Ancient Sheikah Art and Architecture
“Long ago, an advanced civilization known as the Sheikah inhabited these lands. It was the power and wisdom of the Sheikah that saved this land time and time again. But their civilization disappeared long ago . . . or so it is said. It is interesting, however, to think that something of them might still remain hidden away in a shrine such as this.”
— Old Man, Breath of the Wild
— Old Man, Breath of the Wild
Historical Japanese Influences
Long ago, in this telling, is 10,000 years, and this span of years seems to have the air of a certainty that goes beyond myth. For many of us, even a thousand years lies outside the realm of meaningful perception, so why was this rather large number chosen to represent the era of ancient history in Breath of the Wild? I can think of two potential reasons: one is linguistic, and the other historical. Speaking to the linguistic reason: in both Chinese and Japanese, the character wàn (and in Japanese, man) is represented as 万. This character has both exact and inexact numerical meanings; as an exact number, it simply means 10,000; as an inexact number, it has the more poetical meaning of myriad, innumerable, or a number beyond count. This tells us something, and we should begin to see how this character (万) was decided upon, even though it is difficult to ascertain whether or not it is meant literally. (The English translation has taken its exact meaning.) Clearly, there is history and weight to this word beyond its most simplistic meaning, and so the choice to place ancient Hyrulean history in such a far-away epoch draws up numerous cultural connections from distinguished Chinese and Japanese traditions. To those in the English-speaking world, this concept will by circumstance yield fewer connections in our cultural schema, but this does not change the fact that 10,000 years is still quite a stretch of time. Either way it is translated, the reality remains: this history is far beyond our ken, and we have much to unearth.
Above: Ketoh Wawai Shrine, found in North-Central Hyrule.
The historical reasoning for this choice of date seems to coincide with our main discussion. From one of Nintendo’s Making Of videos, we learn that:
“The Jōmon period in Japanese history was the inspiration for the Sheikah Slate, shrines, and all of the other ancient objects and structures in the game. We ended up taking that aesthetic and using it as a base to expand upon for the game’s ancient civilizations. The reason for this was because the Jōmon period is relatively unknown to much of the world. It has a nuance of mystery and wonder that we found really appealing. We were looking for something that would feel unique, and settled on Japan’s Jōmon period as a result.” [1]
The Jōmon period of Japanese prehistory is considered to have lasted between the rough dates of 14,000-300 BCE. Other sources prefer the more rounded date of 10,000 BCE, which seems to give us our association between real-world history and in-game mythology. Because Sheikah design was taken from aspects of Jōmon culture, it is only fitting to pay homage through historical accuracy regarding the age in which these past humans walked, breathed, and created. This is truly a staggering number of years for any individual to consider, and so we as humans must be even more specific, if we can. After all, this period of prehistory spans from the age of hunter-gatherers well through the advent of farming and the beginnings of settled civilization. Therefore, the Jōmon period is further broken down into six subperiods, consisting of the Incipient, Initial, Early, Middle, Late, and Final, and the name itself, it may surprise you, comes from the very inspiration of Sheikah design.
Jōmon (縄文) means cord-marked, or rope-patterned, and this name is derived from the patterns that were originally pressed into wet clay by means of a rope. The name then, comes not from some famed dynasty or political epoch, but from ancient pottery — pottery which is among the oldest in the world. [2] The potters who created these early works were, by nature of their era, unfamiliar with the potter’s wheel, and so they used their hands, forming long coils of clay and circling them upwards in a spiral, stopping when they reached the desired depth; many clay pots from this time period were used as storage containers, both portable and non-portable, meaning that size and shape varied depending on usage. [3] There have been no kilns excavated from this time, and so the original potters would have had to rely on outdoor bonfires of great temperature in order to fire their wares. [4] Of course, like all larger bodies of artistic tradition, there were many variations in design based upon locality, materials available, and individual panache.
Jōmon (縄文) means cord-marked, or rope-patterned, and this name is derived from the patterns that were originally pressed into wet clay by means of a rope. The name then, comes not from some famed dynasty or political epoch, but from ancient pottery — pottery which is among the oldest in the world. [2] The potters who created these early works were, by nature of their era, unfamiliar with the potter’s wheel, and so they used their hands, forming long coils of clay and circling them upwards in a spiral, stopping when they reached the desired depth; many clay pots from this time period were used as storage containers, both portable and non-portable, meaning that size and shape varied depending on usage. [3] There have been no kilns excavated from this time, and so the original potters would have had to rely on outdoor bonfires of great temperature in order to fire their wares. [4] Of course, like all larger bodies of artistic tradition, there were many variations in design based upon locality, materials available, and individual panache.
