#Temple of Sin

[deleteddewewted]

Temple of Sin Discord

Welcome to the Temple of Sin! Come to worship and gather!

Who is this server for?: This server is for any and all who want to talk, discover, and enjoy the different fandoms and community work. ITS POC friendly, Queer Friendly, and welcoming of all! If you have any recommendations on how to make the server a more inclusive and welcoming place, there is a channel that you can send thoughts and recommendations too.

Who can join the server?: Adults ONLY. If you're found to be underage you will be banned/kicked from the server. You will have to verify your age before being granted access to the rest of the server.

What can you expect from the server?: A fun place to gather, share, and create with other fanfic writers and artists.

Is NSFW Allowed?: NSFW content has its own set of channels for both art, fanfiction, and so on. If you don't want to interact with NSFW content you can simply mute/block those channels and enjoy the rest of the server.

𝕯𝖎𝖘𝖈𝖔𝖗𝖉 𝕷𝖎𝖓𝖐!!!!

[lousolversons]

"The man lived on the moors and ate the fleas from the rats. He was frightened all the time. Then one day, a man comes on a wealthy horse and offers him two coins and a meal. But the food was not food. It was sin. The sins of the rich. Greed, envy, disgust. They were bitter-- the sins. But he ate them all, for he was starving. From then on, the man does not sleep or grow old. He cannot die. He has no dreams." FARGO FX - S5E10 - Bisquik

[chronurgy]

Bro you become the slayer and both Sarevok and Sceleritas both immediately get on your case about making some more Bhaalspawn??? Like buddy I just got back

[chateau7afra]

Folklore in Fargo

Spoilers ahead, Sailor.

One of the things I loved about Fargo this season so far, is the incorporation of Folklore, suberstition and God. We meet Ole Munch (Sam Spurrell) in the first episode. He seems to be a regular hitman of sorts, who is set on Dorothy (Juno Temple) He comes across a bit excentric and the way he talks and dresses seem very anachronistic. We also learn, that Dot is not the regular homemaker and loving mum, she seems to be. Munch and his handyman set out to kidnap Dot. Munch and his handyman aren't able to capture her and the handyman was killed in the process. We get to know Roy Tillman (John Hamm) who was the one who sent Munch on his mission, but because he failed the task, Roy is not paying Munch, which sets off a rather bleak storyline in which Roy and his son Gator (Joe Keery, my love) try to kill him. He escapes! The most intriguing thing about Ole Munch is one, the ritual he performs at the Tillman Farm. He kills a goat, covers himself in it's blood and leaves a message for Roy over his Daughter's beds. And two, the flashback to Wales in 1522. See now, this is where it gets weird. And where I had to google some stuff.

We see a character, dressed in what seems to be clothes of the lower class, entering a house full of upper class people who are in mourning, dressed in black and weaping. We have a funeral on our hands here. The poor person looks like Ole Munch. Is it him? Is it an ancestor of his? We dont know. On the belly of the deseiced is a plate with food. When Munch enters the house, there is a tense energy in the room. Munch walks up to the dead body and consumes the food offered on the plate in an almos animalistic fashion. The people in the room gasp, some of them disgusted, some of them afraid. Or both. Before Munch leaves, he gets two silver coins. Which must have been a lot of money back in the day, I did not research that. But we clearly witnessed some sort of ritual happening. It turns out, sin eating was a practice rich people took part of in Wales, Ireland and England in the 1600s. A willing poor person was invited to literally eat the sins of the deseaced person, so they could be welcomed at the pearly gates, with a clean record. All the sins are transferred, to the person who ate the food. A grewsome fate for people at the time, but hey, a mans gotta eat. The world is bleak, so I don't go with the rational reason in fiction, ever. I like to think that Ole Munch ate so many sins, that he became a spirit, that can not die, who is forced to wander around the earth forever, and for some reason chose america. His very beautifully written monologues would suggest that. They almost sound shakespearian.

