Fengshui in the Lu Ban Jing ‘Divine Carpenter’s Classic’ Tyler J. Rowe

The 鲁班经 Lǔ Bān Jīng ‘Divine Carpenter’s

Classic’ is a Chinese building manual dating from sometime in the early 明 Míng dynasty,

combining elements of an earlier 元 Yuán

(Mongol) dynasty text. The best approximate dating for the book puts it around 1573-1629 CE. The manual details an enigmatic assortment of information, both of a technical and ritual nature, with regard to the building of dwellings. Although not generally considered a ‘classic manuscript’ of Fengshui, even a cursory glance reveals a great wealth of geomantic data, vastly outweighing the practical manufacturing specifications contained therein. This along with the nature and importance of the information in the history and development of Chinese metaphysics (to be discussed below) make it difficult to argue its exclusion from the ‘cannon’ of Chinese Geomancy and Astrology knowledge. The text is divided into three 卷 juàn

‘volumes’ each covering different aspects of traditional building procedures and ceremonies. The introduction includes a brief biography of legendary carpenter 鲁班 Lǔ Bān

to whom the text is attributed. The first juan compiles lists of auspicious dates for all aspects of building practice (mostly compiled from other almanacs) as well as the study of auspicious directions and measurements of doors. The second juan is of little interest to this article as primarily concerns production of furnishings and farming equipment. The third juan however, is of particular importance to scholars, researchers and practitioners of Fengshui. It is made up of two parts - part one illustrates various types of layouts for buildings and site plans that can bring fortune or misfortune. Similar diagrams can be found in a number of early references. Part two though, known as the 鲁班秘书 Lǔ Bān Mìshū

‘Secret book of the Divine Carpenter’ is one of the few remaining pre-modern sources (and indeed one of the only translated into English language) of what could only be termed ‘Building Magic’ - the sacred rituals and ceremonies of house construction. Included within is a selection of esoteric remedies and arcane devices such as talismans, amulets, charms and hexes. A tantalising array of, predominately Daoist, clearing tools.

Biography of Lu Ban

The semi-mythological being to whom this treatise is given authorship, was in fact a real historical figure known as Lu Ban. A carpenter, engineer and inventor (later to become an important figure in the Chinese pantheon and Fengshui as ‘Patron Saint of Builders’ and guardian spirit of house building) Lu was born around 507 BCE in the turbulent 春秋时代 Chūnqiū shídài ‘Spring &

Autumn Period’ of the 周 Zhōu dynasty at a

time of great civil war in China.

figure 1. MASTER CARPENTER LUBAN

The story goes that Lu studied philosophy at a young age and found himself upset with the people’s dishonour the Zhou nation. He decided his noble mission was to travel the lands to speak of his concerns and to try to change the current order. Whilst on his journeys, he met a group of marionettes and remained with them studying their arts – carving, cutting, painting and engraving, feeling the proliferation of these fine arts important for the benefit of the realm. Lu went on to develop many tools to improve building and was said to have ‘understood the spirit behind building’. On this he was reputed to have said that ‘heavens way is naturally the circle, earth’s naturally the square, man goes beyond this order with compass and rule, ink line and level’. Numerous inventions are attributed to Lu Ban in addition to building tools – a military siege

‘cloud-stepping ladder’, a naval grappling hook, a glider (an old tale says he once carved a bird so lifelike it stayed in the air for ten days) and a coffin lowering block and tackle amongst others. There are many stories of his miraculous exploits in the annals of history, interestingly often citing his wife 云氏 Yún Shì ‘Lady Yun’

as his helper. One such fable tells that while painting by holding a brush between his toes he succeeded in rendering a portrait of a spirit so hideous it did not want its image depicted. The spirit (possibly an aspect of 鍾馗 Zhōng

Kuí a famous immortal exorcist) got so angry it vanished. This representation is still painted on doors in order to protect houses from evil spirits. In another account, his father had been killed by the ruler of the empire Wu, while Lu was living in north-west China. He carved a sculpture of his father whose hand was pointing toward the offending state. From then on there was drought in the kingdom until they returned his body and Lu cleaved the hand of the figure off. Tales of Lu Ban (under the name 公输班 Gōngshū Bān) and his

machines were used as a kind of literary counterpoint to the conservative philosopher

