# data[].attributes.body
Strengths Analysis

In these two pieces, I successfully employed visual metaphors to explore Wong Tai Sin's predicament in modern society. "X-Ray Diagnosis Report" adopts the imagery of medical scans to depict his "indigestion" caused by digital offerings, allowing the audience to viscerally experience the impact of fast-food-like worship practices. The X-ray visual metaphor makes his suffering tangible, deconstructing his divine sanctity and reinforcing the critique of faith's modernization.

"Divine Imbalance" utilizes a newspaper-style composition, lending a documentary-like realism to the crisis of faith. The chaotic red spirals, glitch-like distortions, and data crashes enhance the sense of disorder, immersing the viewer in Wong Tai Sin’s struggle against digital interference. The e-offering system's collapse symbolizes not just technical failure but also the imbalance and exhaustion of faith itself.

Additionally, my work critically reflects on the real-world shift towards virtual worship, digital transactions, and algorithm-driven religious engagement. These elements make the artwork socially relevant, urging viewers to question whether faith still retains its sanctity in an age of digitization.

Areas for Improvement

While the works effectively convey the crisis of faith, there is room for refinement in visual storytelling. In "X-Ray Diagnosis Report," the digital offerings could be more seamlessly integrated into Wong Tai Sin's anatomy, perhaps making QR codes appear parasitic rather than simply layered over his bones. This would strengthen the idea of digital offerings infiltrating his body.

For "Divine Imbalance," while the newspaper format enhances credibility, some elements may appear overly dense, requiring viewers to spend more time decoding information. Simplifying the composition by emphasizing key visuals, such as intensifying the server crash imagery, could improve readability and impact.

Furthermore, while my critique of digital worship is evident, I could further explore the loss of traditional worship and its potential evolution. Incorporating faded temples, abandoned rituals, or symbolic remnants of traditional practices would add emotional depth and present a more holistic view of Wong Tai Sin’s crisis.

# data[].attributes.body
M+ Museum (2023) Digital Deities: The Evolution of Worship in Asia [Exhibition]. Hong Kong: M+ Museum.

Explores the intersection of technology and traditional faith, including the role of Wong Tai Sin in digital worship.

Taipei Museum of Contemporary Art (2021) Techno-Taoism: Cyber Rituals in Modern Asia [Exhibition]. Taipei: MOCA Taipei.

Showcases how ancient Taoist rituals are being adapted into digital forms, featuring interactive Wong Tai Sin installations.

Asia Society (2022) Faith in Flux: Tradition Meets Technology [Online Exhibition]. Available at: https://www.asiasociety.org (Accessed: 31 January 2025).

Examines how religious traditions, including Wong Tai Sin worship, are evolving in the digital age.

Zhang Huan (2019) Incense Ash Series [Art Installation]. Available at: https://www.artnet.com (Accessed: 31 January 2025).

Uses temple incense ash to create portraits of spiritual figures, reflecting the material and digital shifts in Chinese worship.

Cao Fei (2020) The Eternal Sacred [VR Experience]. Available at: https://www.caofei.com (Accessed: 31 January 2025).

A VR project exploring how deities like Wong Tai Sin might exist in a fully digital world.

# data[].attributes.body
Anselm Kiefer is a German artist whose work delves into themes of religion, philosophy, and history. Through painting, sculpture, and installation art, he explores the relationship between human belief and historical memory. His work often features religious and philosophical symbols such as crosses, stars, and trees, reflecting deep contemplation on faith and human history.

# data[].attributes.body
Anselm Kiefer was born on March 8, 1945, in Donaueschingen, Baden-Württemberg, Germany, and grew up in the Black Forest region on the east bank of the Rhine River. From a young age, he aspired to become an artist and later studied at the University of Freiburg and the Karlsruhe Academy of Fine Arts. In the early 1970s, he informally studied under Joseph Beuys in Düsseldorf.

Kiefer is renowned for his deep exploration of German history, mythology, and cultural memory. He frequently incorporates lead, broken glass, dried flowers, and other unconventional materials into his works, creating large-scale paintings and sculptures with a heavy texture. The use of these materials gives his artworks a unique, layered surface that symbolizes the weight and complexity of history.

# data[].attributes.attachment_link.provider_name
The Met’s Heilbrunn Timeline of Art History

# data[].attributes.attachment_link.title
Anselm Kiefer (born 1945) | Essay | The Metropolitan Museum of Art | Heilbrunn Timeline of Art History

# data[].attributes.attachment_link.description
The great majority of Kiefer’s works since his emergence in the late 1960s through the 1990s refer to subjects drawn from Germany and its culture.

# data[].attributes.body
In the 1970s, Kiefer’s work began to engage with themes of German mythology and history, particularly reflecting on the Nazi era. Using painting, sculpture, and photography, he investigates cultural memory, identity, and historical narratives. His works often provoke profound contemplation on history and human nature.

Kiefer’s artistic style is classified as Neo-Expressionism, and his work is widely recognized internationally. He has exhibited across the world, and his pieces are part of major museum collections. Through his profound engagement with history and culture, Kiefer has established himself as a significant figure in contemporary art.

# data[].attributes.attachment_link.description
‘Art cannot live on itself. It has to draw on a broader knowledge. It needs to bear the scars of the world, the wounds of life.’

# data[].attributes.headline
"The Modern Ailments of Deities: Wong Tai Sin’s Struggle in the Digital Age"

# data[].attributes.subject
"The Modern Ailments of Deities: Wong Tai Sin’s Struggle in the Digital Age"

# data[].attributes.body
Growing up, I have deeply sensed the generational differences in how people worship deities. In my hometown, Wong Tai Sin is the central figure of devotion, and traditional worship rituals remain strong—burning incense, offering fruit, and burning joss paper to establish a connection with the divine. However, as technology rapidly advances, the methods of worship have undergone dramatic changes. Younger generations now favor digital offerings, such as online prayers, QR-code incense scanning, and even "cloud worship" on social media. This shift not only impacts the ritualistic nature of worship but also raises questions about the sanctity of religious practices and the survival of traditions.

