[{"@context":"http:\/\/schema.org\/","@type":"BlogPosting","@id":"https:\/\/wiki.edu.vn\/en\/wiki40\/shentu-deity-wikipedia\/#BlogPosting","mainEntityOfPage":"https:\/\/wiki.edu.vn\/en\/wiki40\/shentu-deity-wikipedia\/","headline":"Shentu (deity) – Wikipedia","name":"Shentu (deity) – Wikipedia","description":"Shentu or Shenshu (Chinese: \u795e\u837c) and Yul\u00fc or Yulei (simplified Chinese: \u90c1\u5792; traditional Chinese: \u9b31\u58d8) are a pair of deities","datePublished":"2019-03-14","dateModified":"2019-03-14","author":{"@type":"Person","@id":"https:\/\/wiki.edu.vn\/en\/wiki40\/author\/lordneo\/#Person","name":"lordneo","url":"https:\/\/wiki.edu.vn\/en\/wiki40\/author\/lordneo\/","image":{"@type":"ImageObject","@id":"https:\/\/secure.gravatar.com\/avatar\/c9645c498c9701c88b89b8537773dd7c?s=96&d=mm&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/c9645c498c9701c88b89b8537773dd7c?s=96&d=mm&r=g","height":96,"width":96}},"publisher":{"@type":"Organization","name":"Enzyklop\u00e4die","logo":{"@type":"ImageObject","@id":"https:\/\/wiki.edu.vn\/wiki4\/wp-content\/uploads\/2023\/08\/download.jpg","url":"https:\/\/wiki.edu.vn\/wiki4\/wp-content\/uploads\/2023\/08\/download.jpg","width":600,"height":60}},"image":{"@type":"ImageObject","@id":"https:\/\/wiki.edu.vn\/wiki4\/wp-content\/uploads\/2023\/08\/download.jpg","url":"https:\/\/wiki.edu.vn\/wiki4\/wp-content\/uploads\/2023\/08\/download.jpg","width":100,"height":100},"url":"https:\/\/wiki.edu.vn\/en\/wiki40\/shentu-deity-wikipedia\/","about":["Wiki"],"wordCount":7002,"articleBody":"Shentu  or Shenshu (Chinese: \u795e\u837c) and Yul\u00fc or Yulei (simplified Chinese: \u90c1\u5792; traditional Chinese: \u9b31\u58d8) are a pair of deities in Chinese mythology who punished evil spirits by binding them in reed ropes and feeding them to tigers. Their images together with reed rope seasonally adorned the doors or gates to ward off evil, and are considered the earliest examples of Menshen (\u9580\u795e, ‘gate deities’ or ‘door gods’) venerated under such practice. Later traditions identified other gods or deified people as gate deities.The description dates to writings from the 1st and 2nd centuries AD, during the Eastern Han dynasty, and the attribution to the Classic of Mountains and Seas dating much earlier appears to be spurious.Table of ContentsEarly sources[edit]Later history[edit]Explanatory notes[edit]References[edit]Early sources[edit]The earliest record of Shentu and Yul\u00fc occurs in a passage quoted from Shanhaijing (\u5c71\u6d77\u7d93; Classic of Mountains and Seas) in Wang Chong (d., c. 97 AD)’s Lunheng (\u8ad6\u8861, “Discourses in the Balance”), although the passage is not found in surviving recensions of the Shanhajing,[1] and the attribution to the earlier work is disputed.[3]The passage records the myth that two gods Shentu  (or Shenshu;[4]Chinese: \u795e\u837c) and Yul\u00fc (simplified Chinese: \u90c1\u5792; traditional Chinese: \u9b31\u58d8)[a] stand upon a giant peach tree that “twists and coils as far as 3000 li”.[b] At the tree’s north-east was the ghost gate (guimen\u00a0[zh]; \u9b3c\u9580; also ‘gate of the spirits of the dead [demons]’). At the ghost gate, the two gods inspected the transit of countless dead spirits, and the evil-deeded ones they bound with reed rope and fed to tigers. This gave rise to the custom, allegedly set forth by the Yellow Emperor (Huangdi), that at the change of seasons, giant peachwood dolls shall be erected, the two gate gods and the tiger be painted on doors, and a reed rope be left to hang, in order to ward against evil.