RAS-1980 — Page 159

RASHKB Journal 皇家亞洲學會香港分會學刊 All AI Reviewed

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127

and gong, and a chi lin dancing, go over to greet the car. More fire crackers are set off to frighten away any evil spirits still around. The bridegroom gets out, dressed in a Western dinner jacket, white shirt with elaborate red-edged ruffles down the front, followed by other relatives, and then the bride. She is dressed in the traditional red kwa—a two-piece jacket and skirt made of satin and elaborately sequinned and embroidered, and hired for the day from a shop in Taipo. On her feet are red wooden-soled clogs with red plastic uppers, in her hair red ornaments, and carrying a pink feather fan.

Before she steps out of the car, two old women go to meet her. One is carrying a pair of black fu in a bamboo sieve to indicate the bride has older unmarried brothers or sisters or to indicate male dominance? This is carried over the bride's head as she progresses to the house. The other old lady places two bamboo sieves, with red painted circles in the centre, one after the other on the ground for the bride to step in as she walks. The sieves are rolled vertically over each other in a ceremonial fashion, and don't actually make contact with the ground until they are horizontal. The procession moves slowly towards the houses, the bride stepping in the sieves with each step, and following the chi lin, cymbal and gong players and the groom. When she reaches the groom's house, she steps over hot cinders in the doorway. She goes into the house to the back room which is their bedroom, and sits on the bed, with other female relatives and friends. The other villagers and guests then queue up through the house to take turns to peer through the window and doorway into the bedroom, to watch a first glimpse of the newcomer to the village. All the while, the mah jong and Chinese music continues.

Daam, the Chinese term for a dowry, have been exchanged a week before the wedding. After negotiations between the match-maker and the two families, the proper amounts of money, food and livestock etc have been given to the bride's family by the groom's. The marriage has already been registered.

At 12.45 while the mah jong and music continues, men are seen going into the chi tong to light candles and incense in preparation for the actual ceremony of ancestor worship, which forms an important part of the marriage ceremony. On the altar in the chi tong is a large selection of edible items, including plucked and cooked chickens, pieces of pork, bowls containing sweetmeats etc,

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NOTES AND QUERIES 127 and gong, and a chi lin dancing, go over to greet the car. More fire crackers are set off to frighten away any evil spirits still around. The bridegroom gets out, dressed in a Western dinner jacket, white shirt with elaborate red-edged ruffles down the front, followed by other relatives, and then the bride. She is dressed in the traditional red kwa—a two-piece jacket and skirt made of satin and elaborately sequinned and embroidered, and hired for the day from a shop in Taipo. On her feet are red wooden-soled clogs with red plastic uppers, in her hair red ornaments, and carrying a pink feather fan. Before she steps out of the car, two old women go to meet her. One is carrying a pair of black fu in a bamboo sieve to indicate the bride has older unmarried brothers or sisters or to indicate male dominance? This is carried over the bride's head as she progresses to the house. The other old lady places two bamboo sieves, with red painted circles in the centre, one after the other on the ground for the bride to step in as she walks. The sieves are rolled vertically over each other in a ceremonial fashion, and don't actually make contact with the ground until they are horizontal. The procession moves slowly towards the houses, the bride stepping in the sieves with each step, and following the chi lin, cymbal and gong players and the groom. When she reaches the groom's house, she steps over hot cinders in the doorway. She goes into the house to the back room which is their bedroom, and sits on the bed, with other female relatives and friends. The other villagers and guests then queue up through the house to take turns to peer through the window and doorway into the bedroom, to watch a first glimpse of the newcomer to the village. All the while, the mah jong and Chinese music continues. Daam, the Chinese term for a dowry, have been exchanged a week before the wedding. After negotiations between the match-maker and the two families, the proper amounts of money, food and livestock etc have been given to the bride's family by the groom's. The marriage has already been registered. At 12.45 while the mah jong and music continues, men are seen going into the chi tong to light candles and incense in preparation for the actual ceremony of ancestor worship, which forms an important part of the marriage ceremony. On the altar in the chi tong is a large selection of edible items, including plucked and cooked chickens, pieces of pork, bowls containing sweetmeats etc,