My project explores the transformation of Wong Tai Sin’s worship in modern society, depicting how this traditional deity gradually "falls ill" under the rise of digital offerings.

# data[].attributes.headline
The Rise of Digital Worship and the Conflict with Traditional Faith

# data[].attributes.subject
The Rise of Digital Worship and the Conflict with Traditional Faith

# data[].attributes.body
Through research and field studies, I have discovered that the rapid expansion of digital worship is fundamentally reshaping religious systems. Modern individuals, particularly younger generations, favor efficient and convenient methods, whereas traditional worship requires time, ritual, and physical space—elements that have been significantly compressed in today's fast-paced world. While digital offerings may feel like a new form of "spiritual connection" to the younger generation, older practitioners view them as a dilution of reverence and ceremony, potentially leading to the erosion of sacredness.

This generational divide in worship practices has sparked ongoing debates: Is digital worship still effective? Will traditional faith gradually disappear due to technological advancements? Is the role of deities in modern society undergoing a fundamental shift? Through this project, I aim to document this transformation in faith and explore its possible future directions.

Ultimately, my project is not just an artistic creation—it is a reflection on the relationship between technology and faith, tradition and modernity, sacredness and secularism. The "illnesses" afflicting Wong Tai Sin may not be exclusive to deities; rather, they mirror the broader crisis of belief in contemporary society.

# data[].attributes.headline
"Emerging Religions – Faith and Worship in the Age of Technology" Workshop (KCCA, 2024)

# data[].attributes.subject
"Emerging Religions – Faith and Worship in the Age of Technology" Workshop (KCCA, 2024)

# data[].attributes.body
In this workshop, artist Zhong Jiayu explored how modern society unconsciously worships and venerates technology. Participants engaged in artistic creation to reflect on the role of technology in contemporary faith and the underlying control and intentions behind it. This workshop provides a practical perspective on the relationship between technology and religious beliefs.

# data[].attributes.attachment_link.title
2024 KCCA 駐館藝術家鐘佳諭工作坊《新興宗教—科技時代的信仰與權力再造》 - Arts Residency Network Taiwan 藝術進駐網

# data[].attributes.attachment_link.description
本次駐館工作坊，藝術家鐘佳諭將帶領參與者以保麗膠灌模創作獨一無二的作品，探討科技無意間被供奉的現象，反思其與日常的緊密關係性。當天製作完的作品將成為系列作品中一部分，並在鐘佳諭駐館創作展中展出，打造藝術共創體驗的無限可能性，進一步詮釋科技與權力的滲透性。

# data[].attributes.headline
Exhibitions and Artworks Related to Your Project

"Mind Temple" Exhibition (Shanghai Museum of Contemporary Art, 2018)

# data[].attributes.subject
Exhibitions and Artworks Related to Your Project

"Mind Temple" Exhibition (Shanghai Museum of Contemporary Art, 2018)

# data[].attributes.body
This exhibition explored the connection between individuals and the universe, as well as the intersection of technology and religion. Through works by multiple artists, the exhibition showcased how technology and religion intertwine, reflecting changes in faith and spiritual practices in modern society.

# data[].attributes.attachment_link.title
个人与宇宙，科技与宗教的连结——评上海MoCA新展“众妙之门”_作品

# data[].attributes.attachment_link.description
展览现场的机器人讲解员 在进入展览现场的那一刻，这扇门就打开了。 在一层展厅的中心处，是韩国艺术家李二男（Lee Lee Nam）的《重生光》。 在圣母的身后，是表现另一宗教——…

# data[].attributes.headline
"Divine Pillars" Artwork (Museum of Contemporary Art, Taipei, 2020)

# data[].attributes.subject
"Divine Pillars" Artwork (Museum of Contemporary Art, Taipei, 2020)

# data[].attributes.body
The artwork Divine Pillars by an unnamed artist examines the fusion of classical religious beliefs with contemporary and future technology. The piece incorporates traditional temple roof designs and intricate sculptures combined with elements of integrated circuit boards, symbolizing the merging of technology and religion. This artwork offers an artistic perspective on the coexistence of electronic and traditional worship practices.

