Search Results (24)

Soon after the devastating Ansei Edo earthquake in 1855, popular prints known as catfish prints (namazu-e) circulated widely. These prints were rooted in the folk belief that a giant catfish beneath the earth caused earthquakes. Various types of catfish prints were published: some depicted a punished earthquake catfish and served as protective charms against future quakes, while others functioned as sharp social commentary. In the latter type, the catfish was portrayed as a popular deity capable of bringing favorable societal change for people in the lower social class, symbolizing hope for commoners through reduced economic disparities after the disaster. The print “Prodigal Buddha” positioned the catfish as an antihero, criticizing the Tokugawa government’s inefficacy and the failure of religious institutions to provide spiritual salvation. By juxtaposing the catfish—now a newly popular deity—with a thunder god, formerly a fearsome deity but now submissively obeying the catfish, the print effectively visualizes the shift in status between the two. This article examines the criticism directed at political and religious authorities in the aftermath of the disaster, analyzing the layered symbolism of the thunder gods in the print. Full article

Yangzhi jingshui 楊枝淨水 (willow twigs and clean water) are part of one of the most popular rituals used in Chinese Buddhist practices. In order to preserve dental health and eliminate bad odors, the Vinaya texts specify rules on chewing willow twigs as a form of tooth brushing in one’s daily facial washing process. Willow twigs are also frequently employed in Esoteric (mijiao 密教) rituals, where they are accompanied by spells to create intricate ceremonies that have the power to heal illnesses, ward off bad luck, and bring about happiness and tranquility. For the development of this ritual in China, the usage of yangzhi jingshui was not originally connected to any particular deity, but later on, the ritual became primarily linked to Avalokitêśvara (Guanyin, 觀音), who was believed to use them as crucial tools for healing and saving lives. The symbolic meaning of using willow and water has been thoroughly discussed by Master Zhiyi 智顗 (538–597) and then has since developed into the more complete Repentance Practice of Guanyin (Guanyin chanfa 觀音懺法). Using yangzhi jingshui to save people as well as trees is also an important aspect described in Buddhist biographies and Chinese novels, such as Gaoseng zhuan 高僧傳 [The Biographies of Eminent Monks], Song Gaoseng Zhuan 宋高僧傳 [Biographies of Eminent Monks in the Song Dynasty], and stories of collected in Taiping guangji 太平廣記 [Extensive Records of the Taiping (xingguo) Period], Lunhui Xingshi 醒世輪回 [Reincarnation Stories to Awaken the World], and Xiyou ji 西遊記 [Journey to the West], which all demonstrate the rich cultural significance of this ceremony. Through the narratives of monks, the worship of Yangliu Guanyin, and its portrayal in the literature, yangzhi jingshui evolved from a cleansing tool in scriptures to a ritual object in Esoteric Buddhist healing ceremonies, ultimately becoming a common Buddhist practice. While new elements were added over time, its core themes of healing and purification have remained consistent. Full article

Buddhist women in traditional China used embroidery—considered the most feminine art form—to produce images of deities, allowing them to visualize their religious aspirations while adhering to the decorum expected in Confucian society. This paper examines three Buddhist embroidery designs: one visualized in Avalokiteśvara (1619) and two from a catalog of embroidery designs titled A Collection of Scattered Red Clouds (mid-seventeenth century). By analyzing their similarity to the images found in popular illustrated publications of the seventeenth century, this study explores how Buddhist iconography circulated across different media. Through a comparative analysis of the embroidered works and woodblock prints featuring Buddhist deities such as Avalokitesvara and Bodhidharma, I demonstrate that seventeenth-century Chinese women embroiderers often utilized contemporary woodblock prints as models for their devotional embroidered works. The publications that supplied the models for the embroiderers vary from one for a pronounced ritual value—Dharani Sutra of White-robed One—to one that is fundamentally non-religious and educational—a painting manual titled Canon of Painting. This variety highlights the breadth of reading materials that reached the inner chambers of Chinese women, enabling them to engage with religious visual culture beyond their domestic confines and express their spiritual devotion through artistic means. Full article