[9][10][5]The account is repeated with slightly differing wording elsewhere[12] and instead of invoking the legendary Hunagdi, it is stated that the “district office” (i.e., the Han Dynasty administration) practices the use of peachwood figures and gate paintings for apotropaic use.[4]Cai Yong (\u8521\u9095 d. 192)’s Duduan, (\u7368\u65b7; ‘Soitary decisions[?]’ on ceremonial matters) is another source [13] which contains a mostly identical passage,[14][15] and another corroborative source of this period, Ying Shao’s Fengsu Tongyi (c. 195)[1][2] also provides a similar description.[c][16][17][18][d] These sources add that the decorations are put up on New Year’s Eve, or to quote more literally “the night before the La rites”[20][17] (La \u81d8; held at the end of the year; precursor of Laba Festival). The peach figures, also called taogeng (\u6843\u6897)[17] are wood carvings.[e][22][20]This legend has been commented on as the traceable origin myth for the cult of the posting of the Menshen gate deities,[24] and in later times, different deities have superseded them as gate gods to a large measure,[18] but regionally, Shentu and Yul\u00fc still continue to be employed as the New Year’s guardian gate gods.[1][6]Later history[edit]The carven peachwood figures (taogeng, etc.) were later simplified using peachwood boards, known as peach[wood] charms (taofu; Chinese: \u6843\u7b26), and portraits of Shentu and Yul\u00fc were drawn on the boards, or their names written on them.[25]Later in the 8th century, it has been held the Taizong of the Tang Dynasty (second emperor and co-founder of dynasty) appointed his generals Qin Qiong and Yuchi Gong to serve as personal bodyguards to protect him from evil spirits, which later led to the popular custom of using the generals as the gate deities.[1][26] However, by the 9th century, they were replaced by Zhong Kui (\u9418\u9997), the famed ghost catcher (demon-queller).[26]couplets (lian; Chinese: \u806f) began to be written on the taofu boards around the 10th century.The taofu, according to a 13th-century description, was a thin planks 4\u20135 cun (\u2248inches) wide and 2\u20133 chi (\u2248feet) long, inscribed with the name of Yul\u00fc on the left and Shentu on the right, garnished with pictures of deities and mythical beasts, the lion-like suanni\u00a0[zh] (\u72fb\u730a) and the ox-like baize (\u767d\u6fa4). Spring (New Year) greetings and propitiatory words were also added to it. The boards were replaced every new year.[29]The peach boards were eventually replaced by paper, and became the precursor of the modern day chunlian (\u6625\u806f; \u6625\u8054, “spring couplets”).[25][30]The Qing Dynasty period scholar Yu Zhengxie (Guisi cungao \u7678\u5df3\u5b58\u7a3f, Book 13) conjectured that originally there were not two door  gods, but perhaps one, though this was evidently based on a misinterpretation of the quote from a classic work.[f][31] But the question of 1 god or 2 as a moot argument for Yu, whose main thesis was that the gate gods Shentu and Yul\u00fc originated from the concept of the “peachwood mallet\/hammer” (taozhui or taochui; \u6311\u690e).[32]Explanatory notes[edit]^ Wade\u2013Giles:Shen-t’u and Y\u00fc-l\u00fc.