Japanese archaeologists and other experts have identified six types of vessels from this period, all set into two distinct schools of design: plain, rough pots with spare decoration, and finer wares with a greater degree of embellishment. [5] For our initial purposes, we may focus on the former school of design, in which simple tools were pressed into the wet surface of clay in order to render a pattern, motif, or impression. While the pottery of the Initial Jōmon period is largely pointed at the bottom, by the Early Jōmon subperiod regional differences were becoming more visible, and vessels began taking on a flat-bottomed, cylindrical shape. [6] Granted, pottery (nor art forms of any variety) is never so cut-and-dry, able to be fitted into neat, unwavering terms; we see marked differences in the exact shapes, sizes, and firings of different Jōmon vessels, not to mention their individual embellishments — and these vary wildly, though there are some clear, unifying traits. And it is these traits that cross over into Breath of the Wild, where they inform ancient Sheikah art and architecture in all their forms. These antique relics are given a second wind, ending up in places undreamt of by their creators all those long millennia ago: and what a beautiful thought that is.
The pressing question becomes: which aspects of Jōmon culture made the transition from prehistoric Japan to an antique Hyrule? As should be expected, most Jōmon cultural artifacts have been lost in the stream of time; very rarely do cloth, food, or woven goods survive such a count of years, and so we are left with more durable cultural relics like stone tools and pottery. Indeed, pottery seems to be the fount of Sheikah art and architecture, having influenced almost every conceivable item of ancient Sheikah creation. These influences seem predominantly of two varieties: the weaving, bulbous lines of later Jōmon ceramics, and the points-and-lines patterns found upon certain pots of earlier Jōmon eras. Let us look at each in turn, beginning with the simpler of the two: the points-and-lines embellishment. These points, with their interconnecting doubled-lines, seem almost reminiscent of star charts — like pieces of the night sky carved reverently into clay. The points themselves are outlined circles, and these circles are ensconced in branching rings which connect to other points, making the larger image seem also like a neural network. Forming the backdrop to these patterns is (occasionally) the rope-impression for which the Jōmon culture was named.
The pressing question becomes: which aspects of Jōmon culture made the transition from prehistoric Japan to an antique Hyrule? As should be expected, most Jōmon cultural artifacts have been lost in the stream of time; very rarely do cloth, food, or woven goods survive such a count of years, and so we are left with more durable cultural relics like stone tools and pottery. Indeed, pottery seems to be the fount of Sheikah art and architecture, having influenced almost every conceivable item of ancient Sheikah creation. These influences seem predominantly of two varieties: the weaving, bulbous lines of later Jōmon ceramics, and the points-and-lines patterns found upon certain pots of earlier Jōmon eras. Let us look at each in turn, beginning with the simpler of the two: the points-and-lines embellishment. These points, with their interconnecting doubled-lines, seem almost reminiscent of star charts — like pieces of the night sky carved reverently into clay. The points themselves are outlined circles, and these circles are ensconced in branching rings which connect to other points, making the larger image seem also like a neural network. Forming the backdrop to these patterns is (occasionally) the rope-impression for which the Jōmon culture was named.
Above: By G41rn8 (Own work) [CC BY-SA 4.0 ], via Wikimedia Commons.
Right: Original Image by James Blake Wiener, published on 15 May 2017 - Creative Commons - Attribution-nonCommercial-ShareAlike |
Two different incarnations and examples of the "points-and-lines" embellishments taken into Sheikah design tradition.
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The other type of embellishment is far more prominent in both Jōmon and Sheikah design. It dominates the architectural setting, speaking not softly, but altogether strangely. This design consists of the weaving, coiling, and entwining lines which project from otherwise plain surfaces. These lines, bulbous and heavy, are at times almost alien. Their whorls and scrolls seem inorganic, like stone roots that project unknowingly into a black soil, not quite wanting to separate from each other, and therefore yielding a tracery that seems not quite as it should. It was not for nothing that the designers chose this era to guide their conceptions — Jōmon forms are assuredly foreign.
