Rediscovering the heart of Qing Ming tradition

Important observance: Lim (right) and his family members preparing for Qing Ming prayers for his late parents at the Johor Baru Tiong-Hua Association memorial park.

 It is important to educate the young about purpose of practices to honour ancestors

FOLDING gold and silver foil paper ingots was an annual exercise that my brother and I were tasked to do before Qing Ming.

Both of us would compete to see who could fold more ingots.

My late grandmother would remind us that folding these ingots was not about the quantity or quality, but our sincerity in carrying out the process.

Traditionally, people believed that these ingots, resembling money in the afterlife, would bear different values depending on their shapes.

Those that were perfectly folded would bear more value, in contrast to imperfect ones with pointed edges or which looked like cups.

These memories come flooding back as Qing Ming approaches this year.

Although it falls on April 4, it is observed two weeks before and after that date.

Qing Ming is a day for Taoists and Buddhists to honour their departed family members and ancestors.

Back then, my family and I would visit the columbarium and pay our respects to my grandparents and great-grandparents.

We would always bring their favourite food, such as kopi O kosong for my late grandfather as well as fruits and roasted meat for our ancestors.

We would burn the gold and silver ingots, alongside boxes of other paraphernalia such as clothes, shoes and “hell banknotes”.

After praying, my mother would “update” them on our lives and whether I had been a naughty boy or not.

That was about two decades ago, when I still observed Qing Ming.

Paper smartphones, computers and credit cards were not available or too expensive back then, but now you can even burn a range of paper luxury cars and bungalows.

I always find that aspect fascinating and look forward to seeing what creative items will be churned out each year by enterprising traders selling prayer paraphernalia.

I gradually stopped this annual pilgrimage due to the hassle and inconvenience.

Other than the crowds at columbaria and cemeteries, one would also have to contend with the sweltering heat and smoke from the burning of joss sticks and other items.

Excuses, some might say, but I have stopped observing the tradition.

Yet deep down, I am curious about the origins of these rituals and their significance.

Customary practices can sometimes change due to circumstances and modernity.

One may even wonder to what extent these rituals were practised by our ancestors.

To find out, I spoke to cemetery management committee members and historians about Qing Ming rituals.

While the main rituals do not differ much, offerings such as food can be unique to respective clan associations.

Each clan association prepares its own specialty foods for offerings on the altar, such as the Cantonese fatt gou (prosperity cake) Hakka hee pan (rice cake), Hainan yi bua (glutinous rice cake) and Teochew ang ku kueh (sticky cake).

I also learnt that most of the paper paraphernalia items that I looked forward to, are commercialised.

Historian Lee Eng Kew noted that gold and silver foil papers burned as offerings to ancestors were the only items that symbolised money.

“Hell banknotes and credit card paper paraphernalia are purely commercial,” he said.

Nowadays, families practise and conduct rituals within their means.

Attempts are being made to reduce wastage, such as bringing home edible offerings and minimising the burning of ceremonial items.

Though simplified, these rituals still have meaning if done sincerely.

While it is important to uphold tradition, we must also at the same time educate the younger generation on the significance of these rituals.

If they do not know the reasons for them, it may be difficult to ensure these traditions continue to be practised for years to come.

Qing Ming crowds arrive early to avoid hot sun

Paying respects: Lim (left) and her family members observing the Qing Ming festival by bringing prepared dishes and prayer paraphernalia for their dearly departed at the United Hokkien Cemeteries Teluk Bahang. — LIM BENG TATT/The Star

Guan Gong for integrity, and bravery, respected for loyalty and righteousness

 

The 24th day of the 6th lunar month is the actual birthday of Guan Gong

guan gong spirit medium

Guan Gong (also known as Guang Yu, Kuan Kong, Kuan Ti, Guan Ti or Guan Di), is a powerful Taoist immortal, a historical Bodhisattva in Buddhism and also revered in Confucianism.

