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RenownTravel: On Yaowarat Road in Bangkok’s Chinatown is the colorful Kuan Yim shrine of the Thian Fa Foundation. The shrines’ walls are adorned with colorful murals. Inside is a small golden image of Guanyin.
The shrine is dedicated to Guanyin, in Thailand also known as the Bodhisattva Phra Avalokitesuan. The Guanyin images dates to the 12th century. Carved from teak wood in the Tang dynasty art style, it is painted in gold color. With her right hand Guanyin makes the Varada mudra, the gesture of charity or making offerings. The image was brought over from China and enshrined in 1958.
The Thian Fa Foundation was established in 1902 by Chinese immigrants who settled in Bangkok. Its goal is to provide free medical care to those in need. Both traditional Chinese and modern treatments are performed at the foundation’s hospital next to the shrine.
RenownTravel: On Yaowarat Road in Bangkok’s Chinatown is the colorful Kuan Yim shrine of the Thian Fa Foundation. The shrines’ walls are adorned with colorful murals. Inside is a small golden image of Guanyin.
The shrine is dedicated to Guanyin, in Thailand also known as the Bodhisattva Phra Avalokitesuan. The Guanyin images dates to the 12th century. Carved from teak wood in the Tang dynasty art style, it is painted in gold color. With her right hand Guanyin makes the Varada mudra, the gesture of charity or making offerings. The image was brought over from China and enshrined in 1958.
The Thian Fa Foundation was established in 1902 by Chinese immigrants who settled in Bangkok. Its goal is to provide free medical care to those in need. Both traditional Chinese and modern treatments are performed at the foundation’s hospital next to the shrine.
RenownTravel: On Yaowarat Road in Bangkok’s Chinatown is the colorful Kuan Yim shrine of the Thian Fa Foundation. The shrines’ walls are adorned with colorful murals. Inside is a small golden image of Guanyin.
The shrine is dedicated to Guanyin, in Thailand also known as the Bodhisattva Phra Avalokitesuan. The Guanyin images dates to the 12th century. Carved from teak wood in the Tang dynasty art style, it is painted in gold color. With her right hand Guanyin makes the Varada mudra, the gesture of charity or making offerings. The image was brought over from China and enshrined in 1958.
The Thian Fa Foundation was established in 1902 by Chinese immigrants who settled in Bangkok. Its goal is to provide free medical care to those in need. Both traditional Chinese and modern treatments are performed at the foundation’s hospital next to the shrine.
RenownTravel: On Yaowarat Road in Bangkok’s Chinatown is the colorful Kuan Yim shrine of the Thian Fa Foundation. The shrines’ walls are adorned with colorful murals. Inside is a small golden image of Guanyin.
The shrine is dedicated to Guanyin, in Thailand also known as the Bodhisattva Phra Avalokitesuan. The Guanyin images dates to the 12th century. Carved from teak wood in the Tang dynasty art style, it is painted in gold color. With her right hand Guanyin makes the Varada mudra, the gesture of charity or making offerings. The image was brought over from China and enshrined in 1958.
The Thian Fa Foundation was established in 1902 by Chinese immigrants who settled in Bangkok. Its goal is to provide free medical care to those in need. Both traditional Chinese and modern treatments are performed at the foundation’s hospital next to the shrine.
Excerpt from www.discoverhongkong.com/ca/explore/unmissable-adventures...:
Tin Hau Temple at Yim Liu Ha Tsuen
Hoklo fishermen 鶴佬 from Chiu Yang 潮陽, Jieyang 揭陽 and Shanwei 汕尾 moved to the Sha Tau Kok area and settled in the Yim Liu Ha Village around 1898. The majority of these settlers were worshippers of Tin Hau. It is believed that the Tin Hau Temple in Yim Liu Ha was originally built during the early Qing dynasty. Over time, the temple underwent several renovations, and the villagers relocated to the Sha Tau Kok Estate. The current appearance of the temple is the result of a renovation in 1990. A deity-thanking ceremony is held once every decade here, with celebratory traditions including dragon and lion dances, the Tin Hau parade, basin feasts 盆菜 and the unique Sha Tau Kok on-land dragon boat parade, attracting many villagers who have moved overseas to return to Hong Kong for the celebrations.
Excerpt from www.discoverhongkong.com/ca/explore/great-outdoor/hong-ko...:
Salt Pans
A 15-minute boat ride from Sai Kung public pier lies Yim Tin Tsai , a tiny island with a rich and storied past. Its name literally means ’Little Salt Pan’ in Cantonese and it is the only place in Hong Kong where salt is produced today. That fascinating history may have been lost if not for a movement to revive the island that began in about 2000. That work has not only earned the island recognition from UNESCO but has turned it into one of Hong Kong’s most exciting, off-the-beaten-track day trips.
