Chinese Paper Lanterns

My name is Stephen Wolba, and I am a fourth year architecture student. I am returning after having been away for 16 months on a co-op term. The object I have chosen for this blog entry is the Chinese paper lantern.

Typically associated with festivals, paper lanterns come in all shapes and sizes, and can be classified into 5 distinct groups based on these differences. Lanterns typically consist of a collapsible bamboo or metal frame of hoops that is then covered with tough paper.

Of particular interest to me are airborne paper lanterns called sky lanterns. These lanterns are usually released into the night sky for aesthetic purposes at lantern festivals, creating an incredible atmosphere. Similar to paper lanterns, sky lanterns are

“constructed from oiled rice paper on a bamboo frame, and contain a small candle or fuel cell composed of a waxy flammable material. When lit, the flame heats the air inside the lantern, thus lowering its density causing the lantern to rise into the air. The sky lantern is only airborne for as long as the flame stays alight, after which the lantern floats back to the ground.”

I think the connection between regular paper lanterns and sky lanterns is very interesting. I find the space and atmosphere that a lantern creates inside a building—on earth—to be a beautiful thing in itself. Being able to extend this atmosphere and experience into the sky—the heavens—for a period of time based on the life of the flame, however, takes this whole experience and raises it to a whole different level. The idea of an object allowing for an experience to take place at the scale of a building or room while simultaneously taking place at the scale of the planet is stunning.

Giant Buddha of Leshan

Hi, my name is Brittany Marsden and currently I am a 4th year student in the History and Theory of Architecture program.

For this introductory blog, I have decided to explore a rather large piece of sculpture known as the Giant Buddha which can be found near the city of Leshan, China. The construction of this massive sculpture began during the Tang Dynasty in 713 A.D by a Chinese monk named Haithong. Haithong wanted the Buddha constructed in a location where the Mingiang, Dadu and Qingy rivers met in order to attempt what he thought would calm the troubled waters for travelling ships.

Eventually the funding for the project had come to a halt, and in an effort to gain support for the sculpture, Haithong gouged out his own eyes to show his piety and sincerity towards his giant project. For the next 70 years the Buddha sat unfinished until a jiudushi, a regional military governor in China, decided to sponsor the unfinished project. The giant Buddha was eventually completed by Haithong's disciples in 803 A.D.

The massive sculpture sit a staggering 71 metres high and 28 metres wide.The subject matter of the large stone carving depicts a Maitreya Buddha with his hands resting on top of his knees. The Maitreya Buddha, in Buddhist tradition, is the future Buddha of our world here on Earth. It is believed that the prophecy of the arrival of Maitreya will happen when the dharma is forgotten on Jambudvipa, the island of the terrestrial world which humans currently live on.

Maitreya is a boddisattva, an enlightened being, who will reach a state of complete enlightenment and is able to teach the pure dharma. Dharma is known as the universal law of nature, the teachings of Buddha which are applied to the understanding of law of human life and its properties. Buddhists believe that the Maitreya will be the fifth Buddha to arrive here on Earth. This will only happen when a number of physical events, such as the oceans decreasing in size, take place and when dharma seems to be forgotten here on Earth.

Haithong was trying to call on Maitreya in order to help calm the waters which had been travelled by many ships throughout his time. Ironically enough with the size of the sculpture being so large, the amount of stone which had been removed from the cliff and placed into the rivers below caused the currents to become altered in a way which would allow safe passage for

travelling ships.

Gifts for the Emperor

Ivory boat

White Jade rabbit shaped box  & Carved Ivory boat

These little boats date back to the Ch'ing Dynasty (1644-1911A.D). They were made for the emperor Ch'ien-lung of China as additions to his collection of curios (strange and interesting objects that evoke curiosity).
What is so fascinating about these artifacts is the amount of detail executed on them. Both boats are only 5.6cm x 8.8 cm for the first one and 2.9cm x 5.2cm for the second one.
The first box can be divided in three portions and contains miniature human figures of a boy attendant and a scholar reading at a table, four wind bells attached to moveable rings, and a cabin with door and window; all decorated with carved engravings.
The second is even more detailed. The piece is finely carved with oars, corridors, arches, and railings. There are nine figures on the boat, some chanting, relaxing or just making tea. Amazingly, even their tea utensils are visible and all doors and windows can be opened. 

It is presumed that this was a way in which the emperor learned about his people outside the palace, since they depicted the traditional way of life during the Ch'ing dynasty.

