RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1998
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Three of the four lesser halls, though as large as the Jade Emperor Hall and Xu Hall or nearly so, are dedicated one to the Three Matrons of fertility and childcare; one hall to the wife of Xu, whose personal names were Heshi, known as the Palace of the Consort - Furen Gong - in which her image stands on the uppermost tier of three with the Lord of Time and his sixty minions, the Tai Sui, occupying the lower two tiers; a third hall to Guan Gong, the patron deity of loyalty and honour, and patron of soldiers; whilst the fourth hall, much smaller, is virtually empty apart from a single, small pottery image of a wealth god. This spread of cults within one temple is typical of the majority of the larger temples throughout Chinese communities.

All of the images within the temple complex are of comparatively recent manufacture, certainly since the early 1980s. The original images were destroyed during the years 1949-1976, during one or more of the political campaigns against superstition or social reform, mostly during the first days of the Cultural Revolution in 1966 when the temple was gutted. Some of the new images have been well made, artistically finished in paint on plaster and concrete. Others are crude, poorly finished and eyesores for posterity. The image of Xu, however, is one of the better ones and far from crude workmanship.

The grounds and halls on the day we were there in the Autumn of 1998 were seething with devotees, many of whom had travelled some distance to pay their respects to the deities. Long strings of firecrackers were being let off and amidst the deafening racket and the palls of smoke from these and burning offerings, the whole area was what Chinese know as re'nao, excitement and noise.

Across the road, however, in the comparatively small, enclosed and dilapidated garden, silence reigned and not a soul was to be seen. On the far side of the square artificial lake in the centre of the garden is a lengthy row of small, weathered and battered modern images, all unnamed, which on closer examination appeared to be many of the emperors of China since time immemorial. A Nine Dragon Spirit Screen stretches out behind them. Of greater interest were the half a dozen small rooms, similar to horse boxes with half-doors, which lined the rest of the far side, each containing a small tableau of life-size simple and gaudily painted plaster and cement figures. These were identified as episodic scenes from the life of Xu, ranging from his miraculous birth,
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RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1998
https://digitalrepository.lib.hku.hk/catalog/1g05n0794
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been sacked in the memory of man. When the Taiping rebels came to the walls of Nanchang in the middle of the 19th century, they saw sitting on it the figure of a huge man swinging his feet in the moat. He was apparently selling sandals three feet in length to the beleaguered citizens. That was enough for the attackers who turned and fled. It was the figure of Xu Xianzhen. This, however, was not true of the Wan Shou Gong at Xi Shan which, according to temple records obtained by Professor Liang Hongsheng. These are quite clear that since the Furen Palace was first constructed there in 1743, it was destroyed by fire first in 1820 and again in 1856, after it had been rebuilt in 1848, by the Taiping rebels. It was again repaired in 1871 only to be destroyed once more nearly a century later by Red Guards,

Somewhat surprisingly Xu has been seen on altars in Taiwan, Singapore and Malaysia, possibly carried there by immigrants from Fujian province, a province immediately to the south of Jiangxi. His is, however, a minor cult deity.

An image of Xu, one of the minor healers in a group of five, on the main altar in a temple in Hsinchu, in northern Taiwan, portrays him as a standard Daoist immortal with a sword and small Daoist crown. The gilded image is swathed in a golden robe and all that can be seen are his face and bald head, his black beard and one hand holding the sword aloft. He and the others are collectively revered by devotees as celestial doctors who reveal herbal prescriptions for devotees through a spirit medium. The senior celestial doctor in the group of five is Yang Zhenren, better known perhaps as Yang Zhensong; the other three junior doctors being Xuan Zhenren, Wu Zhenren and Sun Zhenren. The old temple keeper who had founded the temple and is now dead, came over to Taiwan in the 1930s bringing the cults with him from Nanping in Fujian province, some 200 miles due south of Nanchang.

