Terminology
What was the Shuowen Jiezi?
Shuowen Jiezi was a analytical dictionary of characters
How might have emotional or cultural attachments played a part in the integration of Buddhist architecture in China?
There isn't a concrete answer to this question, as the only way to know an answer for sure would be to travel back in time and ask the people and architects directly, but the reading made me wonder. It's been highlighted that China already had tower structures that they were building, and the reading even highlights the Eastern Han as the 'golden age' of these multi story buildings in China. It also highlights that China already had their own system of worship and design at the time of Buddhism's introduction. The reading says that the Chinese regarded Buddhism with respect before that culture was integrated into their own. But I wonder if there was any push back against the idea of moving past simple respect and adopting this new culture from the Chinese people. I wonder if there was any unwillingness to give new meaning to these storied structures they had already developed and mastered on their own before the Pagodas of Buddhism were introduced to them. Buildings can hold a lot of meaning to people, whether religious, experiential, from a creative perspective, or anything else, and maybe that might have been a root of some issues from the Chinese at this cultural switch.
On the flip side, I wonder if maybe their existing use and love for multi story structures played into the role of accepting Buddhist architecture with more ease instead. Would it have been easier for the Chinese to adopt such cultural views into architecture when they held the existing frame work already? If the Chinese never built storied structures before the introduction of Buddhism, would the drastic change in the Pagoda structures compared to what they would have been used to have made a stronger push back? Or would people have been more open to the idea of something new and exciting?
When the Chinese immortal soul joined the Buddhist spirt, what existing architecture was transplanted to the pagoda?
The tower, most likely the pavilion tower in the late Eastern Han.
Look at figure. 7 C. What is this building?
A pavilion tower
Pavilion towers are mostly square on plan while storeyed buildings are.....
rectangular
In ancient China, guan, xie, que, lou and ge were all terms used to describe what?
used to describe multi- storeyed buildings
How much sway does the culture of a society have on the program of a building being constructed? Did Chinese Architecture change significantly from the cultural influences of Buddhism and its traits as a religion?
Construction of towers in China was extremely prevalent before any pagodas began to start appearing in China. When the Chinese adopted the Buddhist mentality, the pavilion tower was already a prime candidate for a transformation into a pagoda-esque structure; due to its symbolic nature, cosmic form, landmark quality, and social function. It is an educated assumption that the pagoda was created by decorating the Chinese tower with an Indian stupa on the roof as a religious symbolic icon. As such, this new icon in Chinese society served as a material manifestation of the new ideological movement occurring. The pagoda greatly stimulated the development of tower architecture and gave it new significance. In this case, the program of the building was transitioned by the culture influencing it, but continued its base function as a pavilion tower.
All pagodas are different, but what is the one common feature which they all have?
A miniature stupa on top of the roof
Look at figure. 3 A. What is this building?
A painted pottery model of a fortified manor.
Key word "fortified"
What is a Pingzuo?
an elevated piled flooring system
What is the meaning of the Chinese word ta?
Pagoda
Is there a conflict between maintaining the native architectural identity and incorporating foreign religious influences or does the incorporation of Buddhist symbols into traditional Chinese tower design demonstrate a fluid integration between cultures? How has the pagoda evolved to maintain a balance between these two elements?
I believe the incorporation of Buddhist design into traditional Chinese tower architecture is a cohesive integration of cultures. Chinese architecture was already well-established, with innovations such as the pavilion tower and block-and-bracket systems. When Buddhism arrived, instead of replacing these indigenous designs, it added elements such as the stupa on top of the pagoda, strengthening the structure's spiritual value while retaining its essence.
This combination demonstrates how versatile Chinese architecture was, incorporating foreign religious elements while maintaining its uniqueness. The pagoda's form, based on traditional building techniques but adding Buddhist symbolism, shows growth in which cultural continuity and new spiritual aspects live together. In this way, the pagoda feels genuinely Chinese while also being enriched by Buddhism, exhibiting a considerate integration of ideas. Have other cultures been successful in incorporating indigenous traditions with foreign influences into their architectural designs?
Describe some characteristics of the pavillion tower:
. an open pavilion with three roofs
. circular is plan
. comes up from a basin representing an island within a lake
. appears to be wall-less , or to have large openings
Look at figure. 4 A. What is this building?
A storeyed building
Why were watchtowers built?
to afford a wide view and a high position for security.
The Chinese cutupo was a transliteration of the Sanskrit what?
Stupa
The text outlines a transformation between the functional use and spiritual purpose of the towers; shifting from a place to greet immortals, which can be seen as a general or more individual use of the space, to a place of worship specified to one being, Buddha. This transformation is paralleled in the structure and use of the space, which in turn created a shift in the atmosphere and experience of visitors.
Do you think creating a space for more specific worship, as opposed to general/individual worship, can make for a more welcoming or restricting spiritual experience?
If the space was initially used to greet immortals, it suggests that people who visited and experienced the space would have created some form of emotional or personal spiritual connection to the space, which may be disturbed by the transformation, as if creating indirect restrictions preventing them from using the space for their own religious desires. The transformation of use isn’t seen as a bad thing, it simply makes me question its impact on the existing societies and their pre-existing contexts within the space.
What is the difference between the watchtower and the gate -tower?
The main difference is that the watchtower was a freestanding building within a compound, and was elevated by an earth-timber structure, or a system of wooden piles, or masonry structure.
Whereas the gate-tower is build on high walls or in the case of no walls, two smaller gate-towers are constructed next to it to symbolize walls. They are timber-framed pavilions.
Look at this figure. 13 A. Why does the roof require attention? What does it suggest about how the building was formed?
suggests that the building might have been formed by two structures: a magor one surrouned by a minor.
The Eastern Han appears to have been the golden age of storeyed architecuture in Chinese history. What does this suggest?
a period of increased building technology and material wealth.
The earlier synonyms of ta (pagoda) were futu or fotu and tapo. What is the meaning of "Futu Ci"?
Futu (pagoda)
Ci (shrines)
Futu Ci = the shrine of pagoda
Archaeologists uncovered many pottery models of temples during the Han Dynasty, identifying some as venues for “greeting immortals or for entertainment”. Do you think these buildings were used for these purposes separately, or simultaneously? What might be the significance of combining these two practices of worship and entertainment?
Art and entertainment have historically brought people together, specifically those known as “Baixi” in this text (dance, music, and acrobatic performances). For centuries, art has acted as a universal language, transcending barriers to interconnect people, and creating a sense of togetherness. While in my mind, “entertainment” and “deity worship” don’t necessarily go together, the longer I thought about it I realized there are many modern-day examples of art and entertainment coinciding with worship. The simplest example to follow is a church choir singing, which is meant to augment a person's closeness to god, with an expression of faith “bridging the gap” between the human world and Christ. Realizing this parallel, I believe these temples were used for entertainment and worship simultaneously. With the temple heights “reaching toward the heavens”, it was likely believed messages and empowerment from Baixi performances were enhanced within this sacred space, reaching toward and bridging the gap between the human and spirit world as people were brought together.
During the Han dynasty, what were the main building materials?
earth, timber, and masonry including tiles.
Look at figure. 2 A. What is the building?
a wooden model of a pingzuo
In the earliest attempts to gain height while construting tall buildings, what was a technique that was used to support the timber frameworks?
When constructing a tall building, a rammed- earthen platform of great hight was made, provided a stepped earthen core to support the framework