[5]^ “twists and coils” (verb qupan, \u5c48\u87e0). Hence the peach is identifiable with the famed “coiling peach tree” (pantao; \u87e0\u6843),[6][7] i.e. the tree of the peaches of immortality.^ The Fengsu Tongyi claims to quote from the Huangdi shu “Book of the Yellow Emperor”, aka Huangdi Sijing.^ “Shen Tu” “Yu Lei” are the readings of the names of gods by Ptak.[18]^ Zhan Guo Ce (\u6230\u570b\u7b56; ‘Strategies of the Warring States’), quoted in the Fengsu Tongyi entry.[17] The quote represents a fictitious dialogue between a clay figure (Chinese: \u571f\u5076) and a peachwood figure (taogeng), used as parable by Su Qin discourage Lord Mengchang from invading Qin. The taogeng is peach wood carved into human form (Japanese: “\u6843\u306e\u6728\u3092\u523b\u524a\u3057\u3066\u4eba\u306e\u5f62”), as this source states.[22][23]^ Sima Biao’s Continuation of the Book of Han\u00a0[ja] or Xu han shu, “History of Etiquettes” \u793c\u4eea\u5fd7.References[edit]Citations^ a b c d Yang, Lihui; An, Deming; Turner, Jessica Anderson (2005). “Shentu”. Handbook of Chinese Mythology. Oxford University Press. pp.\u00a0200\u2013203. ISBN\u00a0978-1-57-607806-8.^ a b c Hojo, Katsutaka (May 2013), “Yasei no ronri\/chiby\u014d no ronri: okori chiry\u014d no ichi jufu kara” \u91ce\u751f\u306e\u8ad6\u7406\uff0f\u6cbb\u75c5\u306e\u8ad6\u7406\u2015\u3008\u7627\u3009\u6cbb\u7642\u306e\u4e00\u546a\u7b26\u304b\u3089\u2015, Nihon bungaku (in Japanese), \u5927\u962a\u5e9c\u7acb\u5927\u5b66\u4eba\u6587\u5b66\u4f1a, 62 (5: Special issue, Nature and f\u016bdo[climate] as environment): 46\u201347^ “[The passage is] not given in the current [extant] Shanhajing, and according to Minoru Matsuda who analyzed the expressions and contents in details, it considering it as to be a lost text [from it] would be difficult. \u73fe\u884c\u300e\u5c71\u6d77\u7d4c\u300f\u306b\u306f\u8a18\u8f09\u304c\u306a\u304f\u3001\u8868\u73fe\u3084\u5185\u5bb9\u3092\u8a73\u7d30\u306b\u691c\u8a0e\u3057\u305f\u677e\u7530\u7a14\u6c0f\u306b\u3088\u308b\u3068\u3001\u305d\u306e\u9038\u6587\u3068\u3082\u8003\u3048\u306b\u304f\u3044”.[2]^ a b Yan, Changgui (2017), “5 Daybooks and the Spirit World”,  in Harper, Donald; Kalinowski, Marc (eds.), Books of Fate and Popular Culture in Early China: The Daybook Manuscripts of the Warring States, Qin, and Han, Handbook of Oriental Studies. Section 4 China, volume 33, BRILL, p.\u00a0230, ISBN\u00a09789004349315^ a b Antoni, Klaus (1982), “Death and Transformation: The Presentation of Death in East and Southeast Asia” (PDF), Asian Folklore Studies, Nanzan University, 41 (2): 148, doi:10.2307\/1178120, JSTOR\u00a01178120 Translation curtailed at “tiger”, in Wade-Giles phonetics.^ a b Shimada, Hidemasa (March 2003), “Ch\u016bgoku bunka no naka ni okeru t\u014dri to Atomi Kakei” \u4e2d\u56fd\u6587\u5316\u306e\u4e2d\u306b\u65bc\u3051\u308b\u6843\u674e\u3068\u3001\u8de1\u898b\u82b1\u8e4a [Symbolic Meaning of ‘Peach-and-Plum’ \u3000in Chinese Culture and the Attitude as Educationalist of Kakei Atomi (1840-1926)], Journal of Atomi University Faculty of Literature (in Japanese) (36): 27^ For a literal translation of pantao as “coiling peach tree” (and allusion the famous theft of the peach by Dongfang Shuo from the garden of Xiwangmu, Queen Mother of the West) see Lockhart, J. H. Stewart (1907), The Currency of the Farther East from the Earliest Times Up to the Present Day, vol.\u00a01, Hong Kong: Noronha & Company, p.