Experimentally made rooted forms show clearly how with one grip of the hand prototypes of huts and pillars are formed: the distinction is produced by a simple variation of the diameter at the base. At the same time the'metaphysical' principle as well as one of the fundamental concepts in art and architecture, 'pro-portion', are autonomously 'created'. The proces is extremely simple, the material ubiquitious: it might have happened in many places and thus have generated 'culture'.
Basic types of the region surveyed: a) hutlike type, b) pillar type. The structurally 'evolved' forms follow the principles expressed by the primordial forms of Fig. 2
Artificial tree. Evidently 'semantic architecture' provides the 'deep structure' to 'discover' a natural form, in this case the tree (Egenter 1981).
A pillar type alluding to fish-form. The dynamic function of the pillar in the ritual leads to its metaphoric allusion to the natural aequivalent of dynamism, the fish.
Giant. Frequent allusions to the human body have many reasons (e.g. historical) but are always secondary developments.
Artificial mountains are used in many ujigami-rituals all over Japan (Egenter 1984).
Metaphysics of the village design: the mountains are sacred and tabooed for man, they are the domain of the spirits.
Metaphysics of 'semantic architecture': like the Chinese Yin-Yang symbol semantic architecture provided a model for multicategorial polar harmony: nature and the technological, the geometrically defined and the diffusely formed, light form and dark form, multitude an unity, dynamic form and static form.
Earliest Chinese scripts as scratched on bones: Evidently Chinese script developed from 'semantic architecture'. There are studies which support the hypothesis, that semantic architecture made of reed played a similar socio-territorial and metaphysical role in Early China as those surveyed ethnographically in modern Japan (Moriya 1950, see Egenter 1996).