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The 24th day of the 6th lunar month is the actual birthday of Guan Gong
guan gong spirit medium
Guan Gong (also known as Guang Yu, Kuan Kong, Kuan Ti, Guan Ti or Guan Di), is a powerful Taoist immortal, a historical Bodhisattva in Buddhism and also revered in Confucianism.
The Buddhist worship of Guan Gong as Sangharama Bodhisattva is also practiced in some Theravada Buddhist temples. The Taoist also worship Guan Yu as the God of Literature. In Vietnam’s Cao Dao religion Guan Gong is one of the pantheons.
It is said Guan Gong is the keeper of all good people and the fighter of those who intend to hurt them or cause them a problem of any kind. He protects people from being robbed, assaulted and from all kinds of crimes in general.
As the God of War, he is the head of all protecting warriors, the god who commands all those who fight evil. Guan Gong is often depicted in paintings and sculptures. Sometimes with his two sworn brothers, Liu Bei and Zhang Fei, by his side.
Statues of Guan Yu on the Altar used by triads tend to hold the saber on the left hand, and statues in police stations tend to hold the saber on the right hand. The notion of brotherhood, god of loyalty, has been appropriated by triads to emphasize the group identify and brotherhood of triad membership.
As a General, Guan Yu was well known for his integrity, and bravery. As an individual, he was respected for his loyalty and righteousness.
According to Buddhist legends, Guan Yu manifested himself one night, In 592, before Ch'an Master Zhiyi, the founder of the Tiantai school of Buddhism, along with a retinue of spiritual beings.
Zhiyi was then in deep meditation on Yuquan Hill when he was distracted by Guan Yu's presence. Guan Yu then requested the master to teach him about the dharma.
After receiving Buddhist teachings from the master, Guan Yu took refuge in the triple gems and also requested the Five Precepts. From that time on, it is said that Guan Yu made a vow to become a guardian of temples and the dharma.
Legends also claim that Guan Yu assisted Zhiyi in the construction of the Yuquan Temple, which still stands today.
Later in the year, the thirteenth day of the ninth lunar month, is the day when Guan Gong was apotheosized. The ceremonies on these two days are identical.
It is popularly believed that if it rains on these days, it happens because Guan Gong is wetting the whetstone on which he sharpens his long-hilt sabre. The rain presages the well-being of the people.
Guan Yu (关羽) was a historical person who lived in China during the Three Kingdoms period, (三国) (CE 220-CE 280).
Historical background
Towards the end of the Han dynasty (汉朝), the emperor had been reduced to a nominal ruler. Powerful clans and court officials fought against each other to become the power behind the throne. Meanwhile, disenfranchised peasant began series of uprising. The most severe of these movements was the Yellow Turban Rebellion (黄巾起义).
As the political disintegration intensified, regional warlords were no longer contented to be the power behind the throne. They aspired to be rulers of their own empire. Nevertheless, others remained loyal to the Han dynasty and sought to restore the power of the Han Emperor.
Guan Yu belonged to the group who aspired to restore the Han Dynasty. He had met two other persons with the same ideal; Liu Bei, (刘备)a distant member of the Han royal family and Zhang Fei (张飞). They became sworn brothers at the Peach Garden (桃园结义) and vowed to work together towards the revival of the Han Dynasty. Liu Bei was the eldest of the three brothers; Guan Yu was the second brother and Zhang Fei the youngest.
When the regional powers Cao Cao (曹操) and Sun Quan (孙权) proclaimed themselves Emperors Wei (魏) and Wu (吴), Liu Bei declared himself the Emperor of Shu (蜀) with the aim of restoring the Han dynasty, often referred to as Shu-Han (蜀汉). With this development, Chinese history entered the Three Kingdoms Period, (三国时代) a political scene that lasted for 60 years from CE 220 to 280.
As a General, Guan Yu was well known for this integrity, and bravery. As an individual, he was respected for his loyalty and righteousness. During a battle with Wu forces, Guan Yu was captured and beheaded.
Guan Gong culture
After his death, General Guan Yu became the embodiment of loyalty, righteous, bravery and benevolence(忠义勇仁) . Guan Yu’s brotherhood pact with Liu Bei and Zhang Fei provides strong imagery and symbolism for friends to look after each other in times of hardship. This idea offered motivation and role model for Chinese migrants when they arrive in their host society.
