Blog Exercise 2:

The Qianlong Court Bell and Bronze Casting in China

In my previous blog post I introduced a brief history of ancient Chinese bells, primarily focusing on the Qianlong Court Bell. In this post, I will further examine the shape and materiality of this bell, by reflecting on the tradition of bronze casting in China.

Bells in ancient China served four main purposes:

• for music-making and entertainment during festivities
• for announcing the night watches
• for declaring stature in the imperial court
• for religious purposes, such as communicating with ancestral spirits

Bells are either flat or round in shape. Flat bells or Zhong bells, with an almond-shaped cross section, were often used for making music. Chinese bells do not contain clappers, so sound is produced with the strike of a hammer or wooden stick against the bell’s surface. Depending on where the bell is struck, it produces two different tones that are a third apart and completely independent of each other. A strike in the middle produces a lower note, also known as sui. A strike along the edge of the bell produces a higher tone, or gu. The almond-shaped cross section produces a tone that dies quickly, so that it does not interfere with any music that follows. Chinese musical bells were often produced in sets of different sizes, and altogether they could play a number of different harmonies.

Imperial bells, cast during the Shang Dynasty (1600-1122 BC), were often much larger and heavier than Zhong bells. The Qianlong Court Bell falls within this category. It is round in shape, with a round cross-section. It is likely that this bell was played on its own, with the purpose of announcing an imperial ritual rather than producing a tuned melody. These large court bells produce a deep sound that dies slowly.

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• Musical Bells vs. Court Bell

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Ancient bells from China were often cast from bronze during the Shang Dynasty, such as the Qianlong Court Bell. Bronze casting is a complex form of art that requires great skill and craftsmanship. The refined skill of pottery making in ancient China may have led to the great understanding and skill of bronze-casting that was later developed in the country.

Bronze is an alloy, which means that it is composed of two or more metals. The primary element in bronze is copper, which accounts for roughly 85-95% of the alloy. Copper is rarely extracted from the earth in its pure form, and it usually contains a number of metal impurities. The remaining 5-15% of the bronze alloy usually includes tin, arsenic or lead. Since tin is abundant in China, it was the main additive used in making bronze. Adding tin to copper increased the strength of the bronze, and also lowered its melting point, making it easier to cast into molds. However, adding too much tin could make the bronze alloy brittle and weak. Therefore, there was great skill required in the preliminary steps of mixing the right metals to create the optimal bronze that was used in casting the bells. There was also great danger in working with these alloys, since they could emit poisonous fumes during the melting process.

Casting large bells was a laborious set of procedures that required lengthy experience. Large crucibles were required to hold the large volumes of molten alloys, and multiple furnaces were needed to melt the bronze in the crucibles simultaneously. The molds for the bells were made of clay, and intricate motifs of animals, plants, clouds, geometric patterns and ritual inscriptions were carefully cast into the clay itself. Once the bronze cooled after pouring, the clay mold was broken, and the bronze was hammered to increase the strength of the bell.

Bronze bells are rarely cast in contemporary China. The process that was used thousands of years ago is not fully understood, and is extremely difficult to replicate today. However, bronze casting can be encountered in the design of Chinese incense burners, sacrificial vessels and statues.

By: Iva Mihaylova

Materiality: architecture/object

For the first blog, I researched Asian hand fans. An important detail that was brought up many times was the material used to build these fans. Whether is was due to the different centuries or societies, the material used to make a hand fan always had an importance and reason. For example, laborers used large round thin paper fans to cool down during the summer while dancers used silk and feather fans for grace and movement.

Like the originality of the fan, Asian architecture is a unique style which uses timber as a primary construction material. Asian architecture is apart of one of the three most famous architecture styles including Western and Islamic. Lightweight materials and porous boundaries between the inside and outside are trademarks of Asian architecture. Japanese architect Ryue Nishikawa says "If you see Japanese temples made of wood, you can see how the architecture is made up. They have a clear construction and transparency and they are quite simple". The way Nishikawa describes the materials used in architecture resembles the simple, transparent and functional material of the hand fans. It is also known that Japanese architects create while keeping harmony with nature, which explains why wood is their most popular building material. Most of Japan's oldest surviving buildings are made of wood.

Asian materiality and design are focused on simplicity and minimality. One good example is a traditional Japanese interior which is built up of screens and sliding doors, which open and lead to different rooms. The screen system can be completely opened to create an large space or closed off for private space. Translucent paper, another material used to build hand fans, is also used for the screens and walls in Japanese buildings and creates shadows or silhouettes for people to see into the next room, but not completely or clearly.

