The Earth Temple of Eldin Volcano
“This is the Earth Temple. Signs indicate it was built here because of the subterranean caverns below. Just as at Skyview Temple, many defensive mechanisms were built here to discourage would-be intruders.”
— Fi, Skyward Sword
— Fi, Skyward Sword
The above quote, in which Fi hints at reasons for the existence of this place in its current location, is interesting for two reasons, and can help to guide our following discussion. Although Fi never mentions what signs these are that hint at the subterranean caverns playing an integral role in this temple’s existence, we know that they are important. Secondly, she likens this place to Skyview Temple, in that it guards against those who would seek to harm something protected by the temples themselves. This seems to hint at these temples having been built to protect the Goddess Springs from unwanted intruders who would seek to either destroy or corrupt them due to their sacred nature. If this is true, then it follows that the springs predate these temples, and that various peoples would have had a part in the designs of the goddess, creating structures of different architectural heritages to protect these shrines as best they could. And this begins to delve into something that everyone, at least to some degree, realizes as they travel the surface world below Skyloft: the world below was once a place of great sophistication. Unlike what the people of Skyloft believe, the surface was once a place of great traditions, technologies, and cultures. If anything, certain places upon the surface seem to show a greater technological sophistication than current-day Skyloft, even though these peoples and their cities were lost long ago.
We gain more information about Eldin Volcano throughout this game than many other locations. Fi tells us that 65% of the surface here is covered in lava, and Eldin, the guardian dragon of this province, speaks of the history of the region, telling the player that it was once a peaceful place in which different peoples worked and lived together: “Yes . . . This mountain was not always such a dangerous and unforgiving place. There was a time when those above-ground and those below lived together in harmony by the blessing of the great mountain. The desolation that you see now is all that remains to remind us of those glorious days.” Eldin speaks of a great change that took place within this region, and hints that it may have once held a greater variety of life and a gentler terrain. But, the most important piece of information he divulges is the existence of some form of spirit within the mountain. As with the Great Tree of Faron Woods, here we have a Great Mountain which is also capable of bestowing blessings onto living beings. We find that, upon the surface, there are many animistic practices still in existence, in which the elements and nature itself are deified and worshipped. Upon Eldin Volcano, where the landscape is riven by canals of perpetually-flowing lava and sheer peaks seem to rend the sky, the land itself — rife with power and heat — holds spiritual energy and being.
Though the pathway up the mountain is anything but smooth, it was likely once so; several sets of columns line the path to the Earth Temple, and even a ceremonial archway is still extant in this area.Of course, these columns and arches have a particular real-world provenance, and this time, we know the actual intent of the developers in their creation of this temple. On page 49 of the Hyrule Historia, one of the developers states that, “In the primitive volcanic belt lie ruins that have slowly lost the battle with time and have the reputation of being infested with Bokoblin monsters. The dungeon design was based off Southeast Asian architecture and coloring, which is why you see extensive use of vibrant, primary colors.” [1] Now, saying that the architecture had its origins in Southeast Asia is a rather vague, nondescript statement. This geographical realm is composed of eleven countries and a panoply of different religions, histories, and cultures, so to simply say “Southeast Asian architecture” is ambiguous at best. One can quite easily trace the elements within this temple to different architectural traditions, and there are, of course, many overlapping cultural similarities within this realm, but it is not something that can be covered with such a blanket statement. This region was long a crossroads of commerce, religion, and culture, from the Chinese influence from the North to the Indian force to the West and the power of the Arab tradesmen along the coast. And within this temple, we see the influence of the three major organized religions in this area — Hinduism, Buddhism, and Islam. Because of all the vastly different indigenous and foreign influences within this region, the architecture of Vietnam is hugely dissimilar than that of classical Cambodia, and Indonesia has a tradition different from that of Myanmar. So, while this is the only known case of the developers telling us the inspiration for their architectural designs, there is much work left to be done.
Though the pathway up the mountain is anything but smooth, it was likely once so; several sets of columns line the path to the Earth Temple, and even a ceremonial archway is still extant in this area.Of course, these columns and arches have a particular real-world provenance, and this time, we know the actual intent of the developers in their creation of this temple. On page 49 of the Hyrule Historia, one of the developers states that, “In the primitive volcanic belt lie ruins that have slowly lost the battle with time and have the reputation of being infested with Bokoblin monsters. The dungeon design was based off Southeast Asian architecture and coloring, which is why you see extensive use of vibrant, primary colors.” [1] Now, saying that the architecture had its origins in Southeast Asia is a rather vague, nondescript statement. This geographical realm is composed of eleven countries and a panoply of different religions, histories, and cultures, so to simply say “Southeast Asian architecture” is ambiguous at best. One can quite easily trace the elements within this temple to different architectural traditions, and there are, of course, many overlapping cultural similarities within this realm, but it is not something that can be covered with such a blanket statement. This region was long a crossroads of commerce, religion, and culture, from the Chinese influence from the North to the Indian force to the West and the power of the Arab tradesmen along the coast. And within this temple, we see the influence of the three major organized religions in this area — Hinduism, Buddhism, and Islam. Because of all the vastly different indigenous and foreign influences within this region, the architecture of Vietnam is hugely dissimilar than that of classical Cambodia, and Indonesia has a tradition different from that of Myanmar. So, while this is the only known case of the developers telling us the inspiration for their architectural designs, there is much work left to be done.
