Each year a large-scale ceremony is held at the Tzu Chi Temple at Hsuehchia in Tainan County in southern Taiwan to pay homage to the ancestors of local residents, and renew ties with the mother temple at Paichiao in Fukien province on the mainland. The ceremony, held on the 11th day of the third lunar month, dates from the time when Koxinga arrived in Taiwan, and has been held for the past 320 years, even during the time the Japanese occupied the island. To add color and significance to the event this year, the Taiwan Provincial Government sponsored national folk art parades which attracted more than 200,000 pilgrims and tourists.

History. Koxinga, a royal courtier of the Ming dynasty, sailed with his troops to Taiwan in 1661 in the hope of setting up a base to oppose the Manchu regime. After Koxinga routed the Dutch who at that time occupied the island, his followers soon arrived at nearby Touchienliao on the banks of the Generals' (Chiang Chun) River.

These new settlers turned what was a wasteland into a prosperous town. Some learned men set up a school to teach the children of the new residents, giving the town its name of Hsuehchia, meaning the "elite of the intelligentsia."

The new settlers also brought with them the statue of the Paosheng god from the Tzu Chi temple to protect them during their travels. After building a temple to house the god, the people inaugurated a grand worshiping ceremony to be held four days before the god's birthday on March 15 of the lunar calendar, to allow him to return to his home area across the Straits of Taiwan.

Far from being neglected, the ceremony has gained support over the years. According to Chou Ta-wei, vice chairman of the temple's committee, almost every Hsuehchia native returns to his home town to celebrate the event no matter how far away or how busy he may be. The growing scope of the celebration is evidence of the extent of nostalgia and respect felt for the motherland and ancestors among the people of the area.

A main part of the ceremony is a parade of worshipers who shoulder sedan chairs bearing a statue of the Paosheng god protected by his umbrella, beating gongs and drums on their way to the center of Hsuehchia town.

Folk art parade. At dawn on the day of the ceremony, pilgrims mingle with 78 chen tou (performing groups) and 22 yi ke (float parades) on the way to the Tzu Chi Temple where they are greeted by a noisy chorus of cymbals, gongs and drums. After paying homage at the temple, they trace their ancestors' footsteps left behind 320 years ago toward the landfall of Touchienliao. Under the guidance of the Taoist priests, the statue of the Paosheng god is taken on a tour of the town on the way to the worshiping place.

Led by a "centipede" group, the three-kilometer-long procession inches forward. Worshipers who believe that if the centipede group passes over their heads, they may be rid of evil spirits, lie prostrate until the group passes by.

In former days, yi ke and chen tou were made up of people dressed as historical characters parading through the streets. Today, the former is similar to the rose parade held in California. Each float illustrates a legendary story such as Su Wu herding sheep in Peihai, the Eight Immortals crossing the ocean, or more realistic subject matter such as the formidable force of the Republic of China's armed forces.

Chen tou, the performing group, is rarely seen in today's industrial and commercial society. The gathering of more than one hundred groups in this pageant is a remarkable feat. One of them, the "eight generals' group," consists of eight men with faces painted red, green, black, white and yellow. Their every step and gesture has mythical significance. Without the make-up masters' permission, the eight generals are not allowed to speak, and outsiders cannot walk through their ranks during the parade.

The chen tou known as the "ox-plow-song" represents the affluent and leisurely lifestyle in Taiwan's rural districts. Some of the performers don ox-heads made of cloth and some wield plows as they dance and sing in a droll fashion. Others, such as the cloth horse group and stilt group win particularly enthusiastic acclaim. It is not until 5 p.m. that the procession reaches the worshiping altar on the banks of the Generals' River.

Ceremony. The altar is decorated with the ancestors' tablets. To start the ceremony, the High Priest and his assistants first read aloud the litany which says that it has been three hundred years since the Ming descendants moved with Koxinga to Taiwan. The Chinese people will always be as indomitable as the Kun Lun Mountain and as long-lived as the Yangtze River. "At the end of springtime, the descendants hereby conducted this ceremony to extol the virtues and achievements of our ancestors," the citation concludes.

Afterwards, the worshipers turn westward and bow three times to show their devotion. Then, amidst the sound of gongs and drums, the priests go to the banks of the Generals' River and scoop up the water to be taken back to the temple for the worshiping ceremony. This symbolizes the fact that they will never forget their roots.

When the procession returns to the town, the people place fruits and incense burners on the roadside tables and show their respects as the god's sedan chair passes, or watch the performances of chen tou and yi ke. The sound of gongs and drums do not subside until all the performing groups have paid homage at the Tzu Chi Temple again at midnight.

Architecture. Covering an area of about 1,000 ping, the temple may not be of the largest-scale, but it certainly has a long history. The historic and cultural value of the temple's architecture, engraving and embellishments are unmatched.

For instance, the one-meter-high wood sculpture of the Paosheng god has existed for 800 years. It is said that originally named Wu Pen, the Paosheng god was a native of Paichiao in Fukien province in the Sung dynasty, and an expert on astronomy, geography, medicine, manners, music, and administration. As he always helped to solve human problems during his lifetime, people believed he has been immortalized and have set up the Tzu Chi temple to honor him.

