[3] A research study to verify details given in oral traditions published by Phua Chye Long (潘醒农) in Teo-chews in Malaya (马来亚潮侨通鉴) in 1950 found that the writings of Stamford Raffles and William Farquhar indicate that the British found Temenggong Abdul Rahman with 400 to 500 residents in Singapore in January 1819.

Another member of the 1819 expedition party, Captain John Crawford, recalled in his diary an encounter with “upwards of 100” of Chinese.

[4] In 1826, pioneer of Man Say Soon Company, Lim Poon erected a shrine on the same site on Philip Street with a 999-year lease.

The shrine was constructed so that sailors sailing between Singapore and China during the 19th century could offer their prayers and gratitude for their safe journey.

In 1895, the Ngee Ann Kongsi submitted a building plan which called for substantial rebuilding of the temple.

However, study of the temple structure for restoration purposes commenced a few years before 2011 (Personal interview with Dr. Yeo Kang Shua).

An important feature of classical Chinese architecture is its attention to the concept of orientation, which is developed into a special branch of art called Feng Shui.

Upon passing through the front entrance gate, the large forecourt gives visitors a panoramic view of the entire temple.

The courtyard of Yueh Hai Ching Temple are enclosed by the walls and buildings around it, takes on a special introverted quality.

The roof of the temple of Xuan Tian Shang Di has ridge ornaments over the nave in the form of two dragons flanking a blazing pearl, which is lifted on a metal rod.

To the ancient Chinese, the dragon is the emblem of guardianship and vigilance and the symbol of strength, authority and justice.

Both roofs have the most unusual ornaments of complicated layouts of one- and two-storey mini-structures and human figurines.

These figures were created using a traditional technique known as cut-and paste porcelain shard work (嵌瓷 or 剪瓷雕).

The limp is mixed with sand and help wool to form the substance onto which porcelain shards are set, providing a glazed sheen which gives a smooth and vibrant aesthetics.

The support system of the massive roof timbering is visible in Yueh Hai Ching Temple.

In the temple, gold (instead of yellow) is used on roof trusses, brackets, eaveboards, Door Gods and he Chinese characteristics of plaques.