[ { "id": 204293, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1961", "page_number": 61, "title": "RAS-1961", "content_text": "Journal of the Royal Asiatic Society Hong Kong Branch\n\nRASHKB and author\n\nVol. 1 (1961)\n\nISSN 1991-7295\n\n57\n\npainstaking scholar. In his journals and letters he notes with appreciation books received for recreational purposes and also for the education of his children. The collection is representative of the period and contains more curiosities than rarities,\n\nOnly about two hundred volumes remain which are of Far East interest. This section seems to have suffered the depredations of time and insects more than any other, but what is left is perhaps of sufficient interest to warrant description. There are a fair number of eighteenth century books but in all only five seventeenth century and of these only two are about China,\n\nThe earliest is Atlas Extreme Asiae Sive Sinarum Imperii (Atlas of furthermost Asia and Imperial China) by Martin Martinius of 1654. It lacks a title page and of the fifteen maps three are missing. It includes a brief note on Korea and Japan. It has a thirty-six page supplement \"De Bello Tartarico Historia\" many separate editions of which appeared in French and Dutch translations. The work is listed in Cordier as Novus Atlas Sinensis a Martino Martinio Soc. Iesv, a later edition than the one here described. According to the same authority there were two Latin editions and many translations.\n\nOnly one of the two copies listed of China Monumentis by Athanasius Kircher, S.J. is now in the Library. It is a copy of the first 1667 edition listed in Cordier as being the finest, a folio, complete with the engraved frontispiece and the numerous plates.\n\nAmong the eighteenth century books there is a copy of the first edition of the first English translation to be made of Camoës' epic poem, The Lusiad (Os Lusiadas) by William Julius Mickle. Mickle published a translation of Book Five only in The Gentleman's Magazine for March, 1771 and a little later the first canto. These were followed by the whole poem in 1775 when its publication was supported by a long list of subscribers. The translator visited Portugal as secretary to Commodore Johnstone in 1779 where he was received with much acclaim.\n\nThere is a copy of the first collected English edition of The Works of Peter Pindar, Esq. in three volumes (two earlier collected editions had appeared in Dublin), but unfortunately the first volume is missing. Peter Pindar, the pen name of John Wolcot, was well known as a pungent satirist in his day. This collected edition was published in 1794 by John Walker of Paternoster Row, London, to whom Wolcot sold all the rights of his published and future work in 1793. This arrangement subsequently led to disputes and a law suit which was decided in the author's favour and he enjoyed a comfortable annuity for the rest of his long life until 1819. The Works contain A pair of Lyric Epistles to Lord Macartney and Odes to Kien Long which recall how much in the public eye was the British Embassy to Peking at this time.", "txt_file_path": "txt/dfo323lmgvd/RAS-1961.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/vd6724704", "rank": 0 }, { "id": 205534, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1968", "page_number": 76, "title": "RAS-1968", "content_text": "FURTHER NOTES ON THE SUNG WONG T'OI\n\n71\n\nment outside, possibly T'ang; two fragments of stoneware bowls with pale blue glaze, much weathered and probably old; and two thick stoneware bowl bases roughly hollowed out below, with their yellow glaze decayed, probably of Sung date; one of them was apparently not glazed so far down as the base. Lastly there is one fragment of the neck of a large stoneware jar, wheel-turned, the external diameter of which was 37 cm. at the mouth, and internal 35 cm.; it shows no sign of slip or glaze, and seems to be of Six Dynasties date.\n\n2. Pottery from the beach. A group of 21 bowl bases and sherds were collected from the boulder-strewn beach at the south-east foot of the hill. All but two were submitted to the British Museum for determination of the probable dates of manufacture, with the following results:\n\nT'ang dynasty; broken bowl glazed olive-green, with 17-tooth comb mark.\n\nProbably T'ang: two bowl bases, one with 10-tooth comb marks.\n\nProbably Sung: three bowl bases and two sherds, without incised ornament.\n\nProbably Southern Sung: two bowl bases and one sherd with shallow incised grooves on the outside.\n\nAll the above bowl bases are unglazed below a line part way down their outsides, and are hollowed out with a tool that left a helical mark within the footrim.\n\nSouthern Sung or Yuan: three bowl bases of 13th century date, two with white porcellanous bodies and white glaze, and one with pale buff body and creamy glaze: their unglazed bases are flat with very low footrims. Each of the first two has incised ornament, one an underglaze wave pattern within the bowl, the other a lotus petal pattern on the outside with raised outlines. The third shows signs of wear on a beach, which are seen on no other specimen. This specimen was overlooked and not submitted to the Museum, but has a strong resemblance to the two others in its style and appearance. These three pieces are broken across their bases in such a way that outline tracings of the base in section could be made. Figures 1, 2 and 3 below", "txt_file_path": "txt/dfo323lmgvd/RAS-1968.