Notes on the

Music Stone

Third in a Series Regarding the Geometric Origins of Archaic Chinese Jades

From the work of Bernard I. Pietsch compiled by Suzanne Thompson

Introduction
In the previous article, Between Heaven and Eartha, we examined
the properties of an ancient Chinese sculpture called tsung or cong
(Fig. 1), a traditional burial object placed on top of a deceased
persons body to facilitate their transition from death to afterlife. As
elaborated in the article the complexities of the cong form indicate
that the essence of the sculpture and its association with the
worship of the earth is embedded deep in the geometry of its
shape.
In brief, our investigation included an analysis of
the congs sculptural anatomy and an inquiry into
the symbolic implications of the forms from which
the cong shape emerges. For example, the
sculptural metaphor of heaven is indicated by the
congs empty circular core. The space of the core
is not physical, yet it evolves from a geometric
structure which underlies the congs physical
forma truncated cone. (Fig. 2) The cong is
basically a cone surrounding an empty cylindrical
tube, an observation which becomes apparent
when its decorative corners or prisms are
removed.
The four corner prisms (Fig. 3)
though an important conceptual
appendage to the cone, can be
Fig. 2 Inverted shape considered
separately.
In
our
of truncated stone
example,
we
described
how
the
cone
surrounding
empty
cylindrical volume and the weight of each
coreminus
stone
corner, subtracted from the body of
corners.
the cong, adds to the meaning of the
sculpture and relates to the ratios between the
attributes of jadeite, nephrite and gold.
a

See online at www.scribd.co m/bernardpietsch

Fig. 1 Tapered
Chinese Cong,
upright.

Fig. 3 Four corners or prisms surround

the tapering inner cone.

2014 Bernard I. Pietsch and Suzanne Thompson Notes On the Music Stone

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Higher orders of correspondence

between the shape of the cong
and the concepts it expresses in
geometry, trigonometry, weight,
measure and time emerge when
the truncated cone is extended to
its geometric conclusion. The
apex or point where the sides of
the cone would converge (Fig. 4)
is exactly four times the height of
Fig. 5 Portion of the circle created by
congs lai d side by side.
the cong.
This extended
geometry reveals the intimate
coordination between the diameter of the cone, the angle of its
sides and the height of the actual physical cong.
The precision of the angle of the cone (Fig. 4) foreshadows another
invisible consequence concealed by the form. When multiple congs
are laid side by side, the array creates a circle. (Fig. 5) The
mathematics attending the circle thus constructed introduces a new
dimension. Once again the congs extended geometry, i.e., a circle,
though exterior to it, forms the framework from which the design
emerges.
The most heavenly or abstract expression of the cong, engages the
very earthly experience of time. By transforming the lengths
produced by the congs extended geometry into pendulums, and
timing their swings, we captured meaningful periods of time. We
then calculated how much of the earths equator rotates during the
time interval indicated by the frequency of each pendulum. By
utilizing the lengths in the cong as an activity of the pendulum and
the accompanying factors of precession a system of earth
measures evolved. Using this method, we demonstrated how the
cong locates itself both on the earth and in time.
The shape of the cong begins with the traditional circle-in-square
motif, found frequently in Asian art. The center of the sculpture, the
congs empty cylindrical core, signifying heaven is contained by an
outer square representing earth. (Fig. 6) In the space of the
sculptures empty center, we constructed an invented component
we named the incept. (Fig.7) The incept is a conceptual device--it
does not exist, but if materialized in three dimensions, the incept
would fit perfectly within the margins of the empty cylindrical core of
the conga square within a circle within a square. (Fig. 8)
Exploring the relationships between these various shapes we
discovered that the dimensions of the incept inform and reinforce
the geometry of the sculpture built around its empty center.

Fig. 4
Inverted cong
showing
conical angles
extended to
apex .

Fig. 6 Empty center

surrounded by circle
and square motif on
end of cong.
Fig. 7 Square
incept inside
empty center.

Fig. 8 Cong
with incept
inserted.