Votive offerings are one of the most common devotional practices in Hindu temples of Kerala and are today resorted to by an ever-growing number of worshippers seeking divine help in times of need. As this article will show, these offerings are deeply embedded in the logics of the hyper-personalized and unmediated devotion that characterizes popular Hinduism in this part of India. They are also markers of the recent opening of religion to individual contribution and intervention, as well as active tools for the intimate worshipper–deity relationship. Ritual arts conducted as votive offerings allow us to dive even deeper into these considerations and open up new alleys of analysis, for they connect public and private worlds in specific ways and introduce unique aesthetic and transactional dimensions. This article draws on extensive ethnographic fieldwork conducted in the south Indian state of Kerala, with particular focus on the ritual performing art muṭiyēṯṯu’, which is mainly conducted as a votive offering in high-caste temples devoted to the goddess Bhadrakāḷi. It pulls together anthropology, performance, and religious studies to analyze the current grassroot-level realities of lived popular religion through the prism of votive offerings in general and of ritual performing arts conducted as votive offerings in particular. Full article

This study investigates how religious rhetoric and popular mobilisation contributed to the preservation and propagation of Daoist traditions at the mountain Maoshan 茅山 from late Qing to Republican China (1864–1937), focusing particularly on the corpus of religious texts related to Maoshan and its tutelary gods, the Three Mao Lords 三茅真君. Through a detailed analysis of primary sources, including editions of the Maoshan Gazetteer, liturgical manuals such as the scripture (jing 經), litany (chan 懺), and performative texts such as the precious scroll (baojuan 寶卷) of the Three Mao Lords, this study identifies six key rhetoric strategies employed by Maoshan Daoists, using the acronym IMPACT: (1) Incorporation: Appending miracle tales (lingyan ji 靈驗記) and divine medicine (xianfang 仙方) to address immediate and practical needs of contemporary society; (2) Memory: Preserving doctrinal continuity while invoking cultural nostalgia to reinforce connections to traditional values and heritage; (3) Performance: Collaborating with professional storytellers to disseminate vernacularized texts through oral performances, thereby reaching broader audiences including the illiterate. (4) Abridgment: Condensing lengthy texts into concise and accessible formats; (5) Canonization: Elevating the divine status of deities through spirit-writing, thereby enhancing their religious authority; (6) Translation: Rendering classical texts into vernacular language for broader accessibility. Building upon J.L. Austin’s speech act theory, this study reconceptualizes these textual innovations as a form of “text acts”, arguing that Maoshan texts did not merely transmit religious doctrine but actively shaped pilgrimages and devotional practices through their illocutionary and perlocutionary force. Additionally, this study also highlights the crucial role of social networks, particularly the efforts of key individuals such as Zhang Hefeng 張鶴峰 (fl. 1860–1864), Long Zehou 龍澤厚 (1860–1945), Jiang Daomin 江導岷 (1867–1939), Wang Yiting 王一亭 (1867–1938) and Teng Ruizhi 滕瑞芝 (fl. 1920–1947) who facilitated the reconstruction, reprinting and dissemination of these texts. Furthermore, this study considers pilgrimages to Maoshan as a form of popular mobilisation and resistance to anti-clerical and anti-superstition campaigns, illustrating how, against all odds, Maoshan emerged as a site where religious devotion and economic activity coalesced to sustain the local communities. Ultimately, despite the challenges identified in applying speech act theory to textual practices, the findings conclude that the survival and revival of Daoist traditions at Maoshan was not only a result of textual retention and innovation but also a testament to how religious rhetoric, when coupled with strategic social engagement, can fuel popular mobilisation, reignite collective devotion, and reshape cultural landscapes in transformative ways. Full article

Han Yu 韓愈 was a prominent literatus in the Tang dynasty and an influential figure in the history of Chaozhou culture. From the Song dynasty, the Neo-Confucian teachings became popular, and Han Yu was revered as a significant pioneer; hence, his position was raised to a new height. In Chaozhou, local officials and the literati continuously emphasized Han Yu’s significance to Chaozhou culture and education and built many temples and academies devoted to him. As a deity, Han Yu was viewed as a representative of Confucianism and was typical of orthodoxy sacrifices. The present article clarifies the origination and transmission of the Han Yu belief in the Chaozhou region and explores the process of deification and the spread of Chinese popular religion. Although local officials and the literati spared no efforts in promoting the Han Yu belief, the belief never became popular among Chaozhou people. Local officials and the literati focused on different aspects of the Han Yu belief. They stressed the orthodoxy of the belief and were never concerned with miracles. What they were concerned with and endeavored for somewhat hampered the spread of the belief among the masses. Full article