# data[].attributes.attachment_link.title
蓋婭：基因、演算、智能設計與自動機＿幻我；它境

# data[].attributes.attachment_link.description
策展人 沈伯丞 蓋婭，希臘神話中的大地之母，諸神與生命一切皆從她開始。從某個角度上看，神話與未來學，其實存在著相同的想像性質，其真正的差異在於「時間」的指向上，神話持續地將關於生命與萬物的「答案」或「詮釋」，安置在長久的過往中，那真實世界永遠無法企及的遠古中；與此同時為科幻與未來學，則將「答案」投射至尚未抵達的未來中。而二者對於關於生命創造與演變的「詮釋」在時間上的差異，源自於「科技」及「科學」詮釋系統的演變，或者更為精確地說，神話與未來學的差異，存在於演算、推論邏輯系統完成與否。 恰是「科技」與「科學」系統的誕生，科幻與未來學，逐漸地取代了古典的神話詮釋，成為了現代以來的新神話典範。也因此一個探討科技技術與未來生命狀態的展覽，事實上恰是一場與古典神話的對話乃至於昭示典範轉移後的世界。展覽將Gaia重新建立在基因工程、演算法、智能設計與自動機（機器工學）之上，藉以投射出「科技」做為新「創世」的母體狀態。 副標題「幻我」意指人類科技發展中所投射出的「人類中心主義」的思想視角。要言之，科技技術實際上反映了，人類如何自我想像的歷程，並且整個科技史也勾勒出了人類如何依據特定的人類能力想像，持續通過技術進行靠近的發展過程。也因此，科技發展中過程存在著一種人類對於自我形象的觀點及想像。值得注意的是，每一個科技「幻我」的實現，未必能真正的引領人類更進一步的促使人類接近生命與自我本體，毋寧更像是每一個世代的科技「幻我」構成了人類自我詮釋與想像的基礎。從精密的齒輪到奈米級的基因與積體電路，科技「幻我」持續地改變著人類對於自身的理解與想像。而藝術與藝術家恰是知見「幻我」裡那真實與想像的交界與轉變。 另一個副標題「它境」，則著眼於人類長久以來對於「烏托邦」（Utopia）、樂園（Paradise）以及理想國（Res Publica）此一亘古的想望與塑造。無論是《聖經》裡的伊甸園、迦南地，希臘神話裡的亞特蘭提斯，乃至於陶淵明的桃花源；佛典中的極樂世界甚或美洲傳說裡的黃金國，「它境」始終存在著人類對於無垢完美世界的渴望。然而，這些想像中的理想世界，全是人類難以企及的「它境」，那永遠處於時間過去式的完美「它境」，構成了它必然的完美與不可企及。從哲學思想史的角度上看，哲學家對於「它境」的詮釋一定程度地標誌了現代和古典哲學思想的時代分野。1626年哲學家法蘭西斯．培根的著作《新亞特蘭提斯》（New Atlantis ）將烏托邦想像的「它境」從純然想像的神話與難以企及的過往，轉向一個可以通過科學與技術而構成的美麗新世界。培根一方面將傳統中存在於遠古時代的理想世界指向了「未來」，另一方面培根也將古典那只能接受神賜的世界，轉換成人類通過科技與科學的發展，可以達致的未來。也因此，從某個角度上看，當代一定程度上乃是培根其「未來世界想像」的實現。如果說，科技及科學轉化了古典的生命定義與面貌，那麼與此同時科技及科學也同時持續地塑造了一個建立於技術知識所構成的「理想世界」，儘管這個科學、科技的「桃花源」在歷史上，持續地因為對於科學與科技的濫用與誤信，而形成各種未曾想像及失控的問題。然而，可以確信的是，培根其嘗試依據科學、科技建構「烏托邦」的思想，儘管在各種新技術知識與科技道德危機的出現，而產生了種種轉變，然而卻依舊構成了人類對於追尋完美「它境」的主要方針與指南。 於是神話裡的「蓋婭」成為了通過基因工程、演算法、智能設計與自動機等科技構成的複雜網絡系統。而其中顯現著人類對於自身想像的「幻我」以及伴隨與此而構成的理想「它境」。展覽「蓋婭：基因、演算、智能設計與自動機＿幻我；它境」，嘗試通過藝術家的創作，邀請觀者深刻地去凝視與思考「當代世界」這個特化版的培根式「美麗新世界」。

# data[].attributes.headline
Documentary: Shehuo: A Festival in a North Chinese Village

# data[].attributes.subject
Documentary: Shehuo: A Festival in a North Chinese Village

# data[].attributes.body
This documentary provides an in-depth depiction of the "Shehuo" festival in a rural village in North China, showcasing how people, amid modernization, rebuild community connections through traditional festivals, create new rural traditions, and seek solace from reality through communal celebrations.
While the film primarily focuses on traditional festivals, its discussion on the transmission of cultural traditions under the influence of modernization could offer useful insights into understanding the conflict between electronic and traditional offerings.

# data[].attributes.attachment_link.title
社火：一个华北乡村的节日

# data[].attributes.attachment_link.description
在这个华北的寻常村落里，于现代化的聚光灯之外，人们以“社火”的名义重建联结，创造新的乡村传统，也在狂欢中求得对现实的慰藉。

# data[].attributes.headline
"Abandoned Deities: The Human-Deity Relationship in Household Faith Spaces"

# data[].attributes.subject
"Abandoned Deities: The Human-Deity Relationship in Household Faith Spaces"

# data[].attributes.body
This article, based on field research conducted in Xiagang Village, Dongguan, Guangdong, explores changes in household worship practices in modern families. The study found that some families have opted to use electronic incense instead of traditional stick incense to accommodate the pace of modern life. Additionally, household members, particularly women, take on the primary responsibility for the daily worship of household deities. The article highlights that the way household deities are worshiped is shaped by daily family routines, reflecting the flexibility of worship rituals and the dominant role of family members in religious practices.

# data[].attributes.attachment_link.title
被遗弃的神明：家庭信仰空间中的人神关系-中国社会科学网

# data[].attributes.attachment_link.description
被遗弃的神明：家庭信仰空间中的人神关系

# data[].attributes.headline
Article: Investment Enterprises, Short-Video Sales, and the Not-So-"Buddhist" Temple Economy (Source: LIFEWEEK.COM.CN)

# data[].attributes.subject
Article: Investment Enterprises, Short-Video Sales, and the Not-So-"Buddhist" Temple Economy (Source: LIFEWEEK.COM.CN)

# data[].attributes.body
This article examines the commercial operations of temples in modern society, including investments in enterprisesand leveraging short-video platforms for sales.
It explores the inherent contradictions between temples and commerce, as well as how religious faith and business interests are balanced in the modernization process.
This offers real-world cases and profound insights into understanding the rapid development of electronic offerings and their impact on traditional worship practices.

# data[].attributes.attachment_link.title
投资企业、短视频带货，寺庙经济并不“佛系” | CBNData

# data[].attributes.attachment_link.description
第一财经商业数据中心（CBNData）隶属于上海文化广播影视集团，是国内领先的消费研究机构及数字化增长服务商。CBNData消费站整合中国最大的财经媒体集团（第一财经）优势资源，通过消费数据研究报告、数据指数、新闻、活动、视频/直播等形式丰富的数字化消费行业应用场景，面向品牌企业全面输出消费数据、行业研究、信息聚合、营销传播及商业公关等产品及服务。

# data[].attributes.body
The video titled "家中如何供奉佛像及设置佛堂的影响" (How to Worship Buddha Statues at Home and the Impact of Setting Up a Home Altar) provides guidance on properly establishing a Buddhist altar within one's home. It emphasizes the importance of selecting an appropriate location, adhering to traditional practices, and understanding the spiritual significance of such setups. The video also discusses the potential effects of a home altar on household harmony and individual well-being.

This content highlights the contrast between traditional and modern methods of worship. While the video advocates for maintaining conventional practices, it indirectly underscores the challenges posed by contemporary approaches, such as electronic offerings. The detailed instructions on physical altar setup and the emphasis on ritualistic correctness reflect a commitment to preserving the sanctity and depth of traditional faith practices.

