The legend of Diyu, often equated with the Buddhist Naraka in the Chinese cultural sphere, offers a vivid and terrifying vision of the afterlife. Far from being a vague realm of shadows, Diyu is imagined as a meticulously organized underground maze where every sin has its designated place and punishment. Governed by the stern and impartial King Yama, this hell serves both as a cosmic court of justice and a moral textbook, using extreme imagery to define, categorize, and deter wrongdoing.  

The Architecture of the Underworld  

In Chinese-Buddhist tradition, Diyu is not a single, uniform pit of torment. Instead, it takes the form of a complex, multi-layered labyrinth, made up of numerous levels and specialized chambers. These spaces are not random; they are structured according to the nature of human sins, suggesting a universe in which moral order is built into the very geography of the afterlife.

A central feature of this cosmology is the division between East and West Chambers. Each side contains its own series of punishment halls, and each hall is reserved for a particular type of offense. The result is a kind of moral map: where a soul ends up after death is determined by what it did in life. This spatial organization turns ethics into something concrete and navigable. Right and wrong are not abstract ideas; they become locations, destinations that the soul is inevitably drawn toward.

East Chambers: The Punishment of Social and Personal Betrayals  

The East Chambers primarily address sins that fracture trust and social harmony, or that involve personal betrayal and violence. These include gossip, adultery, murder, sowing discord, theft, arson, and hypocrisy. The punishments are intensely physical, and they symbolically reflect the nature of the sin.

For example, those who indulge in malicious gossip or slander may suffer the torment of tongue extraction, a punishment that directly targets the part of the body used to commit the offense. Adulterers and the sexually unfaithful may be subjected to tortures that mock and destroy the physical body they abused. Murderers, arsonists, and violent offenders are thrown into knife hills or boiling oil cauldrons, environments of constant pain that mirror the destruction they brought upon others.

This tight correspondence between wrongdoing and consequence reinforces a retributive logic. The punishment is not random cruelty; it is a distorted echo of the sin itself. By making the relationship between deed and suffering explicit, the legend teaches that no harmful act ends with death. Instead, every wrong plants a seed that will inevitably grow into a specific, fitting retribution.

West Chambers: Crimes Against Community, Life, and Responsibility  

The West Chambers focus on another set of moral failures, often broader social violations or grave breaches of responsibility: disrespect, suicide, unfair business practices, bullying, food waste, infanticide, corruption, and cruelty to animals. These sins are tied to the neglect or abuse of relationships—between seniors and juniors, rulers and subjects, parents and children, humans and animals, and individuals and society.

The punishments here are as gruesome as those in the East: drowning in blood, being sawed in half, crushed, dismembered, or burned, and being attacked or tormented by animals. Each punishment again underscores the moral logic of Diyu. Those who wasted food, for instance, may suffer hunger and degradation; those who abused power or bullied the weak face the humiliation and pain they once imposed on others. Those who took life—especially vulnerable lives like infants or animals—suffer in ways that reflect the enormity of their offense.

Interestingly, even acts like suicide, which in some traditions might be considered tragic rather than sinful, are punished in Diyu. This reflects a worldview in which life is a trust, not solely one’s own possession, and where abandoning responsibilities can be considered a moral failure with cosmic consequences.

Gruesome Imagery as Moral Education  

What is striking about Diyu is the extremity of its punishments. Bodies are torn apart, boiled, crushed, and dismembered; suffering is repeated endlessly; death itself offers no escape, because souls are repeatedly revived only to undergo the same torments again. The violence is deliberately excessive.

This excess serves several purposes. First, it amplifies the seriousness of sin. In everyday life, gossip or wasting food may seem minor, but in Diyu these acts are treated with terrifying gravity. The message is that every action is morally weighty and that seemingly small wrongs can have immense consequences.

Second, the horror functions as deterrence. Stories of Diyu were historically told in temples, at festivals, and within families to warn both children and adults. The gruesome details fix themselves in the imagination, making moral instructions memorable in a way that abstract sermons might not be. The legend thus acts as a visual and narrative system of social control, encouraging good behavior through fear of cosmic retribution.

Third, the concreteness of the punishments transforms morality into something tangible. Instead of saying “do not be corrupt,” the legend shows corrupt officials being crushed or dismembered; instead of urging kindness to animals, it depicts animal abusers tormented by beasts. The visceral shock forces listeners to confront the reality of suffering their actions might cause, even if in symbolic form.

King Yama: Judge of the Dead and Guardian of Moral Order  

At the center of this system stands King Yama, the ruler and supreme judge of Diyu. In Chinese-Buddhist and popular religious belief, Yama is not merely a demon lord but a judicial figure, akin to a cosmic magistrate. Souls pass before him to have their lives examined and their sins weighed. His role underscores a key philosophical point: punishment in Diyu is not anarchic; it is the result of a lawful, structured process.

