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Relevant bibliographies by topics / Mazu (Chinese goddess)

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Academic literature on the topic 'Mazu (Chinese goddess)'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2025

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Journal articles on the topic "Mazu (Chinese goddess)"

1

Triatmodjo, Suastiwi, Ted Tsung-te Tsai, M. Agus Burhan, Hanggar Budi Prasetya, and Endah Budiarti. "Mythologization of The Goddess Mazu: Readings through Spacial Setting and Activity in the Interior of Cu An Kiong Temple." Harmonia: Journal of Arts Research and Education 22, no. 2 (2022): 381–91. http://dx.doi.org/10.15294/harmonia.v22i2.40627.

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This study aims to understand the myth of the Goddess Mazu in Lasem City, Central Java. The research was conducted by observing the interior space at Cu An Kiong (CAK), the oldest temple in Lasem City. This study uses a verbal communication approach from Rapoport (1982) and a cultural approach from Koentjaraningrat (2015) to explore human relations with their environment and explain phenomena that exist in the research object. The research found that there is an exaltation space in this Mazu temple; this space is placed on the axis of space and time, it is to see the meaning of the space that

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2

Fang, Zhou, Yihan Ke, and Mateta Sirisuk. "Modern Mazu Paintings: Idealized Analysis and Educational Literacy from the Perspective of Intangible Cultural Heritage Protection." International Journal of Education and Literacy Studies 13, no. 1 (2025): 153–58. https://doi.org/10.7575/aiac.ijels.v.13n.1p.153.

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This study investigates traditional Mazu paintings’ history, development, and current status, focusing on their idealized aesthetic analysis and potential for modernization within the framework of intangible cultural heritage protection. Employing developmental research methods, including aesthetic theory, literature review, and field investigation, the research presents its findings through artistic works and descriptive analysis. The results reveal that Mazu culture, with its profound historical roots, is deeply embodied in Mazu paintings, which serve as vital carriers of this cultural tradi

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3

Yu, Fangzhou. "The Metamorphosis of Mazu Belief and the Reconstruction of Mazu Temples." Communications in Humanities Research 48, no. 1 (2024): 84–90. https://doi.org/10.54254/2753-7064/2024.18753.

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Mazu, also known as Tianhou/Tianfei is the most prosperous belief in Chinese Mainland and in the shipping developed areas like Hong Kong, Macao, Taiwan, and overseas Chinese immigrants communities. It forms a unique belief system with goddess worship as its core, and form a religious culture integrating marine culture. This article focuses on the main carrier of Mazu belief, Mazu Temples, and attempts to sort out its architectural evolution strategies in the development of history. This article briefly analyzes the similarities and differences in the forms of Mazu temples in their birthplace a

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4

Park, Kye-Hwa. "A Study on the Standardization of the Mazu(媽祖) Belief in the Ming and Qing Dynasties". Korea Association of World History and Culture 71 (30 червня 2024): 59–95. http://dx.doi.org/10.32961/jwhc.2024.06.71.59.

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Mazu, believed to have lived during the tenth century on Meizhou Island (湄洲島), was a real-life wu (巫) or shaman named Lin Mu (林默: 960-987). Due to various miraculous events associated with her both during her lifetime and after her death, she was revered as a deity. Initially a local deity, Mazu eventually became China’s prominent goddess of the sea. Her veneration has been bolstered by the Chinese government’s efforts to revive traditional culture, turning her into a cultural brand recognized worldwide. However, throughout Chinese history, Mazu worship has adapted to the demands of each era.

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5

Zhang, Yanchao. "Transnational Religious Tourism in Modern China and the Transformation of the Cult of Mazu." Religions 12, no. 3 (2021): 221. http://dx.doi.org/10.3390/rel12030221.

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This article explores transformations in the worship of popular goddess Mazu as a result of (religious) tourism. In particular, it focuses on the role of transnational tourism in the invention of tradition, folklorization, and commodification of the Mazu cult. Support from the central and local governments and the impact of economic globalization have transformed a traditional pilgrimage site that initially had a local and then national scope into a transnational tourist attraction. More specifically, the ancestral temple of Mazu at Meizhou Island, which was established as the uncontested orig

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6

Ptak, Roderich, and Jiehua Cai. "Reconsidering the Role of Mazu under the Early Hongwu Reign." Ming Qing Yanjiu 20, no. 1 (2016): 3–20. http://dx.doi.org/10.1163/24684791-12340001.

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The worship of Mazu, the Chinese Goddess of Sailors, began in Fujian, under the early Song. Migrants from that province gradually spread this cult to other coastal regions and among the overseas Chinese in Southeast Asia. The present article investigates one particular episode in the history of the Mazu cult. Its stage is Guangzhou and the period dealt with is the beginning of the Hongwu reign. In 1368, Liao Yongzhong’s troops moved to that city, putting it under control of Zhu Yuanzhang, the first Ming emperor. Local chronicles pertaining to Guangdong and certain other sources briefly refer t

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7

Anh Tuyet, Dr Vo Thi. "Preserving Cultural Identity and Promoting Sustainable Tourism: A Case Study of the Mazu (Thiên Hậu) Festival in Hội An, Quang Nam Province, Vietnam". International Journal of Advanced Multidisciplinary Research and Studies 5, № 3 (2025): 636–43. https://doi.org/10.62225/2583049x.2025.5.3.4311.