In the context of your project, this video serves as a valuable reference point for understanding the intricacies of traditional worship. It offers insights into the meticulous nature of conventional practices and the emphasis placed on physical presence and ritual. This understanding can inform your exploration of the tensions between electronic and traditional offerings, as well as the differing preferences across age groups.

By analyzing the video's content, you can gain a deeper appreciation for the potential drawbacks of electronic offerings, such as the loss of ritualistic depth and the diminishing of sacred experiences. This perspective is crucial for a comprehensive examination of how modern technological advancements impact traditional religious practices and the associated generational divides.

# data[].attributes.attachment_link.title
【佛像供奉】家中如何供佛彌勒佛？設置佛堂對居家生活會有什麼影響？這樣設置佛堂更靈驗！

# data[].attributes.body
I started with a frontal X-ray composition, using a ribcage framework to anchor the visual. This structure, while anatomically accurate, also carries subtle mythological hints to maintain a connection with Wong Tai Sin’s divine essence.

# data[].attributes.headline
The Hidden Risks of Digital Worship and the Decline of Traditional Faith

# data[].attributes.subject
The Hidden Risks of Digital Worship and the Decline of Traditional Faith

# data[].attributes.body
Digital worship is a natural evolution in our pursuit of convenience, yet it carries significant risks. First, it diminishes the ritualistic depth of faith, reducing worship to a mere transaction rather than a spiritual exchange. Traditional rituals required physical presence, devotion, and reverence, while QR scans and automated prayers turn faith into a mechanical, superficial process.

Moreover, digital worship relies on servers and algorithms, making faith susceptible to technological control. What happens if the servers crash? What if data is manipulated? The decentralization and virtualization of worship open faith to commercialization and algorithmic influence, potentially shifting its purpose from devotion to profit-driven engagement.

Meanwhile, traditional faith is fading, particularly among younger generations. Temples are increasingly repurposed as tourist attractions, and rituals are being simplified or forgotten. Faith is no longer about spiritual connection but about social media check-ins and aestheticized experiences. Wong Tai Sin and other deities face a crisis where they are no longer central to everyday belief but are instead cultural relics being consumed rather than worshipped.

However, faith never truly disappears—it evolves. The challenge lies in balancing tradition with modernization, preserving ritualistic sanctity while adapting to contemporary life. Should faith continue its digital trajectory, or should it reclaim its physical presence? This is not just Wong Tai Sin’s dilemma but a question for the future of faith itself.

# data[].attributes.body
In this character design and color study, I aimed to construct a reimagined Wong Tai Sin, deeply affected by electronic pollution and the rapid transformations of modern society. This design seeks to merge traditional Taoist symbolism with contemporary digital aesthetics, highlighting Wong Tai Sin’s struggle to adapt to the new era and the ailments he suffers as a result.

The initial sketches depict a distorted and fragmented Wong Tai Sin—his face is no longer intact, seemingly decaying, corroded, and even adopting a mechanical, fractured appearance. This visual approach emphasizes his vulnerability in the modern world and the existential dilemma he faces. While he still retains some mythical features, such as horn-like structures and deep-set eyes, his overall outline is abstracted, symbolizing the erosion of his divine presence.

As I refined the design, I amplified the symptoms of his “ailment,” introducing elements of corrosion, organic decay, and digital interference. The glitch-like distortions in some variations visually echo the effects of electronic pollution, illustrating the deity’s fading connection to his worshippers in an increasingly virtualized faith system.

# data[].attributes.headline
"Divine Imbalance: Wong Tai Sin’s Dizziness"

# data[].attributes.subject
"Divine Imbalance: Wong Tai Sin’s Dizziness"

# data[].attributes.body
This piece mimics the front page of a futuristic newspaper, portraying a sense of crisis as though the realm of faith is experiencing an unprecedented upheaval. The headline "Divine Imbalance" signals Wong Tai Sin’s struggle in the digital worship era, while the subheading "The Electronic Pollution Behind the Dizziness Epidemic" highlights the drastic shifts in the ecosystem of faith.

On the left, a smartphone screen is overwhelmed with a red "Server Overload" warning, surrounded by chaotic data streams and glitch effects. This phone represents the "Cloud Worship" app that modern believers use for virtual prayers, replacing physical rituals with digital transactions. However, as this electronic faith system collapses, Wong Tai Sin also descends into confusion, his divine essence disrupted by digital interference, leading to dizziness, imbalance, and disorder.

On the right, I depicted Wong Tai Sin engulfed in swirling red waves, symbolizing his mind being consumed by fragmented digital offerings. His contorted expression and disoriented presence are not just visual representations of dizziness but an embodiment of his existential crisis. His divine power is no longer stable, dictated instead by fluctuating digital interactions, while faith itself has become a mechanical process rather than a spiritual connection.

The bottom panel illustrates modern believers: wearing VR headsets, they engage in virtual worship, yet the distorted background hints at their fractured mental states and detachment from reality. Is their devotion genuine? Are they truly connecting with Wong Tai Sin, or are they merely performing a habitual digital ritual? Has the essence of worship been lost?

The central theme of this work is Wong Tai Sin’s struggle to retain his divine status in an age where faith is processed as data. When worship turns into a digital transaction, can he still wield his power? Does the sacredness of faith persist? If the e-offering system crashes, will Wong Tai Sin’s divinity collapse alongside it? Through this work, I raise an unsettling question: when the sanctity of deities clashes with the logic of technology, where does faith go?

# data[].attributes.body
This experimental piece pushes the concept further, portraying Wong Tai Sin as a fluid, unstable entity. His melting form and swirling motion hint at his spiritual disintegration, reinforcing the theme of “de-sacralization” in the digital age.

# data[].attributes.body
This variation investigates the impact of digital interference. By rendering Wong Tai Sin in deep blue and introducing pixelated distortions, I suggest his absorption into the digital realm, reflecting the challenges traditional faith faces in an age dominated by technology.