His popularity and the respect he commanded are reflected by the list of posthumous honors bestowed on him by subsequent emperors. During the Ming dynasty, Wu Cheng En wrote the novel San Guo Yan Xi (三国演义), Romance of the three Kingdoms, using the Three Kingdoms period as a backdrop and immortalized Guan Yu and his sworn brothers.
The Taoist worshipped Guan Yu as the god of literature、god of war and Martial God of Wealth and is referred to as Guan Gong (关公), Guan Di (关帝) and as a sign of respect. There are also spirit mediums or Tangkis who can manifest the spirit of Guan Yu.
In southern China and overseas Chinese community in Taiwan and South East Asia, Guan Gong is also manifested via spirit mediums.
The Chinese Buddhist regarded him as Sangharama Bodhisattva (伽蓝菩萨). As Sangharama Bodhisattva, Guan Gong is usually found in the Bell Tower of forest style Chinese Mahayana Buddhist Monastery. In the Hokkien temple Thian Hock Keng in Singapore, Guan Gong can be found both in his Taoist and Buddhist form.
Representations of Guan Gong
Guan Gong is often depicted in paintings, sculptures and many art forms. When he is depicted with his sworn brothers, Liu Bei as the eldest brother is seated with Guan Gong and Zhang Fei by his side.
If Guan Gong is the central figure, his two assistants, Guan Ping (关平) and Zhou Cang (周仓) stand by his side.
He is also represented alone either standing with a saber or seated and at times reading. In many temples, a sculpture of his horse can usually be found.
Globalization of Guan Yu culture
Many overseas Chinese communities worship General Guan Gong and dedicated temples or set up altars in his memory. Such practices reflect the importance these communities placed on social solidarity and the need for mutual support in a foreign land. The notion of brotherhood has also been appropriated by triads to emphasize the group identify and brotherhood of triad membership.
The Buddhist worship of Guan Gong as Sangharama Bodhisattva is also practiced in some Theravada Buddhist temples and Guan Gong is also one of the pantheons in Vietnam’s Cao Dao religion.
The history and continuous popularity of Guan Gong reflects the collective ideals of the Chinese over time and how these ideals are manifested as they migrate overseas. Among the overseas Chinese community, the temples dedicated to Guan Gong also demonstrated how the traditional social ideals provided a model for migrants as they leave their homeland to seek opportunities. At the same time, Guan Gong’s appearance in Theravada cultures and Cao Dao in Vietnam also reflect the universality in the values he embodies.
Sculpture of Guan Gong in shung Lin Monastery, Singapore Guan Gong with Bali headscarf, Kwan Kong Bio, Denpasar Bali Indonesia Ming dynasty painting of Guan Gong Guan Gong temple, New York Chinatown Guan gong in battle, wall mural Baoan Temple, Taipei, Taiwan Guan Gong temple in Yokohama Chinatown Spirit medium manifesting the spirit of Guan Gong Shrine to Guan Gong, Liverpool Chinatown The famous physician treating Guan Gong's arrow wound Yokohama Guan Gong temple kobe kanteibyo, Japan Jim Kemp collection, Talisman of Guan Gong Guan Gong Temple in Manila Chinatown
Guan Yu (关羽) was a historical person who lived in China during the Three Kingdoms period, (三国) (CE 220-CE 280).
Historical background
Towards the end of the Han dynasty (汉朝), the emperor had been reduced to a nominal ruler. Powerful clans and court officials fought against each other to become the power behind the throne. Meanwhile, disenfranchised peasant began series of uprising. The most severe of these movements was the Yellow Turban Rebellion (黄巾起义).
As the political disintegration intensified, regional warlords were no longer contented to be the power behind the throne. They aspired to be rulers of their own empire. Nevertheless, others remained loyal to the Han dynasty and sought to restore the power of the Han Emperor.