But how does this play into the bigger theme of Fargo S5? Well, if you think about it, the whole season is about unpaid depts and consequences. Dot ran away from Roy and the farm, because of domestic violence. In Roy's book, she owes him, because she made a pledge to him, when they got married. Ole Munch sees a debt not paid, because he didn't receive paymant for "eating the sin" of kidnapping Dot. Dot's husband's mother, who is a very rich lady played by the brilliant Jennifer Jason Leigh points out "What is the point of being a billionaire, if you can't get someone killed.", while on the phone with an ex-president, apparently Bill Clinton, if I remember right. It's like, we never got over the sin eating, because with money and power, you can pay your way out of any circumstance, be it kidnapping or murder. There is always going to be someone who needs the money more than their soul. And there is always going to be someone who takes advantage of that. Roy Tillma, quotes the bible a lot. He thinks of himself as a right and just man and leader, even though he likes to bend the law to his will. He does not give a flying fuck about the law as it is "dictated by washington" and funds a right wing militia with taxpayer money. He is the law of the land. These scenes sent shivers down my spine.

Anyway. All of the storylines in this show are so amazing and worth writing about. Go watch it, you won't regret a second.

[officialyourdailyinspiration]

The Glory of the LORD Returns to the Temple

1 And he led me to the gate, the gate that faces eastward. 2 And behold, the glory of the God of Israel came from the way of the east. And His voice was like the sound of many waters. And the earth shined with His glory. 3 And it looked the same as the vision which I saw, even according to the vision which I saw when I came to destroy the city. And the visions were like the vision that I saw by the river Chebar. And I fell on my face. 4 And the glory of the LORD came into the temple by the way of the gate whose view is eastward. 5 And the Spirit took me up and brought me into the inner chamber. And behold, the glory of the LORD filled the temple.

6 And I heard Him speaking to me from the temple. And standing by me was a Man. 7 And He said to me, "Son of man, the house of Israel shall no more defile the place of My throne, and the place of the soles of My feet, where I will dwell in the midst of the sons of Israel forever; neither they, nor their kings, by their whoredom, nor by the dead bodies of their kings in their high places. 8 When they set their threshold by My threshold, and their doorpost by My doorpost; and the wall between Me and them, they have even defiled My holy name by their abominations which they have done. And I have consumed them in My anger. 9 Now let them put away their whoredom, and the dead bodies of their kings from Me, and I will dwell in their midst forever.

10 You, son of man, show the house of Israel the temple, so that they may be ashamed of their iniquities. And let them measure its pattern. 11 And if they are ashamed of all that they have done, the form of the house, and its arrangement, and its exits, and its entrances, and all its forms, and all its ordinances, and all its forms, and all its laws, make known to them. And write them before their eyes, so that they may observe all its form, and all its ordinances, and do them. 12 This is the law of the temple. On the top of the mountain is all its border, all around it is most holy. Behold, this is the law of the temple.

13 And these are the measures of the altar by the cubit. The cubit is a cubit and a span; even the base shall be a cubit, and the width a cubit, and its border by its edge all around shall be a span. And this is the upper part of the altar. 14 And from the base on the ground even to the lower ledge shall be two cubits, and the width one cubit. And from the smaller ledge even to the greater ledge shall be four cubits, and the width one cubit. 15 And the altar hearth shall be four cubits, and from the altar hearth and upward shall be four horns. 16 And the altar hearth shall be twelve cubits long, twelve wide, square in its four sides. 17 And the ledge shall be fourteen cubits long and fourteen wide in its four sides. And the border around it shall be half a cubit, and its base a cubit around. And its steps shall face eastward."

18 And He said to me, "Son of man, thus says the Lord GOD, 'These are the ordinances of the altar in the day of its being made to offer upon it burnt offerings, and to sprinkle blood upon it. 19 And you shall give a young bull for a sin offering to the priests the Levites, who are of the seed of Zadok, who approach Me to minister to Me,' says the Lord GOD. 20 And you shall take of its blood and put it on its four horns, and on the four corners of the ledge, and on the border all around. So you shall cleanse and purge it. 21 You shall also take the bull of the sin offering, and he shall burn it in the appointed place of the temple, outside the sanctuary.