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/66833948d", "rank": 0 }, { "id": 205553, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1968", "page_number": 95, "title": "RAS-1968", "content_text": "90\n\nARMANDO M. DA SILVA\n\nIt will suffice here to say that the exterior defence of the Chu Kong estuary consisted of a series of forts, customs-stations and guard-posts in the Lo Man Shan 老萬山, Kai Pong 鷄澎, Sam Chau Mun 三洲門, Ngoi Ling Ting 外伶仃, and the Tam Kon ## groups of the outer off-shore islands. The civil administration ruled from Nam Tau, the district city of the San On district. The military administration was centred at Tai Pang, on the western arm enclosing Tai Pang Hoi (Mirs Bay). The civil administration operated on a north-south axis, as against the east-west axis of the military coastal defence system. This is understandable when one realizes that the military could facilitate their control of the coast-line by establishing easy communications by water running the length of the coast-line from strongpoints on strategic head-lands and the offshore islands.\n\n3 For the Chinese characters of place names of some locales in the vicinity of Tai Yu Shan see map 3. For names of places within the present territory of Hong Kong see A Gazetteer of Place Names in Hong Kong, Kowloon and the New Territories (Hong Kong, Government Printer, 1960).\n\n4 So far as I know there has been no published study of this fort by Hongkong's local historians, except for a brief mention in one work which states that Kai Yik Kok fort was of Ch'ing dynasty date. Lo Hsiang-lin, Hongkong and its External Communication before 1842, (Hongkong, Institute of Chinese Culture, 1963) p. 172.\n\n5 The principal ingredients of this cement are clam and oyster shells which are crushed and burnt to produce slaked lime. The lime is then mixed with fine sand to produce a holding cement. Shells and fine sand are common to many local beaches and are, apparently for this purpose, used in lime kilns.\n\n6 San On Yuen Chi, kuen 22, under section on Coastal Defence reads:\n\n看復界後海絮籹寧而設險更捻周密雖今之汎地 及設兵皆與舊制不同而大嶼山雞翼角炮臺南頭 炮臺赤濘炮蠱最為餓要\n\n7 Fan Lau is also known as Shek Sun meaning \"boulder growths\", a reference to the numerous residual boulders at Kai Yik Kok,\n\n8 Luis Gomes, Monografia de Macau (Macau, 1951), a Portuguese translation of the O Mun Kei Leuk p. 70. \"No 7° ano de long Tcheng (1730) construiram-se fortalezas nas duas montanhas, distribuiram-se as guarniçoes para a sua defensa e foram reforçadas as tropas que guarneciam Tai-U-San formando assim como que um angulo semelhante ao que e constituido pelos chifres dum boi, para servir de defensa exterior de Macau e o Boca Tigre\",\n\n9 J. J. L. Duyvendak, \"Sailing directions of Chinese voyages\" T'oung Pao, vol. 34 (1938) pp. 230-237; and \"The true dates of the Chinese maritime expeditions in the early fifteenth century\", T'oung Pao, vol. 34 (1938), pp. 341-412.\n\n10 The district of San On (新安) was formed in the sixth year of Lung Hing (隆慶) ie. 1572-73, Fourteen years later, in 1587, the San On district gazetteer was written by Yan Tai-kon (縣太君), the District Magistrate. Various editions followed. The latest edition was published in 1819. This gazetteer provides the best primary source of information on pre-British Hongkong. Chapters (kuen) XIV and XXII deal with Coastal Defence. These are chapters of special interest to historical geographers.", "txt_file_path": "txt/dfo323lmgvd/RAS-1968.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/66833948d", "rank": 0 }, { "id": 205778, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1969", "page_number": 84, "title": "RAS-1969", "content_text": "78\n\nW. SCHOFIELD\n\nbears glaze, mostly gray, yellow, brown or blue, and was made on the potter's wheel. The levels of seven pieces are recorded: the rest were picked up loose.\n\nMost of the pieces found, both loose and in situ, can be fairly safely ascribed to the Sung dynasty. Two of those from known levels are more doubtful; one jar fragment, with a band of four shallow grooves, horizontal, round the exterior, which is covered by worn black glaze, may be older, and was found at 122 cm., the other, found in two pieces at 97 and 107 cm., has been ascribed to the Yuan dynasty. It is part of the lip and body of a brown-glazed vessel with rounded lip and one loop just below the junction of the lip and body, rising vertically in the centre, intended to hold a cord for keeping in place a stopper dish covering the mouth. Three shallow grooves decorate the neck, and three go round the body below the undecorated zone in which the loop is attached. The whole piece is glazed brown outside, and this extends to half way down the inside of the neck.