Popular religion in China has been very active ever since the late 1970s, with the restoration of temples and statues, a rising numbers of believers, and people’s increasing enthusiasm for religious activities. Folklore, rituals and legends are also ‘borrowed’ to reinvent tradition to fit in the strand of intangible cultural heritage. Therefore, seemingly reviving religions are also going through the process of de-religionization. Based on my ethnographic work in a Chinese county, I attempted to understand religion’s role in constructing local knowledge and how religious practices are affected by urbanization as well as globalization. The revival of institutional religions like Buddhism and Protestantism comes at the cost of popular religion or popular religious practices. Local deities lost the battle of competing with regional deities, which led to the simplification of local religious knowledge, a decrease in the diversity of deities and the tendency of convergence in terms of deities’ functions and believers’ appeals. A once complicated celestial hierarchy mirroring the imperial dynasty has been replaced by a more universal understanding of either bodhi in Buddhism or salvation in Protestantism. Local knowledge is reinterpreted by these religious teachings in the name of a higher cause of morality. Full article

The social media app TikTok was launched in the US in 2017 with a very specific purpose: sharing 15-s clips of singing and dancing to popular songs. Seven years and several billion downloads later, it is now the go-to app for Gen Z Internet users and much better known for its ultra-personalized algorithm, AI-driven filters, and network of thriving subcultures. Among them, a growing community of magical and spiritual practitioners, frequently collectivized as Witchtok, who use the app not only share their craft and create community but consider the technology itself a powerful partner with which to conduct readings, channel deities, connect to a collective conscious, and transcend the communicative boundaries between the human and spirit realms—a practice that can be understood as algorithmic divination. In analyzing contemporary witchcraft on TikTok and contextualizing it within the larger history of technospirituality, this paper aims to explore algorithmic divination as an increasingly popular and powerful practice of technomancy open to practitioners of diverse creed and belief. Full article

The wall paintings from the site of Akrotiri, Thera, are often considered to be instrumental to understanding elements of life in the Bronze Age. This is partially due to their high degree of preservation. The large-scale detail present in the scenes allows for a more detailed and nuanced understanding of the imagery that survives in glyptic art that, considered together with the surviving wall paintings, helps to better inform one’s understanding of Aegean life. Many of the iconographic elements and themes, however, remain at least partially enigmatic. This is particularly the case for Xeste 3, a cultic building at Akortiri, where the wall paintings contribute to a larger, programmatic cultic narrative. The current investigation seeks to better understand the monkeys scene from Room 2 of the first floor by deconstructing and examining each visual element via comparative analyses. They are first contextualized within the Aegean, then considered in light of Mesopotamian comparanda. This method allows for possible parallels between the monkeys from Xeste 3 and at least three priestly classes known from contemporary Mesopotamian tradition: the gala, assinnu, and kurgarrû. Each of these priestly classes belonged to the adaptable and widespread cult of Inanna, one of the most powerful and popular deities in Mesopotamia. Full article

The Four Heavenly Kings, Sida Tianwang 四大天王, are the guardians of the four quarters of the world in Buddhism. They are among the most frequently represented protective deities in Buddhist art across different traditions. In their standard iconographies developed in China popular during the Ming and Qing dynasties (1368–1911), they wear full armor, and each holds exclusive attributes—lute (pipa 琵琶), sword, snake, and parasol—from the east, south, west, to the north respectively. There is no direct textual base in the Chinese cannon for such iconographies. Neither can we find prototypes in India or central Asia. Indeed, how did this iconographic group develop in China? In the past, since the standard iconographies of the Four Heavenly Kings are clear, and identification is no problem, comprehensive in-depth study on this is lacking. Actually, those attributes came from a Tantric tradition related to Tibetan Buddhism filtered through the Xi Xia (1036–1227) and Yuan (1206–1368). What revealed in the development of this iconography is the complex relationship among the Tibetan, Tanguts, Mongols, and Chinese Buddhism. Full article

The spread of cults from their original homelands in the Song dynasty (960–1279) created crisscrossing ties between local communities and fostered social and cultural integration in Chinese society that transcended class and geographic boundaries. Scholars have produced numerous case studies on these translocal cults and their implications, but the pattern of connections across space created by these cults is yet to be explored. Using the data collected from local gazetteers that have survived from the Southern Song and Yuan dynasties, this article takes a bird’s-eye view of the spatial distribution of popular cults in China’s Lower Yangzi region between 1150 and 1350 and employs the method of network analysis to study the pattern of connections formed through these religious ties. It reveals seven statistically significant subregional clusters of popular cults and three complementary mechanisms that tied these clusters together. It argues that integration across space was achieved not only through the spread of a cult and the attendant formation of a unified religious culture, but also through a multitude of less prominent cults which were each confined in their geographical scope of influence but collectively created a crisscrossing web of ties linking one subregional cluster to another. Host to a diversity of popular deities that were each associated with a different subregional cluster, the prefectural seats and the Southern Song capital Lin’an played a critical role in the social and cultural integration by providing a welcoming meeting ground for divergent communities of devotees. Full article