Bibliography: Masterpieces of Chinese miniature craft in the national palace museum, Chiang Fu-tsung
Photographs by author (found in the same book )

Andrea Chiney

The Japanese Kimono

Although today, the kimono ( 着物) is most often worn by women on special occasions such as weddings and tea ceremonies, the kimono, like any form of art, has evolved through many historical periods, and taken on several various styles. The word kimono literally translates into a “thing to wear” (ki - “wear” and mono - “thing”). It is a traditional Japanese T-shaped, full-length robe, made from a single bolt of fabric called a tan. This tan consists of four main strips of fabric, two panels covering the body and two panels for the sleeves. They are wrapped around the body with the left side covering the right and fastened by a sash called the “obi” (except when worn as mortuary clothes, in which case the right side covers the left).

The earliest known kimonos in history came to as early as the 5th century, and were greatly influenced by Han Chinese clothing. However it wasn't until 300 years later, during the Japanese Heian period (794 – 1192 AD), that a new kimono-making method was developed, involving assembling straight pieces of fabric together, and resulting in the straight-line-cut kimono. Over time, this traditional, simple garment has kept its basic shape, but has become increasingly stylized, as Japanese people began paying attention to colour combinations, the obi “belt”, sleeve length, and materials.

Although they are traditionally made of silk and sewn by hand, even today's machine-made kimonos require substantial hand-stitching and decorating. They are worn today as a layer on top of undergarments, and the pattern is usually determined by the season in which it is worn; example, a kimono with cherry blossoms would be worn in spring. Modern kimonos are largely available in cheaper fabrics such as rayon or polyester, and lesser quality, but the cost of a kimono today that has been made with exceptional skill and materials can exceed $10,000. The modern kimono typically consists of twelve or more separate pieces, and can range from formal to casual, with many varying styles depending on the woman's age, social status, marital status, and the occasion;

Furisode – formal kimono for an unmarried woman

Homongi – “visiting wear”, formal wear which can be worn by both married and unmarried women

Iromuji – monochrome kimono worn mainly to tea ceremonies

Komon – Kimono with a fine repeated pattern, which can be worn as casual wear, or dressed up with a formal obi

Mofuku – formal mourning dress for both men and women, made of black silk.

Tsukesage – the less formal version of the homongi, with more modest patterns covering a small area. Can be worn by married or unmarried women, it is generally used for parties rather then more important occasions.

Uchikake – the most formal kimono, worn over another, simpler kimono. It worn usually at weddings or stage performances.

Susohiki/Hikizuri – longer then a regular kimono, worn by geisha or stage performers in traditional Japanese dance.

Kaidan Dansu

This design of “Tansu” refers to a joined wooden trunk, originating from Japan during the Edo Period (1603-1868). This furniture style became widespread as the standard of living changed and people desired to possess pieces of quality art and furniture to show their wealth. There are many other Tansu designs, but one that really intrigued me was the Kaidan Dansu.

Kaidan translates to “steps” and Dansu means “chest”. It began its manufacturing in northern Honshu, in the regions around Niigata, Yonezawa, Sendai and Iwate Prefecture. It is a 7-ft-tall, freestanding step chest that contains an asymmetrical combination of built-in storage compartments consisting of sliding doors and drawers. It also served as a staircase to reach the second level of shops and homes since they were constructed with great height and space similar to a loft. When used in Japanese shops, it contained goods and supplies. At home, it was used for storing household items.

Not only was it built for a functional purpose, it was also a way of hiding areas of a home to avoid taxation. Tax collectors calculated the amount of tax one had to pay based on the size of livable floor space in one’s home. There were modified versions of the step chest, such as those where pieces were made separately so that it could be moved and disassembled. Other designs could be moved as a whole and it served as a decorative piece of furniture in homes when tax collectors came. Thanks to this strategic furniture, the second floors of homes would not be discovered and the real function of it would remain hidden.

These step chests were made by skilled craftsman who built and customized them to owner's needs. They were made out of fine wood such as Hinoki (Japanese cypress), Keyaki (Japanese elm), Kuri (Japanese chestnut), Sugi (Japanese cedar) and Klri (Paulownia). The age, region and period in which it was built, can be determined by observing the thickness of the wood used, the metal work, configuration and the detail finishes.

This item fascinates me in that it has a seemingly simple purpose, however it can become a multipurpose, and multifunctional piece of furniture.

Wendy Chang

Seal (East Asia)

Seals were generally used for printing stamps in lieu of signatures, which was used for official documents, government/office paperwork or anything that required authorization or acknowledgement. Countries that followed this ideal are China, Japan, Korea and Vietnam. There are three types of seals, that when imprinted, are distinct from one another: Zhuwen, meaning characters imprinted on red ink, Baiwen, seals that have the characters in white with a red background, and finally Zhubaiwen Xiangjianyin, which is essentially a combination of the two.