墨子 Mòzǐ’s views in his text of the same name.

figure 2. LU BAN, PATRON OF BUILDERS

Later in life Lu was said to have met an immortal, studied the ways of magic and finally ascended to the heavens to become a celestial guardian, worshipped by the builders, bricklayers, carpenters and housepainters. Tradition also records that he manifested later to oversee construction of major building projects during the 漢 Hàn, 唐

Táng, 宋 Sòng and 明 Míng dynasties including

the 故宫 Gùgōng ‘Imperial Palace ‘ in Beijing,

better known as the Forbidden City. There are even some temples still dedicated to him today including the 鲁班先师庙 Lǔbān xiānshi

miào ‘Master Craftsman Luban Shrine’ in Hong Kong. A festival in his honour is held yearly on 13th day of 6th month of the lunar calendar. This is the time when the rains should arrive. While Lu Ban cannot create water, as a master of wood, it is said he can ‘arrange its absence’.

The Text Juan I The first part of this volume (verses 1-28), as mentioned previously, is chiefly concerned with a comprehensive listing of auspicious dates1 for all activities involved in building a residence as well as auspicious alignments for many of the materials and processes involved. Next follows detailed drawings and specifications of a collection of ‘rulers’ for determining auspicious, and or inauspicious, dimensions (verses 33-47). This is likely the oldest and most thorough rendering on the subject of the ‘Fengshui rulers’2. Naturally the proceeding verses discuss auspicious measures for building a house (48-58) and constructing doors (59-71). With regard to these, selected directions are also recommended, determined by season and 二十四山 èrshísì shān ‘24 mountains’ bearings

with respect to the year. A brief collection of compass formulas used to calculate the dangerous 煞气 shàqì ‘noxious vapours’

locations are also described here, eg. the 黄泉门路 Huángquán Ménlù ‘Gateway to the

Yellow Spring [Underworld]’ method. The remaining parts of this volume relate to other assorted structures, levelling ground and the drawing of plans.

Juan II As stated above, this second volume is unlikely to be of much relevance to the reader. It explains the production of other architectural and farming structures,

agricultural implements in addition to furnishings. Auspicious dates and measures are provided for their creation and instillation. Perhaps the only items of any interest here are beds (verses 35-39) and altar tables (verse 77).

Juan III The third volume of this text contains some of the most intriguing poems and stories to the Fengshui and Sacred Space enthusiast. It consists of two parts, part one contains 71 four lined rhymes and accompanying pictures describing various types of designs3, sites and ground plans of compound houses and their parts. Verses 1-13 concern door and gate ‘alignments’ (not directions more aesthetics, number, opening and relative to other doors). 14 -20 the spatial arrangement of neighbouring buildings, surrounds and some building features within. 21 – 71 roads to houses and landscapes surrounding them. Of these 52 of the illustrations are depicted as unfavourable and 19 favourable. They mainly feature family problems, wealth and health auspices. Included in this collection are three poems (verses 1, 2 & 15) attributed to the famous Fengshui Master 郭璞 Guō Pú (author of the

first Fengshui text, the 书葬 Zàngshū ‘Book of

Burial’) for judging the appearance of houses. The second part of this volume is known as the 鲁班秘书 Lǔ Bān Mìshū ‘Secret book of the

Divine Carpenter’. The initial section is preceded by a number of artefacts including ‘resisting stones’ for the traditional methods of 压胜 yāshèng ‘dominating’, 压邪 yāxié

‘suppressing’ or 辟邪 bìxié ‘exorcising’

immovable sha qi in the surroundings (verses 1-13). Then comes the prefatory phrase –

‘A carpenter must open this book with closed eyes, in a place where no people are present, so that nobody else can see. He must use the device which first captures his eye’.