The Buddhist worship of Guan Gong as Sangharama Bodhisattva is also practiced in some Theravada Buddhist temples. The Taoist also worship Guan Yu as the God of Literature. In Vietnam’s Cao Dao religion Guan Gong is one of the pantheons.

It is said Guan Gong is the keeper of all good people and the fighter of those who intend to hurt them or cause them a problem of any kind. He protects people from being robbed, assaulted and from all kinds of crimes in general.

As the God of War, he is the head of all protecting warriors, the god who commands all those who fight evil. Guan Gong is often depicted in paintings and sculptures. Sometimes with his two sworn brothers, Liu Bei and Zhang Fei, by his side.

Statues of Guan Yu on the Altar used by triads tend to hold the saber on the left hand, and statues in police stations tend to hold the saber on the right hand. The notion of brotherhood, god of loyalty, has been appropriated by triads to emphasize the group identify and brotherhood of triad membership.

As a General, Guan Yu was well known for his integrity, and bravery. As an individual, he was respected for his loyalty and righteousness.

According to Buddhist legends, Guan Yu manifested himself one night, In 592, before Ch'an Master Zhiyi, the founder of the Tiantai school of Buddhism, along with a retinue of spiritual beings.

Zhiyi was then in deep meditation on Yuquan Hill when he was distracted by Guan Yu's presence. Guan Yu then requested the master to teach him about the dharma.

After receiving Buddhist teachings from the master, Guan Yu took refuge in the triple gems and also requested the Five Precepts. From that time on, it is said that Guan Yu made a vow to become a guardian of temples and the dharma.

Legends also claim that Guan Yu assisted Zhiyi in the construction of the Yuquan Temple, which still stands today.

Later in the year, the thirteenth day of the ninth lunar month, is the day when Guan Gong was apotheosized. The ceremonies on these two days are identical.

It is popularly believed that if it rains on these days, it happens because Guan Gong is wetting the whetstone on which he sharpens his long-hilt sabre. The rain presages the well-being of the people.

