[Editor’s Note: This essay to be posted as sequels is from the second volume of the S/HE journal. See S/HE: An International Journal of Goddess Studies (Volume 2 Number 1, 2023). Page numbers and footnote numbers differ in this page.]
Feature Details of the Sangwonsa Bell and the Divine Bell
The Sangwonsa Bell and the Divine Bell are two most renowned bells of ancient Korea (see Figures 15 and 16). Both bells have the standard features in three parts – the head, the chest, and the belly. The head is marked by the Heavenly Plate and includes the Dragon Loop and the Dragon Tube sculpted atop the Heavenly Plate. The chest is marked by the Upper Support and includes the Nine Nipples enclosed by a Breast Circumference in one of the four corners, which makes a total of 36 Nipples in four Breast Circumferences. The belly includes the Water Nymphs and the Striking Seats held by the Lower Support from the bottom.
Below are the major factors of the two bells in comparison (see [Table 5]). The extant oldest bell known as the Bronze Bell of Sangwonsa (Sangwon Temple) stands out for the original features of the whale-dragon bell. Meanwhile, the Divine Bell, the extant largest bell (366 cm in height), is famed for its superb literature of the Name Text.
| Sangwonsa Bell | Divine Bell | |
| Cast Dates | 725 during the reign of Seongdeok the Great (r. 702-737) | 771 during the reign of Hyegong the Great (r. 765-780) |
| Sizes | 167 cm in height, 91 cm in diameter | 366 cm in height, 277 cm in diameter |
| Weight | 1.5 ton | 18.9 ton |
| Cast Location | Possibly Gyeongju | Gyeongju |
| Distinctive Features | Biological and aesthetic depiction of the Nine Nipples, musicians on the Breast Circumferences and the Upper and Lower Supports | Flattened Nine Nipples, the eight-pointed rim of the Lower Support, Outstanding literature written in the Name Text |
| Name Text | 70 characters engraved on the head part, the Heavenly Plate | 1037 characters engraved on the belly part |
| Commissioners | Unknown | Gyeongdeok the Great (r. 742-765) and his dowager Queen Manwol (completed) |
| Dedicated to | King Taejong Muyeol (r. 654-661) | Seongdeok the Great |
| Frequencies | 102 Hz (103.35 Hz-101 Hz with 2.02 Hz beat) | 168 Hz (168.52 Hz-168.63 Hz with 0.11 Hz beat) 64 Hz (64.07 Hz-64.42 Hz with 0.35 Hz beat) |
[Table 6: Two Bells, the Sangwonsa Bell and the Divine Bell, in Comparison]
Both bells are noted for the beautiful and lasting sound. Concerning frequencies, 102 Hz and 168 Hz/64 Hz indicate the Original Frequency for both bells respectively.[1] Values in parentheses indicate the high and the low frequencies within the proximity of two close frequencies, whose interaction generates a new frequency. This newly generated frequency is called maengnori (맥놀이), a phenomenon of beat produced when the two similar sound waves interfere with each other. 2.02 Hz and 0.11 Hz are the maengnori values for both bells respectively. Both bells emit a broad range of frequencies upon being struck. In the case of the Divine Bell, the sound comprises more than 50 frequencies within the range of 1000 Hz. [2] There are two major frequency bands, 168 Hz and 64 Hz, the latter which is an echo wave.[3] Both bands cause maengnori effects. A wide spectrum of wave bands owes to its asymmetrical body (not only specifically placed reliefs on the exterior of the bell but also the interior surface of the bell’s body, which is made uneven with small lumps of metal residues). The acoustics of the Sillan bell is a topic, which escapes the scope of this essay. Suffice it to say that Sillan bell has two outlets through which the sound emits, the Dragon Tube and the Echo Cave. The Dragon Tube absolves and pushes out high frequencies to the air through the pipe like a wind instrument.[4] The Echo Cave is created to a semi-closed space to generate an echo. It is craftly designed to match the echo waves to be generated with the vibrated waves from the bell’s body.[5]
What distinguishes the Sangwonsa Bell from the Divine Bell are:
-The biological and aesthetic expression of the Nine Nipples (see Figures 19-1 and 19-2).