# data[].attributes.body
These sketches are my experimental journey in exploring Wong Tai Sin’s shifting role in modern society. Throughout the process, I experimented with various visual languages—anatomical deconstruction, digital transformation, color contrast, and minimalism—to illustrate the deity’s struggle with technological advancements. While some drafts require refinement, they provide a rich foundation for my final artwork, pushing me to further contemplate the future risks of electronic offerings and how traditional faith can find new ways to coexist in the modern era.

# data[].attributes.headline
Electronic Pollution & Loss of Sacredness

# data[].attributes.subject
Electronic Pollution & Loss of Sacredness

# data[].attributes.body
In the initial draft (first image), I attempted to depict Wong Tai Sin’s “illness” using an anatomical visual language. The transformation of lung structures into electric wires, the flow of data, and the intricate electronic circuits symbolize the invasion of electronic pollution into the sacred realm. I aimed to illustrate the deity’s "loss of sacredness"—when faith is digitized, how does the divine essence gradually fade?

# data[].attributes.body
The fourth sketch adopts a minimalist composition with geometric lines, exploring Wong Tai Sin’s sense of emptiness. This void arises from his marginalization in modern society—once a revered deity, now diminished by technological advancements. I used simple lines and negative space to illustrate how his spiritual presence is gradually eroded by digital faith, reducing him to a mere hollow figure.

# data[].attributes.headline
Indigestion & the Distortion of Offerings

# data[].attributes.subject
Indigestion & the Distortion of Offerings

# data[].attributes.body
The fifth sketch revolves around Wong Tai Sin’s "indigestion" illness. I juxtaposed traditional offering rituals with electronic payment systems, portraying his discomfort in "digesting" electronic offerings. The figure vomiting digital currencies and QR codes reflects the incompatibility between traditional faith and its commodified, digitized form. This concept serves as both a metaphor for Wong Tai Sin’s illness and a critique of modern worship—when rituals are reduced to a simple QR code scan, does faith itself lose its essence?

# data[].attributes.body
In this project, I centered my concept around Wong Tai Sin, exploring his struggle in an era dominated by digital technology. I used metaphorical illnesses to depict how technological advancements disrupt his existence—not only physically but also in terms of his divine presence and relevance in modern faith.

# data[].attributes.body
At the initial stage, I focused on composition and information hierarchy. Inspired by newspaper layouts, I structured Divine Gazette into a modular format, ensuring each visual element had its own space while maintaining cohesion.

# data[].attributes.body
At the initial stage, I focused on composition and information hierarchy. Inspired by newspaper layouts, I structured Divine Gazette into a modular format, ensuring each visual element had its own space while maintaining cohesion.

Wong Tai Sin’s Figure: His distorted head, affected by dizziness syndrome, was my primary focus. I aimed to create a grotesque, unsettling appearance to symbolize his loss of divinity.

Digital Pollution Motifs: Red warning signals, QR code crashes, and VR-worship scenes were highlighted early on as essential elements to reinforce the theme.

# data[].attributes.body
In the final stage, I fine-tuned colors, shading, and readability, ensuring a visually striking yet coherent presentation.

# data[].attributes.headline
"X-Ray Diagnosis Report—Wong Tai Sin’s Indigestion"

# data[].attributes.subject
"X-Ray Diagnosis Report—Wong Tai Sin’s Indigestion"

# data[].attributes.body
This piece is my metaphorical interpretation of the transformation of faith in the modern era. I envisioned Wong Tai Sin undergoing an advanced medical X-ray scan, which exposes his "indigestion" caused by the transition to digital worship. His ribcage, depicted in black and white, symbolizes the structure of his divine existence, while the glowing blue area inside his chest reveals the intrusion of digital offerings, representing the slow replacement of traditional faith.

Within his abdomen, I placed QR codes, electronic prayer beads, a smartwatch displaying "Good Luck," and a lingering incense burner. These elements, juxtaposed together, create a sense of contradiction—Wong Tai Sin remains within the framework of traditional worship, yet modern practices are eroding his essence. The report details conditions such as "abnormal swelling due to QR-code-based offerings," "electronic prayer beads detected," and "excessive traditional incense residue," anthropomorphizing his suffering as though he is struggling with an ailment brought on by this drastic shift.

Through this work, I question: when worship is no longer a sincere ritual but a mere QR scan or a digital payment, does faith still hold its power? Can Wong Tai Sin truly "digest" these digital offerings? Does he still derive strength from such instant but emotionally hollow acts of worship? Modern faith resembles fast food—quick, convenient, but lacking depth. His "indigestion" is a manifestation of his resistance and discomfort toward this transformation.

# data[].attributes.headline
The Sociological Factors of Wong Tai Sin’s Development

# data[].attributes.subject
The Sociological Factors of Wong Tai Sin’s Development

# data[].attributes.body
This image explores the historical origins and social evolution of the Wong Tai Sin belief system. Rooted in Taoism and recorded in Biographies of the Immortals, Wong Tai Sin's faith originated in Jinhua, China, and gradually spread to the Lingnan region, integrating into local culture. With economic development, this faith expanded beyond religious aspects to include concerns about health and wealth. During colonial history, people turned to Wong Tai Sin for spiritual comfort in times of social instability, making it a part of their identity. The collage and hand-drawn elements blend historical texts, statues, religious imagery, and modern cityscapes to depict the dynamic transformation of this belief system.

# data[].attributes.body
This piece illustrates how young people in Hong Kong are engaging with faith today and how offering rituals have evolved. The left side represents traditional worship, where people burn incense and visit temples, which remain important spiritual spaces. On the right, the focus shifts to the rise of electronic offerings, including QR code incense burning, virtual offerings, and digital prayer beads, highlighting how technology has altered religious practices. While digital offerings provide convenience, they also risk commercializing faith and diminishing the solemnity of rituals. Through contrasting colors, hand-drawn figures, and modern technology, this composition captures the coexistence of tradition and digital faith.