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In Hội An (Hoi An), there are currently five Chinese assembly halls, three of which are dedicated to the worship of Thiên Hậu. Annually, multiple ceremonial rituals are held, with the most significant events being the Mazu (Thiên Hậu) Festival on the 23rd day of the third lunar month and the day of her apotheosis on the 9th day of the ninth lunar month. Among these, the Mazu (Thiên Hậu) Festival is the most important. This celebration honors Thiên Hậu Thánh Mẫu—the sea goddess revered as the guardian of merchants and seafarers. The festival serves as a vivid expression of the intangible cultur

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8

Po, Ronald C. "The Bohai Sea and Mount Penglai: In search of a maritime religiosity in imperial China." Coastal Studies & Society 2, no. 3 (2023): 274–94. http://dx.doi.org/10.1177/26349817231151509.

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Apart from the history of the Chinese sea goddess Mazu, there are other religious themes that have also been derived from the maritime world that require more of our academic attention. This paper provides a historical overview of a sea-related theological conceptualisation that originated in the Bohai Sea: the maritime and transcultural history of Mount Penglai, a legendary immortal island of Chinese mythology. The history of Penglai is normally treated within a mere Daoist context and is not explored in its theological and philosophical implications in relation to the sea. I will suggest, by

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Jung, Woo-Jin, and Haeng-Cheol Lee. "The Beginning and Development of the Adaptation of the Five Dragons Shrine in Gunsando Island." Association of Korean Cultural and Historical Geographers 35, no. 1 (2023): 69–98. http://dx.doi.org/10.29349/jchg.2023.35.1.69.

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From ancient times the deity in charge of rain was the dragon god. The dragon was established according to the influence of the five emperor gods [五帝] and five spirits [五靈] of the Five Elements [五行] theory during the Warring States period, and was worshiped as the Five Dragon God. During the Tang Dynasty, private dragon ancestral rites were officially recognized and incorporated into official proper ritual [正祀], while the king’s titles were conferred thereby. The state tried to unite the local people and control the order of rural villages by incorporating the model of dragon faith into the vi

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10

Choi, Chi-cheung. "Beyond hegemony and sisterhood: transnational Tianhou-Mazu cult in East Asia." Asian Education and Development Studies 9, no. 1 (2019): 26–36. http://dx.doi.org/10.1108/aeds-01-2018-0014.

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Purpose Studies of Tianhou-Mazu cult have been focused on three themes: studies in Taiwan emphasize hegemonic order; studies in Hong Kong reveal a relationship of “sisterhood” alliances; and studies in Singapore highlight the important role of ethnic groups. The rebuilding of the goddess’s ancestral temple in early 1980s and her acquiring a world intangible cultural heritage status in the early twenty-first century facilitate the redefinition of overseas Chinese’s religious affiliation. The purpose of this paper is to discuss this global development of the cult from the 1980s and its ritual im

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Dissertations / Theses on the topic "Mazu (Chinese goddess)"

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Han, Hui-Ching, and 韓慧菁. "The Retelling/Adapting of the Stories of Mazu, the Chinese Goddess of the Sea." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/62645651084182422174.

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碩士<br>國立臺東大學<br>兒童文學研究所<br>102<br>The purpose of this thesis was to examine how the text, form and content were presented in the children’s readers which retold/adapted the stories of Mazu, the Chinese Goddess of the sea, and were published specifically in Taiwan within thirty years. The target materials under investigation were retold/adapted stories related to Mazu’s life, legends, anecdotes, background and the Pilgrimage. Whatever the writing forms might be, these readers were meant to praise good deeds and virtues, secularize Mazu’s benevolence, highlight how immigrants were connected in

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Books on the topic "Mazu (Chinese goddess)"

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Wu, Huanchu. Tianfei niang ma zhuan: [32 hui]. Shanghai gu ji chu ban she, 1990.

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2

Wu, Huanchu. Tian fei Niang ma zhuan. Shanghai gu ji chu ban she, 1990.

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3

Shuxia, Ma, ed. Quan xiang Mazu: QuangxiangMazu. Jiangxi mei shu chu ban she, 2006.

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4

1938-, Denk Ludwig, Lin Zhixin 1936-, and Staatliches Museum für Völkerkunde München, eds. Mazu: Chinesische Göttin der Seefahrt : Dargestellt an der Holzschnittfolge Die feierliche Begrüssung der Mazu von Lin Chih-hsin ; begleitet von Pilgerstäben des Künstlers Ludwig Denk. Hirmer Verlag, 2009.

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5

Mazu xin yang yu Taiwan she hui. Bo yang wen hua shi ye you xian gong si, 2006.

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Book chapters on the topic "Mazu (Chinese goddess)"

1

Nyitray, Vivian-Lee. "Becoming the Express of Heaven." In Goddesses Who Rule. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780195121308.003.0011.

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Abstract Throughout cultural China, the goddess Tianhou (Empress of Heaven) ranks second only to the Buddhist bodhisattva Guanyin as a female object of popular devotion. Her cult originated in the southeastern coastal province of Fujian and it gradually spread outward, first to other Chinese coastal communities and then via migration and trade routes to Korea, Japan, Taiwan, Southeast Asia, Europe, and the Americas.1 Owing to the vagaries of history and hagiography, the goddess is known in South China by her final enshrinement title of Tianhou (often romanized from Cantonese as Tin Hau), where

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2

Liao, Hsin-Tien. "Ju Ming (1938–)." In Routledge Encyclopedia of Modernism. Routledge, 2018. http://dx.doi.org/10.4324/9781135000356-rem2046-1.

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Ju Ming, also known as Ju Chuantai, is one the most prominent Taiwanese sculptors to have emerged in the latter half of the twentieth century. Born in Miaoli County in northern Taiwan, he originally trained in wood sculpture, carving traditional figures such as those of the Buddha and Mazu, the sea goddess. In 1968, he decided to shift his focus to the depiction of modern themes. He studied with the famous sculptor Yang Yuyu, who suggested he change his name from Ju Chuantai to Ju Ming to signify this change in artistic direction. Ju’s early works explored aspects of Taiwanese folk life, often

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