Buddhist Chanting Ceremony

As a Buddhist, we have many ceremonies and celebrations throughout the year that thrive on using art. From paper lantern sculptures to intricate masks, I am always intrigued by the skill and precise detail shown in these works. One notable ceremony is a chanting ceremony that last for 24 hours continuously. The monks chant in a gazebo like structure centerpiece decorated with intricate designs, hand crafted from coconut tree leaves.

The Buddhist congregation in which I am associated with was planning a chanting ceremony and wanted to build the centerpiece. However, living in Toronto, obtaining large quantities of fresh coconut leaves is an unfeasible task. The plan was to buy a small gazebo in place of the centerpiece. Unfortunately, attendees

would miss the opportunity to see tradition, beauty and fascination of a skillfully decorated structure.

Another skill the Buddhist culture holds is creating prodigious paper lanterns. The paper lantern provided a potential solution to the problem. The idea was to create the centerpiece using large sheets of paper. Usually for the lantern, each design is drawn and then cut individually, however it did not seem plausible when having to build a structure 7ft tall and 10ft wide. This was the second problem. I then remembered a time back in elementary school, when we were taught to make paper snowflakes. I used the technique of folding the paper several times, drawing a small design to create one that was more detailed.

Combining the traditions and skills from two different cultures a solution was established.

I researched traditional Buddhist symbols and drawings. Using inspiration from the research I created numerous designs that was elaborate, display Buddhist culture and more importantly symmetrical. I first designed the frame for the centerpiece, which was made from pieces of wood to create a secure structure. The frame consisted of seven individual panels, a skirt and hood for each panel. The frame also had an additional panel, which was the entrance. The entrance panel only consisted of a hood. Each individual panel was then attached to create an octagonal freestanding

framework.

Large sheets of 4.5-gram white paper were used in place of the coconut leaves. Each side panel along with the skirt and hood consisted of sixteen sheets of paper. The entrance panel consisted of four sheets along the trim and one sheet for the hood. There were approximately six to twelve designs and each required the paper to be folded differently in order to obtain the intended artwork. Another problem that was raised was the method of cutting the paper. At first it seemed simple to cut the paper with scissors since the design was drawn on large sheets of paper, however when tested, the design looked amateur. Lines were ridged and it was more difficult to use scissors when having to cut the small details that were important to the overall product. I researched tools for carving and cutting and found that using a fabric-cutting roller was ideal for obtaining smooth lines. Along with the rotary cutter and various exacto knives, my plan was progressing efficiently.

Each design was then glued onto the individual panels. The panels were then attached to each other using door hinges to create the octagonal structure. I believed it was best to use door hinges for the construction, as it would simplify the assembling and dissembling process. Furthermore, since people would be strolling within the centerpiece, it allowed for some movement to the structure and aided in preserving the delicate composition.

This project was one of the most difficult, strenuous and exciting projects I worked on, but more importantly it was an opportunity that motivated me.

I had no prior knowledge of carpentry or practical designing; therefore this project was entirely self-taught. For the duration of this project, it was not only a learning experience but a teaching one as well. Every time I learned a new method or technique, I also had to teach everyone that was helping me. With the assistance of many people and days of hard work, the centerpiece came together and it was extraordinary seeing the picture in my head come to life. It was the first time my artwork was meant for practical use and now I enjoy seeing people in my congregation using my methods and techniques to create new centerpieces each year as well as improving

it.