Tanggok, Muhammad Ikhsan. Ancestor Worship in Chinese
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MEDIA RELEASE 29 July 2020 The past isn’t done with us yet… Catherine Văn-Davies leads the ensemble cast of new Australian drama series Hungry Ghosts Four-night special event on SBS Monday 24 August – Thursday 27 August at 9:30pm • INTERVIEWS AVAILABLE • IMAGES AND SCREENERS: HERE • FIRST LOOK TRAILER: HERE Chilling, captivating and utterly compelling, Hungry Ghosts follows four families that find themselves haunted by ghosts from the past. Filmed and set in Melbourne during the month of the Hungry Ghost Festival, when the Vietnamese community venerate their dead, this four-part drama series event from Matchbox Pictures premieres over four consecutive nights, Monday 24 August – Thursday 27 August at 9:30pm on SBS. When a tomb in Vietnam is accidentally opened on the eve of the Hungry Ghost Festival, a vengeful spirit is unleashed, bringing the dead with him. As these spirits wreak havoc across the Vietnamese-Australian community in Melbourne, reclaiming lost loves and exacting revenge, young woman May Le (Văn-Davies) must rediscover her true heritage and accept her destiny to help bring balance to a community still traumatised by war. Hungry Ghosts reflects the extraordinary lived and spiritual stories of the Vietnamese community and explores the inherent trauma passed down from one generation to the next, and how notions of displacement impact human identity – long after the events themselves. With one of the most diverse casts featured in an Australian drama series, Hungry Ghosts comprises more than 30 Asian-Australian actors and 325 -
A Morphological Analysis of Joss Paper Image in Taiwan - a Case Study of Fu Lu Shou
Vol.7(2), pp. 10-17, February, 2016 DOI: 10.5897/JLC2015.0346 Article Number: 335FD7F57445 ISSN 2141-6540 Journal of Languages and Culture Copyright © 2016 Author(s) retain the copyright of this article http://www.academicjournals.org/JLC Full Length Research Paper A morphological analysis of Joss paper image in Taiwan - A case study of Fu Lu Shou Ching Yang1*, Tsai-Ching Tsai2 and Ming-Chuen Chuang3 1Department of Graduate School of Industrial Design, National Yunlin University of Science and Technology, Yunlin, Taiwan, Republic of China. 2Hualien Prison, Agency of Corrections, Ministry of Justice, Hualien, Taiwan, Republic of China. 3Institute of Applied Arts, National Chiao Tung University, Hsinchu, Taiwan, Republic of China. Received 27 August 2015; Accepted 21 November, 2015 Based on the Fu, Lu and Shou Joss papers, the current study investigated the religious tradition of the Joss paper burning as well as the styling features, purposes, and types of the three-god Joss paper via the examination of previous studies and field work. With the collected Joss papers for different purposes, six samples with the three gods were extracted to decipher the componential principles of the three-god patterns, arrangement of printed characters, and decorative frames. Besides, with the Joss papers for different purposes, the current study compared and analyzed the styling features of the three god images, the complexity-simplicity transformation style and embedded connotation. The results of the current study revealed that the Fu, Lu and Shou Joss paper could be divided into Taiji-jin (that is, Tiangong-jin) for the heaven and gods, Shou-jin for gods and Buddha, and Yi-jin for ancestors or spirits. -
Modalities of Doing Religion and Ritual Polytropy: Evaluating the Religious
This article was downloaded by: [University of Cambridge] On: 12 February 2012, At: 13:02 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Religion Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/rrel20 Modalities of doing religion and ritual polytropy: evaluating the religious market model from the perspective of Chinese religious history Adam Yuet Chau a a Department of East Asian Studies, Faculty of Asian and Middle Eastern Studies, University of Cambridge, Sidgwick Avenue, Cambridge, CB3 9DA, United Kingdom Available online: 22 Dec 2011 To cite this article: Adam Yuet Chau (2011): Modalities of doing religion and ritual polytropy: evaluating the religious market model from the perspective of Chinese religious history, Religion, 41:4, 547-568 To link to this article: http://dx.doi.org/10.1080/0048721X.2011.624691 PLEASE SCROLL DOWN FOR ARTICLE Full terms and conditions of use: http://www.tandfonline.com/page/terms-and- conditions This article may be used for research, teaching, and private study purposes. Any substantial or systematic reproduction, redistribution, reselling, loan, sub-licensing, systematic supply, or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The accuracy of any instructions, formulae, and drug doses should be independently verified with primary sources. The publisher shall not be liable for any loss, actions, claims, proceedings, demand, or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. -
Dead Season1
158 Dead Season1 Caroline Sy HAU Professor, Center for Southeast Asian Studies Kyoto University In Kyoto, the Obon festival in honor of the spirits of ancestors falls around the middle of August. The day of the festival varies according to region and the type of calendar (solar or lunar) used. The Kanto region, including Tokyo, observes Obon in mid-July, while northern Kanto, Chugoku, Shikoku, and Okinawa celebrate their Old Bon (Kyu Bon) on the 15th day of the seventh month of the lunar calendar. For most Japanese, though, August, shimmering Nilotic August, is dead season. Children have their school break, Parliament is not in session, and as many who can afford it go abroad. Because Kyoto sits in a valley, daytime temperature can run up to the mid- and even upper 30s. Obon is not a public holiday, but people often take leave to return to their ancestral hometowns to visit and clean the family burial grounds. The Bon Odori dance is based on the story of the monk Mokuren, who on Buddha’s advice was able to ease the suffering of his dead mother and who was said to have danced for joy at her release. The festival culminates in paper lanterns being floated across rivers and in dazzling displays of fireworks. An added attraction in Kyoto is the Daimonji festival held on August 16. Between 8:00 and 8:20 p.m., fires in the shape of the characters “great” (dai, ) and “wondrous dharma” (myo/ho ) and in the shapes of a boat and a torii gate are lit in succession on five mountains encircling the city. -
Chinese at Home : Or, the Man of Tong and His Land
THE CHINESE AT HOME J. DYER BALL M.R.A.S. ^0f Vvc.' APR 9 1912 A. Jt'f, & £#f?r;CAL D'visioo DS72.I Section .e> \% Digitized by the Internet Archive in 2016 https://archive.org/details/chineseathomeorm00ball_0 THE CHINESE AT HOME >Di TSZ YANC. THE IN ROCK ORPHAN LITTLE THE ) THE CHINESE AT HOME OR THE MAN OF TONG AND HIS LAND l By BALL, i.s.o., m.r.a.s. J. DYER M. CHINA BK.K.A.S., ETC. Hong- Kong Civil Service ( retired AUTHOR OF “THINGS CHINESE,” “THE CELESTIAL AND HIS RELIGION FLEMING H. REYELL COMPANY NEW YORK. CHICAGO. TORONTO 1912 CONTENTS PAGE PREFACE . Xi CHAPTER I. THE MIDDLE KINGDOM . .1 II. THE BLACK-HAIRED RACE . .12 III. THE LIFE OF A DEAD CHINAMAN . 21 “ ” IV. T 2 WIND AND WATER, OR FUNG-SHUI > V. THE MUCH-MARRIED CHINAMAN . -45 VI. JOHN CHINAMAN ABROAD . 6 1 . vii. john chinaman’s little ones . 72 VIII. THE PAST OF JOHN CHINAMAN . .86 IX. THE MANDARIN . -99 X. LAW AND ORDER . Il6 XI. THE DIVERSE TONGUES OF JOHN CHINAMAN . 129 XII. THE DRUG : FOREIGN DIRT . 144 XIII. WHAT JOHN CHINAMAN EATS AND DRINKS . 158 XIV. JOHN CHINAMAN’S DOCTORS . 172 XV. WHAT JOHN CHINAMAN READS . 185 vii Contents CHAPTER PAGE XVI. JOHN CHINAMAN AFLOAT • 199 XVII. HOW JOHN CHINAMAN TRAVELS ON LAND 2X2 XVIII. HOW JOHN CHINAMAN DRESSES 225 XIX. THE CARE OF THE MINUTE 239 XX. THE YELLOW PERIL 252 XXI. JOHN CHINAMAN AT SCHOOL 262 XXII. JOHN CHINAMAN OUT OF DOORS 279 XXIII. JOHN CHINAMAN INDOORS 297 XXIV. -
Confucian Relics: Practices and Material Forms