The story begins in about 1670 when members of a Hakka clan arrived in Hong Kong from southern China and stumbled across the small island, just over 500 metres across and 37 metres above sea level at its highest point. High tide flooded a large expanse of flat land and at low tide that land was exposed to the sun and wind, making it an ideal location for salt production. They built salt pans and water gates to control the water going in and out and set up a business, selling salt to Sai Kung and the neighbouring region.
It is worth remembering that 300 years ago salt was a valuable commodity. Without refrigerators, it was the primary means of preserving food. And as most people worked as labourers, it was an essential part of the diet, replacing the salt lost in sweat. It was so valuable that David Ip, the salt pan coordinator at the Salt & Light Preservation Society, suspects that their remote location made them vulnerable to attacks by the powerful pirates who ruled the South China Sea in the late 1700s. But that remote location did have its advantages.
“The island was so far from the city that the government didn’t send tax collectors to Yim Tin Tsai, which allowed them to make a beautiful amount of money,” says Ip.
And so, for a good 200 years the Hakka people lived a peaceful life, working with the tides and the sea and wind to produce their salt. When European missionaries came to the Sai Kung area in the late 19th century to spread their faith, the villagers embraced Catholicism and St Joseph’s Chapel was built on the island in 1890.
But about 100 years ago that idyllic island life lost its sparkle. The primary issue was the competition the villagers faced from the Mainland and Vietnam which were now producing and exporting salt at very competitive prices. And Ip suspects that better transportation links meant that the tax officers could easily reach the island and demand tax, cutting into their profits.
By the 1920s, there was no sign of the salt pans. Although there were 1,000 people living on the island in the 1940s, that number dwindled over the next couple of decades and by the 1980s there were just four residents. The abandoned village earned the nickname ‘Ghost Island’.
The village may have been lost completely, if not for a group of descendants of the original villagers who returned to Yim Tin Tsai in about 2000 and started a movement to revive the island. In 2011, the Salt and Light Preservation Centre was founded to conserve and promote the culture and ecology of Yim Tin Tsai. After volunteering with the project for a year, Ip was asked to take over the management of the salt pans.
“Our priority is the revitalisation of the culture. We use the traditional methods to do the salt production and respect the ancestors of Yim Tin Tsai,” says Ip.
The traditional method is a slow process. The salt pans are flooded with water and it takes almost two weeks for the water to evaporate, leaving behind the salt crystals. Obviously, sunny days and high temperatures make for quicker evaporation. This is certainly not mass production, but it does make for good quality salt.
“In salt water we have a lot of the trace elements that our bodies need. We’ve sent our salt to university labs to be tested and the reports show the standard of our sea salt is very high. Following the methods of our ancestors makes for healthy salt,” says Ip.
While the centre’s primary objective is to preserve the culture, it does also sell some salt. The production is limited to 400 to 500 bottles a month, and it sells 130g jars of salt for a donation of about HK$50 each. And it tastes good.
“Our visitors comment that our salt is not too salty. When you taste it, the salty taste is released gradually. People always mention an after-taste feeling,” says Ip.
In 2015, the historic salt pans earned a UNESCO distinction for conserving an important piece of Hong Kong’s industrial heritage. The centre is open on weekends and public holidays.
Excerpt from skhartsfestival.hk/en/work/meetn-meal/:
Meet’n Meal
O&O Studio, REhyphenation
When nature nurtures every household on Yim Tin Tsai, the Hakka villagers cherish simple yet precious moments gathered around the dining table, enjoying the gifts of nature.
“Meet’n Meal” symbolises this connection among people, nature, and traditional Hakka cuisine, serving as a place for villagers to reunite and engage in casual conversations. Despite the simplicity of Hakka dishes, the villagers of Yim Tin Tsai create flavourful dishes with limited resources.
As the village’s lifestyle evolves, the artwork aims to preserve traditions while showcasing the new generation’s aspirations. It provides a venue for global villagers to come together, reconnect with family, and relish heartwarming moments on the dining table.
Let’s gather around “Meet’n Meal” in Yim Tin Tsai and relish in the joy of coming back home together around the table.
Excerpt from the plaque:
Through the Years to Touch You by X-Art
The work speaks of leavings and returnings, of yearnings for home from afar, for yearnings of peoples who are abroad. The work is situated at the Old Pier of Yim Tin Tsai, where the villagers began their journeys to far away places, and it is the first point of contact when they came back. These journeys have shaped the history and heritage of Yim Tin Tsai and have exerted a formative force on the local culture and as such, the Old Pier carries many memories of such comings and goings. This artwork embodies and expresses the emotions and memories, the stories telling of these leavings and returnings.
Excerpt from the plaque:
Sanctuary of Salt by Homan Ho Man-chung
“Sanctuary of Salt” is a laboratory that studies salt as a creative medium. It exhibits the forms and records of salt crystals, along with a series of works on the relationship between human and salt as well as nature at large. This year’s work presents three people who are indissoluble with Yim Tin Tsai, from salt workers to scientists, collaborating to explore the possibilities of salt, recording the process and the story, and documenting their common endeavour in search of tales of salt in future.
