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obvious to any Chinese with an ounce of nous. Two years later he wrote a play, Hai Rui Dismissed, purporting to be about Hai Rui. This was seen as a covert attack on Mao Zedong's purge of Marshal Peng Dehuai who had openly blamed Mao for the 1959 famine. The purge of the Peking hierarchy led by Yao Wenyuan, a Communist political writer in 1965 [who was later one of the Gang of Four], is usually seen as the overture to the Cultural Revolution in China, Hai Rui being used as a symbol for Peng Dehuai, Mao's fallen rival.

In a Hainanese community temple dedicated to the Jade Emperor near Bukit Mertajam in northern Malaysia two images flanked the main deity, on his left hand his Fourth Daughter and on his right Luo Yanhua, about whom nothing more is known other than she is claimed to be a unique Hainanese deity. Her image has not been seen or recorded anywhere else, hand, and aide to the Fourth Daughter.

Although Lishan Laomu is primarily a Chaozhou local folk religion cult goddess she is also worshipped widely in Hainanese temples where she is regarded as a Hainanese cult. Lishan Laomu is her more popular title rather than Lishan Shengmu, though considering the ambiguities in legend, title and the initial character, it is open to question whether we might have more than one deity here. Three different characters for Li, all homophones, have been noted. The first means black, the second pear, and the third black horse. The first is the more popular version in central Malaysia and Hong Kong. The second appears to be the character preferred by the Hainanese, and the third has only been encountered in Taiwanese temples. She was referred to in a Saigon Hainanese temple as either Yimei Niangniang 懿美娘娘 or Yide Niangniang 懿德娘娘.

An elderly lady temple keeper in Kowloon approached the deity and "introduced" me to Lishan Shengmu as ‘a foreigner who wished to disperse the mists of his ignorance.' She told me that Miss Fan, a Daoist nun, had been summoned by Tian Hou to Heaven to be trained to become an Immortal and is now a caring spirit known as Lishan Shengmu, the Saintly Mother [or Matron] Lishan.

In an interesting but typical misconception an odd title of a deity was noted in a temple in Lincoln Road in Singapore where the custodian who claimed to be Hainanese also claimed that all the deities were
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uniquely Hainanese. In practice of the seventeen only one was Hainanese and that bore the odd title. It was Li San Shengmu, literally the Saintly Mother Li the third. This is obviously Li Shan, misheard with the 'san' assumed to be the 'Third'.

The most widespread claim is that Lishan Shengmu or Lishan Laomu24 was a ferocious lady general of the Tang dynasty known for her love of fighting, and is now a popular character in Chaozhou plays. However, to many Chinese she is better known by the maiden name of Fan Li-shan as merely the wife and mother of two famous generals, Xue. Several stories told about her contain in addition to common factors, others involving unconnected genuine historical heroes, some from entirely different eras. The composite story of the best known legends about Miss Fan25 begins with her warrior father giving her a 'sword to execute Immortals' and a 'whip to beat the spirits' and after she had completed her military training and prior to her going off to help General Xue Dingshan26 to pacify the west. In one version she joined up with him, served and fought alongside winning his trust and favour. In another Xue met and fought her on the battlefield. She defeated him but, because he was a handsome general, and with a bit of persuasion, she married him. A photocopied broadsheet distributed by the temple keeper in a small immigrant settlement shrine above Kowloon claimed that the Lishan cult had been popular in central China, and that her story, described in the 'Conquest of the West,' ostensibly written by Xue Dingshan himself, explained that she had been the wife of Xue, later transformed into an Immortal as a reward for her miracles and achievements.

There is also a Lishan Laomu who is also a definitive goddess appearing in the great novel The Journey to the West, the story of the fantastic journey made by Xuanzang, together with Sun, the Monkey, Sha the monk and Pigsy. In part of the story it appears likely that Lishan was Monkey's elder sister, a courtesy title rather than a blood relationship. She, together with her three daughters, all Bodhisattvas, named Truth, Love and Pity, transformed themselves into beautiful women in order to tempt the Buddhist pilgrim Xuanzang and his entourage of Monkey, Pigsy and Sha with their beauty. She changed herself into a widow and proposed to Xuanzang who rejected her. She and her daughters teased Pigsy, who after many adventures found that they were merely figments of his imagination. This goddess would
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seem to be in no way connected with the wife and mother of the Tang dynasty generals.