Above: By Morio (Own work) CC BY-SA 3.0, via Wikimedia Commons
Middle: Commonsenses CC-BY-SA-3.0 or CC BY 2.5 3,000-2,000 BCE Right: By Sailko (Own work) [CC BY 3.0 , via Wikimedia Commons - 1500-1000 BCE |
Take note of the twisting lines of clay that feature predominantly on the upper portion of this vessel. We will see these time and again in Sheikah art.
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This vessel is notable for two reasons: the encircling patterns found upon the top of the vase, and the curious textured patterning along the middle and bottom.
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Sheikah Architecture Across Hyrule
In terms of actual architecture, there are many examples of ancient Sheikah construction, though they can be broadly fitted into a few categories. Apart from the Shrine of Resurrection, of which there is only one, there are 120 Ancient Shrines that dot the land of Hyrule, and fifteen Sheikah Towers; all of these show an incredible consistency of design — something that happens only in fiction. The architecture of the real world is far more regional and local, with each area having something particular to contribute to even the largest and most constrained schools of architecture; then again, it is not impossible to consider legitimate such perfect adherence to the rules of design given the advanced artistic and technological spirit of the Sheikah. Either way, the two types of embellishment described above are the chief motifs of all Sheikah architecture, and they lend themselves beautifully to the air of mystery and age evoked by these Shrines and Towers. When the game begins with Princess Zelda’s gentle plea to awaken, Link finds himself conscious in a dim room, floating in a pool of still, vibrantly-glowing water. As the eyes adjust, and feeling returns to limb and mind, the room becomes clear, revealing a chamber of centurial age and history. This is the Shrine of Resurrection, built into a cliff in the rough center of the Great Plateau. As the name tells us, this is where Link was taken after his near-defeat a century ago in order to rest in stasis until the world was again ready to attempt the defeat of Calamity Ganon.
The Shrine itself consists of only three rooms: the Chamber of Resurrection, the antechamber, and the connecting staircase to the outside. Yet, in this simple composition of rooms, we find nearly every hallmark of ancient Sheikah architecture superbly crystallized in perfect form. Within each Shrine, and upon every Tower, these core design elements are repeated, though always in unique permutations.
Every surface is stunning when seen with special regard, but together is where architectural impression begins; and though that is our end-goal, we simply must break things down into manageable pieces, so that we may better appreciate the entire entity when finished. Nearly every element of Sheikah design finds its source in Jōmon pottery, so many connections will be drawn between the two cultural worlds, of necessity. Let’s begin with the walls. The walls themselves undulate within this chamber, flowing outward at the bottom and sinking at the top, which gives the room an almost oceanic feel. Circling, entwining lines are painted in a dull gold upon the bottom half of the wall, rising just a bit above Link’s head, before they disappear into the inky darkness above. These curvilinear markings resemble a writhing sea [7], although, with their circular tendencies and the human penchant for seeing form and pattern in randomness, they also appear as myriad eyes and tentacles: something almost Lovecraftian in nature. Where the walls meet the ground, a line of base molding, done in a clay-like substance, circles the room, impressed with what appears to be a rope — a direct and poignant echo of Jōmon craftsmanship. Yet, upon closer inspection, this impression proves to be a string of Sheikah lettering which reads “dungeon”, repeated ad infinitum around the chamber.
Above all of this, between the floor and crown molding, and in the heart of the obscure depths of the walls, rest what appear to be constellations. [8] These star-map images, done with points-and-lines simplicity, float upon the dark stone, emitting a radiant orange light. This light, found both in the circles and in the connecting lines, scintillates with interior movement, much like a flowing liquid or pulsing energy. The circles are of various sizes (there seem to be at least four semi-standardized sizes within this series of rooms, suggesting adherence to larger rules or forms), and all the lines and circles are bound in a dull gold material. While most of these points are connected in constellatory patterns, some small dots cluster near to the larger bodies, seeming to float in deep space, emitting light thousands of years old — a poetic image of real stars.