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NOTES AND QUERIES 127 and gong, and a chi lin dancing, go over to greet the car. More fire crackers are set off to frighten away any evil spirits still around. The bridegroom gets out, dressed in a Western dinner jacket, white shirt with elaborate red edged ruffles down the front, followed by other relatives, and then the bride. She is dressed in the traditional red kwa--a two piece jacket and skirt made of satin and elaborately sequinned and embroidered, and hired for the day from a shop in Taipo. On her feet are red wooden soled clogs with red plastic uppers, in her hair red ornaments, and carrying a pink feather fan. Before she steps out of the car, two old women go to meet her. One is carrying a pair of black fu in a bamboo sieve to indicate the bride has older unmarried brothers or sisters or to indicate male dominance? This is carried over the bride's head as she progresses to the house. The other old lady places two bamboo sieves, with red painted circles in the centre, one after the other on the ground for the bride to step in as she walks. The sieves are rolled vertically over each other in a ceremonial fashion, and don't actually make contact with the ground until they are horizontal. The procession moves slowly towards the houses, the bride stepping in the sieves with each step, and following the chi lin, cymbal and gong players and the groom. When she reaches the groom's house, she steps over hot cinders in the doorway. She goes into the house to the back room which is their bedroom, and sits on the bed, with other female relatives and friends. The other villagers and guests then queue up through the house to take turns to peer through the window and doorway into the bedroom, to vatch a first glimpse of the newcomer to the village. All the while, the mah jong and Chinese music continues. Daam, the Chinese term for a dowry, have been exchanged a week before the wedding. After negotiations between the match- maker and the two families, the proper amounts of money, food and livestock etc have been given to the bride's family by the groom's. The marriage has already been registered. At 12.45 while the mah jong and music continues, men are seen going into the chi tong to light candles and incense in preparation for the actual ceremony of ancestor worship, which forms an important part of the marriage ceremony. On the altar in the chi tong is a large selection of edible items, including plucked and cooked chickens, pieces of pork, bowls containing sweetmeats etc,

2026-05-12 23:54:57 · Baseline

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NOTES AND QUERIES

127

and gong, and a chi lin dancing, go over to greet the car. More fire crackers are set off to frighten away any evil spirits still around. The bridegroom gets out, dressed in a Western dinner jacket, white shirt with elaborate red edged ruffles down the front, followed by other relatives, and then the bride. She is dressed in the traditional red kwa--a two piece jacket and skirt made of satin and elaborately sequinned and embroidered, and hired for the day from a shop in Taipo. On her feet are red wooden soled clogs with red plastic uppers, in her hair red ornaments, and carrying a pink feather fan.

Before she steps out of the car, two old women go to meet her. One is carrying a pair of black fu in a bamboo sieve to indicate the bride has older unmarried brothers or sisters or to indicate male dominance? This is carried over the bride's head as she progresses to the house. The other old lady places two bamboo sieves, with red painted circles in the centre, one after the other on the ground for the bride to step in as she walks. The sieves are rolled vertically over each other in a ceremonial fashion, and don't actually make contact with the ground until they are horizontal. The procession moves slowly towards the houses, the bride stepping in the sieves with each step, and following the chi lin, cymbal and gong players and the groom. When she reaches the groom's house, she steps over hot cinders in the doorway. She goes into the house to the back room which is their bedroom, and sits on the bed, with other female relatives and friends. The other villagers and guests then queue up through the house to take turns to peer through the window and doorway into the bedroom, to vatch a first glimpse of the newcomer to the village. All the while, the mah jong and Chinese music continues.

Daam, the Chinese term for a dowry, have been exchanged a week before the wedding. After negotiations between the match- maker and the two families, the proper amounts of money, food and livestock etc have been given to the bride's family by the groom's. The marriage has already been registered.

RAS-1980 — Page 159

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