It then lists 27 magical devices (verses 14-41) allegedly used by carpenters. There exists a tradition in China of carpenters using ‘sorcery’ against home builders, for the purposes of extorting money or in response to having been treated badly by the owner. There was also a belief that the builders, imbued with their mystical powers, were at risk of having to or suffer themselves for not doing it. Their magic was considered stronger than the other trades of masonry or bricklaying. It was said that an owner could prevent this with kindly words,

providing decent meals and paying close attention to working conditions. The practice of such hexes usually consisted of hiding small objects somewhere in the wooden framework of the house, or sometimes a drawing was made on a hidden place. Of the 27 examples, 16 bring disaster, while the others bring along luck. The final sections (verses 42-48) are written from perspective of house owner, as a kind of guide to protecting oneself against an evil carpenter. These countermeasures are a collection of remedies4, amulets / talismans5, ceremonies6 of ritual acts and incantations to invoke, banish or neutralize this sorcery. Together, the devices from these two sections form the basis of many cures used, and symbolic causes quoted, today in modern Hong Kong based Fengshui.

Key concepts – 1. Date Selection The Lu Ban Jing quotes a near exhaustive list of dates for building a home. Most of which are compiled from other 通书 Tōngshū

‘Chinese Almanac’s. Activities include – ‘Cutting tree’, ‘assembling the trestle’, ‘starting to work the wood’, ‘marking the columns with the ink line’, ‘stirring the ground and levelling the platform’, ‘positioning the plinths and erecting the frames’, ‘erecting the columns’, ‘hoisting the ridgepole’, ‘determining the slope of the roof’, ‘roofing’, ‘plastering’, ‘making a sewer’, ‘paving the floor’, ‘paving the courtyard’, ‘paving and bricklaying’, ‘blocking up the doors’, ‘making doors’, ‘positioning the bed, fitting the bed curtains’. Interestingly – ‘making a kitchen’, ‘making a stove’, ‘digging a well’ and ‘making a privy’, found in some Tongshu of the same period, are not included.

Figure 3. WOOD BLOCK PRINT – ASSEMBLING THE TRESTLE

Seventy-four ‘evil stars’ are mentioned (these are not actual stars in the astronomical sense, more so ‘cosmic energies’) with regard to building practices, along with six favourable stars. The plotting of both on the calendar follow cycles of twelve based on the progression of the 地支 dìzhī ‘earthly

branches’. Days are also rated by degree of favourableness -上吉 shàngjí ‘first class’, 下吉

xiàjí ‘middle class’, 中 zhōng, ‘neutral’ and 凶

xiōng ‘unfavourable’. 2. Rulers

At the time of publication of the Lu Ban Jing there were more than 20 different types of rulers used or in use. Perhaps the most famous were the 鲁班尺 Lǔbān chǐ ‘Carpenter’s

Ruler’, 曲尺 Qūchǐ ‘Carpenter’s Square.’

figure 4 & 5. CARPENTERS RULER (left) &

CARPENTERS SQUARE (right)

The Luban chi is made up of 8 divisions, 1.8 寸 cùn ‘Chinese inches’ each, making a total of

14.4 cun or approximately 43cm. Geometry enthusiast will note this calculates the ratio of the Luban cun to common cun at 1.44:1, roughly corresponding to the ‘golden section’ or √2. The ruler has four favourable and four unfavourable divisions and is used by determining the remainder of cun after any complete ruler lengths have been removed. The auspices are as follows –

1 财 Cái Wealth favourable

2 病 Bìng Illness unfavourable

3 离 Lí Separation unfavourable

4 义 Yi Righteousness favourable

5 官 Guān Office favourable

6 劫 Jié Plunder unfavourable

7 害 Hài Harm unfavourable

8 吉 Jí Luck (Root) favourable

The text contains eight poems elaborating on the meaning and implication of each measure.

The Quchi is graduated on the shorter leg. The total length is one 尺 chǐ ‘foot’ long

subdivided into 10 cun. These are designated by the colours of the nine stars and nine palaces, a poem on the topic indicates –

1 白 Bái White favourable

2 黑 Hēi Black unfavourable

3 碧 Bì Blue unfavourable

4 绿 Lù Green unfavourable

5 黄 Huáng Yellow unfavourable

6 白 Bái White favourable

7 赤 Chì Red unfavourable

8 白 Bái White favourable

9 紫 Zǐ Purple favourable

10 白 Bái White favourable

It was considered less important than the Luban chi but when combined, more sophisticated calculations could be made and greater luck resulting from coincides. Derived from numerological and astrological concepts, these measures were in common use, especially for doors. The bed was originally the only other item a carpenter would choose auspicious measurements [and dates] for. They were often a secret of carpenters passed from master to apprentice and there were many different types. Hand copied, they were committed to memory and the actual tools of rituals use only. Some rulers are still used for statue construction in Taiwan today.

