Houfeng Didong Yi

The Chinese have always had a concern for earthquakes but did not understand that it was caused by the shifting of tectonic plates. Instead, popular theory at the time suggested that they were caused by disturbances with cosmic yin and yang, and as punishment given by the heavens. There was a group of scholars that also believed earthquakes were caused by the wind and air. They theorized that earthquakes would occur when wind and air becomes trapped in a mountain or cave.

Among this group of scholars there was Zhang Heng, an astronomer, mathematician, inventor, geographer, cartographer, artist, poet, and literary scholar. His most impressive invention was the Houfeng Didong Yi, the world’s first seismometer. This powerful tool could accurately tell from which direction earthquakes were occurring from up to 700 kilometers away which was vital for quickly sending aid to devastated towns. The seismometer would indicated the direction from which an earthquake was happening by dropping a ball from one of the eight dragon shaped arms, into the mouth of one of the toads, each representing a direction. Within the device there is a pendulum that acts as the motion sensor, when activated it in turn trips a crank that opens the upper jaw of the dragon head and releases the ball in its mouth.

In later dynasties the Chinese were able to reinvent the seismometer with the help of mathematician and surveyor, Xindu Fang. Unfortunately during the Yuan Dynasty they decided not to preserve the technology for this device, claiming that all detailing and instruction were no longer to be found. Similar devices were later seen in Japan. These devices were also pendulum activated but used pins to poke holes in paper to indicate direction.

Nick Choi

The Silong Sifeng Chinese Table Block (銅錯金銀四龍四鳳方案)

The Silong Sifeng table block is an artifact from the Warring States period (403-221 B.C.). The block originates in the Hebei province of China, typically used as a furniture table base measuring 47.5cm in length, 31.8cm in diameter and weights 18.65 kilograms. The table block resembles the earliest form of the ancient bracket-set (dǒugǒng) before it became a unique structural element. It is significant that this ornamental furniture marks the first appearance of the bracket-set, which later evolved into a structural network widely used in traditional Chinese architecture.

The base is decorated with animal sculptures, and the structure of the base is composed with four modules of dragons and phoenixes. Each module leads to a bracket-set component which supports the upper frame for the table top. All bracket- sets are composed of dǒu (blocks) and gǒng (arms) and in every case an arm joins a block.

The block is coated with ancient Chinese’s finest metal techniques; the pattern is incised on the surface of the bronze ware by chiseling, and then has gold and silver wire inlaid to produce a decorative effect.

This architectural joinery has developed into a complex set of interlocking parts. The pieces are fit together by joinery alone without fasteners, due to the precision and quality of the carpentry. As the years and centuries rolled by, brackets and bracket sets became more ornamental than structural and no longer serve its initial function. This artifact now exhibits in the Hebei Province Institute of Archaeology.

By Danica Lau M2

长信宫灯(Changxin Lamp)-- Gilt Bronze Human-Shaped Lamp

长信宫灯（Changxin Lamp）is an ancient lamp made during the Western Han Dynasty (172 BC), and unearthed in 1968 AD from the Royal Tomb of Jingwang in Hebei Province. It belonged to the wife of Jingwang, Douwan, which was a gift from the Queen Mrs. Dou. “Changxin lamp” is named after the name of palace which the Queen lived. It is made out of bronze, and entirely gilt in gold. This lamp features a statue of a maid kneeling on the ground, gently lifting up the lamp with her raised right arm, and supporting it with her other arm at the bottom. This simple gesture looks natural and elegant, but what really fascinates me is the cleverness of design in its function.

It was considered the most remarkable lamp in the Chinese history, not only because of its delicate craft, but also its practicality. During the Western Han Dynasty, animal fat was used to make candle, hence a lot of smoke was produced in the burning process. To deal with this problem, the designer used the broad sleeve of the statue’s right arm to seal up the top of the lamp, and work like a chimney to bring smoke through the arm into the body. The statue is hollow inside, containing water at the base of the lamp, which would dissolve the smoke and dust in the air as the candle burns. This entire purifying process is deliberately hidden inside the lamp, so the users only see the light, clear air and the elegant lamp design.

In addition, the lamp base and the two panels around the cylinder are made to turn, in order to adjust the illumination and direction of the lamp. This intelligently designed ancient lamp offers almost the same kind of light control as we now have with electrical lamps. It amazes me how advanced this lamp is designed, combining the aesthetics and practicality.

by Cassie Q.

Bongwonsa: Korean Buddhist Temple

The Bongwon Temple (or Bongwonsa) is a Buddhist temple located in Seoul, South Korea. It was built in 889 by master Doseon, originally on the site of today's Yonsei University. It eventually relocated in 1748, a few hundred meters away to the south foot of An Mountain.Bongwonsa is the head temple of the Taego Order (the second largest sect of Korean Buddhism).

To add to the aesthetics of the temple, Bongwonsa's 15 buildings are covered in beautiful paintings. This particular style of painting which is very common on Korean temples is called Tanch'ong. Tanch'ong helps preserve the wood from insects while adding glory and richness to the buildings. These decorative bright paintings work together with the complex traditional construction of the temples to also emphasize certain structures of the architectural elements.

As a result the paintings which are often symbolic work to unite the building as a whole not only architecturally, but also in the values of Buddhism.

