An Instrument Between Science and Philosophy
In 1683, a geomantic compass (also called 羅盤 luopan or 羅經儀 luojing yi) from China, roughly 10 x 10 centimeters in size, was first mentioned in the inventory records of the Electoral Saxon Kunstkammer in Dresden (Kat.-Nr. 47789) - at the time still recorded as “Indian compass” under “No. 109”. It shows the interest at the Saxon court in the early modern period in non-European systems of knowledge and at the same time a history of collection, reaching from the Electoral Kunstkammer to today's Museum für Völkerkunde Dresden. But what hides behind the characters on its face? Which philosophy can be gleaned from it?
Compass (before 1683) (lid), China, wood, centrepin, glass, 2,4 x 9,5 x 9,5 cm
Staatliche Kunstsammlungen Dresden, Museum für Völkerkunde Dresden (Katalog-Nr.: 47789), Foto: Sylvia Pereira
A compass is not just a specialized instrument of geography, but can also be a tool for feng shui. Feng shui (風水) is a practice dealing with the harmonic design of rooms and environments. The goal is to opitmize the flow of the cosmic energy qi (氣), to boost wellbeing, luck and success. The arrangement of furniture, the orientation of buildings, as well as colours, shapes and materials play a role in this. The desired outcome is achieving a balance of the natural forces. The practice is based on the principles of yin (陰) and yang (陽), as well as the Five Phases of wuxing (五行 wood, fire, earth, metal, water). It is applied in architecture, interior design, landscaping and interment of the dead.
Compass (before 1683), China, wood, centrepin, glass, 2,4 x 9,5 x 9,5 cm
Staatliche Kunstsammlungen Dresden, Museum für Völkerkunde Dresden (Katalog-Nr.: 47789), Foto: Sylvia Pereira
At the time of the compass' creation, it was assumed that a human's qi field is influenced by the universe. Harmony between human and cosmos was thought to lead to fortune, while disharmony was undesireable. The compass was used to show this cosmic order: It depicted the central information of the universe - such as the stars in the sky, all things on eath, represented by the Five Phases or the Heavenly Stems and Earthly Branches. Masters of feng shui used the roation of the centrepin to determine the best direction or time for certain people or events. Even though the term “magnetic field” is not mentioned in this school of thought, the precise coordination of direction, position and distance between the circles shows an implicit understanding of magnetism.
On the plate of the compass, characters are arranged in four circles around the compass needle.
The first circle shows the four characters of the cardinal directions, as well as four trigrams, which are depicted as part of a group of eight trigams (八卦 bagua) elsewhere. The origin of the eight trigrams lies in the art of divination practiced during the early Zhou dynasty (11th to 8th century BCE), explained in the Yijing (Book of Changes).
Basis of the so-called yarrow oracle are broken and unbroken arranged yarrow stalks. Solid lines (or stalks) repesent the concept of yang. Broken lines represent yin. The trigrams symbolize forces of nature like heaven (乾 qian), earth (坤 kun), thunder (震 zhen), wind (坎 kan), fire (坎 kan), mountain (艮 gen) and lake (兌 dui). Each are also assigned attributes, compass directions, colours, animals and emotions. The combination of the trigrams forms the basis of the 64 hexagrams of Yijing, which are still used in feng shui, meditation and spiritual practices today - as a system, that helps interpret the relationships between human, nature and cosmos.
Highlighting of the first circle with label. The four three-line trigrams shown on the compass correspond (in this order) to the cardinal directions southeast, southwest, northwest and northeast: xun (wind 巽), kun (earth 坤), qian (heaven 乾) and gen (mountain 艮).
© Staatliche Kunstsammlungen Dresden
The characters in the second circle are abbreviations of the nine-star-diagram (九星 jiuxing pan) of the zuoshan-type (坐山九星盤 zuoshan jiuxing pan).
The third circle shows the so-called “24 Mountains” (二十四山 ershisi shan). This term contains an elemental concept in feng shui: The cardinal directions are split into 24 parts, with each spanning 15 degrees, coming to a total sum of 360 degrees.
The second (purple) and third (green) circles of the compass.
© Staatliche Kunstsammlungen Dresden, Museum für Völkerkunde Dresden
The fourth circle shows the 60 combinations of the Chinese sexagenary cycle (甲子 jiazi), which is made up of the connection of 10 Heavenly Stems (天干 tiangan) and 12 Earthly Brances (地支 dizhi). These unique pairs serve to measure time and have meaning in astrology, calendrical systems and interpretations of fate. The circle is especially relevant for interment and symbolizes the cyclical flow of time and rythms of life.