3. Design Like a plethora of other Fengshui classics the Lu Ban Jing provides us with illustrated examples of 形 xíng ‘form’. Many of these

are standard, following basic principles set out for Fengshui. They utilise pictographic analogies of likening shapes to animals, Chinese characters etc. with circular forms being preferable. The poems attributed to Guo Pu are excellent examples -

If the gate is higher than the main hall, There will be no male progeny. If the gate is higher than the enclosing wall, Crying and wailing will often be heard.

The 玄武 Xuánwǔ ‘Dark Warrior’ [tortoise] is

compromised. Representing the kidney 精

Jīng ’essence’ weakening and no infertility.

If the door leaves are askew, Husband and wife cannot get along. The family property will be dispersed, The loss will be truly immeasurable.

The uneven top edges of a pair of doors is symbolically indicative of an imbalance between the patriarch and matriarch of the home. The family will separate.

If a fence is put outside the gate, This is called a mountain of paper money. In the family will occur death & misfortune, It is vexing and grievous indeed.

The 朱雀 Zhūquè ‘Red Bird’ is blocked. Paper

money refers to sacrificial ‘hell bank notes’ burnt at funerals. This is a play on loss of wealth and subsequent gain of another kind.

figure 6-8. ILLUSTRATIONS OF THE THREE POEMS

Other examples included recitations of the infamous ‘coffin position’ and doors facing each other.

4. Remedies The Lu Ban Jing features a selection of emblematic remedies some of which maintain continued to use to present day. Hailing from various cultural and superstitious origins these make up a veritable cornucopia of charms and trinkets, the wisdom of some simple to discern and others more difficult to fathom. Some examples include a branch of pine (these evergreen conifer varieties were often used in folklore to represent longevity, as they last out the winter) –

May be hidden at any place at all. The house owner will have a long life.

A bamboo branch (note the numerological use of the ‘three’, representing

the trigram 震 Zhèn

‘Thunder’ and the wood element) -

Three bamboo leaves on a branch, Inscribed with ‘Luck’, ‘Peace, ‘Quiet’, Hidden high in the ceiling above the rafters The family will have eternal happiness.

Calligraphy tools (a clear correlation can be easily made by the reader) –

An ink soaked brush, hidden in a door crack. Generations of honest clever sons are born. They will be either scribes or painters, The household stable, sincerity prevails.

Broken piece of crockery (symbolising the poor, this is an inauspicious building hex rather than a cure) –

A broken rice bowl and a single chopstick, Cause sons to end up as beggars. Lacking food clothing, always cold hungry, Selling their house they squat in temples. To be hidden in the crossbeams if the gate

Coins (this relies upon the concept of mutual resonance and likely is familiar to modern day Fengshui practitioners) –

Two coins on the ridgepole, left and right, Longevity, health and happiness prevail. The husband famous, the son achieves rank And titles of honour bestowed on the wife. Sons wear official’s robes for generations. Hidden at both ends, placed face down.

The gourd (historically representative of doctor and shaman alike, they were used to carry potions or medicinals) -

A drawing of a gourd on crossbeam or wall, Bring understanding of philosophy, religion. Practitioners of every art will reside there, Many doctors, fate readers and astrologers.

Other more sinister and obscure signs include pictures of a black sun, a ‘five-fold ghost’, swords and intentionally damaged building materials.

5. Talismans

Another area of interest within the pages of the Lu Ban Jing is the use of 符使 Fúshǐ

‘Amulets’. These talismans usually consisted of strips of (often yellow) paper adorned with empowered words or phrases written in various form of ancient seal script. These were then fixed at key points in the house with the

purposes of warding off evil, inviting luck or even changing the location of the 太极 Tàijí

‘Supreme Pole’ or geomantic centre of the house [commonly misspelt ‘Taichi’]. Some of the amulets are relatively simple and merely involve the painting of auspicious calligraphy and pasting in an appropriate

place. Such as the ‘Great Lord Jiang Amulet’ [姜太公 Jiāng Tàigōng was

a counsellor of the famous 周文王 Zhōu Wén

Wáng ‘King Wen of Zhou’ whom legend states authored the hexagrams of the 易经 Yìjīng ‘Change

Classic’]. It reads –

No restrictions from heaven No restrictions from earth No restrictions from negative or positive There is no restriction in whatever respect The Great Lord Jiang resides here.