This interests me because the unity of paintings with architecture gives the structure life and personality. I remember when being a child, I would always be fascinated when entering a temple because of the sacred atmosphere the architecture and the environment created together. The ancient smell of wood, symbolic detailed paintings, dim lighting of candles and the fragile statues of the Buddha inside the temple somehow made me feel more calm and spiritual.

By: Helen Jeong

Bayanihan - "YouHaul"

"Bayanihan" is a Filipino term that refers to acts in spirit of community. One of the most common examples, and has often become synonymous with the term is the Bayanihan of moving homes.

When natives want to relocate their home, neighbors and friends gather and literally carry the entire house on their backs using support frames underneath the house. These frames are usually made of bamboo. The number of people varies, of course, depending on the size of the house.

These small homes are called Nipa Huts (or Bahay Kubo ~ Kubo House). These are made with Bamboo frames and Nipa leaves for the coverings. They are the traditional indigenous homes of the Philippines. They are usually built on stilts but some modern variations have fixed foundations (where Bayanihan cannot not be used). They are generally lightweight - light enough for people to carry without the aid of machines.

The terrain offers a challenge to these people, especially in the past when this was done more often and there were less paved roads. These people are unpaid volunteers - it's all about the community. They are treated to a fiesta afterwards in gratitude of their efforts.

Traditional Chinese Bells - The Qianlong Court Bell

A Brief History of Ancient Chinese Bells

The first known Chinese bell was the ling. It was a small clay bell with a circular cross section and a smooth surface. These bells were often used as percussion instruments to signal the end of a laborious day.

Ling bells made of bronze were cast in 16^th century B.C, as China made its way into the Bronze Age. These lings still exhibited clean surfaces, lacking any decorative patterns. The sound produced, as the clapper of the ling was moved to strike the inner wall, was devoid of controlled rhythm.

Larger in size bells began to appear in some parts of China. These bells were struck from the outside to produce a controlled rhythm. Unlike the lings, these bells were covered with rich and emotional inscriptions and images that symbolized the Chinese culture. In the Western Zhou Dynasty, the Spring and Autumn Period, and the Warring States Period, only the aristocrats had the advantage of owning such bells. The number of bells and their suspension from a ceiling surface symbolized the aristocrats’ position and power.

The Qianlong Court Bell

The Qianlong Court Bell is a large bronze-cast bell, which stands 2.54 meters tall and weighs a mighty 3,108 Kg. This piece of history of the Chinese culture is located in The Great Bell Temple of China. A quick fact about this temple is that it is surrounded by tall walls that block out the hustle and noises of a lively city, allowing the chimes and deep tones of the bells to resonate the space.

The bell itself is richly decorated with the twisted three-dimensional bodies of twenty-two dragons with piercing eyes, flowing beards, dangerously sharp claws and protruding venomous fangs. The dragons are blanketed with layers and ribbons of clouds, seas and cliffs.

The period during which the Qianlong Court Bell was cast is unknown. However, a symbol of “qian” near the mouth of the bell, as well as the image of the dragons (also known as “long” in spoken Chinese language), lead to the assertion that the bell was produced during the reign of Emperor Qianlong of the Qing Dynasty. While a bell’s main function is to announce time, the elaborate and elegant castings on the bell may suggest that the period during which the emperor ruled was prosperous, wealthy and secure for its citizens.

Concluding Thoughts

Bells in the Chinese culture evolved over the decades, and were used in different functions of the society. Some were used as celebratory instruments, to announce a successful harvest, a New Year’s celebration, or a grand event in the imperial court. Bells are even known to have been used in war times and times of cultural desperation. In all these instances, a strong emotional output was often the outcome of the sounds produced by a ringing bell. The deep, forceful and coherent chime of a traditional Chinese bell, always heard from a great distance, continues to tell the rich history of the culture.

Iva Mihaylova

12th Century Syrian Bowl (Peacock Motif)

Hi, my name is Aliza Sovani. I am returning to Carleton University as a 4th year Architecture Student after spending a semester on exchange in Istanbul, Turkey and a 12-month cooperative education term.

A group of artifacts that interest me a great deal are the Syrian Bowls that date back to the 12^th century.

These elaborately decorated bowls often depicted images of a peacock as the main motif. This artifact interests me for two main reasons. Firstly, because of the technique of this particular bowl and secondly, because of the symbolism associated with the use of the peacock. On the bowl shown below, the tail feathers resemble a wide band elaborately decorated with foliated Arabic calligraphy and scrolling motifs. The bowl consists of a stonepaste body painted in lustre on an opaque white glaze (diameter of 24.3cm.)

In the 12^th century, like today, Syria was a part of the Islamic World. In Islam, the peacock is associated with Paradise and royalty; it is often depicted standing guard at the gates of Paradise.

The use of a peacock has held meaning for many cultures and religions over time. In Greek Mythology it is said that Zeus’s wife Hera discovered her trusted watchman dead after Hermes killed him according to Zeus’ orders; upon finding her watchman dead Hera took all 100 of his eyes and put them on the tail of a peacock. In China, the peacocks became a symbol of the Ming Dynasty. The Chinese equated the peacock with divinity, rank, beauty and power. In a source I found it is even stated that “some believe that the peacock was ejected from Paradise with Adam and Eve, which is why its cries sound so mournful.’ This could explain why in Europe, during the time of Marie Antoinette, the peacock’s scream was considered an evil omen (she wore a peacock’s feather in her hair anyway!)

Animal motifs on ancient artifacts interest me a great deal due to the differences in symbolism depending on the region such artifact hails from.