22 And on the second day you shall offer a kid of the goats without blemish for a sin offering. And they shall cleanse the altar as they cleansed it with the bull. 23 And when you have finished cleansing it, you shall offer a young bull without blemish and a ram out of the flock without blemish. 24 And you shall offer them before the LORD, and the priests shall cast salt upon them, and they shall offer them up for a burnt offering to the LORD. 25 Every day for seven days you shall prepare a goat for a sin offering. They also shall prepare a young bull, and a ram out of the flock, without blemish. 26 Seven days they shall purge the altar and purify it; and they shall consecrate themselves. 27 And when these days are expired, it shall be that on the eighth day, and forward, the priests shall make your burnt offerings before the altar, and your peace offerings. And I will accept you,' says the Lord GOD." — Ezekiel 43 | A Faithful Version (AFV) Holy Bible, A Faithful Version © 2020 A Faithful Version. All Rights Reserved. Cross References: Exodus 12:7; Exodus 20:26; Exodus 25:25; Exodus 27:1-2; Exodus 29:1; Exodus 29:35; Exodus 40:34; Leviticus 1:10; Leviticus 3:1; Leviticus 8:15; Leviticus 9:1; Leviticus 26:30; Psalm 46:5; Jeremiah 1:10; Ezekiel 1:26; Ezekiel 10:19; Ezekiel 11:20; Ezekiel 16:61; Ezekiel 20:40; Ezekiel 27:5; Ezekiel 45:18; Mark 9:49; Acts 8:39; Hebrews 7:27; Hebrews 9:21-22; Hebrews 13:11; Revelation 1:15; Revelation 14:2; Revelation 18:1; Revelation 21:11

[vamptastic]

was curious if shaving body hair is permissible in orthodox judaism. still have no clue (i have a lot of miscellaneous things that suggest it is or isnt, like mikveh customs and being forbidden to use a straight razor, but no real idea). but i do know that apparently some guy a long time ago got his dick caught in his wife's bush and that was, among other problems, considered sufficient grounds for divorce. if im reading this right.

[official-gospel-gang69]

Jesus, trying to calm down after flipping tables in the temple: Not my hakuna, not my matata

[acselsblog]

[lettersfromaconvert]

Beginning to understand the flesh like a child that doesn't know what's best for her. Repenting of all the things I've done to my body, against my better judgement. I bound my chest and restricted my breath because I didn't like the gender of my body. I cut wonds into the legs of my body because my body didn't feel real. I fucked myself and hurt my body, allowed it to be fucked and hurt because my body found it pleasurable. I stuck holes in my face to be more beautiful. I stuck holes in my navel to be more sexually desirable. I stuck pins with ink in my skin for fun, never finishing the art I once begun. I restricted my body of food because it was not thin enough for me. I fed my liver alcohol, my lungs cigarettes, and my brain marijuana, just to stimulate myself. I even have fed my body food that would hurt it, slow it down, make it tired and weak. I could have just told my body to wait, and cooked something to be nutritious, but as it told me "now!" Like a spoiled child, I gave in. Allowing your flesh to sin against your spirit is like giving a newborn a bottle of soda instead of breast milk, simply because soda is sweeter.

[samirant]

Hey, GBBO, if you're going to be doing celebrity episodes and not taking advantage of the Ted Lasso crew filming right there, I don't know what the point is.

[stonerzelda]

first day of work was backbreaking but doable 👍 desperately trying to kill this coffee on an empty stomach so i dont die before nighttime even tho outside thinks it may as damn well be 9pm already

[reckless-glitch]

song of the day for alexander/gortash is 'if you could only see' by tonic and specifically

If you could only see the way he loves me Then maybe you would understand Why I feel this way about our love And what I must do

[mysimpleservant]

the WORLD is a STAGE (PART 4) (Documentary)

Everything is revealed about the Beast system and it's mark already. See in the Spirit and understand. The Mark has been already revealed. We are in the book of revelation believe it and wake up

[internationalnewspod]

This week, a New Zealand pizza chain offers free pizza if you repay them in your will, and the guys get to know…the mysterious Thuggee Cult!