Every surface is stunning when seen with special regard, but together is where architectural impression begins; and though that is our end-goal, we simply must break things down into manageable pieces, so that we may better appreciate the entire entity when finished. Nearly every element of Sheikah design finds its source in Jōmon pottery, so many connections will be drawn between the two cultural worlds, of necessity. Let’s begin with the walls. The walls themselves undulate within this chamber, flowing outward at the bottom and sinking at the top, which gives the room an almost oceanic feel. Circling, entwining lines are painted in a dull gold upon the bottom half of the wall, rising just a bit above Link’s head, before they disappear into the inky darkness above. These curvilinear markings resemble a writhing sea [7], although, with their circular tendencies and the human penchant for seeing form and pattern in randomness, they also appear as myriad eyes and tentacles: something almost Lovecraftian in nature. Where the walls meet the ground, a line of base molding, done in a clay-like substance, circles the room, impressed with what appears to be a rope — a direct and poignant echo of Jōmon craftsmanship. Yet, upon closer inspection, this impression proves to be a string of Sheikah lettering which reads “dungeon”, repeated ad infinitum around the chamber.
Above all of this, between the floor and crown molding, and in the heart of the obscure depths of the walls, rest what appear to be constellations. [8] These star-map images, done with points-and-lines simplicity, float upon the dark stone, emitting a radiant orange light. This light, found both in the circles and in the connecting lines, scintillates with interior movement, much like a flowing liquid or pulsing energy. The circles are of various sizes (there seem to be at least four semi-standardized sizes within this series of rooms, suggesting adherence to larger rules or forms), and all the lines and circles are bound in a dull gold material. While most of these points are connected in constellatory patterns, some small dots cluster near to the larger bodies, seeming to float in deep space, emitting light thousands of years old — a poetic image of real stars.
Above can be seen the tumultuous painted lines of the walls, as well as the base molding (with Sheikah script) and "points-and-lines" embellishment resembling astronomical markers.
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Between these star-dewed voids are found columns — columns shaped like two vases, stacked upon one another. Each vase begins in an angular manner at its base, but then extends outward toward the middle and top, swelling as it rises. Each column has four horizontal bands bearing the critical cord-indentation, and each vase “unit” is at least partially decorated with a sinuous ceramic design. And, as has been noted, this clay-like ornamentation is the most ostentatious and noteworthy element of Sheikah design. These ceramic motifs of swirling, chaotic, and fascinating oscillations and interconnections cascade across nearly every Sheikah structure, punctuating through the dark stone like smoke traveling through the air. And while the size, spacing, and location of these tangles is not so standard, the feeling certainly is. Above, we spoke of the almost-alien nature of Jōmon pottery, and how its tenuous, turbid, and heaving embellishments appear to those living in the modern age. These forms are from millennia long-past, and therefore bear all the shrouded weight of mankind’s earlier days. We know that they were created by people not dissimilar from us, and yet we still cannot find a semblance of the recognizable in them.
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In the middle of this room, resting under the watchful gaze of the Sheikah Symbol, is Link’s place of rest, which reads “careunit” in Sheikah. It seems to grow from the ceiling, like an inverted tree, or as a focused tangle of roots. It has a deep sense of the organic about it, and this generally carries with it the connotation of life. The clay overlay of this coil covers a pulsing blue energy, and channels it yet downward into an uneven mushroom-cap, under which the actual bed is housed. The cap is decorated with familiar constellations, while its underside is like the dried head of the lotus flower. The pool itself is extremely shallow, resting within a rim of beige-gold and blue-black clay. The decorations follow the rest of the style in their ceramic nature. A pedestal stands to the left of the main doorway, a technological construct which protects nearly every piece of Sheikah architecture in some format. These pedestals are of dark stone, like the walls, with painted patterns and clay protrusions of the now-recognizable sort. A circuitry pattern on its face resembles the points-and-lines decorations found upon the walls, and it is here that Link obtains the Sheikah Slate, a seemingly-modern creation capable of vast technological applications. Slate in hand, Link holds it above the pedestal, and the door opens in an array of moving parts.
Above: The tangled, reaching roots of the Sheikah Care Unit, spreading forth from the ceiling, assumedly channeling some unknown power into the restorative machine below it.