As with the majority of Fire and Earth Temples within the Legend of Zelda series, this one is likewise built into what was perhaps a natural cave, or was hollowed out with the stone left in its natural state. This was likely a conscious decision, because if the mountain is indeed sacred, to cover it up, or adorn it too heavily, would be to hide the spirit of the mountain itself. So, in this relatively small temple (consisting of only four or five chambers), the rock of the mountain becomes an integral part of the design, and a powerful background upon which the architecture of this temple rests. Along these same lines, the architectural motifs and interior embellishments follow in the greater tradition of Fire Temples seen in nearly every other game: fire, in all its various forms, is the chief element of design, and it inescapably shows up in some form in nearly every motif within this cave system. Likewise, the color scheme, which we already know to consist principally of primary colors, is dominated by reds, oranges, and golds, though there are careful juxtapositions of turquoise, teal, and light blue that serve as a counterpoint to the strong, heated colors which are the heart of this temple.
Upon the main bars of this portcullis, we see a series of flowers with eight petals. These hearken back to the eight-petaled lotus, arguably the most symbol-laden flower in the world, which is a reflection of the Noble Eightfold Path of Buddhism, one of the Buddha’s principle teachings, meant to lead to the cessation of suffering and attachment. |
Upon first entering the temple, which itself rests far below the entrance to the dungeon, we are first greeted by an impression, and this impression is one of heat. In this instance, it becomes difficult to judge whether the clouded distance is an effect of the impressionistic artistry of this game, or if it is simply an effect of the brutal heat of this place. An orange glow is cast upon every surface by the rivers of magma coursing throughout these chambers, and the distance is blurred either by art, by heat refraction, or by some curious combination of the two. The staircase into the temple abruptly transitions into a cobblestone path of turquoise stone, which is made in the likeness of the scales of a snake. These paths, which generally do not bridge the rivers of magma, terminate in large snake heads that serve as platforms on the edge of the safe pieces of land within the temple. Other reptilian designs can be seen in the sculptural snakes flowing upon certain walls, the two blue lizards flanking the doorways within the dungeon, in the boss key (which is referred to as the dragon sculpture), and within the boss chamber where the pathway is, quite literally, serpentine. Certain reptiles, like snakes or lizards, from which dragons may have taken their mythological form, are oftentimes seen as beings of fire, and from the serpentine pathways and dragons-heads upon the walls (which serve as spigots of lava) and columns (merely as a decorative motif in this instance) in this sanctuary, this structure has clearly been designed with these elemental traditions in mind.
Flanking the first pathway in the temple are four statues, two to either side of the path, of elephants which are prostrating themselves upon short pedestals while holding torches aloft with their trunks. Elephants, in most Southeast Asian nations today, do hold special importance to some degree, not least of all because the Asian elephant is endangered. To Thailand, though, the elephant as a symbol seems to overshadow all others [2], though lions, which are also seen in this temple propping up columns, are in high standing as well. Elephants play critical roles in both royalty and religion, where the elephant is both a chief emblem of nobility and a herald of greatness, as in the case of a white elephant being associated with the birth of Gautama Buddha. In art, its influence is impossible to miss; in sculpture, painting, and literature through Southeast Asia the elephant is nearly omnipresent. To further reinforce the esteemed nature of the elephant, an elephant served as the main crest on the flag of Siam (what is today Thailand) from 1855-1916. What exactly these elephant statues represent within the Earth Temple can only be guessed at, but regardless of true meaning, the nature of the elephant in Southeast Asian art — as a sacred creature of nobility and abundance — gives an air of greater symbolism and influence to this temple.