The combination of the 10 heavenly Stems and 12 Earthly Branches results in 60 possible constellations. The 12 Earthly Branches correspond to the signs of the zodiac (Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Sheep, Monkey, Rooster, Dog and Pig), which are also used to designate years, hours and directions. Each of the 60 constellations represents a year (e.g. jiazi, yichou, bingyin, etc.). After a period of 60 years, the cycle is restarted.
© Staatliche Kunstsammlungen Dresden, Museum für Völkerkunde Dresden
The geomantic compass has traveled a long way through various Dresden collections: It first appeared in 1683 in the inventory of the “Indian Chamber” as an “Indian compass”. Later, it was part of the “Indian Room” of the Königliches Historisches Museum, founded in 1832. Stock from this room was then given to the Königliches Zoologisches und Anthropologisch-Ethnographisches Museum between 1877 and 1879. The compass, however, remained a bit longer inside the Historisches Museum - until it was finally moved to the Museum für Völkerkunde Dresden in 1933, where it remains to this day.
The Chinese compass is just an example of objects from the former Electoral Kunstkammer that have survived in the Museum für Völkerkunde in Dresden until today. Even early on, other ethnographic items were also part of the diverse collection at the Saxon court.
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Sundial (before 1895), China, wood, metal, glass, natural fibre thread, 3.0 x 7.6 x 5.6 cm - In addition to dividing the years, the East Asian region also divides the times of day using the 12 Earthly Branches (which are also signs of the zodiac). The small portable sundial is combined with a compass for correct alignment. In addition to the four cardinal directions, seven signs of the zodiac are listed, including the ‘hour of the horse’ (午, wu), which marks noon (approx. 11 a.m. to 1 p.m.). The ‘hour of the rat’ (子, zi) is not part of the scale, as it corresponds to midnight (approx. 11 p.m. to 1 a.m.), when the sun does not shine in China.
© Staatliche Kunstsammlungen Dresden, Museum für Völkerkunde Dresden (Katalog-Nr. 23373), Foto: Sylvia Pereira
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Small geomantic compass (before 1961), China, wood, lacquered, inscribed, metal, 1.9 x 8.2 x 8.2 cm – While the compass with inventory number 47789 entered the collection in 1933, compass 53509 was added in 1961. It has five rings. None of them show the cardinal directions commonly used today. Like the other compass, the two outer rings refer to the ‘24 mountains’ and the 60-year cycle.
© Staatliche Kunstsammlungen Dresden, Museum für Völkerkunde Dresden (Katalog-Nr. 53509), Foto: Sylvia Pereira
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Map of Beijing (Beijing dili quantu 北京地里全圖) (1865), Beijing, paper, printed, wood, 116.5 cm x 66.2 cm - On the map of Beijing (北京, literally: ‘Northern Capital’) from the late Qing dynasty, the four cardinal directions are indicated near the edges for orientation. In the centre, the Imperial Palace with its buildings and walls is marked with a red line. At the bottom left is a reference to the cartographer: ‘drawn by Zhou Peichun’ (周培春).
© Staatliche Kunstsammlungen Dresden, Museum für Völkerkunde Dresden (Katalog-Nr. 23749), Foto: Sylvia Pereira
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Folk Daoist calendar sheet (1900), China, colour print, 49.8 x 31.4 cm – The calendar sheet for the 26th year of Emperor Guangxu's reign (1875–1908) corresponds to the year gengzi (庚子), the Year of the Rat. It depicts the kitchen god, Zao Jun, one of the most important household gods in the Chinese pantheon.
© Staatliche Kunstsammlungen Dresden, Museum für Völkerkunde Dresden (Katalog-Nr.: 62210), Foto: Sylvia Pereira
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Lantern-shaped clock (late Edo period, 1600–1867), Japan, metal, lacquer, natural fibre cord, 24.5 x 10 x 10 cm - From the late 16th century onwards, the combination of the Chinese calendar system, which was widespread in East Asia, and increasing European influences led to the development of mechanical clocks with dials on which the 12 signs of the zodiac indicated the hours. Six night and six day units were shortened and lengthened depending on the season. The clock signalled the change of units by ringing. The number of chimes is indicated in the inner circle of the dial. At midday, the ‘hour of the horse’ (午, wu, approx. 11 a.m. to 1 p.m.), and at midnight, the ‘hour of the rat’ (子, zi, approx. 11 p.m. to 1 a.m.), it struck nine times.
© Staatliche Kunstsammlungen Dresden, Museum für Völkerkunde Dresden (Katalog-Nr. 88314), Foto: Eva Winkler
Signs and concepts regarding the order of time and space, as are inscribed in the compass, can be found in other objects in the contemporary inventory of the Museum für Völkerkunde: such as on other compasses, city plans, daoist calender sheets, or zodiacal clocks from other collection contexts. Their scattered presence from the 18th to the 20th century hints at the enduring interest in East Asian systems of knowledge and shows how they were collected, interpreted and kept over centuries.
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