Yama’s authority highlights the idea that the universe possesses an objective moral order. Just as earthly courts judge crimes, the afterlife has its own hierarchy, procedures, and officials. Even his birthday—traditionally observed on the 8th day of the 1st lunar month—reinforces his integration into the cyclical rhythms of the cosmos and the ritual life of the community. On that day, some people may offer prayers, not only to seek protection from misfortune but also as a reminder to live righteously.

Diyu as Mirror of Society  

Beyond religious doctrine, the legend of Diyu mirrors the concerns and values of the society that created it. The sins highlighted—corruption, bullying, betrayal, disrespect, infanticide, animal abuse, wastefulness—are precisely the behaviors that threaten social stability and communal wellbeing. By dramatizing these behaviors and attaching terrifying consequences to them, the legend reinforces social norms.

At the same time, the detailed categorization of sins and punishment suggests a world in which justice, though delayed, is never denied. This can be deeply consoling in contexts where earthly justice is imperfect, where the powerful seem to escape consequences while the weak suffer. Diyu offers the assurance that every account will be settled, every hidden crime uncovered, and every victim acknowledged in the court of the afterlife.

Conclusion  

The legend of Diyu (Naraka) is far more than a catalog of horrors. It is a moral map, a symbolic penal code, and a reflection of Chinese-Buddhist ideas about karma, retribution, and social harmony. Through its division into East and West Chambers, its precise matching of sins and punishments, its relentless emphasis on moral accountability, and its central figure of King Yama as cosmic judge, the story presents a universe in which no action is morally neutral and no wrongdoing is forgotten.

By making the invisible visible—turning ethical principles into vivid landscapes and bodily torments—the legend of Diyu seeks to shape human behavior in life through fear of what may come after death. In doing so, it preserves and transmits cultural values, reminding its audience that justice may be delayed, but it is never ultimately denied.

+++

Description of the Eighteen levels of Hell

1. This legend is based on Diyu 地獄 a Buddhist concept of the ream of hell known as Naraka.

1.1. Naraka is an underground maze with many levels of chambers where the souls of the dead are taken to atone for their sins committed when they were alive.

1.2. One Legend says that there are two main chambers: The East and The West Chambers of Hell.

2. Here, sinners are perpetually subjected to gruesome tortuers until infinity.

3. The East Chamber of Hell

3.1 Tongue Extraction Chamber: Still want to Gossip? Stop it!

3.2 Scissors Chamber: Finger torture, snip, snip for spoiling someone's marriage.

3.3 Chamber of Mirrors: Not yet punished for sins committed when alive? See self-reflection of past deeds, here.

3.4 Chamber of Ice: Not filial to elders and adulterers. Please come in. Let you freeze to death.

3.5 Chamber of Knives: Killers will enjoy climbing up a hill of sharp knives.

3.6 Chamber of Iron Hooks: Sow discords, trouble maker? Hung on iron hooks.

3.7 Chamber of Oil-Cauldron: Thieves, rapists and bad people most welcome.. to be fried in oil

3.8 Pressure cooker Chamber: Troublemakers and hyprocrites... come.. come.. we want you in this...

3.9 Chamber of melting Copper: Arsons are most welcome, here. Please come right in, please.. we are waiting for you.

4. The West Chamber of Hell

4.1 Pool of Blood Chamber: Disrespect others? Drowned in a pool of blood

4.2 Hall of Blackness: Those who commit suicide comes here.

4.3 Chamber of Saw: Lawyers and those engage in unfair practices, please come here to be sawed into half.

4.4 Chamber of Stone Mill: Bullies and Power Hungry evil persons.. come here to be crushed.

4.5 Chamber of Pounding: Still want to waste food? Will be forced feed by demons. Much like the French force feed ducks to become a delicacy like Foie gras.

4.6 Chamber of Dismemberment: Generally bad people get their body torn to pieces.

4.7 Chamber of Rock: Guilty of giving away a baby or killing babies? Please hold a heavy rock until crushed by it.

4.8 Chamber of Eternal Flames: Robbers, thieves, shoplifters, the corrupt will get perpetual sauna bath...

4.9 Ox Chamber: Abuse animals? Your turn to be tortured by animals.

5. By the way, King Yama's birthday is on 8th day of the 1st Lunar month.

On quiet Mid-Autumn evenings, when the full moon hangs low and round like a lantern in the sky, some of the most vivid memories are not of the mooncakes themselves, but of something far humbler: a small, golden-brown pig made entirely of mooncake skin, sitting snugly in a bright little “pig basket.”