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Guan Gong Culture Guan Yu (关羽) was a historical person who lived in China during the Three Kingdoms period, (三国) (CE 220-CE 280). Historical background Towards the end of the Han dynasty (汉朝), the emperor had been reduced to a nominal ruler. Powerful clans and court officials fought against each other to become the power behind the throne. Meanwhile, disenfranchised peasant began series of uprising. The most severe of these movements was the Yellow Turban Rebellion (黄巾起义). As the political disintegration intensified, regional warlords were no longer contented to be the power behind the throne. They aspired to be rulers of their own empire. Nevertheless, others remained loyal to the Han dynasty and sought to restore the power of the Han Emperor. Guan Yu belonged to the group who aspired to restore the Han Dynasty. He had met two other persons with the same ideal; Liu Bei, (刘备)a distant member of the Han royal family and Zhang Fei (张飞). They became sworn brothers at the Peach Garden (桃园结义) and vowed to work together towards the revival of the Han Dynasty. Liu Bei was the eldest of the three brothers; Guan Yu was the second brother and Zhang Fei the youngest. When the regional powers Cao Cao (曹操) and Sun Quan (孙权) proclaimed themselves Emperors Wei (魏) and Wu (吴), Liu Bei declared himself the Emperor of Shu (蜀) with the aim of restoring the Han dynasty, often referred to as Shu-Han (蜀汉). With this development, Chinese history entered the Three Kingdoms Period, (三国时代) a political scene that lasted for 60 years from CE 220 to 280. As a General, Guan Yu was well known for this integrity, and bravery. As an individual, he was respected for his loyalty and righteousness. During a battle with Wu forces, Guan Yu was captured and beheaded. Guan Gong culture After his death, General Guan Yu became the embodiment of loyalty, righteous, bravery and benevolence(忠义勇仁) . Guan Yu’s brotherhood pact with Liu Bei and Zhang Fei provides strong imagery and symbolism for friends to look after each other in times of hardship. This idea offered motivation and role model for Chinese migrants when they arrive in their host society. His popularity and the respect he commanded are reflected by the list of posthumous honors bestowed on him by subsequent emperors. During the Ming dynasty, Wu Cheng En wrote the novel San Guo Yan Xi (三国演义), Romance of the three Kingdoms, using the Three Kingdoms period as a backdrop and immortalized Guan Yu and his sworn brothers. The Taoist worshipped Guan Yu as the god of literature、god of war and　Martial God of Wealth and is referred to as Guan Gong (关公), Guan Di (关帝) and as a sign of respect. There are also spirit mediums or Tangkis who can manifest the spirit of Guan Yu. In southern China and overseas Chinese community in Taiwan and South East Asia, Guan Gong is also manifested via spirit mediums. The Chinese Buddhist regarded him as Sangharama Bodhisattva (伽蓝菩萨). As Sangharama Bodhisattva, Guan Gong is usually found in the Bell Tower of forest style Chinese Mahayana Buddhist Monastery. In the Hokkien temple Thian Hock Keng in Singapore, Guan Gong can be found both in his Taoist and Buddhist form.  Representations of Guan Gong Guan Gong is often depicted in paintings, sculptures and many art forms. When he is depicted with his sworn brothers, Liu Bei as the eldest brother is seated with Guan Gong and Zhang Fei by his side. If Guan Gong is the central figure, his two assistants, Guan Ping (关平) and Zhou Cang (周仓) stand by his side. He is also represented alone either standing with a saber or seated and at times reading. In many temples, a sculpture of his horse can usually be found. Globalization of Guan Yu culture Many overseas Chinese communities worship General Guan Gong and dedicated temples or set up altars in his memory. Such practices reflect the importance these communities placed on social solidarity and the need for mutual support in a foreign land. The notion of brotherhood has also been appropriated by triads to emphasize the group identify and brotherhood of triad membership. The Buddhist worship of Guan Gong as Sangharama Bodhisattva is also practiced in some Theravada Buddhist temples and Guan Gong is also one of the pantheons in Vietnam’s Cao Dao religion. The history and continuous popularity of Guan Gong reflects the collective ideals of the Chinese over time and how these ideals are manifested as they migrate overseas. Among the overseas Chinese community, the temples dedicated to Guan Gong also demonstrated how the traditional social ideals provided a model for migrants as they leave their homeland to seek opportunities. At the same time, Guan Gong’s appearance in Theravada cultures and Cao Dao in Vietnam also reflect the universality in the values he embodies.       Related articles: Guan Gong main page Culture & Customs Taoism Main page Taoist Pantheon

Sculpture of Guan Gong in shung Lin Monastery, Singapore Guan Gong with Bali headscarf, Kwan Kong Bio, Denpasar Bali Indonesia Ming dynasty painting of Guan Gong Guan Gong temple, New York Chinatown Guan gong in battle, wall mural Baoan Temple, Taipei, Taiwan Guan Gong temple in Yokohama Chinatown Spirit medium manifesting the spirit of Guan Gong Shrine to Guan Gong, Liverpool Chinatown The famous physician treating Guan Gong's arrow wound Yokohama Guan Gong temple kobe kanteibyo, Japan Jim Kemp collection, Talisman of Guan Gong Guan Gong Temple in Manila Chinatown

Guan Gong Culture

Guan Gong Culture

Guan Yu (关羽) was a historical person who lived in China during the Three Kingdoms period, (三国) (CE 220-CE 280).

Historical background

Towards the end of the Han dynasty (汉朝), the emperor had been reduced to a nominal ruler. Powerful clans and court officials fought against each other to become the power behind the throne. Meanwhile, disenfranchised peasant began series of uprising. The most severe of these movements was the Yellow Turban Rebellion (黄巾起义).

As the political disintegration intensified, regional warlords were no longer contented to be the power behind the throne. They aspired to be rulers of their own empire. Nevertheless, others remained loyal to the Han dynasty and sought to restore the power of the Han Emperor.