-Numerous musician images engraved in the Water Nymphs, the Breast Circumferences, the Upper Support and the Lower Support (see Figures 21-1, 21-2, 21-3, 21-4, 22, 27, 28).
Artistry is superb, lively, and dynamic. Recurring musicians signify not only the singing of whales but also a paradisiacal home of Mago Stronghold wherein the terrestrial sonic resonance is in harmony with the Cosmic Music. The Sangwansa Bell excels the Divine Bell in artistry with vivid and dynamic expressions. Put differently, the Divine Bell, cast about a half century later than the Sangwonsa Bell, shows a sign of degeneration in the style.
What distinguishes the Divine Bell from the Sangwonsa Bell are:
-The Nine Nipples flattened into the nine flowers (see [Figure 20]).
-Each side of the Name Text inscribed in the body flanked by the two Water Nymphs (see Figures 24-1 and 24-2).
-The Lower Support comes in the eight-pointed end (see [Figure 29]).
The non-biological expression of the Nine Nipples and the lack of musician images show that the Divine Bell is not completly aligned with the standard form of the whale-dragon bell, to be discussed in detail later. The superb literature of the Name Text avails the socio-political-thealogical understanding of Sillan Magoist Cetaceanism. It reflects the leadership of Regent Queen Mother Manwol, the commander of the casting project.
The Head
Atop the Heavenly Plate sit the Dragon Loop and the Dragon Tube. The Dragon Tube is a hollow pipe connected to the Heavenly Plate, which channels the sound from the interior of the bell’s body
to the above in the air.[6] Note that the dragon’s feet in the Dragon Loop are depicted as part of the Dragon Tube, indicating that the dragon symbol is the sound that comes through the Dragon Tube. The dragon is known as Poroe (Pulao in Chinese), one of the Nine Children of the Dragon, who is told to cry out at the sight of a whale. For the Sangwonsa Bell, the Name Text is engraved on both sides of the Heavenly Plate (see Figures 17-1, 17-2, 17-3). As shown in below figures, the dragon in the Sangwonsa Bell is depicted more dynamically than that of the Divine Bell.
The Chest
The bell’s chest is rife with maternal and numeric symbols. A set of the Nine Nipples enclosed in the Breast Circumference is repeated in the four corners of the bell’s chest, which makes a total of thirty-six nipples within the four breast circumferences (see Figures 19-1 and 20). Note the elaborate patterns of each nipple seated on a finely sculpted end and round base for the Sangwonsa Bell (see [Figure 19-2]). Expression is vividly real and aesthetic at the same time. The Divine Bell tones down the biological expression of the Nine Nipples and replaces it with euphemistic designs of floral patterns (see [Figure 20]). Also, they are flattened. Female biology remains covert in the Divine Bell. The fact that the biological expression of the Nine Nipples recurs in most of later Sillan bells and post-Sillan bells indicates that the Divine Bell is exceptional.[7] The muted style of the Nine Nipples in the Divine Bell reflects the political climate of the Queen Manwol’s court, which faced a decline of matriarchal power.[8]
The Breast Circumference is in the shape of a gradually upwardly narrowing square (see Figures 19-1 and 20]. Comparatively speaking, the Sangwonsa Bell displays far more delicate and lively images than the Divine Bell. Its edges are marked by etched straight lines, dotted lines with a rhythmic pattern of lotus petals, and a band of lotus floral patterns at the utmost inward border line (see [Figure 21]), all of which display an extraordinary metallurgical artistry. Most importantly, the Sangwonsa Bell is adorned with the images of musicians.[9] The Upper Support constitutes a set of two musicians repeated around the rim (see [Figure 21]). The reliefs of musicians holding or playing an instrument are partially enclosed by the layer of flowery patterns. Each Breast Circumference is embellished with a musician figure on the right side and the left side respectively (see Figures 21-1 and 21-2) and a set of two musicians on the lower rim (see [Figure 21-3]). A set of four musicians recurs around the rim in the Lower Support (see [Figure 28]). These musician nymphs are described as:
In the Upper Supporter, the nymphs are playing an elongated flute and the zither. In the Lower Supporter, the nymphs are playing a pan flute, a dizi, a small janggo-like drum and a pipa. In the Breast Circumference, they are playing a pipa, a windpipe, a small janggo drum, and the like.[10]
As such, the Sangwonsa Bell’s artistry parallels the above-mentioned artificial mountain paradise, Manbul-san. These musician nymphs signify the calling of whales. Ultimately, they point to the scene of a paradisiacal home of Mago Stronghold. Meanwhile, the Divine Bell’s Breast Circumferences remain simplified in design with vine-like patterns (see [Figure 20]).