Hosts: Kevin Harrison, Mike Wiebe, Brian Camp

Producer & Music: Mark Ryan

Announcer: Nancy Walker

Graphic Designer: Mike Tidwell

[demospectator]

“Entrance to Joss House, Oneida Place” c. 1901 -1902.  Painting by Charles Albert Rogers (from the collection of the Bancroft Library).

Lord Tam’s Home on Oneida Place in Old Chinatown

About 15 years ago, The Bancroft Library acquired thirteen paintings of San Francisco's Chinatown by Charles Albert Rogers, dating from 1901-1902.  Born in New Haven, Connecticut, in 1848, Rogers studied art in New York and pursued further training in Munich, Paris, and Rome.  “By 1877 he was in San Francisco,” according to the Bancroft’s Western Americana Curator Theresa Salazar, “where he painted oil and watercolor portraits, landscapes, and coastal scenes.”  

The Bishop directory of 1877 shows a listing for “Rogers Chas., artist, r. cor Washington and Dupont” – residing in the heart of Chinatown. By 1895, the Langley directory shows that he had moved his studio as a “Landscape and portrait painter” to 628 Montgomery Street and residence to 834 Sutter Street.  In 1905, the Langley directory shows Rogers living at 509 Van Ness Avenue and a listing among “Artists – Landscape” at the same address.  Unfortunately for Rogers, the San Francisco earthquake and fire of April 18, 1906, apparently destroyed his studio and his work which was stored there.  After the earthquake, the artist moved to Los Angeles.  He would continue to paint, and he died in Alameda, California, in 1918.

In 2008, Salazar wrote for the Bancroft Library’s special edition of reproductions of “The Chinese Experience through Western Eyes” about Rogers’ Chinatown work as follows:  

“Rogers' depiction of Chinatown before its destruction in 1906 was fortuitous. Capturing the people and places of this city within a city, he records Chinatown before the earthquake, rendering the typical dress of its inhabitants and the flavor of the humdrum and humble activities of its back alleys. Its ramshackle wooden buildings and tenement houses were far from important architectural structures, as Rogers' paintings attest; but they also attest to the existence of a vibrant community and culture. Each painting bears the artist's original annotation as to location and date, with the time of day also noted on some works.  Rogers captures the overlay of Chinese artifacts on the nondescript 19th century brick building — . . . and other objects all create the distinctive characteristics of the neighborhood.”

Unlike many of his contemporaries who painted subjects in old Chinatown, Rogers’ painting of the joss house on Oneida [sic] “alley” remains startlingly faithful to the Chinese signage over the doorway.  The first three characters, read right to left in the old style, are 譚公廟 (canto: “Tom Gung miu”) or the “General (or duke or lord) Tam temple.”  The painting, thus, confirms Lord Tam, patron saint of seafarers, as the principal icon for this temple and its location on Oneida Place off of Sacramento Street in old San Francisco Chinatown.  

According to legend, Tam Gung could forecast the weather.  The Lord Tam of historical record was born in Huizhou prefecture where he could cure patients in his childhood.  His powers and good acts earned him a place in heaven as an immortal by the age of 20 in the Nine-dragon Mountain in Huizhou and deification during the Qing dynasty. Chinese whose ancestral homes are located in Huizhou or Chaoshan of Guangdong province venerate Tam Gung. In Hong Kong and Macau, Tam Gung or Tam Tai Sin (譚大仙; canto: “Tom daih seen”) is worshiped as a sea deity.

Images of the interior of the Lord Tam and Tam clan association temple are practically nonexistent.  If Rogers ever gained admission to sketch the temple’s sanctuary, no such renderings survived.  

Oneida Place as shown on the July 1885 map commissioned by the San Francisco Board of Supervisors (from the Cooper Chow collection at the Chinese Historical Society of America).