Right: One "unit" of a Sheikah column, which, as a whole, resembles two stacked vases — another clear tribute to ancient Japanese pottery. Notice the rope-impression at its lip, and below that, the swirling arteries of molded clay lines. Below: The secondary room of the Shrine of Resurrection, looking back into the Chamber of Resurrection. Here, we get our first glimpses of how the Sheikah illuminated their underground structures. We also see, in full, the massive columns with their designs, and the orange star-maps upon the walls. |
Beyond the initial door is a smaller room, consisting largely of a descent. All the familiar motifs are here, yet two new features are introduced. Slowly, the architectural scene builds upon itself. Here we are shown several aspects of Sheikah illumination; light seems to come from two principal objects: wall sconces and the ceiling itself. The sconces themselves are simple, and hold something resembling a light bulb, though their illumination is an intense blue. Yet, these account for only a little of the light. Far more comes from the ceilings within these structures, which either emit or transmit light. The ceilings consist of square panels, fitted together precisely, and of which some bear patterns of largely-symmetrical lines similar to the ceramic ornamentation elsewhere. As this structure is underground, the light source obviously cannot be natural, and must therefore be technological. Unaware of the source as we are, however, the azure coloration bathes the room in a gentle blue, much like the shallows of a sunlit ocean. It is an altogether lovely phenomenon.
The second doorway (which reads “shutout” at its base) reveals the striking force of sunlight, last seen in these chambers a century ago. Here, Link receives his injunction from Princess Zelda to once again return as the Light of Hyrule. Though the subsequent passageway has been partially destroyed, it takes Link but little energy to scale its ruin. And, after a few short steps, an opening is reached. Crossing its threshold reveals splendor beyond reckoning — a sweeping vista of green and purple, under a blue sky and luminous golden sunrise. The music swells, and we find ourselves in Hyrule.
The second doorway (which reads “shutout” at its base) reveals the striking force of sunlight, last seen in these chambers a century ago. Here, Link receives his injunction from Princess Zelda to once again return as the Light of Hyrule. Though the subsequent passageway has been partially destroyed, it takes Link but little energy to scale its ruin. And, after a few short steps, an opening is reached. Crossing its threshold reveals splendor beyond reckoning — a sweeping vista of green and purple, under a blue sky and luminous golden sunrise. The music swells, and we find ourselves in Hyrule.
Sheikah Shrines and Towers
Here, we may ask ourselves: why would the Sheikah choose this location — set within sight of the land’s fallen castle — to house the Hero while he recovered? There are a few potential answers to this puzzle, and most of them are unsatisfactory. One, however, seems true to the series, and to the general theme of focusing and testing the Hero. I would wager that the Sheikah placed the entrance just so, so that when Link awoke, climbing up from his dim haven, he would first see his raison d'être. Seeing Hyrule Castle in its shroud of darkness, with a Great Beast flying overhead, would serve to sober the Hero, reminding him of both his failure and his task. He would realize that time is indeed of the essence, and that the liberation of the world was, and is, in his hands.
Only a little more needs to be said concerning our topic at hand. While there are technically 135 other Sheikah structures to consider across Hyrule, no one of them shows an architectural tradition dissimilar from that discussed above. Furthermore, such a discussion would drift into the length of a book; it seems prudent, then, to be respectful of the reader’s (and writer’s) time. The outside of the Ancient Shrines continue to fascinate me. They appear as upturned pots of dark stone, as if each shrine had been tipped over, releasing its contents — its trial and layout — into the ground. This external shell is marked by larger constellations, which are either blue or orange depending upon the shrine’s state of activation. These constellations are also tied to the larger illuminatory scheme, matching the ethereal light shining from between the coiling protrusions, as well as from the Sheikah Symbol above the shrine’s only door. Each of these shrines is protected by a common pedestal, and each must be activated through various means; however, once open, they all begin with an elevator-descent deep underground. These standalone elevators, like the vertebrae of a large beast, all empty into colossal rooms etched with all the intimate designs of the Sheikah, yet all tailored to fit the challenge or desires of the entombed monk. Largely, these vast chambers feature sheer walls (which, due to some fluke or intention of Sheikah technology, are among the only unclimbable surfaces in the game), brilliant ceilings of blue, and various inner structures of sundry dimensions and functions. The ceilings are usually crossed with structural supports, which makes sense, as they must be supporting immense weight from the earth above and beyond. Some of the wall panels bear explosions of decoration, though most remain of pure stone. Larger torches and sconces help illuminate the immediate vicinity, and these are decorated like the columns from the Shrine of Resurrection, though in miniature.