The spirit-writing (fuluan 扶鸞 or fuji 扶乩) movement was a response to modern crises in the domain of Chinese popular religion. From the nineteenth century, spirit-writing cults sprang up throughout China and became a national religious trend. These cults were centered around moral reform promoted through spirit-writing and aimed to reorient traditional values. This article focuses on how the Chinese conceptualized modern crises as jie 劫 by means of spirit-writing, expounded crises in the local context, and reacted to these ideas and crises in their religious and social practices. In the Chaozhou region, the movement arose in the context of disasters, political chaos, and the transmission of foreign culture and religions from the late nineteenth century. Chaozhou spirit-writing cults discoursed on the concept of jie as their doctrinal foundation and endeavored to save the world by receiving moral revelations from deities. They regarded doing good deeds as a way of cultivation and urged people to perform good deeds to avert disasters. Through the planchette, they expounded the meaning of good deeds and enriched their crisis theories in their religious practice. The movement demonstrated the initiative of popular religion, interpreting and reacting to modern crises by using traditional soteriological notions and practices. Full article

Although there is a consensus on religious revival in China, it must be noted that popular religion and institutional religions such as Buddhism and Daoism adopt different strategies to survive the state’s regulations. Many temples that used to facilitate the worship of local deities have to establish some form of intangible cultural heritage or emphasize the deity’s history and folklore to de-religionize. During this process, a temple may earn its lawful place to survive, but risks its communality in the village. Based on studies of rural and urban temples in Henan and Shandong provinces, in this paper, I attempt to understand people’s religiosity and how they conduct the human–deity exchange under social transformation. Popular religion is characterized by the pursuit of efficacy and its embeddedness in rural life. The traditional binary exchange with deities could be used to maintain a relationship with deities as well as offer urgent solutions, while three-party chains of exchange not only constitute a religious gift economy but also offer a religious agent to seek answers. I argue that temples are marginalized and excluded from village life, so people need to find new means by which to continue their religious practices beyond what the state sponsors, and this has led to the flowing of sacred places. Full article

The rubric of the presence of Buddhist sculpture in the absence of an actual deity represents an admirable aspect of Buddhist art, especially sculpture, where the best works have drawn on this paradox in an astounding fashion. An important element in the realization of this religious archetype is the Buddhist statues’ sublime poses. This article demonstrates the Buddhist posture hierarchy, based on a case study of a Tang-Dynasty Chinese Buddhist Bronze collected by the Pulitzer Arts Foundation, the posture of which is identified as lalitāsana: one leg pendant and the other bent horizontally. This article shows how this pose engendered various other compositional situations and postures popular in East Asia icon design and, moreover, that this sculpture might form part of an assemblage, where the pose indicates the central Buddha figure, to which all of the other figures are formally and doctrinally posed following a hierarchy. This article argues that Buddhist figures of different religious ranks are characterized by their pose and degree of movement. This research proves that the myriad forms of Buddhist postures and hierarchy have been devised to illustrate mythologies and philosophical, doctrinal, or social concepts, and their representations, in turn, have engendered other myths and beliefs. Full article

This paper examines the benefits of ethnographic film for the study of religion. It argues that the exploration of gaps between colloquial descriptions of divinities and their practical manifestation in ritual is instructive of the way religious categories are conceptualized. The argument is developed through an analysis of selected scenes from the documentary AVATARA, a meditation on goddess worship (Śaktism) among the Khas ethnic majority of the Hindu Himalaya (Himachal Pradesh, India). Centering on embodiments of the goddess in spirit possession séances, it points to a fundamental difference between the popular depiction of the deity as a virgin-child (kanyā) who visits followers in their dreams and her actual manifestation as a menacing mother (mātā) during ritual activities. These ostensibly incongruent images are ultimately bridged by the anthropologically informed edition of the material caught on camera, illustrating the added advantage of documentary filmmaking for approximating religious experiences. Full article