Guan Yu belonged to the group who aspired to restore the Han Dynasty. He had met two other persons with the same ideal; Liu Bei, (刘备)a distant member of the Han royal family and Zhang Fei (张飞). They became sworn brothers at the Peach Garden (桃园结义) and vowed to work together towards the revival of the Han Dynasty. Liu Bei was the eldest of the three brothers; Guan Yu was the second brother and Zhang Fei the youngest.
When the regional powers Cao Cao (曹操) and Sun Quan (孙权) proclaimed themselves Emperors Wei (魏) and Wu (吴), Liu Bei declared himself the Emperor of Shu (蜀) with the aim of restoring the Han dynasty, often referred to as Shu-Han (蜀汉). With this development, Chinese history entered the Three Kingdoms Period, (三国时代) a political scene that lasted for 60 years from CE 220 to 280.
As a General, Guan Yu was well known for this integrity, and bravery. As an individual, he was respected for his loyalty and righteousness. During a battle with Wu forces, Guan Yu was captured and beheaded.
Guan Gong culture
After his death, General Guan Yu became the embodiment of loyalty, righteous, bravery and benevolence(忠义勇仁) . Guan Yu’s brotherhood pact with Liu Bei and Zhang Fei provides strong imagery and symbolism for friends to look after each other in times of hardship. This idea offered motivation and role model for Chinese migrants when they arrive in their host society.
His popularity and the respect he commanded are reflected by the list of posthumous honors bestowed on him by subsequent emperors. During the Ming dynasty, Wu Cheng En wrote the novel San Guo Yan Xi (三国演义), Romance of the three Kingdoms, using the Three Kingdoms period as a backdrop and immortalized Guan Yu and his sworn brothers.
The Taoist worshipped Guan Yu as the god of literature、god of war and Martial God of Wealth and is referred to as Guan Gong (关公), Guan Di (关帝) and as a sign of respect. There are also spirit mediums or Tangkis who can manifest the spirit of Guan Yu.
In southern China and overseas Chinese community in Taiwan and South East Asia, Guan Gong is also manifested via spirit mediums.
The Chinese Buddhist regarded him as Sangharama Bodhisattva (伽蓝菩萨). As Sangharama Bodhisattva, Guan Gong is usually found in the Bell Tower of forest style Chinese Mahayana Buddhist Monastery. In the Hokkien temple Thian Hock Keng in Singapore, Guan Gong can be found both in his Taoist and Buddhist form.
Representations of Guan Gong
Guan Gong is often depicted in paintings, sculptures and many art forms. When he is depicted with his sworn brothers, Liu Bei as the eldest brother is seated with Guan Gong and Zhang Fei by his side.
If Guan Gong is the central figure, his two assistants, Guan Ping (关平) and Zhou Cang (周仓) stand by his side.
He is also represented alone either standing with a saber or seated and at times reading. In many temples, a sculpture of his horse can usually be found.
Globalization of Guan Yu culture
Many overseas Chinese communities worship General Guan Gong and dedicated temples or set up altars in his memory. Such practices reflect the importance these communities placed on social solidarity and the need for mutual support in a foreign land. The notion of brotherhood has also been appropriated by triads to emphasize the group identify and brotherhood of triad membership.
The Buddhist worship of Guan Gong as Sangharama Bodhisattva is also practiced in some Theravada Buddhist temples and Guan Gong is also one of the pantheons in Vietnam’s Cao Dao religion.
The history and continuous popularity of Guan Gong reflects the collective ideals of the Chinese over time and how these ideals are manifested as they migrate overseas. Among the overseas Chinese community, the temples dedicated to Guan Gong also demonstrated how the traditional social ideals provided a model for migrants as they leave their homeland to seek opportunities. At the same time, Guan Gong’s appearance in Theravada cultures and Cao Dao in Vietnam also reflect the universality in the values he embodies.
CMG's New Year Gala Opens with Drum Performance to Welcome 2024
Artists Worldwide Extend Chinese New Year Greetings via Musical Feast
Xi Extends Spring Festival Greetings to All Chinese
The Chinese Lunar New Year is coming. Recently, there has been heavy snowfall in the south, but the bad weather won't stop people from rushing home. According to estimates from the Ministry of Transport, the number of cross-regional trips around the country during this year's Spring Festival will reach a record high of about 9 billion. The desire for reunion and the nostalgia for the hometown are concepts engraved in the bones of the Chinese people. Reunion with relatives and the steaming New Year's Eve dinner are rewards and comforts for a year of hard work and hardship. New hope is born on the New Year's Eve.