Its glossy back shines under the fluorescent lights of the old bakery. Around it, neat rows of proper mooncakes sit in stately boxes stamped with calligraphy and gold foil. They are gifts for adults—filled with lotus paste, red bean, salted egg yolks. The piglet, by contrast, is clearly a child’s treasure. It looks like a toy before it looks like food.

Yet for many children, that pig-shaped biscuit is the true taste of the Mooncake Festival.

---

A Pig in a Basket

A mooncake-skin biscuit shaped like a whole little pig, placed in a distinctive “pig basket”. These colourful baskets look just like the old rattan baskets farmers once used to cage their pigs when transporting each one. During the Mooncake Festival, these colourful baskets each hold a pig-shaped biscuit made from mooncake skin. The biscuit tastes exactly like the baked outer skin of a traditional mooncake. Parents and grandparents often bought these child-friendly, bite-sized “pig-shaped biscuits” for their children or grandchildren.The only difference from actual mooncakes is that there is no red bean paste inside them—just pure mooncake skin—truly a treat many children eagerly waited for in earnest every year.

Circled in red: the yellow, purple, pink, and red baskets...

At first glance, the whole ensemble is playful, almost whimsical: a mooncake-skin biscuit shaped like a plump little pig, placed carefully in a miniature “pig basket.” These colourful baskets—often yellow, purple, pink, or red—look just like the old rattan cages farmers once used to transport live pigs one by one. The resemblance is deliberate, a tiny echo of a rural past.

Inside the basket, the piglet biscuit lies curled, its body rounded, its snout slightly upturned, tiny ears pressed back as if listening. Its surface is the glossy tan of well‑baked mooncake crust. Break off a piece and it tastes exactly like the outer skin of a traditional mooncake: faintly sweet, with the fragrance of baked flour, sugar syrup, and a hint of oil. No salted yolk, no lotus paste, no red bean paste—just pure mooncake skin.

And that is precisely its charm.

For children who found traditional mooncakes too rich or cloying, these piglets were perfect: light, crisp at the edges, slightly chewy at the centre, and sized for small hands and small stomachs. Parents and grandparents would buy them not only as a snack, but as an unspoken promise: *You are part of this festival too.*

---

A Child’s Mooncake

The piglet biscuit is, in many ways, the “children’s mooncake.” It mirrors the adult version but strips away all complexity. Where the mooncake is dense and symbolic—round like the moon, heavy with layered meanings of reunion, prosperity, and continuity—the piglet is simple and immediate. It does not require an explanation; it is simply fun.

Children rarely care about the poetry of ancient scholars admiring the moon or the dynastic legends whispered around the teapot. They care about texture, colour, and delight: the satisfying crack as their teeth break the piglet in half, the pleasure of carrying their own little basket by its handle, swinging it back and forth as they walk under the paper lanterns.

That bright basket was part toy, part treasure chest. The moment a child received it, the festival became personal. While adults sliced mooncakes into careful wedges, debating which bakery’s recipe was superior this year, children hugged their piglet baskets close. The festival was no longer just about watching adults perform tradition; it was about having something of their own to look forward to, year after year.

---

Memory Woven into Plastic

The baskets themselves are small marvels of cultural memory. The modern ones are usually made of colourful plastic, but their design is rooted in older rural life. Once upon a time, farmers transported small pigs in rattan cages—sturdy, airy enclosures that allowed the animals to be carried to markets or new owners. That same shape has been transformed, miniaturized, and dyed in cheerful colours: violet, canary yellow, candy pink, bright red.

In an era where many children grow up in high-rise apartments, far from farms and animal pens, this pig basket is a tiny bridge to an older world. It is an object that quietly carries history, even if no one explains it outright. A grandparent might smile and say, “In the old days, real pigs were carried like this,” and with that a line is drawn between a child in plastic sandals and a farmer decades ago trudging through muddy lanes.

The pig in the basket becomes more than a snack: it becomes a story.

Between Past and Present

The Mooncake Festival—also known as the Mid-Autumn Festival—is often portrayed as a grand, elevated celebration. There are tales of Chang’e flying to the moon, of Houyi the archer shooting down nine suns, of secret messages hidden inside mooncakes to start rebellions. Lanterns glow, tea is poured, the moon is admired in its perfect roundness.

But somewhere beneath those legends lies the everyday reality: festivals endure not just because of myths, but because of small, repeatable joys. The pig-shaped biscuit is one of these. It marks the festival on a very human scale. You do not need to understand mythology to enjoy it. You do not need to stay up late reading poems about the moon. You just need to reach into that basket and snap off the pig’s ear.

For many, the memory of these piglets is tied to a specific kind of anticipation. In the weeks leading up to the festival, bakeries would start displaying them in their windows, often arranged in neat pyramids of colour. Children pressed their noses against the glass, eyes drawn not to the premium mooncakes in ornate tin boxes, but to the rows of tiny pigs smiling out from their baskets. 