The best literary description of the Tam temple may be found in Frederic J. Masters’ article “Can a Chinaman Become a Christian?” published in the June – November 1892 issue of The Californian Illustrated Magazine (p. 622).  Masters wrote as follows:

“Another temple worth visiting is the small but elegant Joss-house of the Tam Clan. It is one of the oldest in San Francisco, and is found on Oneida place, a dirty, narrow alley branching from Sacramento street. The patriarch Tam is represented with a bald head and a fine, intelligent face.   Beautifully gilded and tasseled mottoes hang from the walls and roof. There is one motto that is very appropriate for a temple where kinsmen meet, of which the following is a rude translation: ‘That family with fragrance blooms, whose brethren, like flower calyxes, each to the other bound and all to parent stem, in undivided love abide.’' Another tablet in purple may be rendered in English, thus: ‘Upon us like the rain and dew, thy grace descends forever new.’  Another tablet inscribed by forty-eight names says: ‘The vastness of his mercy is boundless as the sea.’

“The altar service is of very chaste design, the center piece artistically enameled, surmounted with a brass lion with two dragons rampant, each with a projecting red tongue that moves at the least jar or breath of wind. On either side are two huge enameled metal candlesticks in the shape of towers, surmounted by two Caucasian figures dressed in the English costume of a century ago, each wearing stovepipe hats and holding a torch-like candlestick. Worship was being offered by two Chinamen at this temple at the time of our visit.

“333. Shrine -- Joss House” no date.  Photographer unknown. This as-yet un-identified altar setup (particularly the lion surmounting the central vessel) approximates the altar furnishings described by Frederic Masters survey of San Francisco Chinatown’s various temples in 1892.    

“A Chinese temple has no fixed time for religious service; no congregation meets together for united praise and prayer, or sits to listen to some exposition of doctrine and duty. The worshipper comes when he has something to pray about. Family sick-ness, adverse fortune or some risky business undertaking drives him to the oracle. As lie enters the temple he makes his bow to the gods with clasped hands, he lights his candles and incense, kneels upon a mat and calls upon the god by name three times. He then takes up two semi-oval blocks of wood called Yum Yeung Puey, bows toward the idol, prays for good luck and then tosses them up. The success of his supplication depends upon the position in which these blocks fall.  If they both fall in the same position the omen is unfavorable; the god has left his office or does not wish to be disturbed.   If the blocks fall one with the flat side turned up and the other with the flat surface turned down, the god is supposed to be taking some interest in his business. The worshipper now knocks his head three times three upon the floor, and offers up his petition. This done, he takes a cylindrical bamboo pot containing bam I wo slips about fifteen inches in length, each marked with a number.  These are called sticks of fate, and are shaken together with the ends turned to the idol, till one is jostled out. The priest or temple keeper looks at the number, consults his book and hunts up the answer given to the man's prayer.  The drum beats and the bell tolls.  Offerings of paper money, consisting of beaten tinfoil, a whole armful of which can be bought for half a dollar, are burnt in the furnace and are changed by fire into the currency of the gods. It has taken only ten minutes to burn candles, incense and gilt paper, say his prayers, cast his lot, and get his answer and be on his way home.

“Some happy morning he may be seen repairing to the same, temple to return thanks for some profitable answer to his venture in trade, for a relative restored to health, or for some good fortune believed to have come in prayers.  An express wagon drives up to the temple door, containing roast pigs and the choicest vegetables and fruits laid out in trays, which he offers to the god with libations of wine and tea. The god is supposed to feed upon the fumes of the meat and food, after which utilitarian John carts them back home to the family pantry.”

Unlike other better-known temples, such as the Tin How or Lung Kong temples, the Lord Tam temple, and even the small streets comprising Oneida Place, apparently attracted little interest from the photographers of the day.  Aside from its temple, Oneida Place’s only other claim to prominence was its listing as an overcrowded residential warren in Samuel Gompers’ notorious pamphlet published in 1902 by the American Federal of Labor “Some Reasons for Chinese Exclusion -- Meat vs. Rice – American Manhood Against Asiatic Coolieism [etc.].”  

As this clipping from the Sacramento Daily Union of October 17, indicates, the many lodgings for the Chinese laborers on Oneida Place were generally unsound. 

In spite of its lower profile when compared to Chinatown’s other alleyways and small streets, Oneida would occasionally serve as a location for newsworthy events, as this June 30, 1892, report in the Sacramento Daily Union about an opium processing house attests: 

  Research about this small, but important, corner of Chinatown continues.