A temple in Singapore, opened in 1971, has Cuji Zhenjun

as the main deity on its main altar. The temple keeper was in no doubt that this deity was Xu Sun, a famous Song dynasty doctor, who was portrayed as a black-bearded, seated Daoist, dressed in colourful robes and a scholar's hat, but without any unique characteristics. His image is flanked by two aides who have not been noted anywhere else:

Cishui Lingguan Dadi

刺水靈官大帝
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RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-2000
https://digitalrepository.lib.hku.hk/catalog/nk328168n
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disasters.' She is portrayed as a Daoist deity sitting cross-legged on a lotus, with gilded robes and a small crown, and with eight arms and three faces. Flanking her are two demonic, black-skinned deities standing, each with six arms and dressed in armour, holding weapons and charms in each of their hands. They are her attendants known here as Gnasher, Qiechi J, and Biter, Yaoya, titles not encountered anywhere else. The sixty Taisui images stand on lower tiers in two groups in five rows, either side of a space between the groups leading from the main entrance to the main deity on the top tier. But before the main deity on the second tier is a lone Taisui, the Taisui of the current year, changed annually at the Lunar New Year. Finally, the sets of double doors to the hall are decorated with depictions of the deities of the Twenty-eight Constellations +, the Ershi ba Xiuxing each deity having a 'human' form and its own attributes.

The second temple is some fifteen miles from Nanchang, the provincial capital of Jiangxi province in mainland China. Once more there is a separate hall but here dedicated to the wife of the main deity of the complex, the major medical god Xu Zhenjun. In the centre of the Hall is a large rectangular altar with the sixty Taisui ranged on all four sides along two tiers, with the image of Xu's wife and her two attendants positioned on the top of the third tier where she is identified merely as 'Xu's wife,' furen A. Her Hall, the Furen Gong, has stood within the temple complex since at least 1820 though it, together with the other temple halls, has been destroyed three times. Once apparently by accident in 1820, once by the Taiping iconoclasts in 1856 and finally by the Red Guards in 1966. However, it has only been within the last century that her hall has had images of the Taisui added to the gods within the complex and placed on the lower tiers of the plinth of her altar. The temple custodian did not know who decided on this addition, why or when.

In both of these temples, as in a number of other temples, the images of the sixty Taisui are portrayed as individuals with unique characteristics. A few look demonic, the majority are normal humans, with or without facial hair, young and old, and all are seated and dressed in a wide range of robes. Some are soldiers, some elderly mandarins - and although from lists provided in temples they all have individual personal names, none apart from the President, Yin Jiao, would appear to be recorded in legend or myth. However, several god carvers in
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RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-2001
https://digitalrepository.lib.hku.hk/catalog/zg651950g
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examination candidates, he also became an entrepreneur in and around the port of Xiamen [Amoy] at a time when taking part in foreign trade was illegal. He owned a fleet of cargo junks known as 'ferryboats' in order to circumvent the law. His supercargoes contracted business for him, in particular in South-east Asia, and he became sufficiently wealthy to ignore the law forbidding trade with foreigners and contacts with local coastal pirates.

d] The Saintly Lord of the Dragon's Tail, Longwei Shenggong

has only been seen on the altar in two temples both Hainanese and both in Singapore where he is said to be prayed to for protection and general benefits. However, several devotees claimed that a medium had discovered that Longwei Shenggong should be specifically approached by those whose parents are thought to be suffering in Hell as the deity had proved to have contacts and had even succeeded in being their saviour.

He appears to have no personal and unique legend. His image portrays him as a standard seated mandarin with a wispy black beard but no unique characteristics, and is either the main deity on a secondary altar or a minor deity on the secondary altar, co-located with Shuiwei Shengmu in one temple, and in another he was accompanied by his consort, Longwei Furen AA.

e] An image of Hai Rui, another minister banished to Hainan, has only once been noted on a temple altar, a side altar in a small coastal temple in Singapore dedicated to the Nine Emperors, and run by and for Chaozhou Chinese. His image, which depicts him as a standard seated mandarin without any unique characteristics, is attended by aides. Hai Rui, also known in temples as Hai Rui Gong was a Ming official whose reputation as a just and impartial magistrate was based on his belief that laws should be enforced at all levels irrespective of rank or blood, and his criticisms of extortion and abuse of public revenue made his name a slogan for immeasurable honesty for later generations. He is the hero of a lengthy novel 'The Story of the Scarlet Robe' in twenty volumes. Hai Rui was born in Qiongzhou [Kiungchou] in Hainan and died a natural death at the capital, Nanjing in 1587. His tomb is in the western suburb of the northern port of Haikou, at Pintian on his native Hainan where he is still revered and offered supplicatory prayers by devotees.
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