it. Contradictory, the opening is surprisingly bright and joyful. An intricate introduction displaying aldehydes, spices, oranges, and vague floral notes. A cooling breath from the cloves transporting a faint floral accord and a zesty orange breeze. It lasts about 5 minutes before it starts to darken slowly and surely. The orris and vetiver pair together to help suggest a terracotta, dry clay-like accord. The orris feels earthy, rooty, and powdery, while the vetiver only amplifies its rooty facets hinting at the idea of life underneath the earth. The interplay creates this dry clay accord, not wet, as some compositions might unfold, such as Olympic Orchids Salamanca. The powderiness of the orris seems to suggest the dust that collected over the terracotta figures. In the base, the perfume shifts to a dusty, worn leather accord, lots of musks, mostly civet, spicy sandalwood, and the everlasting orris. It ends here and stays like that for many hours. I love this stage. It smells beautifully in the sillage, always throwing out subtle different facets. Sometimes more of the civet, others the spicy sandalwood, powdery orris, or old leather. As bright as the opening is, the darker the final stage feels.
It walks in the footsteps of compositions like Djedi and its more modern interpretation in Sultan Pasha's Thebes. It beautifully portrays the discovery of the first Qin Emperor's Mausoleum and the atmosphere inside its tomb. Climbing the hill, where the air is clear, the flowers bloom and spices permeate the air from the nearby small shops only to unveil the heaviness of a two thousand years' scent, inside the tomb.
IG:@memory.of.scents
Greenfaerie
