Religion Today: Mazu, the Goddess of the Sea
‘Worshippers begin a nine-day journey to honour the goddess Mazu in Taiwan. Julie Noce reports. Published on Apr 9, 2016’.
The goddess Mazu you say . . . a dedicated website explains thusly: “Mazu, or Mat-Su, Chinese Goddess of the Sea, is the story of an extraordinary girl who became a goddess. The Goddess Mazu’s stories even come to us in an unusual way. Usually we have to search the works of poets and philosophers, historians and anthropologists, when wishing to explore the myths of the legendary ladies we call goddesses. But ancient government edicts, court documents, Taoist scriptures, and even shipping logs provide the stories of the young girl and the goddess she became. Mazu . . . a goddess, even after a millennium has passed . . . arguably the most worshipped in the world with over 1,500 active temples and 100 million devotees”.[1] Or, the most popular goddess or deity you’ve never heard of . . .
Mazu is a goddess in the Taoist pantheon . . . the psychologist David Ho explains that “Taoism [, (i)ndigenous to China,] represents the Chinese counterculture . . .Taoists disdain the Confucian affinity to social convention, hierarchical organization, and governmental rule by the scholar class. To them, the good life is the simple life, spontaneous, in harmony with nature, unencumbered by societal regulation, and free from the desire to achieve social ascendancy-in short, a life lived in accordance with the Tao [or the way, in Mandarin Chinese]. Taoists are thus champions of individuality and individual freedom”.[2] The religious scholar Dr Livia Kohn “summarizes the ethical principles of Taoism and the Taoist community [in her book 2004 Cosmos and Community]. She explains that from childhood, the Taoist learns societal norms in accordance with specific morals, values, behaviors, disciplines, and responsibilities to those in the community (Kohn, 2004, p. 13). The individual, as part of the community, believes that all things exist in harmony with nature. If things go wrong for the individual or the community, it is because of an imbalance between the energies of Yin-Yang. To restore balance, the Taoist must stop trying to control nature. Consequently, all blockages in the natural flow of life are restored when nature is allowed to regain its equilibrium. When the Taoist tries dominating nature, his selfish desires are at work. The consequences of selfish desires may be disastrous to the individual and the community. According to Taoist ethics, all of nature is a manifestation of the Tao [or the way, in Mandarin Chinese], and is therefore sacred. If the Taoist defies these ethical understandings, the community and nature will suffer, and there will be setbacks ( p. 13). Fortunately, these set-backs are temporary, and nature will triumph in the end”.[3]
Dr Kohn opines that the “common view of [T]aoism is that it encourages people to live with detachment and calm, resting in nonaction and smiling at the vicissitudes of the world. Most people assume that [T]aoists are separate from the human community, not antisocial or asocial but rather supra‑social and often simply different. [T]aoists neither criticize society nor support it by working for social change, but go along with the flow of the cosmos as it moves through them. They are not much concerned with rules and the proprieties of conduct, which they leave to th Confucians in the Chinese tradition”.[4] She then adds insightfully that “[c]ontrary to this common view, [T]aoists through the ages have developed various forms of community and proposed numerous sets of behavioral guidelines and texts on ethical considerations”.[5] Turning to the goddess Mazu, specifically, the authors Yeh (Sam) Shih Shuo, Chris Ryan and Ge (Maggie) Liu explain that “Taiwan inherited many of its cultural traditions from different parts of Mainland China. However, because it avoided the Cultural Revolution of the 1960s and the patterns of pre- and post-Communist thought associated with that period and the Mainland, Taiwan retained many of those traditions unaffected by Communist beliefs. Consequently Buddhist and Taoist beliefs have retained significant importance in Taiwanese thought, and the country is notable for the number of temples that are scattered throughout it. Both religions were introduced to Taiwan between the end of the Ming and early Qing Dynasties (approximately 1559–1618)”.[6] The authors continue that a “belief in Mazu is defined officially as a Folk Religion in Taiwan, but has close connexions with Taoism. Two essential texts of Taoism are the Daode Jing, which the Stanford on line Encyclopedia of Philosophy (2006) describes as ‘terse and poetic’, and the Zhuangzi prolix, described by the same source as ‘funny, elusive and filled with fantasy dialogues.’ The complexity of Taoism, or reflections on the nature of dao (way), is that it has no specific normative precept or theory, but rather is paradoxical, nonassertive, and naturalistic and comprises mystical statements of modes of life. It significantly influenced both Confucian and Buddhist thought, and by its nature was well able to absorb local gods based upon naturalistic observation and good works. Thus the relationship with belief in Mazu as a holy mother of the sea, protector from harm, provider of care, and source of precepts of a good life based on care for others was easily established”.[7]
[1] “Mazu , Chinese Goddess of the Sea” Goddess Gift. http://www.goddessgift.com/goddess-myths/chinese-goddess-mazu.htm.
[2] David Y. F. Ho, “Selfhood and Identity in Confucianism, Taoism, Buddhism, and Hinduism: Contrasts With the West” Journal for the Theory of Social Behaviour, 25, 2 (1995), pp. 115-39,
[3] “Taoist Ethics by Robert Waxman” Robert Waxman. http://www.robwaxman.com/id3.html.