\n\nAll but these two fragments were found at an average depth of 60 cm. in the bank. One of them was believed to be of Ming date by Professor Shellshear, who found and kept it; and the small fragment of a bowl lip from 41 cm. may well be from the large piece of a Sung tea bowl with wave ornament under the glaze inside, found loose on the beach, although they cannot be precisely fitted together. The depths of all these pieces cannot be fully relied on as indicating the time of their original deposition in the bank, as the upper levels down to about one metre have often been disturbed by later burials of bodies by boat people. Of the other pieces found loose, one had a flat unglazed foot, a kiln mark inside, at the bottom, and dark brown glaze and was undecorated: it was a small shallow dish about 10 cm. across the rim, and might well be of Tang date. Another bore typical Sung type underglaze flower ornament, made partly with a 16-tooth comb; it may have been a large tea-bowl, and its glaze was of the celadon shade. One large yellow-glazed rice bowl, its foot and foot-rim fully glazed, was undecorated and could be almost any date between Sung and early Ming.\n\nFinally there are three pieces which may well be considered modern. Two were picked up loose; one a complete small duck-egg blue wine or spirits bowl; another the bottom of a rice bowl", "txt_file_path": "txt/dfo323lmgvd/RAS-1969.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/9g553n20d", "rank": 0 }, { "id": 206050, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1970", "page_number": 130, "title": "RAS-1970", "content_text": "A NEW LOOK AT CANTONESE EXPLETIVES\n\nSerial Analysis\n\nSOAS\n\n80 CFMO V MRHSEORNG-ZROU\n\n81 CEM QV SEORNG-MAHZROU\n\n82 CFM QV MREI-XARNG-ZROU\n\n83 CFM QV XARNG-MRHXARNG-ZROU\n\n84 CFM QV XRAI-MRHXRAI-MRHXARNG-ZROU\n\n85 CFM QV MROOWRAA-MRHXARNG-ZROU\n\n86 CFM R V MRHZROU-ZRY\n\n87 CFM RV XARNG-ZROU\n\n88 CFM RV MRHXARNG-ZROU\n\n89 CG JOU ZROU-MREI\n\n90 C G JP U ZROU-MREIXO0\n\n91 CGM QV ZEORNBREI-ZROU\n\n92 CGM QV ZEORNBREI-MRHZROU\n\n125\n\nApproximate English equivalent\n\nunwilling to do, would rather not.\n\nwish, intend to stop doing.\n\nunwilling to do, but may do later.\n\nwill... consent to do?\n\nwill...not consent to do?\n\nthere is no question of being unwilling to do.\n\ndon't do yet.\n\nwilling to do, does not refuse.\n\nrefuses to do, won't.\n\nwill... do? Has it been done?\n\nbegun but not finished,\n\nabout to do.\n\nabout to stop doing.", "txt_file_path": "txt/dfo323lmgvd/RAS-1970.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/ww72j0241", "rank": 0 }, { "id": 206068, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1970", "page_number": 148, "title": "RAS-1970", "content_text": "HONG KONG BEFORE THE BRITISH \n\n143 \n\nThe pottery is of two kinds, soft and hard. The soft includes bowls, pedestals on which they were balanced, pitchers and jugs and cups like Chinese funerary vessels. There is a gradation from a very soft type, a type as crude as pottery can be, made of clay and sand, fashioned by hand and baked either in the sun or on an open fire, to a slightly harder type, fashioned with more care and marked with a primitive pattern such as the \"panier\" made probably with a basket of reeds or the \"comb\" made with a small pronged instrument. Then there is a harder type fashioned on a potter's wheel and given various patterns either whilst it is on the wheel or stamped with a prepared die. Finally there is a very hard type, faultlessly made and baked in a closed oven, with stylised patterns, sometimes glazed and sometimes unglazed and containing in the rim or under the base little signs which look like hallmarks of fabrication. All these types exist side by side. For instance, a large pot of the hardest and most finished type has been found covered with a lid of the rudest and softest material.\n\nThe largest pots have a rounded base and could contain as much as a gallon of water. They are often glazed with a very light blue or dark green pigment which has not settled very well on the surface. The chief pattern is the \"double F.\" Another type is a vase with a low pedestal, often very well proportioned, rarely glazed, and bearing a great variety of patterns. This type is sometimes provided with handles through which a string can be passed. A third type is reminiscent of Chinese funerary cups and does not appear to have a definite domestic use. These cups are from 5 to 7 centimetres high and have shallow bowls and long concave pedestals. They are frequently glazed and always seem to have hallmarks under the base such as three wavy lines or a rough upsilon.\n\nSuch are the most usual types of vessel. Of course, there are many varieties, and enormous quantities of broken pieces have been found. But from what has been observed, various conclusions can be drawn.\n\nThe type of bowl without pedestal is common to-day in the Indonesian countries, though not in China. The resemblance in shape with peasant bowls in the markets in Indo-China and Burma is very striking. The \"comb\" pattern is also used to-day in", "txt_file_path": "txt/dfo323lmgvd/RAS-1970.