It is commonly placed whenever a grave or house is built or renovated. Another talisman, the ‘Sea and Mountain Spell’ is painted with accompanying scenery pictures when a home is in the path of roads and bridges or over shadowed by a tall structure (clearly sha) –

My house is like mountain and sea The doings of others cause no harm to me.

Other more complex amulets may require knowledge of the calendar and compass. The use of the 五雷地支靈符 Wǔléi dìzhī língfú

‘Five-fold Thunder Amulets of the twelve earthly branches’ is given under the heading ‘The conjuring of evil spirits in the house’ -

If there are frequently evil spirits or stray ghosts, either originating from the house or brought in from afar, if there are charms and spells in the house, if evil ghosts are haunting invisibly, moving objects, shifting east and shifting west, bringing illness, begging for food and drink, using human speech, then these twelve amulets should be pasted up. They are distributed according to the directions of the star compass. If affixed in the proper way evil spirits will flee away and never manifest themselves, and charms and spells will remain without effect.

The amulets are then pasted of specific structural features at different cardinal and intercardinal points according to the month of affixing as follows –

寅 yín month

(Feb) East on (x) crossbeam

卯mǎo month

(Mar) East on lower wall

辰chén month

(Apr) S-East in corner

巳 sì month

(May) South upper x-beam

午 wǔ month

(Jun) South low x-beam

未 wèi month

(Jul) S-West in upper

申shēn month

(Aug) West in upper

酉 yǒu month

(Sep) West on lower

戌 xū month

(Oct) N-West

亥 hài month

(Nov) North on upper

子 zǐ month

(Dec) North on lower

丑chǒu month

(Jan) N-West

All amulets may only be removed after the end of one year. Not all talismans are drawn on paper though, some are carved into wooden or stone tablets or even written with a finger in the air. Many are merely one step in a greater sequence of ritual acts.

6. Ceremonies A final contribution from the pages of the Lu Ban Jing is the recording of a number of classical Chinese building ceremonies. These vary from procedures to ensure carpenters aren’t ‘up to no-good’ (an act of challenging them to ‘step over their ruler and line-marker’ shrewdly and carefully placed by the owner), processes for temporarily reorienting the Taiji of the house if renovations must be made on an inauspicious bearing (移宮 yígōng ‘transfer

centre’ ceremony) to gain better directions, or even relocating it (出火避宅 chūhuǒbìzhái

‘removing fire and clearing house’ ceremony) if it is the centre itself that must be revamped. Two particular areas of important ceremony are elaborated upon in detail - chants and sacraments for raising the ridgepole and customs and blessings for moving in.

1) 上梁文 Shàngliángwén ‘Raising beam

script’ ceremony. Traditionally, on the same auspicious day, determined by the calendar, the house frame and ridgepole (central high beam that supports the roof) are assembled. On an altar table with a portrait of Lu ban, sacrificial money, fragrant flowers, candles, meat of the three sacrificial animals (chicken, carp and pork), fruits and wine offerings are assembled.

The family gather with offerings of steamed buns 馒头 mántóu to congratulate the client

and treat the carpenters. The foreman throws the rolls over ridgepole and chants a verse whilst the ridgepole is oriented -

The day is favourable, the hour is fine. Heaven and earth lay open and wide. In a censer made of gold, Five fragrant incense sticks are burning. Therefore, We reverently invite the messenger, provided with talisman, in charge of this hour of the day, of this month of this year. Humbly we hope for his arrival, as we have a request concerning a certain affair.

[this refers to the relevant god of the 60 characters of the 甲子 jiǎzǐ ‘stem branch cycle’]

A (civilian/official), pious and adhering to the Way, living in (such and such a community, village, township, district and route), has selected, relying the on the help of a geomancer, the favourable hour and the favourable direction of (such and such day and month of this year), greatly profitable for the construction of a new house.