Only a little more needs to be said concerning our topic at hand. While there are technically 135 other Sheikah structures to consider across Hyrule, no one of them shows an architectural tradition dissimilar from that discussed above. Furthermore, such a discussion would drift into the length of a book; it seems prudent, then, to be respectful of the reader’s (and writer’s) time. The outside of the Ancient Shrines continue to fascinate me. They appear as upturned pots of dark stone, as if each shrine had been tipped over, releasing its contents — its trial and layout — into the ground. This external shell is marked by larger constellations, which are either blue or orange depending upon the shrine’s state of activation. These constellations are also tied to the larger illuminatory scheme, matching the ethereal light shining from between the coiling protrusions, as well as from the Sheikah Symbol above the shrine’s only door. Each of these shrines is protected by a common pedestal, and each must be activated through various means; however, once open, they all begin with an elevator-descent deep underground. These standalone elevators, like the vertebrae of a large beast, all empty into colossal rooms etched with all the intimate designs of the Sheikah, yet all tailored to fit the challenge or desires of the entombed monk. Largely, these vast chambers feature sheer walls (which, due to some fluke or intention of Sheikah technology, are among the only unclimbable surfaces in the game), brilliant ceilings of blue, and various inner structures of sundry dimensions and functions. The ceilings are usually crossed with structural supports, which makes sense, as they must be supporting immense weight from the earth above and beyond. Some of the wall panels bear explosions of decoration, though most remain of pure stone. Larger torches and sconces help illuminate the immediate vicinity, and these are decorated like the columns from the Shrine of Resurrection, though in miniature.
The focal point of all these shrines, once the various trials have been overcome and the Hero’s strength tested and proved, is that which rests at its end: the Sheikah monk entombed within a blue field of stasis. These monks, zealous servants of the Goddess Hylia, dedicated their lives to helping those who seek to defeat Ganon. Each monk, likely bidden by the Goddess or spurred forward by intuition, created a trial for the Hero so that, upon its completion, the Hero could receive a sign of his courage. These symbols seem to take physical form, bound up in Spirit Orbs, which Link can later use as offerings in his prayers to the Goddess Hylia in return for increased physical ability. These Spirit Orbs are housed within the bodies of the monks, which are in turn housed within small shrines bound by four torches, all underneath a stone canopy. This canopy bears the Sheikah Symbol and several designs of Jōmon origin. Each monk rests atop two plinths, which decrease in size as they rise to support the monk. Interestingly, there is not one position in which the monks have come to rest, nor do they show perfect similarity of dress. Instead, each monk seems to have at least one aspect of clothing or posture which is unique to it; some wear jewelry, others don headwear, and yet others forgo these outer superficialities. Some sit in lotus style, while others adopt more relaxed postures; and each has decided to end its life with a particular mudra, or ritualistic gesture — predominantly performed with the hands and fingers. And it does seem that these monks chose to die as they did, relating to several real-world, fringe Buddhist practices concerning mummification. Although many self-mummification stories come out of Japan, this practice can also be found in India, Tibet, and China, whence Buddhism spread to Japan in the sixth century of the Common Era. Such monks, who undergo pre-mummification while living, only to die, it is hoped, in contemplative meditation, are believed to show incorruptibility. Monks who achieved this state are few, and are referred to as Living Buddhas. This practice is equally fascinating and morbid, and ranges from austere dieting to burial alive. [9] After death, provided that the monk was found to have showed no signs of decay, he was then entombed or enshrined, depending upon local tradition; some monks were sealed inside statues, while others were lacquered, covered in clay, or even coated with gold. [10][11] These Sheikah monks seem to have followed their real-world counterparts in choosing both the time and manner of their deaths; within their Shrines, they silently await the coming of the Hero. And when Link breaks through the barrier surrounding these enshrined hermits, time again begins to flow, and upon a brief benediction unto Link, each monk dissolves into lambent green particles, realizing both becoming and unbecoming.