# data[].attributes.body
This section delves into the potential negative impacts of digital offerings. Traditional faith emphasizes the sacredness of rituals, but the convenience of digital worship weakens this solemnity. Virtual incense, AI-generated offerings, and digital tribute items have made faith more commercialized, raising ethical concerns. A weeping Buddha symbolizes the erosion of spirituality due to commercialization, while the juxtaposition of electronic offering devices and traditional rituals highlights the conflict. Using cool and warm color contrasts along with mechanical elements, this artwork conveys the alienation and contradictions arising from modern faith practices.

# data[].attributes.body
In the third sketch, I experimented with colors. By using a strong contrast between warm and cool tones, I aimed to reflect the tension between the sacred traditional world and modern electronic offerings. The blue silhouette of Wong Tai Sin is distorted with digital glitches, indicating his displacement in a world where technology dominates. The vibrant digital artifacts invading the composition symbolize the encroachment of virtualized faith.

# data[].attributes.headline
Wong TAI SIN, Hong Kong - Burning incense and worshipping Buddha is becoming increasingly popular among young people in Hong Kong

# data[].attributes.subject
Wong TAI SIN, Hong Kong - Burning incense and worshipping Buddha is becoming increasingly popular among young people in Hong Kong

# data[].attributes.body
Online ticketing platform data show that since the beginning of this year, the number of temple related scenic spot ticket orders increased by 310%; Since February, the post-90s and post-00s have accounted for nearly 50% of the people booking tickets.

Relevant monitoring data also shows that in 2019, "temple" is still in a state of anonymity on the social platform, and over the past four years, the number of temple related searches has increased by 368 times. Along with a series of social media, every blessing season is flooded with electronic prayer.

"Because I chose to incense in my work and progress."

"Then believe in yourself or believe in the boss, the choice is to believe in Buddha."

Regarding Wong Tai Sin in Hong Kong, it is said that Wong Tai Sin "responds to every request", and the signature is particularly effective. Every year during the New Year, many good faith people compete to fear that they will come here later, to a column on the first day of the Lunar New Year, "head pillar incense", which has become a very important thing in the New Year, I hope this

The incense on the capital brings you and your family good luck for a whole year.

# data[].attributes.body
Stripped of the cloak of religious belief

In the study of religion, the word "sacred" focuses on the expression of the unusual quality of the object of religious belief. In all kinds of religious phenomena, there is sacred space and sacred time, but in the final analysis, "sacred" is first of all an attribute, not a thing; Second, "divine" is an attribute that is given in a particular field. It is a key element of religion, and it is because of the "divine" that the human world and actions have meaning. Holiness is not a thing

Because of the double existence of man, man has not only material needs, but also spiritual needs. From the very beginning, human beings need morality to adjust the relationship between people. With the continuous development of human society, people realize that morality is the unified need for the harmonious development of individuals and society, and morality has become the direct spiritual need of human beings. Morality and values are intrinsically linked. First, as far as the relationship between "what is" and "what should be" is concerned, both value and morality express themselves in the form of "what should be". Second, behind any moral concept and moral behavior, there must be a value concept to explain its rationality. Third, morality is a kind of purposeful value for human beings, which has "self-purposefulness" and itself is the proof of its rationality. "sanctity" is one of the characteristics of religious morality. The earliest association with the concept of "divine" was with religion...

Rapid electronic offerings reduce the statement of sacredness, weaken religious morality, and weaken sacredness

It is contemporary religion to take religious experience as the basic element of religious research

The characteristics of learning. For example, M. Muller, known as the father of contemporary religion, affirmed that man is born with an understanding of the infinite. This is an innate ability, without which religion cannot be explained. This interpretation of religion, that is, tracing religion to an inherent capacity of man and the resulting religious experience, can be traced in the recent history of religion to F. D. E. Sch1eiermacher, 2 It was also affirmed by many later scholars such as Otto (RudolfOtto), Mircea Eliade (Mircea Eliade) and others.

But in the end, the so-called religious experience, electronic devices weaken the ability to understand, utilitarian, and sacred 2 Challenges the purity of enlightenment (direct collage text content)

Buddhism, as one of the spiritual cores of Eastern culture, has an advantage in the interaction between Eastern and Western cultures, and plays a good role in the reconstruction of the belief structure of the main body of human society and in promoting the real peaceful development of the world. In view of the natural, social and spiritual problems existing in contemporary society, Buddhism's cultivation in accordance with the concept of integrity, the quality of self-interest and altruism, and self-purification is conducive to maintaining ecological balance, advocating social fashion, and enhancing personality image. Buddhists have the courage to enter the world actively, the sentiment to transcend reality, and the tolerance of self-criticism, which will be the key for Buddhism to play a positive role.

(3) The contradiction between traditional offerings and electronic offerings Intensifies (?)

Reflection on the intrinsic connection between the digital transformation of worship and social development 1. The long-term depletion of spirit by the inner scrolls of young people

"Roll in" or "lie flat"? In the past two years, the "internal roll" wind and "lying flat" wind have blown waves after waves, and the "lying flat" closest to the fire makes people worry that as the future of the motherland, young college students choose "lying flat" is really good? However, from all kinds of information, we do see the worry and pressure brought by "internal examination" to college students.

involution is also called involution, translated from the English word involution.

Involution"

In 1968, anthropologist G

When studying rice farming in Java, Liford Geertz found that agricultural production here has long been

Simply repeating production with little progress, a phenomenon Geertz called

Internal volume "(Zhao Shuang

Ge, Chen Rong, 2022)

". After the word "internal volume" was introduced into China, it became the academic field of agricultural economics

In terms of research (Huang Xixi, 2022), before the explosion, "inner volume" was only a word used and discussed in the academic field. In the second half of 2020, a student in Tsinghua University was called the "roll king" for "running programs with a computer while riding a bike", and the term "inside roll" was therefore widely known and frequently used by young people, among which the most popular usage meant excessive competition (Ma Ruohong, Wang Peiyao, 2021).