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/ww72j0241", "rank": 0 }, { "id": 206335, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1971", "page_number": 152, "title": "RAS-1971", "content_text": "146\n\nJ. C. Y. WATT\n\nindicates that they are highly localised and probably all come from the kilns of Fu-shan, the area which produce the famous Shih-wan (Shek-wan) wares of a later period. The most common type found in Nim Shu Wan is one that has been attributed to the late T'ang period (Plate 1 and note1). The stoneware and porcelain finds consist almost exclusively of various greenish glazed wares, the detailed description of which is beyond the scope of this paper. However, discussion in very general terms may not be out of place.\n\nThe great majority of these greenish wares consist of bowls and dishes of various sizes. The most common shapes and style of potting are similar to the bowls found in Puerto Galero, Mindoro, (see L. & C. Locsin, Plates 118 and 119). These bowls are usually decorated either on the inside or outside, or both, with a comb-like instrument used with great boldness and flourish. (Plate 7). The inside designs are usually some kind of floral pattern and the designs on the outside are either of the type described as \"chrysanthemum petals\" (closely spaced slanting lines radiating from the base of the bowl), or the type which is generally described as \"lotus petals\". The chrysanthemum petals as well as the floral designs which are woven into \"scrolls” in either a coherent or a \"dissolved\" manner are very similar to those found at the Hsi-ts'un kilns in Canton2, as well as some Fukien kilns, and show common features with certain designs found on celadon wares of the north, especially the Yao-yao varieties; while the \"lotus petals \" (Plate 8) seem to have directly descended from a class of decoration commonly found on Han earthenwares of Kwangtung13 and on the early Yueh wares. The Han potter, in his turn, probably derived his design from the decoration found on some Han bronzes. If this is the case, then this kind of \"lotus petals\" had nothing to do with the lotus plant in its beginnings. However, it is quite conceivable that the Wu and the Yuch people turned this pattern into a variety of the lotus design during the Six Dynasties when the lotus was greatly sung in the Yueh-fu ballads of South China origin because it punned with the word for “love” or “sympathy\". Thus this design can claim to be one of the chief characteristics of wares from South China from the Han to at least the Sung period.", "txt_file_path": "txt/dfo323lmgvd/RAS-1971.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/z029vt43g", "rank": 0 }, { "id": 206418, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1971", "page_number": 235, "title": "RAS-1971", "content_text": "Photograph No. 13.\n\nNOTES AND QUERIES\n\n209\n\nCutting the cockerel's comb to obtain his blood. This is the main difference between the two ceremonies. At Pak Wai the sacrifice was nailed through its eye to a tree.\n\nPhotograph No. 14.\n\nSmearing the cockerel's blood on the bamboos.\n\nPhotograph No. 15.\n\nPrayers after all the bamboos were smeared.\n\nPhotograph No. 16.\n\nA fresh bamboo pole with one of the smeared stakes was hoisted beside the Chi Tong. This also was not done at Pak Wai.\n\nPhotograph No. 17.\n\nPrayers after the hoisting of the bamboo.\n\nPhotograph No. 18.\n\nClose-up of the so-called main worshipper. It seemed that this ceremony was closely connected with the future prosperity of this boy. There was no such thing at the Pak Wai Tun Fu.\n\nPhotograph No. 19.\n\nStrips of yellow paper, also with inscriptions, used in concluding prayers. Not used at Pak Wai.\n\nPhotograph No. 20.\n\nGeomancer saying the concluding prayers and waving the yellow papers up and down at the same time.\n\nPhotograph No. 21.\n\nSelecting a spot on the outskirts of the village to place one of the protective bamboo stakes.\n\nPhotograph No. 22.\n\nPlacing a bamboo stake. Work on the road commenced immediately after the protective stakes were driven into the ground.\n\n12 October, 1961.", "txt_file_path": "txt/dfo323lmgvd/RAS-1971.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/z029vt43g", "rank": 0 }, { "id": 207314, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1975", "page_number": 82, "title": "RAS-1975", "content_text": "74\n\nHELGA WERLE\n\nback of the stage (military and civil hats should be separated, so that those who wear them will not fight with each other!). The costumes are all taken to the left back corner and the other trunks which contain the dressing-tables of the lead-actors (one character of their name is painted on the trunk) are placed wherever space is left. There is one old man in charge to look after the patron-deity of the troupe. He will place the shrine in the middle of the back-stage against the back-wall. The rolled up carpet is taken to the stage.\n\nAll this preparatory work is done in complete silence, everyone is afraid lest their name should be uttered before the ceremonial (P'o-t'ai k'ai-lo “breaking of the stage and opening the gongs\") otherwise they would be unlucky. If one would name an actor, evil spirits not yet cleared from the stage would get hold of him, and during the performance this actor would slip or forget his text, or he would be unable to sing in tune or otherwise damage the success of the presentation.