Legend has it that on the birthday of the Paosheng god, it is always windy, and that it always rains on Matsu's birthday. This is because the two were always involved in conflicts or misunderstandings. Though the Jade Emperor acted as a mediator, they were never reconciled. Thus, on Matsu's birthday, the Paosheng god invokes the rain to wash off her make up. Not wishing to be outdone, Matsu sways her skirts to summon wind to blow off the Paosheng god's "sombrero" which he always wears while medicating.

Exposed to incense smoke during the past three centuries, the face of the god's statute has turned black, but the subtly carved and benevolent expression is still visible.

The walls on both sides of the main hall of the temple are decorated with precious chiaochi sao pottery artifacts. Made from soft pottery clay baked over low heat, the more than 100 chiaochi sao in the temple were made by famous artist Yeh Wang during the reign of Emperor Chia Ching in the Ching dynasty. According to Lee Han-ching, standing board member of the temple, Yeh's chiaochi sao was praised as a tour de force of the Orient at a world ex-position. The subjects of the artifacts are adopted from legendary folk stories, including 24 legends of filial piety and the story of the Eight Immortals crossing the sea. All of them are strikingly lifelike.

Artifacts made from porcelain mosaic based on scenery and characters from folklore, the secret of whose manufacturing process is already lost, also line the walls of the temple. Two red flagpoles flanking the temple are the only pair of their kind remaining in Taiwan.

The historic temple is a religious center which preserves the culture and history of the Chinese people. Its architecture and decorations, coupled with the ancient worshiping ceremony, provide evidence that the Chinese people have never forgotten their origins and their blood ties to their ancestors.

[Picture Caption]

1. The historic and cultural value of the temple's architecture, engraving and embellishments is unmatched, luring workers islandwide to learn the techniques used in building it. 2. One of master Ho Chin-lung's works, an artifact made from porcelain mosaic based on scenery and characters from folklore. 3. Yeh Wang's chiaochi sao, made from soft pottery clay baked over low heat, was praised as a tour de force of the Orient and a national treasure. 4. Exposed to incense smoke over a period of many years, the face of the god's statue has turned black, but the subtly carved and benevolent expression is still visible.

1. Yi ke is a folk pageant similar to the rose parade held in California. Each float illustrates a legendary story with children acting out all kinds of roles. 2. Paper money is indispensable in the ceremony. 3. The three incense burners were brought along by the ancestors from across the Taiwan Straits, and are endowed with historic significance. 4. Rococo style engravings on a pillar include coiled golden dragons. 5. A sumptuous carving on the leather of a temple drum. 6. A high priest is seen offering libations to a god.

1. On the ceremonial day, Tzu Chi Temple and the streets nearby are packed with people from every corner of the island including Hsuehchia natives, pilgrims and tourists. 2. A close-up view of one of the Eight Generals. Without the make-up masters' permission, the eight generals are not allowed to speak. 3. Chen tou leads the way in worshiping the gods. 4. Some worshipers carry fodder for the god's horses, according to a pledge made earlier in the temple. 5. The god's umbrella and pennants are embroidered with patterns of dragon and phoenix, emblems of the god's inspection tour of the country. 6. A main part of the ceremony is a parade of worshipers who carry sedan chairs bearing statues of the Paosheng god protected by his umbrella, beating gongs and drums on their way to Touchienliao.

A close-up view of the god's sedan and his umbrella.

The historic and cultural value of the temple's architecture, engraving and embellishments is unmatched, luring workers islandwide to learn the techniques used in building it.

One of master Ho Chin-lung's works, an artifact made from porcelain mosaic based on scenery and characters from folklore.

Yeh Wang's chiaochi sao, made from soft pottery clay baked over low heat, was praised as a tour de force of the Orient and a national treasure.

Exposed to incense smoke over a period of many years, the face of the god's statue has turned black, but the subtly carved and benevolent expression is still visible.

Yi ke is a folk pageant similar to the rose parade held in California. Each float illustrates a legendary story with children acting out all kinds of roles.

Paper money is indispensable in the ceremony.

he three incense burners were brought along by the ancestors from across the Taiwan Straits, and are endowed with historic significance.

Rococo style engravings on a pillar include coiled golden dragons.

A sumptuous carving on the leather of a temple drum.

A high priest is seen offering libations to a god.

On the ceremonial day, Tzu Chi Temple and the streets nearby are packed with people from every corner of the island including Hsuehchia natives, pilgrims and tourists.

6. A main part of the ceremony is a parade of worshipers who carry sedan chairs bearing statues of the Paosheng god protected by his umbrella, beating gongs and drums on their way to Touchienliao.

A close-up view of one of the Eight Generals. Without the make-up masters' permission, the eight generals are not allowed to speak.

Chen tou leads the way in worshiping the gods.

Some worshipers carry fodder for the god's horses, according to a pledge made earlier in the temple.

The god's umbrella and pennants are embroidered with patterns of dragon and phoenix, emblems of the god's inspection tour of the country.

A close-up view of the god's sedan and his umbrella.