Perhaps the most curious part of this temple consists in a closely-related series of faces and statues, each of which is blood-red, bulbous, and bug-eyed, with flared nostrils and bared teeth. The smallest of these faces are found on the tripartite arches found upon the bare walls of the temple; these arcades are certainly not load-bearing, as they barely touch the rock. The topmost part of the arch in these arcades is the upper half of a face, whose mouth is made to be the space below the arch. In design, the middling-sized face follows this pattern, appearing on the large gateway in the central chamber, whose gate is replete with sharpened teeth, and whose drawbridge acts as a tongue. Interestingly, these two smaller masks resemble the Bokoblins of Skyward Sword, in that they are bright red, slightly cartoonish, and deadly, at least in intent. To me, though, the most thought-provoking room in this entire structure lies to the Southeast. This room, in layout, is circular but for the entryway, and the floor, which consists of six hexagonal petals of stone encircling a central hexagon, rests above a lake of lava. More curious still, however, are the three large statues that sit in judgment above. These statues, which can also be seen in the main chamber as well as within the boss chamber, are heavily-armored, with demonic faces — their teeth gnashing and eyes staring wide — and seem to protect this room. These statues all bear the third eye, which is a deeply mystical concept referring to an introspective and inwardly-gazing eye which provides greater and more penetrating perception. The third eye is not specific to any one religion or spirituality, and crops up in Daoism, Hinduism, and Buddhism. These creatures that bear it then are supposedly endowed with an unearthly perceptive ability, and these statues look down upon onlookers as in a hall of deliberation and judgment. These statues seem to bridge cultures, borrowing from several religions and regions for their design, and most closely resemble the dvarapala of Hinduism and Buddhism. These dvarapala are, by nature, guardian statues, and their role in temple design is to protect entrances and sanctuaries. [3]
Left: This dvarapala, from the Grand Palace in Bangkok, Thailand, is a tall, highly-gilded statue which serves to protect sacred buildings of the royal family. Notice the facial similarities — enlarged ears, bulbous eyes — as well as the ornate embellishments of both statues.
Photo Source: Sim100 at French Wikipedia - Own work, CC BY-SA 2.5, https://commons.wikimedia.org/w/index.php?curid=5225711 Above: Similarities also exist between these Earth Temple spirits and the 哼哈二将 (heng ha er jiang) of many Chinese Buddhist Temples. (Source: http://www.douban.com/note/234717197/) |
The final room before the boss chamber holds a steep ramp that ascends the volcano. The circular patterns within the fences that line this ascent are reminiscent of the Dharma Wheel of Buddhism, which further reinforces the influences of Buddhism upon this temple. By far the most majestic, as well as alarming, aspect of this room is the pair of twin dragons which play a key role in opening the door to the final cavern. One huge dragon sculpture rests at the top of a serpentine path, like the body of a snake in motion, and this path is lined with flanking dragon columns. When looked at from afar, only its claws and snout are visible in the distant orange haze, and as one gets closer, the dragon begins to peer out of its elemental cloud. At the bottom end of the pathway, the secondary dragon head is pouring forth lava, and this is only stopped when the upper statue releases a boulder that is able to stop this flow. In such a way, these two dragons are actually a calculated defense system aimed at protecting that which lies beyond. Once the lava fall has subsided, the jeweled boss door is revealed, and it can be accessed only by the dragon sculpture that serves as the ultimate key of this temple. Beyond this large doorway, the body of a snakelike dragon acts as a pathway upward toward the spring. At one point, it transitions from the familiar tile and stone to actual vertebral bone above Link’s head. This skeletal framework, with its stone slope beneath, is protected by the multitudinous dvarapala statues that stretch the length of this place.
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As with the altar and spring of Faron Woods, this space is simple, yet dignified. Instead of a view of trees and the open sky — both key architectural features and themes of Skyview Temple — this hallowed spring resides within a natural cave, in which the slow water and sounds cascade out of the living rock. There is one small portal to the sky above the altar, connecting the goddess Hylia to her chosen elements above, and, in architecture, this chamber is nearly identical to its sister spring in the forest. Poetically, almost, the temple renowned for its fire and molten rock protects a calm pool of its most opposite element.
Works Cited:
[1] Gombos, Michael, Takahiro Moriki, Heidi Plechl, Kumar Sivasubramanian, Aria Tanner, John Thomas, and Akira Himekawa. The Legend of Zelda: Hyrule Historia. Milwaukie, OR: Dark Horse, 2016. 49. Print.
[2] "Royal Elephant Stable." Thai Elephant Conservation Center. N.p., n.d. Web. 24 June 2017.
[3] "Door Guardian (Dvarapala) | Pakistan (ancient Region of Gandhara) | The Met." The Metropolitan Museum of Art, I.e. The Met Museum. N.p., n.d. Web. 24 June 2017.
[1] Gombos, Michael, Takahiro Moriki, Heidi Plechl, Kumar Sivasubramanian, Aria Tanner, John Thomas, and Akira Himekawa. The Legend of Zelda: Hyrule Historia. Milwaukie, OR: Dark Horse, 2016. 49. Print.
[2] "Royal Elephant Stable." Thai Elephant Conservation Center. N.p., n.d. Web. 24 June 2017.
[3] "Door Guardian (Dvarapala) | Pakistan (ancient Region of Gandhara) | The Met." The Metropolitan Museum of Art, I.e. The Met Museum. N.p., n.d. Web. 24 June 2017.