By comparing a simple Asian artifact, the hand fan to something bigger like its architecture materiality, it's quite obvious to see that Asian craftsmen as much as architects put a lot of care and thought into their design. The material is simple yet useful and creates an enlightened atmosphere.

Michele

Chinese Paper Lanterns + Space

The key theme that I feel relates to the Chinese paper lantern is space. Although lanterns are constructed of a simple frame and paper covering, they take on an important role in terms of how space is perceived, felt and defined. Being a source of light, the lantern acts as an object that controls and defines how a person and space engage and interact.

Without the presence of light everything would remain in darkness. Although one may think of the sun when thinking about our principal source of light, lamps and lanterns account for much of our light sources within a building and during the darkness of night. The way light illuminates objects and spaces around us has a direct correlation between how we perceive and feel in spaces we inhabit. Based on the position, intensity, colour, temperature, and direction of a light source, as well as what sort of material acts as a shade or filter, the effect it has on the surrounding space is altered. If we look at how a lantern lights a space, we can see the differences in perception of space that exist.

If we look at how a lantern as a bare element (with only a light bulb and the frame of the lantern) lights space around us, we would notice a harsh type of unfiltered light with very hard shadows. This could be perceived as a harsh environment that would not feel comforting. To add to this, if this source were to be a cool temperature (such as fluorescent lighting), a cool and unwelcoming presence could be felt.

By adding paper to the frame, a filter is created which drastically changes how the space it lights is perceived. Edges of shadows are less hard, and a softer, more even light is felt. A more balanced and uniform environment is created, which could be argued to be more relaxing and comforting. The use of a source of light with a warmer temperature (such as incandescent lighting), generally provides a less noticeable type of light

Other elements such as colour, position, intensity, and direction further enhance how space is perceived through light. Although these examples given do not always produce the environments mentioned, these are examples to demonstrate that light and filters cause spaces to be perceived and experienced differently. For the most part, I would argue that Chinese lanterns provide a soft and warm light, creating a welcoming and comforting environment.

Stephen Wolba

Bamboo, as surprising as it may seem, is actually a grass. Certain types grow less than a foot, while others can grow up to a hundred feet tall.

Being aesthetically pleasing, sturdy and pliable, bamboo is a preferred plant that the Japanese people use to make fences, canes, toys, musical instruments, clothing, and much more, including decorative baskets.

The art of weaving baskets is a very popular and admirable skill, providing various functions towards a household. During the sixth century in Japan, bamboo baskets were used for alter offerings as well as in the sixteenth century where they were used in tea ceremony’s to display flowers. Presently these baskets are used to hold flowers, fruits and vegetables, towels, magazines, etc.

“Because bamboo baskets [are so] beautiful, it’s no surprise that it takes a long time to learn the craft. It can take artists up to ten years just to learn to master the art of bamboo weaving” It is a challenging craft, however, once it is mastered through hours of patience, the basket turns out to be very durable and long lasting.

These procedures are followed to create a Japanese Bamboo Basket:

1. Cut a three foot piece of bamboo into four planks by using a large knife to cut vertically down through the bamboo. Cut each plank in half using a knife. Cut the plank halves into long strips by using a knife to cut them into layers. Start cutting the strips from the back side of the bamboo first.

2. Use scissors to cut the ends of the bamboo strips so that they are all equal in length. Peel apart each bamboo strip so that you have multiple miniature strips of bamboo.

3. Cut a five foot long piece of string and thread it into a tapestry needle. Grab a small bundle of two to three pieces of bamboo and coil the loose end of your string around the end of the bamboo bundle for approximately three quarters of an inch.

4. Bend your wrapped section of bamboo into the shape of a U and bind both sides of the "U" together by wrapping it with the string six times, this will create a small loop. Wrap the string around the loose bamboo pieces and run it through the small loop. Continue wrapping the string around the bamboo and through the small loop with the tapestry needle until you make a complete circle, this should take anywhere from ten to twenty stitches.

5. Add another bundle of bamboo to your basket by adding it underneath the loose bamboo from your ring and wrap the string around the combined bundle six times. Start coiling the new section by wrapping the string around the bamboo and through the coil of the previous row, using the tapestry needle. Continue adding bamboo in this manner until you are satisfied with the size of your basket.