That yearly wait—for *your* piglet, in *your* chosen basket colour—was part of the festival rhythm. The sight of those yellow, purple, pink, and red baskets signalled that the holiday was truly coming.

---

The Taste of Childhood

What lingers long after the festival is over is not just the flavour, but the feeling associated with it.

Ask an adult who grew up with these piglet biscuits, and their description becomes oddly specific: the soft crackle of the plastic basket handle, the faint plastic smell mingling with the aroma of baked dough, the way the pig’s snout was often the first part to go. Some remember saving the basket long after the biscuit was gone, using it to store marbles, rubber bands, erasers, or tiny secrets. Others remember siblings fighting over who got which colour.

The biscuit itself was modest, almost plain, yet it became infused with meaning because of all the hands that passed it on. A grandparent choosing it with a careful eye. A parent hurrying home from the market, clutching the basket so it wouldn’t be crushed on the bus. A child receiving it with the kind of joy that adults often forget they once possessed.

The piglet biscuit is proof that not all traditions are solemn. Some are light-hearted, even playful—and it is precisely these small, gentle rituals that fasten themselves most firmly to the heart.

---

More Than Just a Cute Snack

Today, the world moves quickly. Mooncakes come in ice cream form, in low-sugar, vegan, or durian flavours, packaged in boxes that look like luxury handbags. The humble piglet, sitting quietly in its simple basket, can easily be overshadowed. In some places, it has already become a nostalgic curiosity—something older generations point out in photos: “We used to eat these when we were young.”

Yet its quiet significance remains. It reminds us that festivals are not just about elaborate displays or expensive gifts, but about accessible joy: something a child can hold in their hand and finish in a single afternoon. It shows how culture can be transmitted not only through grand rituals, but through small edible tokens of affection.

A pig-shaped biscuit in a colourful basket may seem trivial compared to the moon’s vast glow or centuries-old legends. But in the private night sky of memory, it can shine just as brightly. For those who once waited all year to receive that little pig, the Mooncake Festival will never be only about the moon in the sky—it will always also be about the pig in the basket, the crunch of mooncake skin between their teeth, and the warmth of a hand that placed it gently in theirs.

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On 11/1/99 4:24:14 AM, Anonymous wrote:
Dear cecil,
What other festivals and
holidays chinese people
celebrate besides the lunar
year. Thanks.
 

• Cultural Significance: Hari Raya Aidilfitri and Chinese New Year are both important cultural and religious events in Singapore. Recognizing their overlap can encourage greater understanding, respect, and appreciation among different communities.

2029
13 February (Tuesday) - Chinese New Year Day 1
14 February (Wednesday) - Chinese New Year
Day 2
15 February (Thursday) - Hari Raya Day 1
16 February (Friday) - Hari Raya Day 2

2030
3 February (Sunday) - Chinese New Year Day 1
4 February (Monday) - Chinese New Year Day 2
5 February (Tuesday) - Hari Raya Day 1
6 February (Wednesday) - Hari Raya Day 2

2031
23 January (Thursday) - Chinese New Year Day 1
24 January (Friday) - Chinese New Year Day 2
25 January (Saturday) - Hari Raya Day 1
26 January (Sunday) - Hari Raya Day 2

• Community Events: The overlap may create unique opportunities for interfaith and intercultural activities, helping to promote social cohesion and strengthen community bonds.

• Logistical Considerations: Public transport, road closures, and other infrastructure may require special planning to manage the large number of people celebrating both festivals at the same time.

The Chinese do not clearly differentiate between the frog and the toad.  
Toads and frogs are commonly found in agricultural areas in China, for example in paddy fields.  
The Chinese use the frog in traditional medicine and for dieting. The rationale is linked to the shiny surface of the frog, which the Chinese call the “dew of heaven.” The frog is also called the “heavenly chicken.”  
(Toads are left out of this picture because they are considered poisonous.)

I am glad that you asked for the “story” of the Three-legged Toad. It will help many users understand why the Three-legged Toad became a “commercial object.”  
There are two versions of the story:

1. A Chinese Immortal, Lui Hai, was said to live in the era of the Sung dynasty in the province of Shensi.  
According to legend, he was the general who successfully fought off Lord Liu (Master of the Sea Toad).  
Because of this, a statue of Immortal Lui Hai with his Three-legged Toad is considered a symbol for money-making.

2. A second version:  
Legend has it that there was once a toad which lived in a deep well and emitted poisonous vapours.  
Immortal Lui Hai lured the creature out with a string of gold cash and killed it.

3. More: Often one sees the Chinese God of Wealth being carried in a procession (during festive occasions) together with an image of the Three-legged Toad.  
The association with the God of Wealth (Tau Pei Kong) linked the Three-legged Toad with wealth.