Confucian Relics: Practices and Material Forms Julia K Murray Professor Emerita, University of Wisconsin Associate in Research, Harvard University Fairbank Center for Chinese Studies [email protected] 31 January 2019 Collège de France Set of nested reliquaries, made of various media, with a relic of the Buddha in the smallest one From the underground chamber of the Famensi pagoda, Fufeng, Shaanxi province, China 9th c. gilt-silver repousée gold “Namaste Dagoba” Fufeng, Shaanxi province, China (completed in 2009) Portrait of Confucius (551-479 BC) Titled Ultimate Sage and First Teacher 至聖先師 Inscription by Prince Guo (Yongli) dated 1734 Rubbing of a carved stone tablet in the Beilin (Forest of Steles) Xi’an, China “Stone Classics” Han dynasty, 2nd c. Fragments from Xiping Stone Classics Qing dynasty, 18th c Guozijian Beijing JI http://www.zdic.net/z/25/js/8E5F.htm “Sweet-pear” (Gan tang 甘棠 ) 蔽芾甘棠、勿翦勿伐、召伯所茇。 [This] umbrageous sweet pear-tree; Clip it not, hew it not down. Under it the chief of Shao lodged. 蔽芾甘棠、勿翦勿敗、召伯所憩。 [This] umbrageous sweet pear-tree; Clip it not, break not a twig of it. Under it the chief of Shao rested. 蔽芾甘棠、勿翦勿拜、召伯所說。 [This] umbrageous sweet pear-tree; Clip it not, bend not a twig of it. Under it the chief of Shao halted. Translation from James Legge, The Chinese Classics v. 4: The She King or Book of Poetry (Oxford, 1898), p 26. Commemorative stele in Linzi 臨淄 , Shandong, marking the place where Confucius heard the Shao music The photographer Mei Qingji made a pilgrimage to retrace Confucius’s travels and documented all the sites in exhibitions and a book Kong Cemetery (Konglin) in Qufu, marking the grave of Confucius and many others Queli guangzhi 闕里廣誌 (Expanded gazetteer of Queli), 17th c. -
Title: Understanding Material Offerings in Hong Kong Folk Religion Author: Kagan Pittman Source: Prandium - the Journal of Historical Studies, Vol
Title: Understanding Material Offerings in Hong Kong Folk Religion Author: Kagan Pittman Source: Prandium - The Journal of Historical Studies, Vol. 8, No. 1 (Fall, 2019). Published by: The Department of Historical Studies, University of Toronto Mississauga Stable URL: http://jps.library.utoronto.ca/index.php/prandium/article/view/16211/ 1 The following paper was written for the University of Toronto Mississauga’s RLG415: Advanced Topics in the Study of Religion.1 In this course we explored the topics of religion and death in Hong Kong. The trip to Hong Kong occurred during the 2019 Winter semester’s Reading Week. The final project could take any form the student wished, in consultation with the instructor, Ken Derry. The project was intended to explore a question posed by the student regarding religion and death in Hong Kong and answered using a combination of material from assigned readings in the class, our own experiences during the trip, and additional independent research. As someone with a history in professional writing, I chose for my final assignment to be in essay form. I selected material offerings as my subject given my history of interest with material religion, as in the expression of religion and religious ideas through physical mediums like art, and sacrificial as well as other sacred objects. --- Material offerings are an integral part to religious expression in Hong Kong’s Buddhist, Confucian and Taoist faith groups in varying degrees. Hong Kong’s folk religious practice, referred to as San Jiao (“Unity of the Three Teachings”) by Kwong Chunwah, Assistant Professor of Practical Theology at the Hong Kong Baptist Theological Seminary, combines key elements of these three faiths and so greatly influences the significance and use of material offerings, and explains much of what I have seen in Hong Kong over the course of a nine-day trip. -
Ghost-Movies in Southeast Asia and Beyond. Narratives, Cultural
DORISEA-Workshop Ghost-Movies in Southeast Asia and beyond. Narratives, cultural contexts, audiences October 3-6, 2012 University of Goettingen, Department of Social and Cultural Anthropology Convenor: Peter J. Braeunlein Abstracts Post-war Thai Cinema and the Supernatural: Style and Reception Context Mary Ainslie (Kuala Lumpur) Film studies of the last decade can be characterised by escalating scholarly interest in the diverse film forms of Far East Asian nations. In particular, such focus often turns to the ways in which the horror film can provide a culturally specific picture of a nation that offers insight into the internal conflicts and traumas faced by its citizens. Considering such