Dragon Tiger Gate Hindi Dubbed Movie Download 720p
Gwenda Gronert
Ha Jinsung-style Piercing Technique, Transcendental Skill: Dragon Tiger Gate - Ultimate Floral Butterfly Piercing Technique is one of Ha Jinsung's most powerful techniques. It appears to be a more powerful version of Jinsung's Extreme Floral Butterfly Piercing Technique.
When first preparing this technique, Jinsung emits streaks of yellow shinsu from his left hand and orange-red shinsu from his right hand. He then utters the phrase "A dragon in one hand. A tiger in other". The user then puts their hands on the target and twists them. This technique disrupts the flow of shinsu in the target's body, much like Jinsung's Floral Butterfly Piercing Technique does. In the last phase of this technique there appear vivid projections of a dragon and a tiger.
There were some preliminary ritual entertainments for devotees and temple members to watch including lion dances and a dragon dance while more serious though less spectacular rituals were being performed elsewhere. Inside the temple, four tang-ki went into trance, two visiting tang-ki and the two temple owners. The male tang-ki tranced Jigong, Lotus Flower San Tai Zi, the Iron Axe Marshal Tiefu Yuanshuai and Lin Fu Wang Ye, and the female tang-ki, Guan Yin (Figure 2).
The primary ritual on the second day was therefore sending off the Jade Emperor, though individual consultations, healing, purification, and luck changing rituals were performed by the tang-ki throughout the day. I queried why the lesser ranked Generals of the Five Directions were invited every day and the Jade Emperor only for a single day, and it was explained that the Jade Emperor had far too many responsibilities to be present for the whole five days, the important thing being that all planned activities had been reported to him and acknowledged in advance.
After all twelve animal signs had crossed, led by the Taoist priest and temple members, everyone crossed for a second time carrying eleven incense sticks which were then taken into the temple to pay respects at the eleven censers dedicated to different temple deities. In order these include Xuantian Shangdi represented by the orh leng; the Jade Emperor; Shancai Tongzi and other Heavenly deities (the main censer); the One Thousand Armed Guan Yin; the Generals of the Five Directions; the year god Tai Sui; the Underworld pantheon, most prominent of which are the City God Cheng Huang, Tua Ya Pek and Di Ya Pek; the Hindu deity Ganesh; the Malay Datuk Gong; the Tiger God representing wealth, and lastly two dogs guarding the Heavenly and Underworld altars (Figure 17).
Meanwhile, outside, the Taoist priest dismantled the pingan bridge with a sword whose blade was inlaid with stones representing the stars of the Big Dipper. After the ritual items had been removed and the deities informed to return to the temple, the bridge was lifted a foot in the air and dropped, the sudden crash breaking the link between the human and spirit worlds (Figure 18).
For most participants, the chao du ceremony for ancestors was the most important element of the five-day event. For those with recently deceased relatives, it represented a way of making sure that they made a speedy passage through the Underworld to their next incarnation, and for others, a way of showing respect to their ancestors and of gaining extra blessings from them in return for offerings. While initial preparations were being made for the chao du on the fifth day, rituals were held on day four for the younger generations to help them focus on their school work and to pass their exams.
There had been a Chinese opera and puppet performances playing for the first three days, and his next task was to ritually dismantle their stage, removing the talisman placed there to protect the performers who it is believed may become possessed by the deities or historic characters that they or their puppets portray. In common with dismantling the pingan bridge, the talisman attached to it were burned, the deities they represented sent back to the temple, and then the stage was lifted and allowed to crash on the floor (Figure 22).
Di Ya Pek then dedicated the remainder of the day to drinking with temple members, happily pouring Martel Cordon Bleu down their throats. Outside the temple, the preparations for the chao du continued, houses for both ancestors and wandering spirits were set up outside the temple entrance for the spirits to stay in overnight while awaiting the chao du offerings. The buildings were segregated with males and females each being allotted one floor, and at the end of the houses there were washrooms for all the spirits to use. As with food offerings, incantations to multiply their size in the spirit world were employed meaning that there was no correlation between the size of the actual paper building and the accommodation allotted for the use of ancestors and wandering spirits (Figure 23).
The fifth morning was spent filling the tables with offerings to ancestors while at a separate altar, three priests chanted scriptures allowing for the post-mortem forgiveness of sins. The tables for offerings were set up immediately in front of a tent dedicated to Underworld deities, logic dictating that Underworld deities were best positioned to speed up processes happening in the Underworld. Their tent, as is usual in Singapore, was lit by black lights as Underworld deities are not accustomed to sunlight, and it contained statues of the primary Underworld deities as well as amusements for them including mah-jong, cards, alcohol and gambling chips. On the main altar were placed Bao Gong who is associated with judgement, Cheng Huang the City God, and from the Buddhist pantheon the bodhisattva Dizangwang Pusa who renounced enlightenment until the Underworld has been emptied of souls. Placed along the two remaining closed sides of the tent were the twenty-four helpers of Cheng Huang whose job is to record the deeds of every individual so that correct punishments can be inflicted in the afterlife (Figure 24).
The final day of celebrations was focussed on the annual banquet which functions both to raise money for the coming year through auctioning sacred objects, and as a means of networking as many of the banquet tables had been booked by other spirit medium temples. The banquet was held in a car park in front of the building where the temple is housed, and about one thousand people attended. Looking back to the first photo in this ethnography, that of the Generals of the Five Directions, for the auction, the clothes being worn by the deity statues were removed and each placed on a large pile of joss money, and along with the corresponding small hand painted talisman, sold individually for in excess of one thousand Singapore dollars each (Figure 31).
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