Although her image is popular in South-east Asia where it is to be found as the main deity on secondary altars in both Chaozhou and Hainanese temples, it has also been noted in Taiwan, and in Hong Kong in four temples and a further one in Macau. She is the main deity in one Hong Kong temple, and the main deity on secondary altars in the other three and in Macau.

She is accompanied in many instances by two anonymous aides or maids, though in a Hainanese temple in Malate in Manila they are known as Li Laoxian Gu #t, and in Medan in Sumatra in a Hainanese temple by two guardian generals, General of the Iron Ox, Tieniu Jiangjun and the General of the Bronze Ox, Tongniu Jiangjun. [see below 6 a]

Weng Zhong is yet another deity regarded by Hainanese as uniquely theirs even though his image was noted in several places across central China during the late 19th century. Weng Zhong lived during the Tang and is only known for one remarkable incident. He was suddenly showered with gold. He was born in Gansu province and was a poverty-stricken scholar who lived alone - however, his windfall, the cause of which has never been explained, has led him to be regarded by some devotees to revere him as a God of Wealth. His image has been seen in a temple near Haikou in northern Hainan, simply portraying him as a scholar, standing, dressed in his robes and holding a tablet in both hands before his chest. His full name was Weng Zhongru 翁仲儒.

6: Images of Aides to deities

a] As we have seen the Iron Ox General, Tie’niu Jiangjun 铁牛将军 is a tamed demonic spirit and guardian of the major deity Lishan Shengmu. He has only been noted once, paired with her other tamed demonic spirit guardian, the Bronze Ox General, Tongniu Jiangjun 銅牛将军, on the main altar in a specifically Hainanese community temple in Jalan Rindu in Singapore, now long pulled down for urban development. This may, of course, be an entirely Chaozhou cult but revered also by the Hainanese devotees of the local community and
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perhaps taken over within their own ethnic temple.

The Iron-ox General is a black-skinned demonic figure dressed in pantaloons and anklets, standing, with a tiger skin draped around his waist, and with a bolero covering his shoulders. He has a narrow plain coronet, and is holding a heavy chain in his left hand and an axe raised above his head in his right.

The Iron-ox and Bronze-ox were both live oxen transformed by Lishan Shengmu into human, albeit demonic form, to be her guardians and to protect the gateway to her mountain. They have powers in their own right which include, it is claimed, the prevention of natural disasters, and in particular flooding.27

b] In Fujian province prior to 1949 it was not uncommon to see the Eight Youths, young boys running round the procession when the palanquin containing the image of the deity was being borne around his parish. The boys were regarded in most places as the incarnate soldiery of the spirit armies of the deities. In others they were underworld generals whose exorcising dance was performed to rid the vicinity of demons. In Taiwan groups of young men regularly meet in certain temples and practice exorcist drills which they then perform for the public during annual ceremonies. Their other function is to act as bodyguards to the major deity in their temple when he is taken out in his carrying chair to process around the town. These youths are known in Taiwan as the Eight Underworld Generals A#. They are skilled in martial arts, have their faces painted in specific patterns using a number of bright colours, somewhat similar to the actors in Peking opera but generally regarded as demonic faces, and are dressed in a uniform of jacket and trousers and in a few temples, according to one temple keeper, they wear red bands, similar to those worn by the Boxers of the 1900 Rebellion, identifying which unit they belong to. The markings and forms of these youths tend to be identical with the Ba Jia Jiang, the statues lining the walls of Underworld temples in Taiwan. Such statues have also been noted in several Hainanese temples in South-east Asia where the group of Eight is known as Ba Ban Gong A, The "Eight Bosses". Whereas the total, Eight, would appear to be somewhat immaterial to most devotees and temple keepers, in Singapore the Eight represented the large number of gaolers in each of eight of the Ten Courts of the Underworld responsible for purging

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