research, the proposed paper will explore the lower-class ‘16mm era’ film form of 1950s and 60s Thailand, a series of mass-produced live-dubbed films that drew heavily upon the supernatural animist belief systems that organised Thai rural village life and deployed a film style appropriate to this context. Through textual analysis combined with anthropological and historical research, this essay will explore the ways in which films such as Mae-Nak-Prakanong (1959 dir. Rangsir Tasanapayak), Nguu-Phii (1966 dir. Rat Saet-Thaa-Phak-Dee), Phii-Saht-Sen-Haa (1969 dir. Pan-Kam) and Nang-Prai-Taa-Nii (1967 dir. Nakarin) deploy such discourses in relation to a dramatic wider context of social upheaval and the changes enacted upon rural lower-class viewers during this era, much of which was specifically connected to the post-war influx of American culture into Thailand. Finally it will indicate that the influence of this lower-class film style is still evident in the contemporary New Thai industry, illustrating that even in this global era of multiplex blockbusters such audiences and their beliefs and practices are still prominent and remain relevant within Thai society. -
My Time at the United Nations University Some Memories∗
My Time at the United Nations University Some Memories∗ Kees Middelburg Foreword Medio 1995 I was approached with the request to consider applying for the job of senior research fellow at the United Nations University International Institute for Software Technology (UNU-IIST) in Macau. At the time UNU-IIST trained young graduated people from developing countries in doing computer science re- search or advanced software development, gave post-graduate computer science courses and software engineering courses in developing countries, assisted lec- turers at universities in developing countries with the development of a software engineering curriculum, et cetera. I applied for the job and was appointed for the calendar years 1996 and 1997. My work included training people in doing computer science research and giving post-graduate computer science courses. Both took place in Macau as well as developing countries. This means that for two years I lived basically in Macau and traveled frequently to developing countries. During these two years the idea developed to write down memories of my time at UNU-IIST, but my job took too much time to do so. Prompted by my coming retirement, I took up this writing in 2012 in the form of a blog. Below, I have brought together the blog posts concerned. ∗Licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 Inter- national License (for details, visit http://creativecommons.org/licenses/by-nc-nd/4.0/). 1 The Very First Days On New Years Day 1996 and the next day, the very first days of my appointment at UNU-IIST, I travelled from Voorschoten, the Dutch village where I lived, to Macau. -
The Cult of the Underworld in Singapore: Mythology and Materiality
religions Article The Cult of the Underworld in Singapore: Mythology and Materiality Dean Koon Lee Wang Department of Chinese Studies, National University of Singapore, Singapore 119260, Singapore; [email protected] Received: 27 May 2020; Accepted: 13 July 2020; Published: 17 July 2020 Abstract: Myths provide hagiographic and iconographic accounts of the gods, which shape rituals that are performed in cults associated with these gods. In the realization of iconographies and ritualization of narratives in myths, material objects play an active role. This article examines the pattern of worship in the cult of the Ah Pehs, a group of Underworld gods whose efficacy lies in the promise of occult wealth, and focuses on the material aspects such as offerings and paraphernalia associated with these gods. Though ritual texts and scriptures are absent in the Ah Peh cult, symbols in the form of material objects play a crucial role. These objects are also considered as synecdoche for the gods in certain cases. The first part of this paper presents a case study of the autonomous ritual of “Burning Prosperity Money”, which reveals the cycle of occult exchange between gods and devotees. The second part involves an imagery analysis of the material objects central to the cult, and argues that in the system of reciprocity with the gods, material objects common to the everyday life are reinterpreted and enchanted with a capitalist turn, resulting in the development of occult economies within the local Chinese religious sphere. Keywords: Underworld gods; Ah Peh; materiality; mythology; occult economy Spirits to be sent for reincarnation stood on a bridge. -