[4] Dr Livia Kohn, COSMOS AND COMMUNITY. The Ethical Dimension of Daoism (Three Pines Press, 2004), p. 1.
[5] Dr Livia Kohn, COSMOS AND COMMUNITY, p. 1.
[6] Yeh (Sam) Shih Shuo, Chris Ryan and Ge (Maggie) Liu, “Taoism, temples and tourists: The case of Mazu pilgrimage” Tourism Management, 30 (2009), pp. 581–588.
[7] Yeh (Sam) Shih Shuo, Chris Ryan and Ge (Maggie) Liu, “Taoism, temples and tourists”.
Beijing 2008: A Painting and its Meaning
I stumbled across this intriguing picture on Facebook, of all places. The image was posted by a certain Joel Ng, who appears to be living in Brunei, again of all places. And this what he said by way of accompaniment: “Amazing thought-provoking painting “Beijing 2008” by Chinese-Canadian artist Liu Yi. The woman with the tattoos on her back is China. On the left, focused intensely on the game, is Japan. The one with the shirt and head cocked to the side is America. Lying provocatively on the floor is Russia. And the little girl standing to the side is Taiwan. This painting, named Beijing 2008, has been the subject of much discussion in the west as well as on the internet. What’s interesting is that this painting is called Beijing 2008, yet it depicts four women playing mahjong, and conceals a wealth of meaning within . . . China’s visible set of tiles “East Wind” has a dual meaning. First, it signifies China’s revival as a world power. Second, it signifies the military might and weaponry that China possesses has already been placed on the table. On one hand, China appears to be in a good position, but we cannot see the rest of her hand. Additionally, she is also handling some hidden tiles below the table. America looks confident, but is glancing at Taiwan, trying to read something off of Taiwan’s expression, and at the same time seems to be hinting something at Taiwan. Russia appears to be disinterested in the game, but this is far from the truth. One foot hooks coyly at America, while her hand passes a hidden tile to China, both countries can be said to be exchanging benefits in secret. Japan is all seriousness while staring at her own set of tiles, and is oblivious to the actions of the others in her self-focused state. Taiwan wears a traditional red slip, symbolizing that she is the true heir of Chinese culture and civilization. In one hand she has a bowl of fruit, and in the other, a paring knife. Her expression as she stares at China is full of anger, sadness, and hatred, but to no avail; unless she enters the game, no matter who ends up as the victor, she is doomed to a fate of serving fruit. Outside the riverbank is darkened by storm clouds, suggesting the high tension between the two nations is dangerously explosive. The painting hanging on the wall is also very meaningful; Mao’s face, but with Chiang Kai Shek’s bald head, and Sun Yat-Sen’s mustache”.a
Ng continues that the “four women’s state of undress represent the situation in each country. China is naked on top, clothed with a skirt and underwear on the bottom. America wears a bra and a light jacket, but is naked on the bottom. Russia has only her underwear left. Japan has nothing left. At first glance, America appears to be most composed and seems to be the best position, as all the others are in various states of nakedness. However, while America may look radiant, her vulnerability has already been exposed. China and Russia may look naked, yet their key private parts remain hidden. If the stakes of this game is that the loser strips off a piece of clothing, then if China loses, she will be in the same state as Russia (similar to when the USSR dissolved). If America loses, she also ends up in the same state as Russia. If Russia loses, she loses all. Japan has already lost everything. Russia seems to be a mere ‘filler’ player, but in fact is exchanging tiles with China. The real ‘filler’ player is Japan, for Japan has nothing more to lose, and if she loses just once more she is immediately out of the game. America may look like she is in the best position, but in fact is in a lot of danger, if she loses this round, she will give up her position as a world power. Russia is the most sinister, playing along with both sides, much like when China was de-occupied, she leaned towards the USSR and then towards America; as she did not have the ability to survive on her own, she had to weave between both sides in order to survive and develop. There are too many of China’s tiles that we cannot see. Perhaps suggesting that China has several hidden aces? Additionally China is also exchanging tiles with Russia, while America can only guess from Taiwan’s expression of what actions have transpired between Russia and China. Japan on the other hand is completely oblivious, still focused solely on her own set of tiles. Taiwan stares coldly at the game from aside. She sees everything that the players at the table are doing, she understands everything that is going on. But she doesn’t have the means or permission to join the game, she isn’t even given the right to speak. Even if she has a dearth of complaints, she cannot voice it to anyone, all she can do is to be a good page girl, and bring fresh fruit to the victor. The final victor lies between China and America, this much is apparent. But look closely; while America is capable, they are playing Chinese Mahjong, not Western Poker. Playing by the rules of China, how much chance at victory does America really have?”.b And that is question, particularly now that America’s nominal figurehead is a buffoon like the Drumpf, who seems to be bumbling through life as much anything else. In fact, the artist also has a Facebook page, and I imagine that enterprising or merely curious onlookers might want to query Lui Liu.c Still, I would say that Joel Ng has done an excellent job at unraveling the various layers of meaning and decoding the iconography as well as iconology of the work.
aJoel Ng’s post in ’21SilkRd’ Facebook (01 July 2019). https://www.facebook.com/groups/947867908642430/permalink/2287003388062202/.
b Joel Ng’s post in ’21SilkRd’.
c“Lui Liu. @luiliupainter” Facebook. https://www.facebook.com/luiliupainter/.
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