The news media have published a large number of articles about college students' 'internal writing', such as "College students' 'internal writing' : Competition or internal friction", "College students' 'internal writing' behavior rewarded, 2,000-word essays become 20,000, students: Not moving the paper"...... In the eyes of many people, "internal volume" is a synonym for ineffective effort, negative meaning without words. After being "rolled" for a year or two, "lying flat" has become popular among college students. "Lying flat" not only refers to the social mentality that people show in a certain environment to satisfy the status quo without fighting, without desire, without peace, but also refers to the social behavior that people avoid life pressure in life and only want to maintain the most basic needs of life (Peng Jun and Yu Tao, 2023). Peng Jun and Yu Tao (2023) investigated and analyzed the phenomenon of "lying flat" among college students and found that 87.87% of the 9305 surveyed college students had "lying flat" behavior, but 62.81% of them believed that "lying flat is a way to adjust themselves and relax for a short time." It can be seen that in the continuous "internal volume", college students have an urgent need for physical and mental relaxation

# data[].attributes.body
The second sketch focuses more on the concept of capacity overload. I exaggerated the deformation of a face to represent Wong Tai Sin suffering from a digital crash due to excessive electronic offerings. The cracks on his face and the spilling of electronic components illustrate his struggle against an overwhelming information flood. This idea stems from the contemporary issue of "data fatigue"—when faith is reduced to digital transactions, can it still retain its purity?

# data[].attributes.headline
Stuz0r: A Digital Visionary Merging Religion and Technology

# data[].attributes.subject
Stuz0r: A Digital Visionary Merging Religion and Technology

# data[].attributes.body
Stuz0r, whose real name is Stuart Lippincott, is a freelance digital artist from Bentonville, Arkansas, USA. He is widely recognized for his distinctive 3D-rendered artworks and animations, which blend religious symbolism with futuristic technology, creating visually immersive and thought-provoking compositions.

His works often depict grand, awe-inspiring scenes, incorporating mystical religious symbols and advanced technological elements, resulting in a unique, surreal aesthetic. This fusion of tradition and modernity aligns closely with your project’s exploration of Chinese traditional worship and electronic offerings, making his approach particularly relevant to your themes.

# data[].attributes.attachment_link.description
You don’t have authorization to view this page.

# data[].attributes.body
This series reflects my ongoing inquiry into Wong Tai Sin’s evolving role in modernity. As electronic offerings replace physical rituals, Wong Tai Sin’s identity is deconstructed and reshaped. His existence is no longer tied to a physical shrine but instead uploaded, coded, and eventually consumed—a deity converted into data, at risk of being erased from collective memory.

Moving forward, I intend to explore whether Wong Tai Sin retains any remnants of sacred power in this digital transformation, or whether he will be entirely assimilated into the void of digital noise. This direction will influence how I frame his environment, textures, and overall presence in my future works.

# data[].attributes.body
Wong Tai Sin

Wong Tai Sin‘Role and History in Zhejiang

The earliest records of Wong Tai Sin are found in Ge Hong's Shenxian Zhuan (Biographies of Immortals) from the Eastern Jin Dynasty. Wong Tai Sin’ appellation, from the initial "Huang Chu Ping" in early texts to the consistent "Wong Tai Sin" in later oral and written sources, reflects the evolution of his worship. This development relied on four systems: canonical records, literary works, folk legends, and divination slips. Each system had its own trajectory but also complemented the others. The worship of Huang Da Xian blends Confucianism, Buddhism, and Taoism, possessing lasting vitality and rich historical context. Its social functions include healing illnesses, relieving suffering; promoting good and punishing evil; and helping the weak and poor—acting as a "savior" for the impoverished. Rulers also leveraged this belief for their own rule, using psychological suggestion to manage the populace.

Wong Tai Sin(Huang Chu Ping) is one of many deities in Taoism. In his birthplace, Jinhua, and the surrounding areas of Lanxi, many legends circulate. Previous scholars haven't examined the relationship between these legends and Taoist doctrine. This text analyzes the content of these legends to show that Huang Da Xian's legends and Taoist views of deities are largely unified in their core concepts but deviate in details.

The folk Taoist belief in China, the Huang Da Xian faith, has been localized since its inception. Particularly in the Lingnan region (southern Guangdong province), it interacted constantly with local cultures. The localization of legends and temples enriched the faith and allowed it to gain widespread reverence in Lingnan, ultimately becoming a cultural icon shared by overseas Chinese.

Folklore of Wong Tai Sin

Legend says there are two Wong Tai Sin temples in China: one in Guangzhou and one in Hong Kong. Folklore portrays Wong Tai Sin as benevolent and responsive to prayers, widely loved and revered. It's important to note that the Huang Da Xian of folklore is distinct from the weasel (huang shu lang) also referred to by the same name in northern China.

The Wong Tai Sin worshipped in temples is actually Huang Chu Ping, a shepherd from Huang Kun village in Lanxi, Zhejiang province during the Jin Dynasty. He is a renowned Taoist immortal who cultivated in the mountains, achieving immortality. A temple in Jinhua commemorates this place of ascension; other temples exist in Guangzhou and Hong Kong.

Legend says that a Taoist priest took a 15-year-old Huang Chu Ping as a disciple at the age of 15. After 40 years, his brother found him and learned of his transformation.

# data[].attributes.headline
Enshrines Digital Transformation and its Intrinsic Connection with Social Development

# data[].attributes.subject
Enshrines Digital Transformation and its Intrinsic Connection with Social Development

# data[].attributes.body
This section examines the social significance of digital faith, incorporating the theories of anthropologist Clifford Geertz to analyze how young people use electronic offerings as a form of psychological comfort. With the rise of "involution" and "lying flat" culture, younger generations are drawn to easier, more convenient faith practices, treating digital worship as a "mental stabilizer." However, the commercialization of faith has intensified, with temples adopting ticketing systems, transforming worship into a consumer activity. This collage, featuring monks, temple ticket offices, and dynamic hand-drawn lines, visualizes the contradictions between faith as a spiritual act and faith as a product.

# data[].attributes.headline
The introduction and development of faith in Wong Tai Sin

# data[].attributes.subject
The introduction and development of faith in Wong Tai Sin

# data[].attributes.body
The belief originated in Jinhua, Zhejiang Province in Jin Dynasty, and was introduced to Lingnan at the latest in the late Ming Dynasty. Taoist altars dedicated to worship Huang Tai Sin began to appear in Lingnan in the late Qing Dynasty, among which the three altars with the greatest influence were Puji, Puqing and Puhua. The establishment and development of the three temples completed the initial transmission of the Wong Tai Sin belief in Lingnan.

