NOTES AND QUERIES
147
It is in connexion with worship of “Mother” that the lay-out of the shrine rooms in vegetarian halls of the sect is important. Mother must be placed higher than any other deity and should occupy a room to herself (or occasionally shared with Kuan-yin with whom, as we have said, she is sometimes identified). This means that halls of the sect should whenever possible be built on two storeys, with "Mother's" room on the upper storey. This was so in the case of all the halls visited. Usually, one of the popular triads is housed in the main downstairs shrine-room (occasionally one finds an image downstairs of the many-armed Chun-t'i: “Goddess of Dawn" supposedly of Buddhist origin, but she was not present in the halls visited).
Upstairs besides the room dedicated to “Mother" there is often a shrine also for the soul-tablets of past members.
Members of the Society were fortunately permitted to visit all shrine rooms (some halls do not permit outsiders to enter the "Mother" room).
Relations between the Halls and the Ngau Chi Wan Village
There is a certain amount of inter-action between the halls at Ngau Chi Wan and the village of this name which, though on the fringe of urban Kowloon and augmented by neighbouring squatter huts and factions, is still largely inhabited by the descendants of founding Hakka families who came to this spot in the mid-eighteenth century and after. The annual festival of the god of the main village temple (said to be a Ch'iu Ch'au deity whose image was brought up from the sea off Ngau Chi Wan by village fishermen a long time ago) occurs on the 25th of the 2nd lunar month. At this time the inmates of the halls visit the opera performance that is held in a matshed on open ground in front of the KAM HA CHING SHE and worship at the portable shrine that is brought on these occasions from the temple half a mile away. Our visit took place just before this festival and already the bamboo structure on which the matshed for the opera was to be built, was being erected. A large temporary cooking stove had also been constructed for the occasion for serving vegetarian food (which Marjorie Topley gathered in conversation with some of the inmates was contracted for by the village temple association from the vegetarian halls).
Again, at the Festival of Hungry Ghosts on the 7th of the 7th moon, it is “traditional” practice for about 100 students from the
NOTES AND QUERIES
147
It is in connexion with worship of “Mother” that the lay-out of the shrine rooms in vegetarian halls of the sect is important. Mother must be placed higher than any other deity and should occupy a room to herself (or occasionally shared with Kuan-yin with whom, as we have said, she is sometimes identified). This means that halls of the sect should whenever possible be built on two storeys, with "Mother's" room on the upper storey. This was so in the case of all the halls visited. Usually, one of the popular triads is housed in the main downstairs shrine-room (occasionally one finds an image downstairs of the many armed Chun-t'i: “God- dess of Dawn" supposedly of Buddhist origin, but she was not present in the halls visited).
Upstairs besides the room dedicated to “Mother" there is often a shrine also for the soul-tablets of past members.
Members of the Society were fortunately permitted to visit all shrine rooms (some halls do not permit outsiders to enter the "Mother" room).
Relations between the Halls and the Ngau Chi Wan Village
There is a certain amount of inter-action between the halls at Ngau Chi Wan and the village of this name which, though on the fringe of urban Kowloon and augmented by neighbouring squatter huts and factions, is still largely inhabited by the descendants of founding Hakka families who came to this spot in the mid-eigh- teenth century and after. The annual festival of the god of the main village temple (said to be a Ch'iu Ch'au deity whose image was brought up from the sea off Ngau Chi Wan by village fisher- men a long time ago) occurs on the 25th of the 2nd lunar month. At this time the inmates of the halls visit the opera performance that is held in a matshed on open ground in front of the KAM HA CHING SHE and worship at the portable shrine that is brought on these occasions from the temple half a mile away. Our visit took place just before this festival and already the bamboo struc- ture on which the matshed for the opera was to be built, was being erected. A large temporary cooking stove had also been construct- ed for the occasion for serving vegetarian food (which Marjorie Topley gathered in conversation with some of the inmates was contracted for by the village temple association from the vegetarian halls).
Again, at the Festival of Hungry Ghosts on the 7th of the 7th moon, it is “traditional” practice for about 100 students from the
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