\u00a0185^ Wang Chong \u738b\u5145 (nd) [c. 85], “Dinngui, chapter 65″ \u8a02\u9b3c\u7bc7\u7b2c\u516d\u5341\u4e94, Lunheng \u8ad6\u8861 [Discourses in the Balance] (in Chinese) \u2013 via Wikisource, \u300a\u5c71\u6d77\u7d93\u300b\u53c8\u66f0\uff1a\u6ec4\u6d77\u4e4b\u4e2d\uff0c\u6709\u5ea6\u6714\u4e4b\u5c71\u3002\u4e0a\u6709\u5927\u6843\u6728\uff0c\u5176\u5c48\u87e0\u4e09\u5343\u91cc\uff0c\u5176\u679d\u9593\u6771\u5317\u66f0\u9b3c\u9580\uff0c\u842c\u9b3c\u6240\u51fa\u5165\u4e5f\u3002\u4e0a\u6709\u4e8c\u795e\u4eba\uff0c\u4e00\u66f0\u795e\u837c\uff0c\u4e00\u66f0\u90c1\u58d8\uff0c\u4e3b\u95b1\u9818\u842c\u9b3c\u3002\u60e1\u5bb3\u4e4b\u9b3c\uff0c\u57f7\u4ee5\u8466\u7d22\u800c\u4ee5\u98df\u864e\u3002\u65bc\u662f\u9ec3\u5e1d\u4e43\u4f5c\u79ae\u4ee5\u6642\u9a45\u4e4b\uff0c\u7acb\u5927\u6843\u4eba\uff0c\u9580\u6236\u756b\u795e\u837c\u3001\u90c1\u58d8\u8207\u864e\uff0c\u61f8\u8466\u7d22\u4ee5\u5fa1\u51f6\u9b45\u3002 “\u90c1\u58d8” rect\u00e9 “\u6b1d\u58d8“^ Lunheng, “Dinggui [Defining ghosts] \u8a02\u9b3c\u7bc7“.[8]^ Ma, Boying (2020), A History Of Medicine In Chinese Culture (In 2 Volumes), World Scientific, p.\u00a097, ISBN\u00a09789813238008^ Wang Chong \u738b\u5145 (nd) [c. 85], “Luanlong, chapter 47″ \u4e82\u9f8d\u7bc7\u7b2c\u56db\u5341\u4e03, Lunheng \u8ad6\u8861 [Discourses in the Balance] (in Chinese) \u2013 via Wikisource, \u4e0a\u53e4\u4e4b\u4eba\uff0c\u6709\u795e\u837c\u3001\u90c1\u58d8\u8005\uff0c\u6606\u5f1f\u4e8c\u4eba\uff0c\u6027\u80fd\u57f7\u9b3c\uff0c\u5c45\u6771\u6d77\u5ea6\u6714\u5c71\u4e0a\uff0c\u7acb\u6843\u6a39\u4e0b\uff0c\u7c21\u95b1\u767e\u9b3c\u3002\u9b3c\u7121\u9053\u7406\uff0c\u5984\u70ba\u4eba\u798d\uff0c\u837c\u8207\u90c1\u58d8\u7e1b\u4ee5\u76e7\u7d22\uff0c\u57f7\u4ee5\u98df\u864e\u3002\u6545\u4eca\u7e23\u5b98\u65ac\u6843\u70ba\u4eba\uff0c\u7acb\u4e4b\u6236\u5074\uff1b\u756b\u864e\u4e4b\u5f62\uff0c\u8457\u4e4b\u9580\u95cc\u3002\u592b\u6843\u4eba\u975e\u837c\u3001\u90c1\u58d8\u4e5f\uff0c\u756b\u864e\u975e\u98df\u9b3c\u4e4b\u864e\u4e5f\uff0c\u523b\u756b\u6548\u8c61\uff0c\u5180\u4ee5\u5fa1\u51f6\u3002\u4eca\u571f\u9f8d\u4ea6\u975e\u81f4\u96e8\u4e4b\u9f8d\uff0c\u7368\u4fe1\u6843\u4eba\u756b\u864e\uff0c\u4e0d\u77e5\u571f\u9f8d\u3002\u4e5d\u4e5f\u3002^ Lunheng, “Luanlong [Discussing on dragons] \u4e82\u9f8d\u7bc7“.[11]^ Hojo, citing Cai Yong’s Duduan (\u7368\u65b7\/\u72ec\u65ad \u4e0a\u5dfb \u75ab\u795e)[2]^ Duduan (\u7368\u65b7): “\u6d77\u4e2d\u6709\u5ea6\u6714\u5c71..” Mizuno (2008), p. 115, n28; compare with the Lunheng\/Shanhaijing text on p. 114\u2013115, n27.^ Saso (1965), p.\u00a041 (English paraphrase), p. 51 (text).^ Mizuno (2008), p.\u00a0105, citing Fengsu Tongyi, “Sidian \u7940\u5178 [Chapter] 8″.^ a b c d Ying Shao \u61c9\u52ad (c. 195), “8”, Fengsu tongyi \u98a8\u4fd7\u901a\u7fa9 [Comprehensive Meaning of Customs] (in Chinese) \u2013 via Wikisource^ a b c Ptak, Roderich (2017), “Qianliyan und Shunfeng’er in Xiaoshuo und anderen Texten der Yuan- und Ming-zeit”,  in Hoster, Barbara; Kuhlmann, Dirk; Wesolowski, Zbigniew (eds.), Rooted in Hope: China \u2013 Religion \u2013 Christianity Vol 2: Festschrift in Honor of Roman Malek S.V.D. on the Occasion of His 65th Birthday, Monumenta Serica Monograph Series 68 (in German), Taylor & Francis, p.\u00a0587, ISBN\u00a09781351672603^ a b Chapman, Ian, ed. (2014), “28 Festival and Ritual Calendar: Selections from Record of the Year and Seasons of Jing-Chu“, Early Medieval China: A Sourcebook, Wendy Swartz; Robert Ford Campany; Yang Lu: Jessey Choo (gen. edd.), Columbia University Press, p.