(To be continued)
[1] Data are drawn from “Beomjong” in Encyclopedia of Korean Culture, accessed February 12, 2023, https://encykorea.aks.ac.kr/Article/E0022598.
[2] Ji-Hyeon Lee, “The Secret of the Divine Bell of Seongdeok the Great: Its Science of the Sound and Vibrations,” The Science Times, February 11, 2007, https://www.sciencetimes.co.kr/news/%EC%84%B1%EB%8D%95%EB%8C%80%EC%99%95-%EC%8B%A0%EC%A2%85%EC%9D%98-%EB%B9%84%EB%B0%80/.
[3] The echo wave refers to the sound that lasts more than 1 minute and up to 3 minutes. Seok-Hyeon Kim, “Two Holes of the Divine Bell: The Value that Transcends 1,200 Years,” Cultural Heritage Administration, accessed April 9, 2023, https://www.cha.go.kr/cop/bbs/selectBoardArticle.do?nttId=61689&bbsId=BBSMSTR_1008&pageUnit=10&searchtitle=title&searchcont=&searchkey=&searchwriter=&searchWrd=&ctgryLrcls=&ctgryMdcls=&ctgrySmcls=&ntcStartDt=&ntcEndDt=&mn=NS_01_09_01#:~:text=%EC%84%B1%EB%8D%95%EB%8C%80%EC%99%95%EC%8B%A0%EC%A2%85%EC%97%90%EC%84%9C%20%EC%97%AC%EC%9D%8C,%EC%9D%80%20168Hz%EB%A1%9C%20%EC%A7%84%EB%8F%99%ED%95%9C%EB%8B%A4.
[4] The Dragon Tube is meticulously crafted in length and width with the trumpet-like widening end to refine and augment the acoustics of the bell. The Divine Bell’s Dragon Tube has 770 mm in length and 82 mm in the diameter of an interior hole on the lower part and 148 mm on the upper part, which makes the shape of a trumpet-like widening end. Ibid.
[5] Ibid.
[6] The Dragon Tube also called the Sound Tube is alleged to be the replica of the Pacifying Flute that Defeats All (Manpasikjeok). I hold that the whale-whale bell is the last of the four cultural inventions of Sillans after the Golden Ruler (金尺Geumcheok), the Heaven-given Jade Belt (天賜玉帶 Cheonsaokdae), and the Pacifying Flute that Defeats All (Manpasikjeok), all of which count as Cetacean Magoist inheritances ultimately symbolizing the Cosmic Music, which I call Sonic Numerology, a ceaseless interplay of musically charged nine numbers.
[7] Almost all Sillan bells cast after the Divine Bell display the biological expression of the Nine Nipples.
[8] The second major royal matrilineage ends with Queen Saso, the consort of the 37th ruler Seondeok the Great. Manwol precedes Saso, as Regent Queen Mother of her son, Hyegong, the 36th ruler. Nonetheless, she is from a different short-lived matrilineage of Mother Suro.
[9] The musician image is the hallmark of Sillan bells. Post-Sillan bells do not have the musician relief. See Joo-Seok Moon, “Research of the Musician Relives on the Bronze Temple Bells of Silla and its Educational Application (신라 범종 주악상 연구성과와 교육활용),” The Journal of Korean Cultural Studies, V 68 (2018), 174.
[10] “Musician Reliefs on the Sacred Bell,” History Net, accessed March 30, 2023), http://contents.history.go.kr/mobile/km/view.do?levelId=km_025_0060_0040_0020.