Dammar carries no ruling planet in the Western correspondence tables, and its own history explains why more directly than the first article had room to: this resin's largest modern market has almost nothing to do with incense at all.
Tapped chiefly from Shorea and Hopea trees of Indonesia and Malaysia, dammar dissolved in solvent is the standard varnish used by oil painters and museum conservators to protect and saturate a finished canvas. Conservators and art students encounter the word "dammar" far more often than incense burners do, and the resin's reputation in the art world is old enough and specific enough that it has its own literature separate from anything written about incense.
That history is also why the older Western planetary-correspondence writers, Agrippa among them, never assigned it a fixed slot: dammar entered the European craft and incense trade later and more quietly than resins such as frankincense or myrrh, arriving through the same colonial trade networks that supplied varnish makers rather than through any older ceremonial channel.
Across the Indonesian and Malay archipelago it burns as an ordinary household and temple incense alongside benzoin, valued precisely for the pale, neutral, all-purpose smoke that makes it useless for a planetary attribution and useful for almost everything else: a base that carries other aromatics without competing with them, and a torch fuel where a clean flame mattered more than a fixed symbolic meaning.