There is a new video in our group showing "Semantic Architecture" in Japan (see former photos, but now with explanations). Christian religion found these sacred buildings formed with plant materials in many traditional societies all over the world. Since they were built as deities or other sacred objects they were classified into religion, but, since they were made with primitive construction methods (which for the local peoples means: very old and valuable things!) the missionaries classified them as "primitive religion", an evident reason to convert the population!

However, the studies in the framework of architecture produced an entirely different evaluation. Semantic architecture is a very ancient tradition which very likely has its roots in paleolithic signs and symbols as well as tectiformes which had an important function in collecting food and temporary occupation of hunting and fishing grounds. In Neolithic times it became important developing as an aesthetic model (PRO-portion, coincidence of opposites) of artful creations, as well as a foundation sign of an agrarian settlement which was conserved by cyclically renewing the fibro-constructive form through great periods of time. It thus archived the local hegemony of the village founder and thus formed a primary type of social hierarchy. Its polar form must have been an important model in the sense of early cognition of natural form (discovery of a tree: Top + trunk = tree; or bird: wings + body = bird). PRO-portion is in this sense also a generalisation among different forms and the enormous multitude of forms still vital in Japan shows clearly that this categorically polar principle brought forth many artful forms by allusion of polar aesthetics to natural forms. The origins of art? It seems so!

Not only art, philosophy too. It is evident that this combination of two different categories in the same form like 'techno below and nature on top', or 'static below and dynamic above', corresponds to the Ancient Chinese Yin-Yang type of perception of objects in a harmonized sense. Daoism too is close with its concept of 'movement' in the immobile object. It creates a world in which all is the same, insofar as it is perceived in balanced, thus harmonious relations.

In short: though the forms are striking us with their materialistic simplicity, these territorial signs are extremely complex and must be taken as tremendously powerful early elements in regard to the "creation" of human culture.

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