\n\nIn the right back corner of the backstage a space is subdivided for a latrine which is not to be used before the p'o-t'ai ceremony. No outsider is allowed on stage and backstage before the ceremony as they have no knowledge of the strict rules that govern the preparations for a performance. In the afternoon between 3 and 6 o'clock everything is ready for the p'o-t'ai ceremony. All the actors of the troupe are assembled, and all the percussionists sit at their drums and gongs on the left side of the stage.\n\nTwo actors of the troupe who are especially trained for this ceremony go out on the stage and stick a coloured strip of paper-money to the four corners of the stage. Then one of them seizes an enormous trident-fork and the other a live cock, which has been especially chosen for its high comb. The one who holds the cock then bites into the cock's comb until it bleeds. He rushes to the four corners of the stage and, holding the cock's head in one hand, he smears blood on the paper-money he stuck there before. And then they both run madly from the left stage entrance to the front of the stage, from there out through the right exit of the stage, rushing through the backstage to the left entrance of the stage. They then cross the stage to the right side where the string and wind instruments of the orchestra are positioned and then back to the left side, where throughout this ceremony all available percussions are beaten in a frantic rhythm. During this mad rush blood", "txt_file_path": "txt/dfo323lmgvd/RAS-1975.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/j0995146d", "rank": 0 }, { "id": 207315, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1975", "page_number": 83, "title": "RAS-1975", "content_text": "NOTES ON CHIUCHOW OPERA\n\n75\n\nfrom the cock's comb is sprinkled over stage, backstage and musical instruments. These two actors are in military costume and sometimes have painted faces. One is fiercely brandishing his trident against the invisible evil spirits. They are followed by another person holding a red bucket, who throws handfuls of rice mixed with salt and black beans in all the directions in which the cock's blood is dripped.\n\nAfter they visit the percussions they go to the front of the stage, where in the middle a staircase leads down to the auditorium. There they bow three times to the deity sitting in the temple facing the stage. This is the end of the ceremony (see drawing on p. 73).\n\nWhile the 'p'o-t'ai' ceremony is in progress the old man in charge of the patron-deity shrine directs the actors to light joss-sticks and bow and kotow in front of the shrine.\n\nThe cock used in the p'o-t'ai ceremony is either set free or bought at a high price by those who raise chickens, as such a cock guarantees success.\n\nBefore the ceremony starts a warning is given that children should leave the area and avoid seeing the ceremony, as they may be frightened or even terrified. They may be shocked for life or instantly drop dead.\n\nAfter the performance there is also a short ceremony performed by two actors who portray the young man's and young girl's role. There is no music at all, they walk very fast over the stage and utter a text the words of which are known only to the initiated and are taboo to the rest of the actors. The same is true for the words uttered at the p'o-t'ai ceremony.\n\nThis troupe does not eat beef, and should its actors eat beef on a day on which they perform, they may suddenly feel very ill on stage. If this is the case they drink a bowl of water mixed with black vinegar, which will make them vomit the beef. They then bow before the shrine backstage, ask forgiveness for their mistake and promise never to do it again. Whereupon they feel better and can go on performing. The troupe's cook never serves beef, only fish and pork, salted vegetables, peanuts and rice-gruel, typical of the Chiuchow cuisine.\n\nMost Chiuchow opera troupes venerate Tien Yüan Shuai Bi General T'ien, but although the Sang Ngai opera troupe's shrine,", "txt_file_path": "txt/dfo323lmgvd/RAS-1975.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/j0995146d", "rank": 0 }, { "id": 207325, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1975", "page_number": 93, "title": "RAS-1975", "content_text": "NOTES ON CHIUCHOW OPERA \n\n85 \n\nshe hears the beat of the second night watch she runs around her chamber, throwing up her sleeves in despair. A servant girl brings in her wedding dress folded on a tray. Then Mr. Yang's wet-nurse drops in, calling her already 'wife' of her Hsiu-tsai and promising to come and comb her hair next morning. Then Liu-niang's mother comes to console her. The daughter says, \"Mother, how can you send me away! I am your own flesh and blood.