6. Finish off the basket by simply wrapping string around the top coil of the basket, all the way around. Cut the string and tie a knot at the end of it. Tuck the knot into the coiled string

Possible Uses for the Bamboo Basket in Present Days:

Hand Fan

Very early in 7th century BC, the Chinese hand fan, more specifically used for dancing, was developed. The hand fan was made up of a row of feathers placed at the end of the handle. These fans were more delicate compared to the earliest Chinese fans created with woven bamboo, discovered in the 2nd century. The Chinese meaning of fan is inspired by an image of 'feathers from under a roof'. Different status' and genders would be associated to a specific kind of fan. When Asian hand fans started being mounted with bird feathers, which created a graceful, soft appearance, it wasn't long before they were used for dance shows in many imperial ceremonies.

Other than the use of feather and light fans, laborers used large round ones made out of grass to help them keep cool in warm summer weather. Fans were also developed in fine paper and mounted in bamboo similar to its original version, used by the aristocrats and scholars. There was also an interest in painting poetic and artistic expression on the paper.

The folding fan was invented in Japan during the 6th to 8th century. In the 11th century, Korean used the folding fans, Japanese origin, as gifts to the Chinese court. Later around the 16th century, Portugese trade introduced folding fans to the west and it became popular rapidly with most of the continent adopting it.

Today, Asian hand fans are found in the formal costume of the Japanese court and by Shinto priests. In Japanese pop culture, paper fans are also called 'Harisen' and are featured in anime and graphic novels. Fans made today are smoother, with an even texture and easier and faster to make with a machine.

Michele

#2: Architectural Detailing based on Cultural Belief

In my last blog entry I spoke about the 12th century Syrian bowl with peacock motif. I went into detail about the symbolism behind a peacock across many religions and cultures. In this blog entry I will explain how a cultural belief, in other words, symbolism, affects architecture through the form of The Detail.

A couple of classes ago we learnt how important the symbol of the bull is for Tibetan Architecture. In Tibet, the bull's horns around windows is a symbol of a protector deity. The bull horns has such a profound meaning for the local Tibetan culture and it has become part of the architecture by means of detailing, in this case, a pictorial symbol. 

On a macro scale, it is traditional Feng Shui belief that buildings should not have direct alignment of the front door with the back door. The reason for this is because all good Feng Shui energy coming through the main door will easily, and quickly, escape through the back door without having a chance to slow down, circulate within the space, and nourish one's home. The detailing for this case is in the placement of the doors and the circulation within the building. Contrarily, in Nigeria it is not acceptable to design streets finishing in a cul-de-sac. Black Magic or Voodoo is a prominent cultural belief in Nigeria, and so, streets must be designed with an entry and an exit, so if bad energy should enter it should have a clear and direct path to exit. Another example of Black Magic cultural belief is in Haiti. I was watching a documentary on the reconstruction of Haiti post-earthquake and found it especially interesting to watch the local Haitians reaction to North American architects attempts at new housing strategies, especially the integration of cross-ventilation. An opening between the walls and roof was created in many of the 'new' proposed building designs, but what the designers did not consider is the Haitians strong belief in Black Magic. In Haiti, it is imperative that the house is able to be completely enclosed so that the bad energy does not enter during the night. 

In the above details we can note that the detailing takes place in the form of street design, and for the latter, in the form of the connection between roof and wall.

Symbolism in architecture often hails from a specific cultural belief; through detailing it can become a part of the built environment and ultimately form a seamless connection between building and cultural roots.

-Aliza Sovani

Blog Entry #2: "Galaxy" as Space

Prepared By: Amanda-Marie Thomas

"Galaxy" by Honda Syoryu is a piece that speaks to the overall concept of space.

For the purpose of understanding the relationship between Space as a Key Theme within the "Galaxy" sculpture, I have broken it down into two interpretations of space:

1. Space Created

2. Space Viewed

Space Created

Space Created describes the space that occupies the built form completely. It shapes the form which encompasses it, ultimately providing it with a sense of purpose. This type of space describes a quality of fullness that pushes the boundaries of its confinement (Figure 1). An example of Space Created is the cup. The space within the cup makes a cup a cup; providing it with purpose.

Space Viewed

Space Viewed describes the space that is made visible through the apertures of the "Galaxy" art piece. The open weave creates numerous tiny view ports through which to view and understand the space beyond the confines of the built form (Figure 1).

Space Viewed through Space Created

There is a fascinating connection between the Space Created, the "Galaxy" and the Space Viewed that result in a interdependent relationship. The Space Created within the form yields the shape of the built form, while the Space Viewed is only available through the aperture provided by the space within the "Galaxy" sculpture itself (Figure 2).

Figure 1 - Illustrated concepts of Space Viewed and Space Created

Figure 2 - The Relationship between"Galaxy", Space Created and Space Viewed