Hope the above will help everyone to better understand the “origins” of why so much commercialization went into this Chinese belief.  
The Three-legged Toad has now become a commercial object, with things like a coin and a “jewel” added to its mouth, etc.  

Therefore, one can now clearly understand that there is no direct link between the Three-legged Toad and Feng Shui.

Warmest Regards,
Cecil
[Below, Cross-posted from Edu-Polls conference]



1. There is no right or wrong answers for this poll.
2. It would be interesting to find out how many of us think of this issue.

 

Chinese Culture: The Three legged toad

I am a three-legged toad. Do you believe that I can bring you wealth? Yes, I think so. No, I don't believe it can.   Current Results

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On 1/2/00 1:56:16 AM, Anonymous wrote:
Dear cecil,
You mentioned in the photo
tour of interest that toad is
one of the 5 animals which
chinese people consider
inauspicious then why the
three legged toad is
considered lucky and why most
chinese people display it in
their homes and offices.
Thanks.
 

1. Frankly this has nothing to do with Feng Shui. 

1.1 There are so many Chinese dialect groups with such a diverse range of individual or even perculiar practices.

1.2 More important, you have to check with your husband's matriach or mother. As often, such things are governed by the mother.

1.3 Thus if your husband's mother gives you blessing to do so.. then go ahead.

1.4 If you ask, even if I said okay, can easily be overruled by the matriach or hubby mother. 

2. Why not. He is not pregnant or anything like that. More importantly the taboo is the master bedroom. Where once the new bed is set into the new master bedroom. This bed must not be moved = no matter what.

2.1 If the existing "bed of conception" has to be moved into the new house, the pregnant wife should not enter that bedroom anymore (often) until after giving birth or some are more strict.. until the entire 1 moth after baby is born. 

2.2 If you were to move-in before giving birth, then as mentioned, the bed has to be set correctly. And not moved until after baby's 1 month old. This is sort of the Chinese traditional practises.

Some additional information has been added to the above for clarity. Thus more details than the actual WhatsApp capture.

========

Partial extract only:-

Wanted to seek your advice. My elderly uncle is moving house (downsizing) and he has a Guanyin statue, an ancestral tablet and 3 to 4 small amulets which he received from Thai Buddhist temples placed on the praying altar. 

He will be selling his house first and then source for a new flat. During this period, we are wondering what can we do with the items mentioned above? 

1) Can we temporary place the ancestral tablet at my house? He is my maternal uncle i.e. different surname. Or must the ancestral tablet be placed in a household of same surname? if not can we place at a temple? (you have any recommendations for such holding places?)

2) For the Guanyin statue and amulets, what can we do if we want to "invite" them away? 

Thanks and appreciate your advice! 

Dear Anon,
I took the opportunity to take a picture of what the `green' mineral water looks like.
By the way, the correct `English' spelling on the bottle is: Oldenlandia Water.
This is the description on the label:
OLENLANDIA WATER
Make of the abstracted fragrant essense of oldeniadia with Laoshan mineral water rich in mineral elements and it is indeed a refreshing drink for all seasons around the year with a tradition of quality sinces 1962.
It is bottled by Qindao Laoshan Oldenlandia Water Co Ltd, China.
It is the addition of oldeniadia to Laoshan mineral water that gives it a unique flavour.
I forgot to mention that often some take it with a pinch of salt added.
I am not sure, if you have this in your country. But if not, perhaps, someone, perhaps you would like to try to be the importer/distributor:)
Warmest Regards,
Cecil

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On 7/8/00 12:17:00 AM, Anonymous wrote:
Dear cecil,
Bottled spring water is
popular all around the world.
What about China. Does China
produces any bottled spring
water and is spring water
popular among chinese people.
Thanks.

Quote

On 8/6/00 9:38:00 AM, Anonymous wrote:
Dear cecil,
I read somewhere that in some
countries girls as young as 8
years - 12 years are married
off to men who are as old as
their grand fathers. What
about China? Are child
marriages legal in China?
Thanks.

The Temple of Heaven is a famous historical complex located in Beijing, China. Built during the Ming Dynasty in the early 15th century, it was used by emperors for annual ceremonies to pray for good harvests. The site is much more than a single temple; it consists of several buildings set in a large park, with key structures including:

1. Hall of Prayer for Good Harvests: This iconic, circular building with a blue-tiled roof is where emperors prayed for an abundant harvest. It’s built entirely from wood and is known for its elegant construction without using nails.

2. Imperial Vault of Heaven: A smaller circular building, surrounded by the Echo Wall, which is famous for its acoustics—sounds can travel across the curved wall surprisingly well.

3. Circular Mound Altar: An open-air altar where the emperor would make offerings. The altar’s design incorporates symbolism of heaven and earth, and the number nine, regarded as an imperial number in ancient China.

