1. Symmetry of Form and Decoration:
Our Korean Buddhist Prayer Container has distinct vertical symmetry in its major forms.
The lower portion of the base (some sort of feet or animals?) has three components. The line of symmetry would bisect the middle piece. The middle piece seems to be fairly vertically symmetrical itself.
Moving higher, the upper base has a rail and baluster. There are 8 balusters, so the line of symmetry passes between two balusters, leaving the same amount of balusters on both sides.
Thus, on the base we have both types of bisection, one of an individual form and the other between forms. This could be an expression of completeness, or simply wanting to keep the base interesting (or both.)
The large middle portion, where the prayers are likely contained, has three high relief panels. The corners of this middle piece have repeated decorative elements that tie the panels together, frame them from the outside, allow the eye to easily travel up and down the piece, and contribute to the symmetry. Given the small image, it is difficult to discern just what is on those panels, even blowing up the image provides few details.
The lower panel seems to have 3 circular forms near the top and 2 major forms at its lower portion, symmetry dividing each evenly.
The middle panel appears to have a large form on the left side (a darker portion) and may not display vertical symmetry, nor horizontal.
The top panel has some darker portion on the upper right that makes it appear unsymmetrical. However, there is a half circle at the lower portion and a diamond like shape above that, which may contribute to vertical symmetry.
While the lower portion shows the vertical symmetry, the others may not, or to a lesser degree. The difference may have been to keep the piece interesting, not having each side being a simple mirror image. It may also be an attempt to show that the container is not restricted by a rule of symmetry, that it can go beyond that.
The upper portion of the piece (a lid?) includes two slabs and a knob. The slabs appear to have decoration that divides each in 3 primary units, plus separate end units. Symmetry runs right through the slab in an obvious balance, but bisects the knob at the top. Thus, the top portion strongly reiterates the symmetry that begins in the base.
Vertical symmetry is pleasing to the eye, creating a strong impression. By emphasizing the vertical perhaps it shows the connection between the higher realm and the lower. This would reflect the connection a prayer establishes.
11:09:08 AM 