Excerpt from the plaque:
Twin Pavilions
The “Sheung Chi Ting” (Twin Pavilions) consists of two pavilions, named after their pose: one high, and one low. Located at the highest point of the island, it offers panoramic views of Yim Tin Tsai and is a great place for visitors to relax while enjoying the natural scenery. There are many different plants in the surroundings, such as Baeckea myrtle, which is native plant species to Hong Kong. In the past, villagers of Yim Tin Tsai used it to make brooms.
Excerpt from the plaque:
Stone and Shrine Circle by Match Chen and Wich Chau
“Stone and Shrine Circle” is an outdoor artwork that combines giant stones and environmental installations to symbolise the salt of Yim Tin Tsai and the biblical rock. The artwork consists of three parts representing divine gifts, humanity, and 12 stone foundations symbolising time. Its purpose is to connect people to the heavens while offering breath-taking views of the Sai Kung Hoi and sky. The main structure incorporates the Chinese concept of “heavenly roundness and earthly squareness”, representing the transmission of heavenly intentions. Sunlight and rainwater pass through square holes symbolising salt crystals, descending onto stone clusters representing people below.
“Stone and Shrine Circle” provides a space for rest and communication, and carries religious and cultural significance. It fosters understanding and respect among villagers and visitors, blending natural beauty with human spirit. The artwork becomes an essential landmark, offering a unique and contemplative experience, encouraging visitors to reflect on life’s meaning.
Not sure if this was something left by one of the original occupants, or by a later visitor, but whichever it was, it felt both poignant and a little creepy.
The village, on an island in the New Territories, was first settled in the Nineteeth century by Hakka people who were later converted to Christianity by missionaries. The community gradually diminished and was completely abandoned 20 or 30 years ago, with the houses left to rot. In recent years it has become something of a tourist attraction.
The saltpans from the Ching 清 Dynasty are revitalized in 2011 under the Yim Tin Tsai Saltpan Revitalization Project. In 2015, the project received the Award of Distinction 卓越獎 from UNESCO Asia-Pacific Awards for Cultural Heritage Conservation Programme 聯合國教育科學文化組織亞太區文化遺產.
New piece I've been working on to be displayed in a Juice Bar in Brighton town. Still not sure if I'm feeling it. Good or bad comments welcome!
Yim Tin Tsai
is a small offshore island in Sai Kung, Hong Kong. There is no permanent population on the island. The island has an area of 0.24 km². It is located in Port Shelter, the harbour located south of Sai Kung Peninsula and east of the Sai Kung mainland. It is connected by a breakwater in its southern part to the larger island of Kau Sai Chau.
The smaller islands of Shek Chau and Kwun Cham Wan are located off the coast of Yim Tin Tsai, in the northwest and the southwest respectively.Baptism of the island's residents started in 1866, and by 1875, all villagers on the island were baptised. In 1879 a chapel was set up by Joseph Freinademetz. Yim Tin Tsai can be reached by private ferry from Sai Kung Town.
鹽田梓（又稱鹽田仔）是位於香港西貢區的一個島嶼；由於鹽田梓村全村村民均信奉天主教，因而有「教友村」之稱，也被喻為天主教在香港的發源地之一。鹽田梓原為漁村，島上設有鹽田，而居民從事曬鹽工作為主；現時全島居民已遷出。
鹽田梓的名稱由來主要有兩個說法：一、島上設有鹽田，而島上的村民昔日以曬鹽為生，因而得名；二、陳孟德夫婦從鹽田村遷至該小島時，稱為「鹽田梓」；「梓」指鄉里，有不忘故鄉之意。及後村民把「鹽田梓」的「梓」字化為廣東話的「仔」字，因而又被稱為「鹽田仔」
鹽田梓面積少於1平方公里，距離西貢市約3公里[3]。島嶼位於香港西貢區西貢海，在滘西洲北面，建有一條玉帶橋與滘西洲相連[4]。在鹽田仔的海岸則有一些紅樹林。
Please view in large size^^
At Yim Tin Tsai, an outlying island off the Sai Kung harbour
Big Sister Hau is in control, and her motor boat is the only means of transportation between the island and the fishing town.
In the past, the villagers made a living by salt-making, fishing and farming. During the late 19th century, the whole island was converted into Catholicism with the arrival of Western missionaries. Nowadays the island is maintained with the help of volunteers from the Church for historical preservation and tourism.
西貢 盬田梓
Inside one of the houses.
The village, on an island in the New Territories, was first settled in the Nineteeth century by Hakka people who were later converted to Christianity by missionaries. The community gradually diminished and was completely abandoned 20 or 30 years ago, with the houses left to rot. In recent years it has become something of a tourist attraction.