In the world of fragrances, recipes and technologies are often encountered that promise a magical transformation of raw materials into unforgettable perfumes.

The Raw Magic of Perfume Creation

In the world of fragrances, recipes and technologies are often encountered that promise a magical transformation of raw materials into unforgettable perfumes. However, the examined materials clearly demonstrate a different vision. The author does not offer ready-made recipes or technological instructions for creating perfumes from primitive ingredients such as rusted blood and roses. Instead, he delves into philosophical reflections on the power of primordial matter, emphasizing that true magic is hidden in the raw, unprocessed state of natural components.

The introduction carries an emotional note that draws our attention to the fact that a touch of natural, genuine aroma is capable of awakening deep feelings and shaking the roots of our being. Here, it is not so much the final composition that matters as the very essence of each ingredient—its unique natural power, which, in the author's opinion, can convey the true richness of the scent. In the main part of the text, the author discusses that despite the abundance of high-quality perfumes prepared according to well-known recipes, genuine magic lies in the invariability and primality of the original materials. Raw materials that have not undergone thorough processing and blending possess an unsolved mystery, capable of eliciting an emotional response.

In conclusion, it can be deduced that the provided excerpts are not aimed at introducing practical methods for creating perfumes, but rather at elevating the sensory perception of natural substances. Instead of step-by-step instructions, this philosophical system values the unique power inherent in the raw nature of ingredients, allowing one to view the art of scenting from a fresh perspective. Such an approach inspires one to consider that true value lies in the deep connection between a person and the source of natural fragrances rather than in the technical attempt to reproduce them in a bottle.

Is it possible to create perfumes by oneself using rusted blood and roses, and what might the process of their manufacture be?

Based on the provided quotes, there is not even a hint that a ready technology or recipe exists that would allow one to make perfumes using rusted blood and roses. The excerpts focus more on the sensory perception of primary aromatic substances than on a detailed description of their extraction or blending processes. For instance, in the description from file link txt (Page 159), the author notes the importance of touching the original, unmixed materials that evoke a deep emotional response:

"Ready-made perfumes – although in our house we had very good, French and English perfumes... in the realm of scents, as in all other areas, what truly always aroused my emotions and shook the roots of my being was merely touching the raw materials, the original substances." (source: link txt, Page 159)

Such an approach suggests that for him the natural, primary essence of the ingredients is far more important than the result of standard mixing. At the same time, there are no specific instructions for processing or combining substances such as rusted blood and roses in the materials. Additionally, reflections on roses provided in the same source ( link txt, Page 186) relate more to the essence and character of the rose as a fully revealed object rather than its use in a perfume recipe:

"Yes, a rose is beautiful, but it is complete here, it does not intrigue with any mystery..." (source: link txt, Page 186)

Thus, in answer to the question posed, it can be said that the provided materials do not contain information suggesting that one can or should create perfumes using rusted blood and roses, nor do they describe the technological process for their production. The texts instead reflect a philosophical and sensory attitude toward raw materials, emphasizing that unprocessed substances have their own unique power and mystery without offering practical instructions for transforming these substances into a finished aromatic product.

Supporting citation(s):
"Ready-made perfumes – although in our house we had very good, French and English perfumes... in the realm of scents, as in all other areas, what truly always aroused my emotions and shook the roots of my being was merely touching the raw materials, the original substances." (source: link txt, Page 159)
"Yes, a rose is beautiful, but it is complete here, it does not intrigue with any mystery..." (source: link txt, Page 186)