The last Sheikah artifacts left to us are by far the most striking. Visible from great distances, needle-like towers attend each province, containing detailed map information that can be accessed via the Sheikah Slate, though they were originally constructed to detect signs of Calamity Ganon's return. [12] These structures, which seem to escalade the very sky, are a splendid mixture of guard-tower and observation deck. And while they range in height and in the layout of their terraces, they are otherwise the same. The form of the tower is hexagonal in layout, arranged around a central, twisting column of energy shining through an exterior ceramic shell. This forms the core of the structure, which can be seen behind the climbable exterior handholds. The external “fabric” of the Sheikah Towers are strictly stable, yet consist of mostly empty space, much like an atom. Each corner of this hexagonal structure frames the tower, conferring structural integrity to the whole as it rises upward. Large baskets are arranged on many of the towers, like gigantic steps beyond the scope of regular Man. These terraces are the main method of rest, protection, and access, and they lead, finally, to the observation deck, a disk held in place by fanciful structural wings, and under a supported spire. These wings are three in number, and they brace the platform, holding it aloft over the landscape. Small railings line some of the gaps, but the structure is largely open-air with no protective coverings; six curved beams hold aloft a conical spire which, when activated, channels energy upward into the atmosphere, distilling in Link’s Sheikah Slate the contents of its geographic knowledge. These spires are both useful and beautiful, and we can only imagine how Calamity Ganon feels as he sees them rise, as a single, concerted body, all across Hyrule, from sun-scorched desert to snow-beaten mountain. This vast, interconnected system of structures, from Shrine to Tower, and across its varied machines, creations, and devices, is a living symbol of the ingenuity and fierce devotion of the Ancient Sheikah. Without them, and without their imaginative brilliance and calculated intelligence, the world would indeed be a sorry place — a place without hope, a place without resilience, and, true to theme, a place without Light.
Works Cited:
[1] Nintendo. “The Making of The Legend of Zelda: Breath of the Wild Video – The Beginning.” YouTube, YouTube, 14 Mar. 2017, Timestamp beginning at 7:50. www.youtube.com/watch?v=30jGWna4-Ns.
Additionally, Nintendo's book Creating a Champion contains this quote on the design inspiration for the four Divine Beasts:
"We used Jōmon pottery and the look of the already established Guardians as a base but also referenced ceremonial masks from Southeast Asia, children's drawings, and other things. I wanted to explore a different aesthetic than that found in Western art."
White, Keaton C., and Shinichiro Tanaka. The Legend of Zelda, Breath of the Wild: Creating a Champion, p. 207. Dark Horse Books, a Division of Dark Horse Comics, Inc., 2018.
[2] Kaner, S. “Jomon Pottery, Japan.” World Archaeology, 7 Sept. 2003, web.archive.org/web/20130318010302/http://www.world-archaeology.com/features/jomon-pottery-japan/.
[3] The Editors of Encyclopædia Britannica. “Jōmon Ware.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., 2 Aug. 2015, www.britannica.com/art/Jomon-ware.
[4] Department of Asian Art. “Jomon Culture (ca. 10,500–ca. 300 B.C.).” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/jomo/hd_jomo.htm (October 2002).
[5] Cartwright, Mark. “Jomon Pottery.” Ancient History Encyclopedia, 17 May 2017, www.ancient.eu/Jomon_Pottery/.
[6] “Jomon Culture.” Jomon Archaeological Sites in Hokkaido and Northern Tohoku, Secretariat for the Promotion of the World Heritage Inscription of Jomon Archaeological Sites, jomon-japan.jp/en/jomon-cultur/.
[7] "The ancient Sheikah relics are adorned with the symbol of the Sheikah, swirling whirlpool designs, and often the letters of an ancient alphabet." [Emphasis mine.]
White, Keaton C., and Shinichiro Tanaka. The Legend of Zelda, Breath of the Wild: Creating a Champion, p. 219. Dark Horse Books, a Division of Dark Horse Comics, Inc., 2018.
[8] "There are patterns within some ancient Sheikah relics that connect points of light with lines. A few of these patterns are used as hints for solving puzzles in the ancient shrines, and similar patterns can be glimpsed on a Guardian's body where its legs connect. One theory is that these shapes depict stars and constellations from the night sky over Hyrule. It is probable that the ancient Sheikah were stargazers researching the heavens.
Ibid.
[9] Young, Davey. “The Monks Who Spent Years Turning Themselves into Mummies -While Alive.”Atlas Obscura, 4 Oct. 2016, www.atlasobscura.com/articles/sokushinbutsu.
[10] Klein, Christopher. “CT Scan Reveals Mummified Monk Inside Ancient Buddha Statue.”History.com, A&E Television Networks, 24 Feb. 2015, www.history.com/news/ct-scan-reveals-mummified-monk-inside-ancient-buddha-statue.
