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 The Quchi is graduated on the shorter leg.
(these are not actual stars in the astronomical The total length is one 尺 chǐ ‘foot’ long
sense, more so ‘cosmic energies’) with regard subdivided into 10 cun. These are designated
to building practices, along with six by the colours of the nine stars and nine
favourable stars. The plotting of both on the palaces, a poem on the topic indicates –
calendar follow cycles of twelve based on the
1 白 Bái White favourable
progression of the 地支 dìzhī ‘earthly
2 黑 Hēi Black unfavourable
branches’.
Days are also rated by degree of 3 碧 Bì Blue unfavourable
favourableness -上吉 shàngjí ‘first class’, 下吉 4 绿 Lù Green unfavourable
xiàjí ‘middle class’, 中 zhōng, ‘neutral’ and 凶 5 黄 Huáng Yellow unfavourable
xiōng ‘unfavourable’. 6 白 Bái White favourable
7 赤 Chì Red unfavourable
2. Rulers 8 白 Bái White favourable
At the time of publication of the Lu Ban Jing 9 紫 Zǐ Purple favourable
there were more than 20 different types of 10 白 Bái White favourable
rulers used or in use. Perhaps the most
famous were the 鲁班尺 Lǔbān chǐ ‘Carpenter’s It was considered less important than the
Ruler’, 曲尺 Qūchǐ ‘Carpenter’s Square.’ 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
figure 4 & 5. CARPENTERS RULER (left) & the actual tools of rituals use only. Some
CARPENTERS SQUARE (right) rulers are still used for statue construction in
Taiwan today.
The Luban chi is made up of 8 divisions, 1.8
寸 cùn ‘Chinese inches’ each, making a total of 3. Design
14.4 cun or approximately 43cm. Geometry Like a plethora of other Fengshui classics
enthusiast will note this calculates the ratio of the Lu Ban Jing provides us with illustrated
the Luban cun to common cun at 1.44:1, examples of 形 xíng ‘form’. Many of these
roughly corresponding to the ‘golden section’ are standard, following basic principles set
or √2. The ruler has four favourable and four out for Fengshui. They utilise pictographic
unfavourable divisions and is used by analogies of likening shapes to animals,
determining the remainder of cun after any Chinese characters etc. with circular forms
complete ruler lengths have been removed. being preferable. The poems attributed to
The auspices are as follows – Guo Pu are excellent examples -

1 财 Cái Wealth favourable If the gate is higher than the main hall,
2 病 Bìng Illness unfavourable There will be no male progeny.
3 离 Lí Separation unfavourable If the gate is higher than the enclosing wall,
Crying and wailing will often be heard.
4 义 Yi Righteousness favourable
5 官 Guān Office favourable The 玄武 Xuánwǔ ‘Dark Warrior’ [tortoise] is
6 劫 Jié Plunder unfavourable compromised. Representing the kidney 精
7 害 Hài Harm unfavourable Jīng ’essence’ weakening and no infertility.
8 吉 Jí Luck (Root) favourable If the door leaves are askew,
Husband and wife cannot get along.
The text contains eight poems elaborating on
The family property will be dispersed,
the meaning and implication of each measure.
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 The amulets are then pasted of specific
even changing the location of the 太极 Tàijí structural features at different cardinal and
‘Supreme Pole’ or geomantic centre of the intercardinal points according to the month of
house [commonly misspelt ‘Taichi’]. affixing as follows –
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 寅 yín month 卯mǎo month 辰chén month
No restrictions from earth (Feb) East on (Mar) East (Apr) S-East
No restrictions from negative or positive (x) crossbeam on lower wall in corner
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. 巳 sì month 午 wǔ month 未 wèi month
(May) South (Jun) South (Jul) S-West
Other more complex amulets may require upper x-beam low x-beam in upper
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 申shēn month 酉 yǒu month 戌 xū month
and never manifest themselves, and charms (Aug) West (Sep) West (Oct) N-West
and spells will remain without effect. in upper on lower

亥 hài month 子 zǐ month 丑chǒu month
(Nov) North (Dec) North (Jan) N-West
on upper on lower
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, Water and fire pose no threat.
an abundance of sons and grandsons. The gods of the door & protectors of the gate
Kill all ghosts and exterminate spirits.
This Shanglianwen was performed at the
The majesty of the gods radiates far,
raising of the ridgepole and completion of the
Imposing & shining are their countenances.
house frame. Like the keystone in an arch this Taiyi, the utmost god, has ordained:
point was considered integral to the This house is protected for years to come.
construction process. It is at this moment, The dedication of the gods is finished now,
when an assortment of materials and tools And utmost luck will last forever.
take shape, that the worksite becomes a living
building. As our modern homes are not built [the gods quoted here include the six gods
around a central high beam, it is up to the who govern fate - a reference to 灶君 Zào Jūn
reader to decide what equivalence can be the ‘Kitchen God’ the highest of the everyday
found in our culture for such ceremony. deities in a home – each new year he reports
Perhaps upon completion of assembly of the the family’s conduct back to the 太乙 Tàiyǐ
frame? ‘Jade Emperor’ in heaven. Also significant in
the home among the lesser deities are the 门神
2) ‘Installing the House Gods’ Ceremony
Ménshén ‘door gods’ fierce generals who
Tradition states
protect the front entry]
that, on the day the
Following this an exorcism, ‘neutralising of
house is completed,
sorcery’ would likely begin with sprinkling
offerings of incense,
the pure water everywhere over the gate and
candles, sacrificial
columns with the willow branch whilst
money, rice, tea and
repeating a short mantra such as this -
wine placed at the
altar before the Heaven and earth, yin and yang, sun and
presiding gods. A moon and all the stars,
bowl of pure water Wherever sorcery has been practiced it turns
and a willow branch to bliss.
or cabbage leaf is also Such is the command we received from the
arranged there. An Old Lord in Heaven.
amulet written in The process would continue without
硃砂 zhūshā ‘cinnabar interruption until the water is empty. The
(mercuric oxide)’ is family would then move in following
pasted, in silence appropriate etiquette with prayers on a
with the left hand, on predetermined auspicious day and hour of the
the ridgepole. The morning. Similar blessings were made if the
family name is centre of the house was disturbed by repairs or
written in the black construction work started in neighbouring
dot at the base of the houses at certain directions.
talisman and inked
over. After bowing Concluding remarks
three times the The Lu Ban Jing clearly provides us with
blessing of ‘the True insights into the close relationship of the
Words to Dedicate historical building trade in China and
the house altar’ are recited – geomancy. Indeed it appears at times as if
Heaven is yang and earth is yin, these two professions were felt to even be
The two principles transform into gods. interchangeable, to a certain extent. Through
The three luminaries shine over everything, research into classical house building it is
An auspicious radiance is nearing the gate. possible that some of the popular traditions,
A fragrance of flowers if diffused,
previously omitted from Fengshui due to their
And music from heaven is resounding.
The six gods who govern fate, perceived ‘overly superstitious’ nature, could
Are invited to enter the ancestral hall. perhaps be reintroduced by our modern
May the incense fire burn for 10000 years, practitioners. A fan of innovation, the master
And may they protect the household forever. craftsman Luban would surely be proud…
Evil spirits cannot enter,
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