Guan Yu belonged to the group who aspired to restore the Han Dynasty. He had met two other persons with the same ideal; Liu Bei, (刘备)a distant member of the Han royal family and Zhang Fei (张飞). They became sworn brothers at the Peach Garden (桃园结义) and vowed to work together towards the revival of the Han Dynasty. Liu Bei was the eldest of the three brothers; Guan Yu was the second brother and Zhang Fei the youngest.

When the regional powers Cao Cao (曹操) and Sun Quan (孙权) proclaimed themselves Emperors Wei (魏) and Wu (吴), Liu Bei declared himself the Emperor of Shu (蜀) with the aim of restoring the Han dynasty, often referred to as Shu-Han (蜀汉). With this development, Chinese history entered the Three Kingdoms Period, (三国时代) a political scene that lasted for 60 years from CE 220 to 280.

As a General, Guan Yu was well known for this integrity, and bravery. As an individual, he was respected for his loyalty and righteousness. During a battle with Wu forces, Guan Yu was captured and beheaded.

Guan Gong culture

After his death, General Guan Yu became the embodiment of loyalty, righteous, bravery and benevolence(忠义勇仁) . Guan Yu’s brotherhood pact with Liu Bei and Zhang Fei provides strong imagery and symbolism for friends to look after each other in times of hardship. This idea offered motivation and role model for Chinese migrants when they arrive in their host society.

His popularity and the respect he commanded are reflected by the list of posthumous honors bestowed on him by subsequent emperors. During the Ming dynasty, Wu Cheng En wrote the novel San Guo Yan Xi (三国演义), Romance of the three Kingdoms, using the Three Kingdoms period as a backdrop and immortalized Guan Yu and his sworn brothers.

The Taoist worshipped Guan Yu as the god of literature、god of war and　Martial God of Wealth and is referred to as Guan Gong (关公), Guan Di (关帝) and as a sign of respect. There are also spirit mediums or Tangkis who can manifest the spirit of Guan Yu.

In southern China and overseas Chinese community in Taiwan and South East Asia, Guan Gong is also manifested via spirit mediums.

The Chinese Buddhist regarded him as Sangharama Bodhisattva (伽蓝菩萨). As Sangharama Bodhisattva, Guan Gong is usually found in the Bell Tower of forest style Chinese Mahayana Buddhist Monastery. In the Hokkien temple Thian Hock Keng in Singapore, Guan Gong can be found both in his Taoist and Buddhist form. 

Representations of Guan Gong

Guan Gong is often depicted in paintings, sculptures and many art forms. When he is depicted with his sworn brothers, Liu Bei as the eldest brother is seated with Guan Gong and Zhang Fei by his side.

If Guan Gong is the central figure, his two assistants, Guan Ping (关平) and Zhou Cang (周仓) stand by his side.

He is also represented alone either standing with a saber or seated and at times reading. In many temples, a sculpture of his horse can usually be found.

Globalization of Guan Yu culture

Many overseas Chinese communities worship General Guan Gong and dedicated temples or set up altars in his memory. Such practices reflect the importance these communities placed on social solidarity and the need for mutual support in a foreign land. The notion of brotherhood has also been appropriated by triads to emphasize the group identify and brotherhood of triad membership.

The Buddhist worship of Guan Gong as Sangharama Bodhisattva is also practiced in some Theravada Buddhist temples and Guan Gong is also one of the pantheons in Vietnam’s Cao Dao religion.

The history and continuous popularity of Guan Gong reflects the collective ideals of the Chinese over time and how these ideals are manifested as they migrate overseas. Among the overseas Chinese community, the temples dedicated to Guan Gong also demonstrated how the traditional social ideals provided a model for migrants as they leave their homeland to seek opportunities. At the same time, Guan Gong’s appearance in Theravada cultures and Cao Dao in Vietnam also reflect the universality in the values he embodies.