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Our conclusion from these observations is that the projected

geometries of the cong are integral to the meaning of the sculpture.
When the worshipful aspects of the cong are fulfilled by
completing its indicated geometry, the physical plane of the earth,
represented by jade, contacts the invisible heaven of abstraction.
Artistically, the negative spaces of the piece, created by the
extension of the congs truncated form, carry the conceptual weight
of the sculpture: the venerable is found in the non-material, in the
space beyond the sculpture. The secret of the cong is not in the
cong, but in the space around it.
b

In another offering, Stone of Heaven we examined the geometric

implications of a second Chinese burial accessory, the pi disk. (Fig.
9) A pi disk, a circular flat piece of jade with a central hole was
traditionally placed under the deceased. The earliest pi disks were
characteristically austere and unadorned. Later styles have been
found decorated with carved figures and intricate patterns
associated with the worship of heaven. In our treatment of one
particular disk we showed, among other things how the lengths of
the circular patterns on the disk when reckoned as pendulum
frequencies relate to the precession of the equinoxes. The pi disk, a
motionless, stony form, silently indicates in its geometry, a dynamic
notion--the stone of heaven is linked to astronomy.
I.

Fig. 9 Ornatel y carved

pi disc or Stone of Heaven

Fig. 10 Single Sonorous

Music Stone

The Music Stone

This presentation takes into consideration a third archaic form
called a ching c , or music stone. In the 16th century AD the Chinese
emperor Chien Lung mandated the restoration of many ceremonial
objects from the distant past. Among the forms resurrected were
two musical instruments--a large single L-shape stone chime or
ching (Fig. 10) and a set of smaller stone ching with a similar Lshapes. (Fig.11) The jade stones were hung on ornately carved
stands and tuned to special musical notes. The striking of the cong
with a mallet officially began and ended official ceremonies. The
effect of the sonorous sound upon its listeners is poetically extolled
in the following description:
When I smite my jade musical stone
Be it gently or strong,
Then do the foremost hearts leap for joy
d
Then do the chiefs agree among themselves.
b
www.scribd.com/bernardpietsch
c
Also
known as qing or bianquing in China. In Korea as pyon k yong
d

Emperor Yao, 1766 BCE

Fig. 11 Rack of tuned

Music Stones

2014 Bernard I. Pietsch and Suzanne Thompson Notes On the Music Stone

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Though the fugues are lost, the bells have come down to us.
The jade is obtained from the mountains by a river.
Whoever sees this piece
Will forecast its musical tone.
e
It was made in imitation of heaven and earth.

Little is known about the origin of the ching. Archaeological evidence suggests that
evolved from a rudimentary form dating from the 11th Century BCE, perhaps earlier.
Like the cong and pi disc, the acoustically sophisticated Music Stone has a
surprising geometric underpinning. We propose that the form of the ching is linked
to the same tradition of jade sculpture that conceived the cong and pi disk. Like the
cong, the geometric context of the ching is exterior to it. As we shall show, the
whole of its geometry is completed by extension from that which is implied by the
form. When the indicated guidelines of the form are fulfilled, the artistic intelligence
from which the Music Stone arises can be truly appreciated.
There is no lack of scholarship on Chinese art and tradition. The Chinese codified a
formal system of music and pursued the scientific study of acoustics long before the
Europeans. However, until now relatively little has been known regarding the
mathematic and geometric aspects of the Music Stone. To our knowledge, what
follows is new. It is simple, ordered and after the demonstration will be seen to have
been self-explanatory.
The particular Music Stone to which this study refers is attributed to the reign of
Emperor Chien Lung. It is currently part of the Brundage Collection of the Asian Art
Museum of San Francisco. Item number B60J67 in the Brundage catalog. (Fig. 12)

Fig. 12 Music Stone or Ching. Item number B60J67. Brundage

Collection of the Asian Art Museum of S an Francisco.

Excerpt fro m inscription on a large jade music stone (B60J67) written by the Emperor Chien Lung, 1761 AD
(Fig. 12)

2014 Bernard I. Pietsch and Suzanne Thompson Notes On the Music Stone

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Rec
Reconstructing
onstructing the Music Stone
We begin with a simple visual presentation and proceed step by step to unfold the
deeper geometric and numeric relationships embedded in the Music Stone form.
1.

First step: When in playing position the stone hangs from a cord strung through
a small hole in the upper angle (a). Rotate the form 180 --until it resembles a
V, (b) See Fig. 13
(a)

(b)
Fig. 13

2.

Next, draw a line along both ends of the stone until the two lines intersect at an
apex. Fig. 14

Fig. 14

3.

Extend the two lines until they are equidistant from the apex. Connect the
lower ends of the two lines at the point where the base would be the same
length as the sides forming a triangle. Fig. 15

Fig. 15

Fig. 16

2014 Bernard I. Pietsch and Suzanne Thompson Notes On the Music Stone

4.