Significance:
The whole complex is carefully aligned and designed according to Chinese cosmology and Feng Shui principles. It represents the relationship between heaven and earth, and serves as a symbol of the emperor’s role as the intermediary between these realms.

UNESCO World Heritage Site:
The Temple of Heaven was listed as a UNESCO World Heritage Site in 1998 for its architectural beauty, historic importance, and its reflection of Chinese spiritual beliefs.

Nowadays, the Temple of Heaven is a popular tourist destination and a public park, where locals practice tai chi, dance, or play traditional instruments. It’s considered one of Beijing’s must-see sites for visitors interested in history, culture, and architecture.

a. My Grandmother (mum’s mom) just passed away yesterday. From a Feng Shui angle, how will this affect - our wedding on (this date that is more than 100 days.) Can the family members still attend our wedding? 

b. Our proposed house warming on (within 100 days). Can we still go ahead with that?

My condolences.

c. Moving in is not an issue since it falls within the 100-day period.

d. Regarding family members’ attendance: traditionally, this is not allowed, as it is beyond the 100-day reprieve.

e. However, in modern times, it’s best to check with both partners’ parents. Some parents are quite flexible, while others follow strict Chinese traditional guidelines.

1. The Traditional Chinese Guidelines or Common Practises

1.1. The traditional Chinese custom when a parent or grandparent passes away is to either hold a wedding within 100 days of their death, or wait until 1,000 days later (about 3 years).

1.2. It is considered unlucky to get married while the family is still in mourning. Therefore, there is a short 100-day window that allows for weddings before the family enters the longer mourning period of 1,000 days or 3 years. Even a one-year mourning period is still regarded as a long time.

1.3. This is the usual traditional practice or belief.

1.4. The key essence lies with what is the family's idea of a mourning period?

1.5 In modern times, many Chinese families no longer observe the traditional 1,000-day or three-year mourning period.

1.5.1 However, those who strictly follow tradition must observe this extended mourning period, as breaking it is considered bad luck.

2. Today, as long as the person and their family elders agree on a reasonable mourning period, it is acceptable to hold wedding events after the mourning period has ended.

3. In conclusion:

3.1 Nowadays, many modern families choose more flexible mourning periods, with some accepting a mourning period of three months to one year.

3.2 For longer mourning periods, couples who wish to get married should have a quick wedding within the 100-day window; otherwise, they must wait until the mourning period is over.

4. Today's Modern Practical Alternative (Subject to individual family consensus)

4.1. Traditionally, the 100-day reprieve allows time to carry out important events, such as a quick wedding, moving in, or a housewarming.

4.2. If the family decides on a short mourning period of 100 days, this entire time is considered the mourning period; so weddings, moving in, or housewarmings should not take place during this time.

4.3. These events should be held after the 100 days have passed.

4.4. This differs from the traditional practice, where the 100-day window is used to complete such events before entering a longer mourning period of 1,000 days, or about three years.

Robert Lee,
Geomancy.net

1. Based on my personal observations, this holds particularly true during the 15 days of the Chinese New Year.

2. It is essential to comprehend that according to Chinese beliefs, items should be given in pairs, not singularly.

2.1. For instance, when presenting an 'Ang Pow' or red packet containing money in a red envelope during Chinese New Year or special occasions like an elderly person's birthday, the amount should be in pairs like $2, $4, $6, $10, and so on.

2.2. This practice is rooted in the belief that odd numbers like 1, 3, 5, 7 symbolize "loneliness."

2.3. In Feng Shui, this principle extends to the arrangement of chairs at a dining table, where pairs like 2, 4, 6, 8 are preferred over odd numbers like 1, 3, 5, 7.

3. Understanding certain Chinese beliefs is beneficial as they often influence decisions made in Feng Shui practices.

4. In Chinese culture, two mandarin oranges symbolize gold due to their color and the similarity in pronunciation of "mandarin oranges" to "gold" in Hokkien and Cantonese.

4.1. Therefore, presenting two mandarin oranges to a Chinese host during Chinese New Year signifies offering a pair of 'Gold.'

4.2. It's important to note that this exchange is usually reciprocal. The host will also prepare a pair of mandarin oranges from his/her inventory and exchange them with their guests immediately.

4.3. When you gift two mandarin oranges to the host, they are expected to present you with two different pairs before you leave.

5. The host should not return the same pair of mandarin oranges to avoid conveying a message of rejection towards the gift.

6. Some hosts may not adhere to this custom, which is generally harmless.

6.1. This could be due to their lack of awareness or forgetfulness regarding the tradition.

7. Since this practice is rooted in Chinese beliefs, the significance of receiving a pair of mandarin oranges back lies with the individual believer.