[11] Kennedy, Merrit. “PHOTOS: Chinese Buddhist Monk Is Mummified And Covered In Gold.”NPR, NPR, 28 Apr. 2016, www.npr.org/sections/thetwo-way/2016/04/28/476046598/photos-chinese-buddhist-monk-is-mummified-and-covered-in-gold.
[12] "It is said that the fifteen Sheikah Towers were to act like radar to detect signs of Calamity Ganon's reappearance as quickly as possible."
White, Keaton C., and Shinichiro Tanaka. The Legend of Zelda, Breath of the Wild: Creating a Champion, p. 367. Dark Horse Books, a Division of Dark Horse Comics, Inc., 2018.
[1] Nintendo. “The Making of The Legend of Zelda: Breath of the Wild Video – The Beginning.” YouTube, YouTube, 14 Mar. 2017, Timestamp beginning at 7:50. www.youtube.com/watch?v=30jGWna4-Ns.
Additionally, Nintendo's book Creating a Champion contains this quote on the design inspiration for the four Divine Beasts:
"We used Jōmon pottery and the look of the already established Guardians as a base but also referenced ceremonial masks from Southeast Asia, children's drawings, and other things. I wanted to explore a different aesthetic than that found in Western art."
White, Keaton C., and Shinichiro Tanaka. The Legend of Zelda, Breath of the Wild: Creating a Champion, p. 207. Dark Horse Books, a Division of Dark Horse Comics, Inc., 2018.
[2] Kaner, S. “Jomon Pottery, Japan.” World Archaeology, 7 Sept. 2003, web.archive.org/web/20130318010302/http://www.world-archaeology.com/features/jomon-pottery-japan/.
[3] The Editors of Encyclopædia Britannica. “Jōmon Ware.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., 2 Aug. 2015, www.britannica.com/art/Jomon-ware.
[4] Department of Asian Art. “Jomon Culture (ca. 10,500–ca. 300 B.C.).” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/jomo/hd_jomo.htm (October 2002).
[5] Cartwright, Mark. “Jomon Pottery.” Ancient History Encyclopedia, 17 May 2017, www.ancient.eu/Jomon_Pottery/.
[6] “Jomon Culture.” Jomon Archaeological Sites in Hokkaido and Northern Tohoku, Secretariat for the Promotion of the World Heritage Inscription of Jomon Archaeological Sites, jomon-japan.jp/en/jomon-cultur/.
[7] "The ancient Sheikah relics are adorned with the symbol of the Sheikah, swirling whirlpool designs, and often the letters of an ancient alphabet." [Emphasis mine.]
White, Keaton C., and Shinichiro Tanaka. The Legend of Zelda, Breath of the Wild: Creating a Champion, p. 219. Dark Horse Books, a Division of Dark Horse Comics, Inc., 2018.
[8] "There are patterns within some ancient Sheikah relics that connect points of light with lines. A few of these patterns are used as hints for solving puzzles in the ancient shrines, and similar patterns can be glimpsed on a Guardian's body where its legs connect. One theory is that these shapes depict stars and constellations from the night sky over Hyrule. It is probable that the ancient Sheikah were stargazers researching the heavens.
Ibid.
[9] Young, Davey. “The Monks Who Spent Years Turning Themselves into Mummies -While Alive.”Atlas Obscura, 4 Oct. 2016, www.atlasobscura.com/articles/sokushinbutsu.
[10] Klein, Christopher. “CT Scan Reveals Mummified Monk Inside Ancient Buddha Statue.”History.com, A&E Television Networks, 24 Feb. 2015, www.history.com/news/ct-scan-reveals-mummified-monk-inside-ancient-buddha-statue.
[11] Kennedy, Merrit. “PHOTOS: Chinese Buddhist Monk Is Mummified And Covered In Gold.”NPR, NPR, 28 Apr. 2016, www.npr.org/sections/thetwo-way/2016/04/28/476046598/photos-chinese-buddhist-monk-is-mummified-and-covered-in-gold.
[12] "It is said that the fifteen Sheikah Towers were to act like radar to detect signs of Calamity Ganon's reappearance as quickly as possible."
White, Keaton C., and Shinichiro Tanaka. The Legend of Zelda, Breath of the Wild: Creating a Champion, p. 367. Dark Horse Books, a Division of Dark Horse Comics, Inc., 2018.