Basing on Lingnan and advancing with The Times is the principle that Santan always adheres to in the process of explaining and preaching. With the development of the three temples, Wong Tai Sin, which "fell from the sky", closely integrated with the regional culture and social background of Lingnan, and gradually established the characteristics of its own faith: taking "universal charity to persuade goodness" as the purpose of belief, and developing religious charity in combination with the urgent need of society under the two frameworks of "universal charity" and "urging goodness"; The practice of "three religions together" and the worship of the three religions in the temple attracted as many believers as possible, and also enhanced the belief connotation of the altar; Shaping the efficacious image of Huang Tai Sin "responding to every request", constantly improving the spiritual prescriptions, medicine sticks and spiritual sticks, and widely spreading efficacious legends are especially in line with the faith needs of Lingnan believers. The first Taoist altar, Puchai Altar, established the Lingnan characteristics of the Wong Tai Sin faith, and the Puhing Altar and the Puhua Altar continued to consolidate and deepen, and later the Wong Tai Sin Taoist Altar and temple in Lingnan basically developed along this direction. The belief culture of Wong Tai Sin with strong Lingnan flavor has gradually formed, which is different from the traditional belief of Red pine Wong Tai Sin in Jinhua. The formation and consolidation of the Lingnan characteristics of Wong Tai Sin's faith and the success of the localization of faith are the most fundamental reasons for the development and prosperity of the three temples

The reason why. The accumulation of all these eventually became the basis for the introduction of the Wong Tai Sin faith into Hong Kong and the establishment and development of Sik Sik Yuen.

In 1915, during the years of war in Guangdong, Liang Renan, the founder of the Nanhai Puqing Temple, was told by Huang Daxian that "it is not advisable to stay here for a long time" and that in order to avoid the disaster, he "must move south and rebuild the Huang Daxian Temple". So he and his son Liang Jun transferred Wong Tai Sin portrait to Hong Kong, and together with the travel of Hong Kong road lovers to create a new Puyi altar. In 1921, the temple established Sik Sik Yuen as the core management organization of the temple. After more than 90 years of development, Sik Sik Yuen has flourished in Hong Kong. Wong Tai Sin is known as the first god of the Hong Kong River. Sik Sik Yuen is also a well-known religious charity in Hong Kong, providing medical care, education and elderly care

The organization is spread all over the territory and its reputation is far and wide.

# data[].attributes.body
This visual piece traces the spread of Wong Tai Sin worship from Jinhua, China, to Hong Kong, focusing on regional differences in offering rituals. In Jinhua, traditional sacrifices include incense, wine, white meat, and sweets, whereas in Hong Kong, worship primarily involves temple prayers, incense burning, and annual temple festivals. Despite these differences, both reflect a common desire for blessings and protection. Through hand-drawn figures, historical texts, and modern temple collages, this artwork illustrates the cultural transmission and localization of Wong Tai Sin belief.

# data[].attributes.headline
Cyber Buddhism and digital transformation

# data[].attributes.subject
Cyber Buddhism and digital transformation

# data[].attributes.body
Nowadays, as young people gradually recognize the consumption of inner scroll, young people have begun to become the main force to promote the economic development of temples, and the traditional temple operation mode is gradually unable to meet the needs of the young generation, and many temples have begun to carry out digital wisdom transformation.

Hongfa Temple, Hanshan Temple, Shaolin Temple and many other temples have opened cyber electronic merit boxes, and Hongfa Temple has established its own app, which can directly carry out operations such as donation of merit with joy, Buddhist card and Buddhist registration. Electronic wooden fish, electronic merit boxes, and even electronic Buddha beads are widely available.

Whether it is the previous Buddhist youth, or today's temple heat, this young people have long since changed from the inspirational melody of "my life is not by myself," to the slight self-deprecation of "my life is not by myself," and the major tea drinking brands have also sniffed out the business opportunities in this and began to style the whole life.

# data[].attributes.body
For me, this piece is an exercise in retro-futuristic religious archaeology—a way to examine how technology reshapes faith. Wong Tai Sin’s indigestion is not just physical; it’s spiritual, a direct consequence of his inability to process the transition from traditional worship to digital faith.

While creating this, I continuously questioned: Can electronic offerings truly replace traditional faith? My conclusion is that while digitalization provides convenience, it erodes the sanctity and ritualistic depth of belief, reducing worship into a mere transaction.

Ultimately, faith is not just about the process; it’s about the emotional connection between believers and the divine. If technology continues to replace personal experiences, then faith will no longer be a spiritual practice but a commodified digital product.

# data[].attributes.body
Stuz0r’s art evokes a sense of vastness and mystery, often portraying colossal divine figures, cosmic landscapes, and futuristic structures. His high-contrast lighting, intricate detailing, and cinematic atmosphere create a dreamlike, almost sacred experience, challenging the viewer's perception of reality and belief.

His work is reminiscent of retro-futurism and dystopian aesthetics, akin to artists like Simon Stålenhag and HR Giger, but with a strong spiritual undertone. This fusion of religion, technology, and existential themes makes his portfolio stand out in the digital art space.

# data[].attributes.body
This visual journal, using layered collage and illustrations, presents the intersection of tradition and modernity, ritual and commerce, technology and spirituality within Wong Tai Sin worship. It raises questions about the future of faith in the digital era.

# data[].attributes.body
This T-shirt design centers around the theme of “Peace”, blending street culture, symbolic elements, and dynamic visuals to convey a message of unity and hope. The front features a handshake, geometric shapes, and a peace dove, symbolizing human connection and reinforcing LA PAIX’s “Build Peace” philosophy. The back incorporates spray paint cans, abstract wave patterns, and street art, representing protest, expression, and social change, capturing the energy of London’s street culture. The overall design not only promotes peace and unity but also highlights street culture as a force for positive societal transformation, allowing the message of peace to flow freely through urban spaces.