Warmest Regards,
Cecil

In Conclusion

Understanding the significance of pairs in Chinese culture, particularly during the Chinese New Year, is crucial as it influences various customs and practices such as gift-giving and Feng Shui arrangements. The exchange of pairs, like mandarin oranges symbolizing gold, holds deep cultural meaning and should be respected to avoid any unintended messages or misunderstandings.

Quote

On 10/31/99 1:34:23 AM, Anonymous wrote:
dear cecil,
Is it true that when chinese
people visit each other. They
always give each other
mandarin oranges and they do
not ask how are you instead
say that hope you had a
prosperous year. Thanks.
 

1.1 Fu, Lu, and Shou are gods in Chinese culture, known as the Three Stars.

1.2 Each one stands for something important:
Fu means Prosperity
Lu means Status
Shou means Longevity

1.3 The idea of Fu Lu Shou started in the Ming Dynasty and represents Prosperity, Status, and Longevity.

1.4 In the Hokkien dialect, they are called Hock, Lock, and Siew.

1.5 In Cantonese, the names are Luk, Fuk, and Sau.

2. Traditional Chinese books are read from right to left. So, the statues should be arranged from right to left when you face them.

3. This means Fu is on the far right, Lu is in the middle, and Shou is on the left.

I hope this makes things clearer.

Warmest Regards,
Cecil

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On 11/26/99 3:42:53 PM, Anonymous wrote:
Dear cecil,
What is the correct way of
placing LUK FUK and SAU.
I read that the SAU is always
placed at the left of the FUK
but I saw in the restaurant
the SAU was placed on the
right side of the FUK and the
explanation was that the first
is health then wealth and in
the end prosperity.
So the statues were placed
with SAU then FUK and then
LUK. So can you tell us which
placement is correct. Thanks.
 

In China, briefcases are often designed to match the standard Feng Shui foot, which is approximately 17 inches. This measurement is considered auspicious in Feng Shui principles, suggesting that anything kept inside—such as important documents—is surrounded by positive energy and good fortune. The use of this size reflects a belief in harmonious proportions and the idea of attracting success and luck through thoughtfully chosen dimensions.

Warmest Regards,
Cecil

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On 1/26/00 11:50:25 AM, Anonymous wrote:
Dear cecil,
What is a imperial briefcase.
Is it a brand name or
something to do with feng shui
ruler. Thanks.
 

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On 2/22/2011 10:48:31 PM, Anonymous wrote:
Traditionally, a pair of sugar
cane is tied on each side of
the altar table's legs...

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On 11/1/99 4:26:19 AM, Anonymous wrote:
Dear cecil,
Chinese food is popular all
over the world. What about
chinese people do they enjoy
other
culture food. Which one.
Thanks.

In Shaanxi, a man was caring for his critically ill mother. He fell asleep by her side.

When he woke up... she was gone.
But when he checked the CCTV, he saw: In her final moments, she saw her son wasn't properly covered...
So she used the last of her strength to pull the blanket over him. Then she closed her eyes-forever.
She tucked him in the day he was born.
She tucked him in the day she died.
That was her final act of love.
 

One Fact About Chinese Burial Days

On the other hand, the opposite applies when opening for business during Chinese New Year – this is usually done on even lunar days, such as the 2nd, 4th, 6th, or 8th day of the lunar new year.

Dear Users,

I’ve received quite a number of emails asking about the meaning and importance of Kong Teck, so I’d like to share a simple explanation here.

Chinese Traditions: What does “Kong Teck (Gong De) 功德 Funeral Memorial” mean?

1. This ritual is believed to bring blessings and merit to the soul of the person who has passed on.

2. Traditionally, it is considered most ideal for someone to pass away peacefully, without pain or struggle, rather than through a tragic or painful event.

3. It is also believed that the guardians of the underworld are kind and compassionate beings who quietly come to guide the soul into the afterlife.

4. Kong Teck, also known as 功德 “Gong De” in Mandarin, is a traditional ritual that helps the deceased move smoothly and peacefully into their next stage of existence.

Ritual items are crafted from paper and thin bamboo strips, carefully tied together with string. These offerings are usually quite large and elaborate.

5. Because of this, families often spend a considerable amount of money to carry out this meaningful and important ritual.

6. The main ceremony is usually held on the 49th day after the person’s passing.

6.1 The highlight of the ceremony is the burning of detailed paper offerings, including a large paper mansion.

6.2 As part of the ritual, there may also be a bamboo and paper model of a luxury car, such as a Mercedes Benz, which is burned as an offering.

6.3 These creations are made to look impressively life-like. Together with them, “hell money” or “hell notes” — printed paper that looks like currency but has no actual monetary value — are also burned.

6.4 The reason for burning these items is to present offerings to the departed, with the belief that these new possessions can be enjoyed in the afterlife. Family members are often seen gently folding gold ingots, which are then burned as additional offerings for the deceased.