[the correct personal details are to be inserted wherever parentheses are shown]

We do not dare act on our own, so we respectfully rely on the messenger, provided with talisman, to deliver this incense and letter, by which means we invite the High and True Worthies of the Three Worlds and the Four Offices; the Holy Sages of the Ten Directions; the Stars of All Heavens; the Gods of the Twelve Star Palaces; the Holy Masters of the Five Directions, Lords of the Earth; the Enlightened Intelligence of Fude, He who Paces through the Void; the Perfected of Buddhism and Taoism, dwelling near their Censers; the Six Gods who Govern Fate, Well and Furnace, the Custodians of our Religion; and Master Gongshu, the True Sage Lu Ban.”

[respectively these deities invoked are - heaven earth humanity, the four seasons, the dual embodiments of the five planets, the twenty-eight lunar lodges, the constellations of the twelve earthly branches, south north east west and centre, the god of the earth, the mythical creator, enlightened holy men and women, manifestations of the kitchen god, water and fire, monks and priests, and of course the divine carpenter himself].

The carpenters carry along the image of Lu Ban and wait an appropriate time for ‘the gods to straddle their cranes and mount their phoenixes’ to leave their heavenly palaces temporarily and proceed to the altar. Salutations are made three times and poems recited with each offering -

The first offering has just been poured out, The holy gods approach. A libation has been offered, The drum is struck the zither plucked. Luck bestowed, great as Heaven and Earth, Benefits received, profound as river and sea. We trust holy gods show mercy everywhere.

Man and the gods rejoice That favours are spread all around. In order to enjoy riches and rank We offer our wine cup for the second time. Calamities will be exterminated forever, A hundred blessing conferred from above. We shall enjoy a long life without end.

From now on, Constant prosperity will attach to the house. Sons and daughters enjoy eternal health. We hope the holy sages will bestow favours, They will give abundant landed property, As well as good fortune and luck.

After the completion of the three toasts the rite continues with the hoisting of the ridgepole -

Rise high! The three libations are finished, the seven offerings are completed. We do not dare to exaggerate our offerings. We humbly wish that after the pious (civilian/official so-and-so) has built his house and raised the ridgepole, his household will be magnificent and his work will be prosperous. May he have a thousand granaries, may he have ten thousand chests. First comes wealth, then comes long life. Private and public affairs will both be profitable. The family will enjoy great fame the house will prosper. Fire and robbery need not be feared, everything will go favourably. In all four seasons, floods and thunder will not pose a threat; during the eight half seasons, the bounties of heaven and earth will be received.

If childbirth is near additional lines are read -

May the delivery be smooth, may there be no danger for the woman in childbed, may a clever son be born, a child whose intelligence and wealth will elevate the family.

The tradesmen are of course not forgotten in this invocation, and the next section chiefly concerns their welfare onsite -

Bad luck will hide, evil will drown, they will have no means of interfering. The gods rejoice and man is glad, lucky portents are spread everywhere. Furthermore, we hope that the carpenters, while holding their knives and wielding their axes, during building work may have a bright eye and a cheerful mind; that while they carry loads, be they heavy light, their feet may be swift and their hands may be quick. We trust that the gods will bestow on us their special protection.

In contrast to many ‘new-age clearings’ banishment of ghosts, spirits, demons, commences after the invoking of the deities. Their presence considered essential to aid in the act of 驱邪 Qūxié ‘exorcising’. During this

last recitation the carpenters would burn the sacrificial money in payment for their help and begin to drive out evil with these words–

We do not dare to delay the carriages of their holinesses for a long time; while offering money we escort them out. When they arrive, a welcome shall be presented; when they leave, a farewell should be proffered. May their holinesses all return to their palaces. If we shall have another request, we hope they will condescend to visit us and offer wealth.

The sky is wide, the earth is open, The day is favourable, the hour is good. Scions of emperors Erect a lofty hall.

Evil spirits withdraw, Noxious vapours hide away. What is constructed in this place, Will know prosperity for evermore.

The final lines are a humble wish -

After you have moved into your new house, May the dragon return to its precious lair, The phoenix perch on nest in parasol tree. And in the shade of its lush foliage May sons and grandsons increase in wealth.

Soon as the drum sound enters heaven gate 10000 saints 1000 sages divide left & right. Evil currents of heaven are beaten back, Evil currents of earth are buried. In the lofty building, from 1000 rooms, wealth and ranks come forth,

The whole family a hundred branches, an abundance of sons and grandsons.