\" \n\nHer mother then tells her that they have sent T'ao-hua to Hsi-lu, and it may be that she will not return until tomorrow night. This would mean that Liu-niang would have to leave for the Yang family's residence without her maid. \n\nAt this thought the daughter pretends to resign herself to her fate. She asks her mother to go to bed and promises that she will do the same. As soon as the mother has left, the daughter decides that on no account will she go to the Yang family. If T'ao-hua does not return with news from her cousin Kuo, she will drown herself in the river. \n\nAt the 3rd watch she writes her last letter to her parents, and runs out of the house. \n\nAct VIII \n\nHurrying to the river, pitying herself, she suddenly bumped into T'ao-hua. And here starts the happy end to this tale. The daughter Su relates that suddenly the Yang family have pressed her parents in agreeing to the marriage on the next day and that now she only has suicide as a solution to her grief. At this moment the handsome cousin Kuo arrives. Having heard of the confusion from T’ao-hua he insists on returning with her in order to put matters straight. T'ao-hua is always alert and watching out, to see whether they are being followed. The old ferryman, who has listened to their conversation, calls T'ao-hua and offers to take the couple across the river to facilitate their elopement. When the three of them are on the ferry Tao-hua asks for Liu-niang's shoes, which she drops on the bank of the river \n\nAct IX \n\nAt sunrise Yang's wet-nurse hurries to Liu-niang's chamber to dress her hair for the wedding. Calling 'Hsiu-tsai Niang' in all directions, she cannot find the girl and quickly alerts the parents. Sear-", "txt_file_path": "txt/dfo323lmgvd/RAS-1975.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/j0995146d", "rank": 0 }, { "id": 208147, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1977", "page_number": 186, "title": "RAS-1977", "content_text": "170\n\nUsers of the Mountain\n\nNOTES AND QUERIES\n\n8. Besides the villagers, other persons make use of the mountain for utilitarian purposes. On Tai Mo Shan as on other hillsides, there are the collectors of the plants and herbs that form so essential a part of Chinese medicine; and those who trap birds, snakes and wild creatures, or comb the mountain streams and pools for items that serve the same medicinal purposes. These they sell to shops or individuals, or consume at home. These persons are usually outsiders in a skilled line rather than local villagers, although these can also be found carrying home plants and leafy branches for use at home in the bath, to soothe or invigorate the body. The collectors include the springtime pluckers of wild tea bushes, high up on the mountain, for, as mentioned briefly in the gazetteer, it is famous for tea, producing a favoured type of green tea.* Besides the cultivators of distant upland padi fields, village users of the mountain include boys tending draught cattle which rove across its slopes when not at work; and, most distinctive of all, the village grass-cutters, women as a rule, looking from a distance, as Heywood described them just before the war, 'like miniature haystacks wandering on the mountain-side' (Heywood: 52).\n\nReligious Establishments\n\n9. Mountains are specially favoured by devout men and women as places for quiet residence and deep contemplation. Some places are more noted than others in this respect. Tai Mo Shan, though outclassing other mountains of the Hong Kong region in height, has not been as popular as a place of religious retreat: at least not in recent centuries. On the south or Tsuen Wan side of the mountain none of the existing religious establishments is over fifty years old, though in the two decades before the 1939-45 war its leafy, tranquil, well-watered lower slopes were attracting the attention of a growing number of religious persons who came here from China to settle. These, with the help of their followers, supporters and wealthy patrons, purchased land from local villagers and built new, and in some cases, large and impressive, quarters for themselves and their fellows. Many of these have been further extended in the past ten years or so.\n\n* Known locally as or 'cloud and mist tea'.", "txt_file_path": "txt/dfo323lmgvd/RAS-1977.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/np198x23n", "rank": 0 }, { "id": 208153, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1977", "page_number": 192, "title": "RAS-1977", "content_text": "176 \n\nNOTES AND QUERIES \n\n(usually brought in by boat at extra cost) to some lofty spot to which the only access was by hill path and sometimes not even that. 23. Other visitors to the hills at the grave worshipping festivals include persons from outside the Colony who, on account of old and important ancestral graves located by geomancers in time past, have long been accustomed to make the annual pilgrimage. This tradition has been eroded by the establishment of the People Republic in 1949, though some persons have continued the visits intermittently. In one case known to me at Lo Wai, Tsuen Wan, where the grave was repaired in the Hsien Feng reign (1851-1861), and the people came from beyond Sham Chun Market in Po On county adjoining the New Territories, the family have not come for many years now. The geomantic name of the site is \n\nPre-Chinese Occupation \n\nNE \n\n24. Another aspect of the mountain is its pre-Chinese connections. These are now very difficult to ascertain