7. The overall intention behind all these rituals is to help the departed soul have a smooth and peaceful journey, free from illness or suffering. Traditional silver and gold paper notes, known as “Jin Zhi” (silver notes) and “Yin Zhi” (gold notes), are also included in the ceremony.

8. In this way, Kong Teck is carried out with the hope of bringing blessings and peace to the deceased.

In modern times, some families choose to buy ready-made gold ingots in bulk instead of folding them by hand, and they simply stack these ingots in the burning vessel.

9. During the event, which takes place on the 49th day, monks or Taoist priests are usually invited to recite prayers and mantras.

9.1 These monks or priests are often regarded as “lawyers” who present and plead the case of the deceased before the Hell Judge or King of Hell, known as 阎罗王 (yan luo wang) – Yama, King of Hell.

10. For those who attend or visit the ceremony on the 49th day, it is customary to maintain a pleasant, happy, and peaceful demeanor. It is also considered important not to bring up or dwell on the illness of the deceased.

11. In the past, I have shared images on the Picture Resources website that show the intricate paper houses and lanterns prepared for burning on the 49th day, as part of the Kong Teck rituals.

Warmest regards,  
Cecil Lee

Postscript: In earlier times, there was a shophouse in Joo Chiat that specialized in crafting detailed scale models for funeral memorials, including grand mansion houses, cars, and even boats for the deceased.

The former shop, marked in red, was located here:

Now, shop no more - permanently closed.

Currently, the funeral memorials have decreased in size and can be seen in many Chinese stores that specialize in selling incense supplies. These shops offer a wide range of products including clothing, shoes, Rolex watches, iPhones, tablets, and more.

Related to burning memorial...

It is possible that a construction supervisor managed to gather foreign workers to assist in burning the offerings for him. It could be that he is utilizing the principles of Tai-chi or delegation in this situation.

More...

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On 10/4/00 8:50:00 AM, Anonymous wrote:
Hi Cecil
Can you tell me the
significance of the frog or
what it is symbolic of? Is it
just the frog or does it apply
to the toad as well?
During the summer while my
husband was mowing the lawn he
caught sight of a toad that
jumped right infront of the
mower. He stopped the mower
but to his disappointment the
toad had lost one of his legs.
This upset my husband and he
thought the frog would now
die. 2 days later I found the
toad in a garden bed outside
our front door. I picked him
up and he looked very well
under the circumstances. His
leg had healed well and he
seem to be able to get around
with no trouble. He has now
made a toad hole that he lives
in next to our front door. My
husband picked up a Feng Shui
book and saw them mention a 3
legged frog and asked if a 3
legged toad is the same? and
is this actually lucky? (I
guess not for the toad losing
a leg but he does seem happy).
Regards
Susan
 

2025 (C) Geomancy.net

Once upon a time, when plastics were hard to come by or not as sturdy as a wooden stool; many homes used them.

These wooden stools can withstand rain or water or can be used in the bath rooms.

I remembered, clearly when I was young, back then in the 1960's a servant seating on such a stool to wash clothes or holding a life chicken seated on it with a knife to slice the neck of that chicken.

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On 3/31/2016 8:28:04 AM, Anonymous wrote:
Unlike the wooden rice bins, the
charcoal stove is relatively easy to buy
in the heartlands of Singapore.Maybe
perhaps, in 10 or 20 years time... they
are harder to purchase. As today, some
elderly ladies still literally use
them.In the near future, they may be
only used symbolically for move-in
rituals by some Chinese who still cling
to such beliefs.On 3/31/2016 8:24:22 AM,
Cecil Lee wrote:
Wood is considered a
media to
store rice grains.Nowadays
it
is hard to find such a
wood
bin. And they are not
cheap
e.g. one of the rice
bins
costs $64/- plus dollars.
When
compared to the
relatively
cheap plastic
rice
bins.Location: a shop
in
Sunshine Place, Choa Chu Kang

 

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On 5/10/00 11:36:00 PM, Anonymous wrote:
Dear cecil,
Why the doufu stinks since it
is kind of tofu and usually
most tofu taste and smell
wonderful. Thanks.

Chinese culture holds the belief that sweeping the floor on the first day of the lunar new year brings bad luck. This notion is rooted in the desire to begin the new year on a positive note. 

Additionally, the significance of avoiding negative remarks is acknowledged, as it aligns with the intention of starting the new year afresh. 

The celebration of Chinese New Year spans a total of 15 days.

Warmest Regards,
Cecil

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On 12/13/99 4:07:36 AM, Anonymous wrote:
Dear cecil,
I read somewhere that chinese
people don't sweep the floor
or say anything bad on Chinese
new year. Is it true. Secondly
they consider it bad to go to
wedding and then to funeral.