The Gate of the Ghosts (simplified: 鬼门关; traditional: 鬼門關), or Devil’s Gate, Demon Gate, known as Guimen guan in Chinese, is a pass in the Underworld in Chinese mythology.
Gates of Hell at Fengdu Ghost City, Chongqing, China.
The gate is a pailou (also known as a paifang, a traditional style of Chinese architectural arch or gateway structure) with the words “Gate of the Ghosts” written on the horizontal plaque. Legend has it that on their way to the Ghost Country, the dead must pass through this gate.
The Gate of the Ghosts plays a significant role during the Ghost Festival, which is celebrated in the seventh month of the lunar calendar in Asian countries such as China. According to Chinese mythology, every year on July 1, the King of Hell opens the Gates of the Ghosts to allow those who have suffered and been imprisoned in hell to exit there. The ghosts have a short chance to wander on earth and enjoy the living world. The gate closes at the end of July, which is therefore considered an unlucky month. Tradition says that people should neither get married or move to a new home during July.
Traditionally, during this time, people would worship and conjure their deceased relatives by burning money, ingots and paper candles, putting up river lanterns, and in other ways to pray for the blessing of the ancestors. These actions are believed to help eliminate disasters and increase blessings, or to save the dead and resolve grievances. Today, the Ghost Festival has become a traditional virtue of filial piety in Chinese culture. Inhabitants of Northern China still burn paper money during the festival to pay homage to their ancestors and express their longing for their loved ones.
Wikipedia symbol for Chinese Folk Religion series.with the following: a stylised 禄 lù and/or 子 zi character, meaning respectively “prosperity”, “furthering”, “welfare” and “son”, “offspring”. 字 zì, meaning “word” and “symbol”, is a cognate of 子 zi and represents a “son” enshrined under a “roof”. Lùxīng (禄星 “Star of Prosperity”) is Mizar (ζ Ursae Majoris) of the Big Dipper or Chariot constellation (within Ursa Major) which rotates around the north celestial pole; it is the second star of the “handle” of the Dipper. Zi was the name of the royal lineage of the Shang dynasty, and is itself a representation of the north celestial pole and its spinning stars (Didier, p. 191 and passim). Likewise to the Eurasian swastika symbols, representations of the supreme God manifesting as the north celestial pole and its Chariot (Assasi, passim; Didier, passim), the lu or zi symbol represents the ordering manifestation of the supreme God of Heaven (Tiān 天) of the Chinese tradition. Luxing is conceived as a member of two clusters of gods, the Sānxīng (三星 “Three Stars”) and the Jiǔhuángshén (九皇神 “Nine God-Kings”). The latter are the seven stars of the Big Dipper plus two less visible ones thwartwise the “handle”, and they are conceived as the ninefold manifestation of the supreme God of Heaven, which in this tradition is called Jiǔhuángdàdì (九皇大帝, “Great Deity of the Nine Kings”) (Cheu, p. 19), Xuántiān Shàngdì (玄天上帝 “Highest Deity of the Dark Heaven”) (DeBernardi, pp. 57–59), or Dòufù (斗父 “Father of the Chariot”). The number nine is for this reason associated with the yang masculine power of the dragon, and celebrated in the Double Ninth Festival and Nine God-Kings Festival (DeBernardi, pp. 57–59). The Big Dipper is the expansion of the supreme principle, governing waxing and life (yang), while the Little Dipper is its reabsorption, governing waning and death (yin) (Cheu, p. 19; DeBernardi, pp. 57–59). The mother of the Jiuhuangshen is Dǒumǔ (斗母 “Mother of the Chariot”), the female aspect of the supreme (Cheu, p. 19; DeBernardi, pp. 57–59). Source#1: Didier, John C. (2009). “In and Outside the Square: The Sky and the Power of Belief in Ancient China and the World, c. 4500 BC – AD 200”. Sino-Platonic Papers. Victor H. Mair (192). Volume II: Representations and Identities of High Powers in Neolithic and Bronze China Source #2: Assasi, Reza (2013). “Swastika: The Forgotten Constellation Representing the Chariot of Mithras”. Anthropological Notebooks (Supplement: Šprajc, Ivan; Pehani, Peter, eds. Ancient Cosmologies and Modern Prophets: Proceedings of the 20th Conference of the European Society for Astronomy in Culture). Ljubljana: Slovene Anthropological Society. XIX (2). ISSN 1408-032X. Source#3: Cheu, Hock Tong (1988). The Nine Emperor Gods: A Study of Chinese Spirit-medium Cults. Time Books International. ISBN 9971653850. Source#4: DeBernardi, Jean (2007). “Commodifying Blessings: Celebrating the Double-Yang Festival in Penang, Malaysia and Wudang Mountain, China”. In Kitiarsa, Pattana. Religious Commodifications in Asia: Marketing Gods. Routledge. ISBN 113407445X Source #5: Ma Pilar Burillo-Cuadrado (2014). “The Swastika As Representation Of The Sun Of Helios And Mithras”. Mediterranean Archaeology and Archaeometry, Vol. 14, No 3, pp. 29-36 Source #6: A reconstruction of Zhū Xī’s religious philosophy inspired by Leibniz :the natural theology of heaven (2014). Archived from the original on 2021-05-14. Retrieved on 18 January 2022.
and this one is called Zhenkong, “Void of Truth”. – Symbol used by Hubert Seiwert’s work Popular Religious Movements and Heterodox Sects in Chinese History to represent the central idea of the Chinese salvationist sects or folk sects: the absolute principle of the universe/being as Wusheng Laomu (“Unborn Ancient Mother”) or Zhenkong (“Emptiness”).