The first external form, an equilateral triangle Fig. 15 has now been
constructed. All three sides of the triangle are the same length; each angle is
60. This triangle has been produced from the directives of the Music Stone.
Note the lower edge of the stone bisects the corner of the triangle. Fig. 16

5.

Fig. 17

6.

Page 6 of 13

Next, let the base of the equilateral triangle

just completed, be the length of the side of a
square surrounding the triangle. The second
2-dimensional form, a square (in red)
emerges from the length of the sides of the
triangle. The base of the triangle and the
sides of the square are both 41.50715601"
Fig. 17

Now rotate the square to horizontal. Fig. 18a

Fig. 18 a

7.

Let the square become the base of a pyramid.

The equilateral triangle, created from the Music
Stone, will be one of four faces. Fig. 18 b

Fig. 18 b

8.

Tilt all four faces toward the center until they meet at
the apex of the pyramid. Fig. 18 c. The third form, a
pyramid emerges from the second.
Fig. 18 c

9.

The height of the pyramid is 29.34999149." Fig. 19

Fig. 19

2014 Bernard I. Pietsch and Suzanne Thompson Notes On the Music Stone

10.

11.

From the square base of the pyramid, raise a cube

around the pyramid. All sides of the cube will be
equal to the base side. A fourth form, the cube, now
encloses the previous three. (Note that the cube will
be higher than the apex of the pyramid within.) The
volume of the cube would be 71,510.35469 cubic
inches.
Fig. 20
3
41.50715601 = 71,510.35469 cubic inches

Fig. 20

The volume of the rectangular space above the height of the pyramid is:
20,944.89797 cubic inches. Fig. 21

12.

The volume of the rectangular box just enclosing

the height of the pyramid is: 50,565.45672 cubic
f
inches. Fig. 21

+
Fig. 21

II.

Page 7 of 13

20,944.89797 cu" volume spac e above pyramid

50,565.45672 cu" volume cube holding pyramid
71,510.35469 cu" Total volume of cube.

Observations
13.

The natural logarithm of 746.037570, the number of square inches in the area
of the triangle enclosing the Music Stone is 6.61477561. Fig. 22
746.0375701

= 6.61477561

Divide the area in the triangle, 746.0375701 square inches by

6.61477561:
746.0375701
6.61477561

= 112.7834978

Fig. 22 Triangle
containing stone.

112.7834978 is also the number of square inches in the area of the top
surface of the Music Stone.

Note: The volume of a pyramid contained in a cubic space the height of the pyramid has 1/3 the
volume of the space containing it

2014 Bernard I. Pietsch and Suzanne Thompson Notes On the Music Stone

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14.

The square root of 746.0375701 = 27.31368833. The reciprocal of

27.31368833 is 0.036611679.
0.036611679 x 104 can be taken as
366.1179, quite close to the number of sidereal days in the year.

15.

The area of the triangle, 746.0375701 divided by the perimeter of the triangle
124.52146803 = 5.991236546

The common logarithm of 5.991236546 is 0.7775164667 which
(multiplied by 10) is 7.775164667 very nearly the length of the
vertical mid-line of the Music Stone line AE: 7.774869889
Fig.23
5.991236546 10

= .7775164667
.7775164667 x 10 = 7.775164667

In the physical stone, the V shape at angle A joining the left

and right sides of the stone (Fig. 24) is actually slightly rounded.
We take this as an indication of indeterminacy. Thankfully this
small allowance in design has been provided to accommodate
our imperfect attainment. We have referred to this concept in
previous work as the gift of the broken corner.

Fig. 23 Length AE,

vertical mi d-line of
stone.

Fig. 24 Indeterminate
angle at A.

Note from BIP s Journal: I have been doggedly pursuing the number
of square inches in the triangle for several days and new meaningful
correlates k eep arising. The altitude of the triangle, 35.94625154
inches has a common logarithm of 1. 555653609. As 155.56536093
this number is very close to the number of minutes longer the solar
year of 365.15 days is over the number of minut es in the sacred year
of 360 days.

16.