These seals were usually made of stone, and sometimes out of bamboo or ivory. The seals were usually carved by special seal carvers, or sometimes the users themselves would carve them from marble, stone or, if desired, Jade. The tops of the seals vary, from elaborate floral designs to animalistic interpretations of dragons. The ink that is used with these seals are red ink, with two distinct types that provide different outcomes when used. There is a red ink that uses very fine cinnabar (a red rock that is a common ore of mercury) and is mixed with castor oil and silk strands. These silk strands bind the finely powdered rock with the oils, and this provide a thicker and brighter red stamp seal. The alternative is a plant based ink, which uses once again the powdered cinnabar but this time with castor oil and a plant called a "mugwort" which is sort of like an invasive weed growing on lawns and grasses. Because the mixture of the plant is not as fine as the silk, this combination tends to be more loose and therefore has a chance to degrade over time.

Most people in China possess a personal name seal, while artists collectors and scholars may possess a set of seals which relate to their office or institution. Seals can be used for official purposes, such as banking transactions or personal identification at government offices. Seals are the customary identification on personal cheques in Mainland China and Taiwan, but not in Hong Kong where signatures are required.

The reason I chose this piece: When my girlfriend was signing some documents for her family, there was a discussion between herself and her dad on whether or not to use a more common signature on the documents or to use the stamp. I was sitting there, listening to them bicker, because I have NO understanding of the Cantonese language. I kept hearing the English word "stamp" and "seal" being said, and finally I interrupted her dad (BIG mistake, I know) about this seal. Upon first glance I was so fascinated that I immediately ignored their argument and was just so focused on the item. An item so small and so delicate, yet carved so intricately and carefully. I studied this for as long as I could before my girlfriend snapped me out of a trance due to the fact that I was still holding onto the item when they were calling my name. I have long since tried to spend time with this item in secret, but to no avail.

The Chinese Garden

The philosopher Laotzu stressed the importance of living in unity with nature. This ideal was inherited by the Chinese culture and the Chinese began to worship the forces of nature. Laotzu formalized his philosophical renderings into Toaism; which describes the beneficial effects of nature and what it can do for the mind and body. Toaism was not the only force to influence the Chinese garden. Buddhism taught that meditation was an act of beauty and privacy and Confucius taught man to engage in peaceful ritual and it will mend the conflicts one encounters in everyday life.

It is from these philosophies that the basis of gardening was created. There are some references to gardens in literature as well as some paintings but most evidence leads one to believe that gardens began during the Han Dynasty. These gardens aimed to reproduce nature and attain unity with the universe. Gardens were meant to induce a mood of tranquility, serenity and a constant flow of introspection.

Certain elements of the garden are important. The garden must reflect the local environment and incorporate natural elements. The garden must represent a world of its own and have an element of surprise and uncertainly. Chinese gardens are designed with contours; the design takes advantage of the natural topography of the land. The Chinese preferred winding streams and paths rather than simply symmetry and straight lines. The walls surrounding a garden are very important and act as an enclosure. These walls separate the chaotic lives of human activity from the calm forces of nature.

Other elements that are included in the design of Chinese gardens are architecture. The architecture found in a Chinese garden is mostly aesthetic rather than useful. Examples of this include elements of the animal and vegetable kingdom depicted architecturally.

Another architectural element is called a Moon Gate, sometimes they can be seen in different shapes such as flowers or vases but for the most part they are circular doorways, leading one to different parts of the garden. What is special about the moon gate is its ability to show other parts of the garden. Leaking windows are another form of showing the garden and are located in walls and sides of buildings. One can catch a glimpse of a scenic view through the moon gate or leaking window, which adds mystery and surprise to the garden. These gates and windows give the garden a sense of enclosure as well as the illusion of a labyrinth.

Garden pavilions are another element of the Chinese garden but are prevalent in larger gardens. Family friends or the garden caretakers would often occupy these Pavilions. But in the case of a rich man, he would harbor his lesser wives and concubines in the pavilions. Other smaller pavilions would give the viewer a chance to rest or contemplate. The metaphor of these small pavilions symbolizes man’s small existence within the greater natural order of the universe.

Chinese gardens are not your typical garden you see in North America. Whereas our garden’s green grass is the typical central focus, Chinese garden’s focus on water. The yin and yang is very important in Chinese gardens. There is a balance of these two elements that gives the garden the right amount of water and rocks. These two elements of the garden are the most important. They symbolize the basis of nature and give life to the garden.

A Chinese garden is built, not planted and it is considered part of the architectural whole. There is a connection between the value architecture gives to the landscape as well as the value of gardens and what they can add to the buildings. The complex maze that acts as a haven of peace that can still challenge the viewer is what makes Chinese gardens so unique.

Reference:

Graham, D. Chinese Gardens: Gardens of the Contemporary Scene, An account of their design and symbolism. New York: Vail-Ballou Press, 1938.

Keswick, M. The Chinese Garden: History, Art & Architecture. Academy Editions: London, 1978.

Images: Google Images

By: Patricia Brooke Herczeg