Working Papers
Working Papers www.mmg.mpg.de/workingpapers MMG Working Paper 17-08 ● ISSN 2192-2357 FABIAN GRAHAM Visual anthropology: a temple anniversary in Singapore Religious and Ethnic Diversity und multiethnischer Gesellschaften Max Planck Institute for the Study of Max Planck Institute for the Study of Max-Planck-Institut zur Erforschung multireligiöser Fabian Graham Visual anthropology: a temple anniversary in Singapore MMG Working Paper 17-08 Max-Planck-Institut zur Erforschung multireligiöser und multiethnischer Gesellschaften, Max Planck Institute for the Study of Religious and Ethnic Diversity Göttingen © 2017 by the author ISSN 2192-2357 (MMG Working Papers Print) Working Papers are the work of staff members as well as visitors to the Institute’s events. The analyses and opinions presented in the papers do not reflect those of the Institute but are those of the author alone. Download: www.mmg.mpg.de/workingpapers MPI zur Erforschung multireligiöser und multiethnischer Gesellschaften MPI for the Study of Religious and Ethnic Diversity, Göttingen Hermann-Föge-Weg 11, 37073 Göttingen, Germany Tel.: +49 (551) 4956 - 0 Fax: +49 (551) 4956 - 170 www.mmg.mpg.de [email protected] Abstract Based on the hypothesis that the inclusion of visual media provides insights into non-verbal communication not provided by the written word alone, this paper repre- sents an experimental approach to test the usefulness of reproducing fieldwork pho- tography in directing reader’s attentions to probe the emic understandings of deific efficacy, and the researcher’s selective bias which the images implicitly or explicitly portray. This paper therefore explores the use of the visual image to illustrate that a reader’s own analysis of proxemics and kinesics allows for a deeper understanding of emic perspectives by drawing insights from the manipulation of material objects and from non-verbal communication – insights that the written word may struggle to accurately portray. -
Hauntology Beyond the Cinema: the Technological Uncanny 66 Closings 78 5
Information manycinemas 03: dread, ghost, specter and possession ISSN 2192-9181 Impressum manycinemas editor(s): Michael Christopher, Helen Christopher contact: Matt. Kreuz Str. 10, 56626 Andernach [email protected] on web: www.manycinemas.org Copyright Copyright for articles published in this journal is retained by the authors, with first publication rights granted to the journal. The authors are free to re - publish their text elsewhere, but they should mention manycinemas as the first me- dia which has published their article. According to §51 Nr. 2 UrhG, (BGH, Urt. v. 20.12.2007, Aktz.: I ZR 42/05 – TV Total) German law, the quotation of pictures in academic works are allowed if text and screenshot are in connectivity and remain unchanged. Open Access manycinemas provides open access to its content on the principle that mak - ing research freely available to the public supports a greater global exchange of knowledge. Front: Screenshot The cabinet of Caligari Contents Editorial 4 Helen Staufer and Michael Christopher Magical thrilling spooky moments in cinema. An Introduction 6 Brenda S. Gardenour Left Behind. Child Ghosts, The Dreaded Past, and Reconciliation in Rinne, Dek Hor, and El Orfanato 10 Cen Cheng No Dread for Disasters. Aftershock and the Plasticity of Chinese Life 26 Swantje Buddensiek When the Shit Starts Flying: Literary ghosts in Michael Raeburn's film Triomf 40 Carmela Garritano Blood Money, Big Men and Zombies: Understanding Africa’s Occult Narratives in the Context of Neoliberal Capitalism 50 Carrie Clanton Hauntology Beyond the Cinema: The Technological Uncanny 66 Closings 78 5 Editorial Sorry Sorry Sorry! We apologize for the late publishing of our third issue.