A second cross reference links the major axes of the stone,

(lines DF on the horizontal and line AE on the vertical,) to the
square base of the pyramid which was evolved from the
equilateral triangle containing the Music Stone. Fig 25

Fig. 25 Area square

base 11.9641944 sq'

The diagonal of the stone DF divided by

the natural logarithm of the square base of the pyramid
very nearly produces the vertical axis of the stone, line
AE: Fig 26
Fig. 26 Axes AE and
DF

11.9641944

= 2.481918395 Nat. logarithm of the number of

sq. feet in base.

19.30697729 DF
= 7.779054029 vertical axis AE
2.481918395

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An aside: The natural logarithm of the number of square feet in the base
of the pyramid, 2.481918395 is also the ratio between the number of
days in the orbits of the planets Saturn and Jupiter. This curious
intersection of number, logarithms and geometry brings to mind the
enduring quest to unify math and geometry with the natural order and also
Keplers effort to model the harmonics of the planets using the shapes of
the Platonic solids.
10,760.76 canon days orbit Saturn
4,333.5647139 canon days Jupit er

17.

= 2.481918395

A singular attainment of the canon system is the successful

melding of the attributes of number, geometry, weights and
densities with Time. The signature instrument in this process is the
precessing pendulum. This conveyance is succinctly illustrated by
the altitude of the pyramid (formed by the triangle encasing the
music stone. Fig. 28 )

When the altitude height is used as the length of a pendulum, the

frequency of its swing will be 1.73310419 seconds of time. In one
single canon day of 1460.6 minutes, this pendulum will swing forth
and back 50,565.91549 times. Look closely at the number of cubic
inches in the volume of the rectangular block containing the
pyramid to its height: 50,565.45672 cu" Fig. 29

Fig. 27 Kepler's
model of the solar
system.

Fig. 28 Altitude of
pyrami d as
pendulum length.

Fig. 29 Vol ume of

space
containing
pyrami d to
its
height:
50,565.45672 cu"

2014 Bernard I. Pietsch and Suzanne Thompson Notes On the Music Stone

III.

Page 10 of 13

Numerical origin of the form

18.

The mathematical process which derives the essential notion of the Music
Stone is this: The defining and longest measure across the middle of the
Music Stone (line DF) is:
19.30697729 inches: the 7th root of one-billion:

1,000 ,000 ,000

= 19.30697729
Fig. 30 Longest length in
stone DF

Note from BIPs Journal: I had originally c alculated the surface area of the top of the stone
as 112.8150971 square inches by adding toget her the areas of the separate triangles. It's
amazing t hat my reck oning was so close--within 0.03159 of 1 square inc h of the
mathematically derived figure precipitated from one billion. My process includes a lot of
playing and a lot of trial and error, but when I finally rec ognized what was driving the form, I
k new it was intentional and correct.

IV.

Jade,
Jade, Gold and Geometry
In our analysis of the cong in Between Heaven and Earth, we found meaningful
correspondences between the physical measures of the sculpture and its nonphysical attributes geometrically projected from the stone. We also discovered an
elemental connection between jade, water and gold. In a similar vein, the Music
Stone insinuates an indirect reference to gold. The allusion surfaces in the
relationship between the volume of the stone, the area of its top surface, and the
weight of the stone if it were gold. See that:

The area of the top surface of the Music Stone is: 112.7834978 square
inches.

The thickness of the Music Stone is: 1.44 inches.

The top surface area times the thickness gives the cubic volume:
162.4082368 cubic inches.

One cubic foot (1728 cubic inches) of gold weighs 1200 pounds. Therefore
one cubic inch of gold weighs
1200 lbs = .694444 pounds gold/cubic
1728 cu" inch.

The Music Stone has 162.4082368 cubic inches of volume. Its volume times
the weight of one cubic inch of gold (.69444 pounds gold/cubic inch) would
weigh: 112.78277 pounds of gold.

2014 Bernard I. Pietsch and Suzanne Thompson Notes On the Music Stone

19.

V.

Page 11 of 13

If the Music Stone were gold, it would weigh almost exactly the same number
as the number of square inches on its top surface. 112.78349 square inches.

The Golden Number

There is no lack of reference to the golden number in ancient art. It is
the most pervasive ratio in all of Nature and acknowledged by all
cultural artists. Homage to this icon of number is also central in the
formation of the Music Stone, in the assignment of the equilateral
triangle which contains it. (Fig. 31)
20.

21.