\u00a0475, ISBN\u00a09780231531009^ a b Nakamura, Takashi [in Japanese] (February 1976), “Shunren to monshin: Ch\u016bgoku no nenj\u016b gy\u014dji ni kansuru oboegaki” \u6625\u806f\u3068\u9580\u795e\u2500\u4e2d\u570b\u306e\u5e74\u4e2d\u884c\u4e8b\u306b\u95dc\u3059\u308b\u61b6\u3048\u66f8\u304d, The journal of cultural sciences: Ritsumeikan bungaku (367\u00b7368): 3, JSTOR\u00a01178120^ Crump, J. I., Jr. (1964), Intrigues: Studies of the Chan-kuo Ts\u02bbe, University of Michigan Press, p.\u00a013, ISBN\u00a09780608306742, But you are only a knot of peachwood from the eastern kingdoms which someone has cut and shaved in the image of man.^ Thornton, Patricia M. (July 2002), “Insinuation, Insult, and Invective: The Threshold of Power and Protest in Modern China”, Comparative Studies in Society and History, 44 (3): 601, doi:10.1017\/S0010417502000270, JSTOR\u00a03879381, S2CID\u00a0145256755, The posting of so-called gate-gods (menshen) is traced to a legend recorded in the Han Duduan..^ a b Beijing Foreign Languages Press (2012), Chinese Auspicious Culture, Shirley Tan (tr.), Asiapac Books, pp.\u00a023\u201324, ISBN\u00a09789812296429^ a b Liao, Kaiming (1994), Chinese Modern Folk Paintings, vol.\u00a01, Science Press, p.\u00a03, ISBN\u00a09787030042101^ Chen Yuanjing [in Chinese] (1879) [c.1250], “xietaopan, Book Five” \u5beb\u6843\u7248. \u5dfb\u7b2c\u4e94, Suishiguangji \u6b72\u6642\u5ee3\u8a18 (in Chinese), \u6b78\u5b89\u9678\u6c0f^ Chen Yuanjing (13c.), Suishiguangji (\u6b72\u6642\u5ee3\u8a18, \u201cExtensive records of the [Four] Seasons\u201d), Book Five, article on “xietaopan \u5beb\u6843\u7248 “.[28] Cited by Shimada (2003), p.\u00a0105^ Akita (1944), p.\u00a0293; Nakamura (1976), p.\u00a014\u201315; Shimada (2003), p.\u00a035, n28^ Hu, Xinsheng (1998), Zhongguo gu dai wu shu \u4e2d\u56fd\u53e4\u4ee3\u5deb\u672f, \u5c71\u4e1c\u4eba\u6c11\u51fa\u7248\u793e, p.\u00a03, ISBN\u00a09787209023252, \u300a\u7eed\u6c49\u4e66\u00b7\u793c\u4eea\u5fd7\u300b..\u6e05\u4eba\u4fde\u6b63\u71ee\u56e0\u4e3a\u8be5\u4e66\u53ea\u63d0\u90c1\u5792\u672a\u63d0\u795e\u8336,\u4fbf\u8ba4\u4e3a\u6c49\u4ee3\u95e8\u795e\u53ea\u6709\u4e00\u4f4d,\u8fd9\u662f\u8bef\u89e3\u3002^ Mori, Mikisaburo [in Japanese] (1944), “\u6843\u690e”+\u795e\u837c Shina kodai shinwa 0 \u652f\u90a3\u53e4\u4ee3\u795e\u8a71, Taigado, p.\u00a0281BibliographyAkita, Shigeaki (September 1944), “Dosakusan densetsu k\u014d: momo no zokushin” \u5ea6\u6714\u5c71\u4f1d\u8aac\u8003\u2015\u6843\u306e\u4fd7\u4fe1\u2015, Shinagaku, 13 (3): 289\u2013303, doi:10.24729\/00004460Mizuno, Aki (2008), “Arai Hakuseki Kimonsetsu ni tsuite: honkoku to ch\u016bkai” \u65b0\u4e95\u767d\u77f3\u300e\u9b3c\u9580\u8aac\u300f\u306b\u3064\u3044\u3066\u00a0: \u7ffb\u523b\u3068\u6ce8\u89e3, The Humanities Jimmongaku ronshu (in Japanese), Society of Humanities, Osaka Prefecture University, 26 (Retiring Prof. Kohei Hiraki festschrift): 97\u2013117, doi:10.24729\/00004460Saso, Michael (1965), “Chinese new year’s customs in Taiwan”, Journal of the China Society, 4: 37\u2013"},{"@context":"http:\/\/schema.org\/","@type":"BreadcrumbList","itemListElement":[{"@type":"ListItem","position":1,"item":{"@id":"https:\/\/wiki.edu.vn\/en\/wiki40\/#breadcrumbitem","name":"Enzyklop\u00e4die"}},{"@type":"ListItem","position":2,"item":{"@id":"https:\/\/wiki.edu.vn\/en\/wiki40\/shentu-deity-wikipedia\/#breadcrumbitem","name":"Shentu (deity) – Wikipedia"}}]}]