This year's Spring Festival has two special features compared to the past, which add more joy to the festival. First, the UN recognized the Lunar New Year as one of its optional holidays. Secretary-General Antonio Guterres recently thanked China and the Chinese people on behalf of the UN for their unwavering support to the UN, multilateralism and global progress. Second, this year will celebrate the 75th anniversary of the founding of the People's Republic of China. This is dual happiness. The Chinese people's expectations for family happiness and their confidence in the country's prosperity are deeply integrated.
From a global perspective, the Spring Festival's influence is growing. Nearly 20 countries have designated the Spring Festival as a legal holiday. About one-fifth of the world's population celebrate the Spring Festival in different forms. The "Chinese New Year" has truly transformed into the "Global New Year." This is not only driven by the increasing global influence of Chinese culture, but also the result of the charm of the Spring Festival itself being recognized and shared by more and more people. The meaning of the Spring Festival is very good. "The new year begins again and everything is renewed." The expectation for the warmth of spring and the recovery of all things is shared by all mankind. The forms of celebrating the Spring Festival - writing Spring Festival couplets, decorating windows with paper cuts, lion and dragon dances - have a vitality that invigorates people. The connotation of the Spring Festival - joy, harmony and reunion - contains profound humanistic care. The Spring Festival is closely connected with Chinese culture, and it is the most condensed expression of Chinese culture. The charm and spirit of the Spring Festival are the charm and spirit of Chinese culture.
2024 is the Year of the Dragon in the Chinese lunar calendar. The dragon embodies the aspiration for soaring ambition, strength without dominance, and benevolence toward all beings. It serves as the totem and distinctive cultural symbol of the Chinese nation. UN Secretary-General Guterres remarked that "we need these qualities [of the dragon] to rise to today's global challenges." This is a statement of truth. As the world once again stands at the crossroads of history, enlightened individuals consciously seek courage, wisdom, and strength from the Chinese nation, an ancient nation that has gone through many storms and tribulations.
Over the past year, facing various risks and challenges at home and abroad, China has endured significant pressure and experienced numerous trials. However, amid the storms, we have strengthened our physique and fortified our resilience. It is undeniable that present-day China plays a pivotal role globally. Yet, with the Chinese people's vision of a world where self-improvement benefits all, they consistently contribute certainty and positive energy to the complex and changing world.
Just as General Secretary of the Communist Party of China Central Committee Xi Jinping pointed out in his Spring Festival greetings to all Chinese, looking back at all the hard work over the past year, we have more deeply realized that building a strong country and realizing national rejuvenation on all fronts through the Chinese path to modernization is not only a bright road for the Chinese people to pursue a better and happy life, but also a just way to promote world peace and development. Chinese people do not expect free lunch; they believe that happiness is achieved through hard work. Whether weak or strong, poor or prosperous, the Chinese adhere to benevolence, mutual prosperity, and view plunder and aggression as great evils. The Spring Festival, the oldest, grandest, and most significant traditional festival in China, embodies the most authentic spiritual and cultural essence of the Chinese nation. It represents a spirit that is peaceful, harmonious, positive, and resilient.
A dragon soars in the sky, but China's development must remain grounded, a truth deeply understood by all Chinese people. 2024 marks the 75th anniversary of the founding of the People's Republic of China and is a crucial year for achieving the goals and tasks of the 14th Five-Year Plan (2021-25). The challenges and difficulties facing China in the Year of the Dragon may not be fewer than in previous years, but we also believe in the auspiciousness of the "Dragon Year." The Chinese economy has stabilized and rebounded, with signs of a rising trend in the new qualitative productive forces during the Year of the Dragon. Our confidence is not mere rhetoric but stems from the fundamental lessons learned over the 75-year development journey of the People's Republic of China. It also draws from the immense strength embodied in the Chinese nation during the Spring Festival and the spirit of continuous self-improvement.
The 24th day of the 6th lunar month is the actual birthday of Guan Gong 
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