The length of a side of the triangle is 41.50715601 inches, the

common anti-log of the Golden Number: 1.618122977

1.618 is also the ratio between the number of days in the

orbits of the Earth and the planet Venus. The depth of the synthesis is an
expansive, generative and astounding instruction.
365.2582676 Earth days/year
225.7295094 Venus days

VI.

Fig. 31 Equil ateral triangle

containing Music Stone.

= 1.618 Golden Number

The Second of Arc

From many sources, we have determined that the unit the second of arc,
characterized by many great monuments of antiquity is a primary feature of the
canon system of measure.
As the first unit of measure, the value of the second of arc (1,296,000 seconds of arc
in the circle of 360 degrees) must be accurate. No where is this commitment more
dramatically portrayed than by the Great Pyramid.
The height of the Great Pyramid of Cheops, on the Giza Plateau near Cairo, Egypt
may stand as the ultimate model of architecture in service to time and timing. Were
the height of the Pyramid to have been completed to an apex, it would have been
484.8136 feet to its geometric peak. Synchronistically this number has identity with
the number .000004848136 --the trigonometric tangent of the second of arc. It is
worthy of notice that the largest building in the world provides us with the smallest
unit of earth measure, the second of arc.
22.

The Music Stone harbors an implied indication of the trigonometric value of

the tangent of the second of arc:

There are 48.52226706 perimeter inches in the six sides of this Music Stone.

2014 Bernard I. Pietsch and Suzanne Thompson Notes On the Music Stone

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The perimeter length (48.52226706) divided by 10-7 can easily be seen as

referencing an approximation for the number of the tangent of one second of
arc: 0.0000048460485
The acoustic characteristics of the Music Stones shape were perfected by the
Chinese millennia ago. In sets of Music Stones (Fig. 32) each ching in the array is
the same size, yet each ching has a different pitch. Only the thickness varies. The
several correspondences between the attributes of the Music Stone and the
equilateral triangle which contains it incline us to see the form as a type of template
linking geometry with number functions. The acoustic merits of the ching are
undoubtedly linked to this form also--but necessarily, that connection must be left to
others to discover.
We end this chapter with a reprise of the poem on the stone, but with renewed
appreciation for the poets words--having been guided by the stone itself, the
knowledge that that which was lost is now being recovered.
Though the fugues are lost, the bells have come down to us.
The jade is obtained from the mountains by a river.
Whoever sees this piece
Will forecast its musical tone.
It was made in imitation of heaven and earth.

Fig. 32 Rack of Ch'ing or Music

Stones in Shen Shang, China.

A ceremonial performance of Music Stones can be seen and heard online at ROBERT GARFIAS
ARCHIVE: P YONG-KYONG SOLO

http://www.youtube.com/watch?v=TEUMyiYt- GE&list=PLF6549D424A5E36AF
also see:

http://cast.nacs.uci.edu/rgarfias/avi/pyung-kyong-solo.swf

2014 Bernard I. Pietsch and Suzanne Thompson Notes On the Music Stone

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Appendix
g

Dimensions of the Music Stone

Small end: CD 4.552736685"

Larger end: BF 6.785825739"

Width at center: AE 7.774869889

Thickness: 1.44"

Perimeter: 48.52226706"

The area of the top surface: 112.7834978 sq"

Cubic volume: 162.4082368 cu."
.
Dimensions of the triangle enclosing the Music Stone:

Side lengths: 41.50715601.

The altitude of the triangle is 35.94625154 inches.

The perimeter of the triangle is 124.52146803
inches.

Area: 746.0375701 square inches.

Dimensions of the pyramid formed from the triangle

Base side length: 41.50715601

Area of base: 41.507156012 = 1722.844

Altitude of pyramid: 29.34999149

Volume of pyramid: 16,855.15224 cubic inches.

Surface area of faces: 2984.15028 sq. inches

Total surface area: 4706.99428 sq. inches

Dimensions of the cube enclosing the pyramid:

Side length: 41.50715601

Area of side: 41.507156012 = 1722.844

Volume of cube: 71,510.35469 cubic inches

Volume of rectangular space just enclosing pyramid:
50,565.45672 cubic inches.

Volume of rectangular space above the height of
pyramid: 20,944.89797 cubic inches.

Source: Jade, Stone of Heaven by Richard Gu mp. There is a p icture of this Music Stone attributed to the
Chinese Emperor Ch ien Lung, circa 1765 A.D. on page 87. The measurements that we adopt in this study do
not depart by more than 1/ 100 inch fro m those given by Gu mp.