and one would need to comb the hillside for evidence of pre-Chinese occupation such as field systems and irrigation works, and look closely into the place names of localities, fields and villages, to see which of them contain signs of pre-Chinese words, together with the nature and location of the earth shrines of the area. Mr. K.M.A. Barnett has done a lot of work generally on this subject and has prepared a name list for 150 words which he thinks descend from and relate to pre-Chinese languages in the Hong Kong area (see JHKBRAS 14 (1974), \n\nResources \n\n25. Resources of the mountain included mineral deposits — the largest prewar wolfram workings were at Shing Mun (Davis: 116) \n\nand kaolin clay used in the pottery kilns long established at Wun Yiu near Tai Po (JHKBRAS 15 (1975) 291-2). Other clay was specially used for mud bricks, notably at the village now known as Ta Chuen Ping near Upper Kwai Chung. Another resource, long since exhausted, was the forest trees used for charcoal burning, once a flourishing local industry all over the New Territories. The memory of both trees and of this old occupation remains at one of the place names at Shing Mun, known as Tan Chong (炭廠) or 'charcoal factory', in which there were some houses already abandoned from the early years of this century.", "txt_file_path": "txt/dfo323lmgvd/RAS-1977.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/np198x23n", "rank": 0 }, { "id": 211814, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1989", "page_number": 229, "title": "RAS-1989", "content_text": "204\n\nPique delighted to honour, Marvellous is the ingenuity of Jack. Difficulties which would appal the ghost of Richardson* — that prince of theatrical improvisers, he makes nothing of it. Whether it be to prepare a great banquet hall or to erect a theatre, it is all the same to him and comes to his hands as readily as the marlin-spike. Huge guns disappear and hatchways vanish from the sight and are replaced by draperies and benches with all the quickness of enchantment. We sat looking around us at the proscenium, the footlights and the drop scene, representing a view on the late of Como, and fell difficult to remain in the belief that we were on board of one of H.M. 'ships of war' and not seated in a neat little theatre\". Thus far the impression of the surroundings.\n\nAbout the acting qualities the reviewer was equally in high spirits: in the Birthday, Captain Bertram R.N. proved to be “a gouty, choleric old gentleman, a very positive, perverse individual to boot and more than becomingly addicted to the occasional use of strong language\". All these little eccentricities were him forgiven, however, when \"we saw him yield to the impulses of nature and even felt a degree of alarm when he well nigh became smothered in the affectionate embrace of his loving and pretty — but somewhat bulky niece. (...) The songs of Dibdin appear to be no longer the prime favorites afloat they were half a century ago; and although we cannot but regret this, we were glad to find, from the specimens we listened to, that they have been superseded by not unworthy successors.\n\nThe trill of \n\nI've heard of foreign countries.\n\nThat are very fair to see\n\nBut England! dear old England!\n\nIs quite fair enough for me\n\nwas ringing in our ear, when it was joined in by notes of a different kind — the cheering notes, to wit, of the Dustman's Bell. We are quite converts to the doctrine that believes, for the moment, in the mimic scene which is enacting before us. How could we do otherwise at the sight of such a Dustman and such a Sally! It did one's heart good to look upon such a fresh, comely and good-looking face as Miss Sally's, and to hear the praise of it sung with such evident gusto by her honest lover in the lines:\n\nOf all the girls that dress so smart\n\nThere's none like pretty Sally\n\nShe is the darling of my heart\n\nAnd she lives in our Alley.\"\n\nRaising the Wind the reporter found not \"so brilliantly successful but not without its merit\".\n\nSumming up, his **still aching sides\" testified sufficiently to the \"care and trouble which the performers had taken to entertain their numerous audience'' (NCH 13.2.1858)\n\n10.2.1858 (Wedn)\n\nPELHAM HARDWICKE (= C. MATHEWS): \"A Bachelor of Arts\" (1853) T: Comic drama (2 acts)\n\nJ.M. MORTON: \"Done on Both Sides\" (1847)\n\nT: Farce (1 act)\n\nC: Amateurs\n\nF: Music by \"Messrs Phu & Mor\"\n\nTh: Theatre Royal (C)\n\n+\n\n* An allusion to John Richardson (1767?-1837), nicknamed \"the penny showman\"; in his performance of J.S. Knowles' (?) \"Virginius\" the ghost was the great effect (Dict. of Nat. Biogr., Vol. 48, p. 230-231).", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 212572, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1991", "page_number": 126, "title": "RAS-1991", "content_text": "106\n\nunique practices as do, for instance, the Hakka, Chiu Chau and the boat people. Northern Chinese have no 'second burial' after exhumation as do southerners. Indeed funeral conventions sometimes vary slightly from village to village. Some believe that a menstruating woman must not touch a corpse as she is ‘unclean”. Men, as a sign of respect, may comb their dead wife's hair.