This Shanglianwen was performed at the raising of the ridgepole and completion of the house frame. Like the keystone in an arch this point was considered integral to the construction process. It is at this moment, when an assortment of materials and tools take shape, that the worksite becomes a living building. As our modern homes are not built around a central high beam, it is up to the reader to decide what equivalence can be found in our culture for such ceremony. Perhaps upon completion of assembly of the frame?

2) ‘Installing the House Gods’ Ceremony Tradition states that, on the day the house is completed, offerings of incense, candles, sacrificial money, rice, tea and wine placed at the altar before the presiding gods. A bowl of pure water and a willow branch or cabbage leaf is also arranged there. An amulet written in 硃砂 zhūshā ‘cinnabar

(mercuric oxide)’ is pasted, in silence with the left hand, on the ridgepole. The family name is written in the black dot at the base of the talisman and inked over. After bowing three times the blessing of ‘the True Words to Dedicate

the house altar’ are recited –

Heaven is yang and earth is yin, The two principles transform into gods. The three luminaries shine over everything, An auspicious radiance is nearing the gate. A fragrance of flowers if diffused, And music from heaven is resounding. The six gods who govern fate, Are invited to enter the ancestral hall. May the incense fire burn for 10000 years, And may they protect the household forever. Evil spirits cannot enter,

Water and fire pose no threat. The gods of the door & protectors of the gate Kill all ghosts and exterminate spirits. The majesty of the gods radiates far, Imposing & shining are their countenances. Taiyi, the utmost god, has ordained: This house is protected for years to come. The dedication of the gods is finished now, And utmost luck will last forever.

[the gods quoted here include the six gods who govern fate - a reference to 灶君 Zào Jūn

the ‘Kitchen God’ the highest of the everyday deities in a home – each new year he reports the family’s conduct back to the 太乙 Tàiyǐ

‘Jade Emperor’ in heaven. Also significant in the home among the lesser deities are the 门神

Ménshén ‘door gods’ fierce generals who protect the front entry] Following this an exorcism, ‘neutralising of sorcery’ would likely begin with sprinkling the pure water everywhere over the gate and columns with the willow branch whilst repeating a short mantra such as this -

Heaven and earth, yin and yang, sun and moon and all the stars, Wherever sorcery has been practiced it turns to bliss. Such is the command we received from the Old Lord in Heaven.

The process would continue without interruption until the water is empty. The family would then move in following appropriate etiquette with prayers on a predetermined auspicious day and hour of the morning. Similar blessings were made if the centre of the house was disturbed by repairs or construction work started in neighbouring houses at certain directions.

Concluding remarks The Lu Ban Jing clearly provides us with

insights into the close relationship of the

historical building trade in China and

geomancy. Indeed it appears at times as if

these two professions were felt to even be

interchangeable, to a certain extent. Through

research into classical house building it is

possible that some of the popular traditions,

previously omitted from Fengshui due to their

perceived ‘overly superstitious’ nature, could

perhaps be reintroduced by our modern

practitioners. A fan of innovation, the master

craftsman Luban would surely be proud…

References

Chamberlain, J. (2009) ‘Chinese Gods – An Introduction to Chinese folk religion.’ Blacksmith Books

Chiou, B-S. (2006) ‘Traditional Master Carpenter’s Manuals in Taiwan’ Second International Conference on Construction History, Cambridge University

Choy, H (2009) ‘The Earliest Known Daoist Talismans’ ‘Dao Fu – Daoist Talismans’ & ‘Paying Homage to the Four Quarters’ The Feng Shui Architect’s Blog (www.howardchoy.worldpress.com)

Knapp, R.G. & Lo Kaiyin (2005) ‘House Home Family: Living and Being Chinese’ University of Hawaii Press

Ruitenbeek, K. (1992) ‘Carpentry and Building in Late Imperial China: A Study of the Fifteenth-Century Carpenter's Manual Lu Ban Jing (Sinica Leidensia, Vol 23)’ Brill Academic Publishing

Wolfram, E. (1970) ‘Studies in Chinese folklore and related essays (Indiana University Folklore Institute. Monograph Series, Vol. 23)’ Indiana University Research Centre for the Language Sciences