[Latin Name] Andrographis paniculata(Burm.f.)Nees

[Plant Source] Whole herb

[Specification] Andrographolides 10%-98% HPLC

[Appearance] White powder

Plant Part Used: Herb

[Particle size] 80Mesh

[Loss on drying] ≤5.0%

[Heavy Metal] ≤10PPM

[Storage] Store in cool & dry area, keep away from the direct light and heat.

[Shelf life] 24 Months

[Package] Packed in paper-drums and two plastic-bags inside.

[Net weight] 25kgs/drum

[What is Andrographis?]

Andrographis paniculata is a bitter tasting annual plant, referred to as the “King of Bitters.” It has white-purple flowers and it is native to Asia and India where it has been valued for centuries for its numerous medicinal benefits. Over the past decade, andrographis has become popular in America where it is often used alone and in combination with other herbs for a variety of health purposes.

[How does it work?]

According to Memorial Sloan-Kettering Cancer Center, the active ingredient in andrographis is andrographolides. Due to the andrographolides, andrographis has potent anti-inflammatory and antimalarial properties. It also has antimicrobial properties, meaning it can help to fight off and prevent infections from harmful microorganisms such as viruses, bacteria and fungi. In addition, andrographis is a powerful antioxidant and it can help to prevent free radical induced damage to your cells and DNA

[Function]

Cold and Flu

Scientists have discovered that andrographis helps to boost the immune system by stimulating the body’s production of antibodies and macrophages, which are large white blood cells that scavenge harmful microorganisms. It is taken for both the prevention and treatment of the common cold, and it is often referred to as Indian echinacea. It might help lessen the severity of cold symptoms such as sleeplessness, fever, nasal drainage and sore throat.

Cancer, Viral Infections and Heart Health

Andrographis may also help to prevent and treat cancer, and preliminary studies done in test tubes found that extracts of andrographis help to treat stomach, skin, prostate and breast cancer. Due to the herb’s antiviral properties, andrographis is used to treat herpes and it is also currently being studied as a treatment for Aids and HIV as well. Andrographis also promotes heart health and can help to prevent the formation of blood clots as well as to dissolve already formed blood clots. In addition, the herb relaxes smooth muscles in the walls of blood vessels and thereby helps to reduce high blood pressure.

Additional Benefits

Andrographis is used to promote gallbladder and digestive health. It also helps to support and strengthen the liver and it is used in combination with other herbs in several Ayurvedic formulations to treat liver disorders. Finally, andrographis extracts taken orally have been found to help neutralize the poisonous effects of snake venom.

Dosage and Precautions

The therapeutic dose of andrographis is 400 mg, twice daily, for up to 10 days. Although andrographis is considered safe in humans, the NYU Langone Medical Center warns that animal studies suggest that it may impair fertility. Andrographis may cause unwanted side effects such as headaches, fatigue, allergic reactions, nausea, diarrhea, altered taste and pain in the lymph nodes. It may also interact with certain medications and as with any supplement you should consult your health care practitioner before taking the herb.

Johann Sebastian Bach (1685-1750)

Cantata BWV 12: Weinen, Klagen, Sorgen, Zagen (22 April 1714)

1. Sinfonia in F major
2. Weinen, Klagen, Sorgen, Zagen (Chorus) 02:18
3. Wir müssen durch viel Trübsal (Recitative: A) 08:40
4. Kreuz und Kronen sind verbunden (Aria: A) 09:24
5. Ich folge Christo nach (Aria: B) 15:57
6. Sei getreu, alle Pein (Aria: T) 18:05
7. Was Gott tut, das ist wohlgetan (Chorale) 22:19

Soloists:
Soprano: Susanne Rydén
Countertenor: Steven Rickards
Tenor: John Elwes
Bass: Michael Schapper

Performed by Joshua Rifkin and The Bach Ensemble. Recorded by Dorian in 1995-96.

“Weinen, Klagen, Sorgen, Zagen (Weeping, Lamenting, Worrying, Fearing) (BWV 12) was written for the Sunday Jubilate, the third Sunday after Easter, which was the 22nd April 1714. This was the second cantata Bach wrote after his appointment as music director to the Court of Weimar. The libretto is without freely written recitative and this fact, together with the three arias which follow closely on one another, shows it to be an unmistakable transitional form of the Weimar poet Salomon Franck. Despite missing proof of the fact we can regard him as the undoubted author of the libretto. For the content of his work Franck turned to the Sunday Gospel according to St. John (Chap. 16:16-23), and its basic thoughts ‘Sadness (about Jesus’ Farewell)–Joy (at seeing Jesus again)’ became the governing theme of the cantata.

In his composition Bach interprets these basic thoughts of the libretto with those means which the teaching of the ‘musica poetica’ of his time provided. ‘Sadness’ is portrayed by chromaticism, for example the falling bass line of the opening chorus, but ‘Joy’ on the other hand is illustrated by rising diatonic harmony like that which is to be found in the recitative, in the second aria and, too, in the final chorale. There are further musical techniques, such as canonic passages and chorale extracts in instrumental form, which serve to clarify and give point to the libretto.

The solemn and separate instrumental introduction–in later cantatas this sort of introduction becomes an integral part of the opening chorus–is followed by a sedately constructed choral section whose main part is a chaconne built up over a chromatically falling bass-continuo. We know this chaconne from its later re-shaping into the ‘Crucifixus’ of the B minor Mass. The middle section has a faster tempo and its construction and harmony are less complicated.

The biblical text in the third movement is presented as recitative accompanied by strings, the top instrumental voice of which (violin 1) plays a rising scale of held notes. The full meaning of this is made clear to us when the alto sings the words ‘in das Reich Gottes eingehen’ (‘to enter the kingdom of God’) also to a rising scale.

The change from sadness to joy is reflected in the fluctuating character of the three arias. In the fifth movement we meet again the rising scalic figure, this time with numerous canonic parts as symbol of the image of Christ, and in the sixth movement in place of an obligato instrument the trumpet plays the chorale melody (without text) ‘Jesu, meine Freude’ (‘Jesus, my Joy’) which is to say: Jesus turns sadness into joy.

The final chorale, which is as usual simply constructed, is extended into solemn, five-part harmony by an independent, high instrumental voice.” – Alfred Dürr

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