\n\nIn Hong Kong there has been considerable merging of customs by different regional Chinese groups, but the focus is still, especially for Cantonese, on veneration of ancestors. This has been construed as meaning, if the living pay sufficient respect to the dead they will, in return, exert benevolence over the lives and prosperity of present and future family members. Ancestor worship is practised in several countries especially where communities are composed of kin groups believed to be descended from common ancestors, like the Five Great Clans of the New Territories. Christian churches have difficulty accepting the word 'worship' and prefer the term 'ancestor reverence.' Filial piety has been described as the most powerful force in China for the past 3,000 years. Probably nowhere are family records as meticulously kept as in China.\n\nReturning to the case study, while the deceased was alive, a western-trained Chinese physician suggested that she undergo an operation. She refused. Going 'intact' into the next world is still considered important by many. Thus Chinese medicine, with little emphasis on surgery, is not infrequently preferred to western medicine. This follows the Confucian dictum: 'One should not inflict harm on one's body, not even hair and skin because they were inherited from one's parents' (ADZ 膚,受之父母,不敢毀傷).\n\nThe human body is a sacred treasure which must not be marred by surgical incision.\" Eunuchs in Imperial China kept their castrated private parts in jars to be buried with them on their death. Not until 22 November, 1913, did an official edict in China grant permission for autopsies. The great shame with beheading was to have a dismembered body.\n\nIn Hong Kong, up to the 1950s and even later, if a patient had an operation and then died, some families would request that any removed organs be buried with the 'heavenly body'.\" Today, patients expect to be told whether something was removed during an operation. Donating of organs, such as kidneys for transplants or removing a beating heart,", "txt_file_path": "txt/dfo323lmgvd/RAS-1991.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/k356gt84j", "rank": 0 }, { "id": 213580, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1995", "page_number": 176, "title": "RAS-1995", "content_text": "146\n\nto get it planted. Another great difficulty was to find forest guards who would do their job: a former A.D.O, North once minuted 'Where forest guards abound, there do abuses much more abound!'.\n\nAlso according to Schofield (1983), pineapples were grown on the hillsides, \"nearly always under pine trees; these help to shade the plants and hold the soil together, otherwise the heavy summer rains would wash it all off and make the hillside a desert. The plants last seven to nine years.\" Other users of hillsides were noted by Hayes (1977), “On Tai Mo Shan as on other hillsides, there are the collectors of the plants and herbs that form so essential a part of Chinese medicine; and those who trap birds, snakes and wild creatures, or comb the mountain streams and pools for items that serve the same medicinal purposes. These they sell to shops or individuals, or consume at home. These persons are usually outsiders in a skilled line rather than local villagers, although these can also be found carrying home plants and leafy branches for use at home in the bath, to soothe or invigorate the body. The collectors include the springtime pluckers of wild tea bushes, high up on the mountain, for, as mentioned briefly in the gazetteer it is famous for tea, producing a favoured type of green tea. Besides the cultivators of distant upland padi fields, village users of the mountain include boys tending draught cattle which rove across its slopes when not at work: and, most distinctive of all, the village grass-cutters, women as a rule, looking from a distance, as Heywood described them just before the war, 'like miniature haystacks wandering on the mountainside'.”\n\nTea cultivation took place on even the highest hills. The Xin An Gazetteer of 1688 refers to tea cultivation on Tai Mo Shan, which was terraced to near the summit to produce the famous green \"cloud and mist tea\", and on Castle Peak and Lantau Peak. Former tea terraces can be seen on other mountain sides in the New Territories and on Lantau, so that human impact on the native vegetation was not confined to the lowlands. The age of the terraces is not known but they probably predate the Hakka settlements. An account of traditional tea growing in 1986 around the village of Mau Tso Ngam on Kowloon Peak, where tea trees, Camellia sinensis (L.) O. Ktze, are planted here and there on the edge of the hills near the village, is given by Hase et al. (1988).\n\nHill slopes were formerly used to grow heung trees, Aquilaria sinensis (Lour.) Gilg., the wood from which was ground to make", "txt_file_path": "txt/dfo323lmgvd/RAS-1995.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/95941j25g", "rank": 0 }, { "id": 214011, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1997", "page_number": 80, "title": "RAS-1997", "content_text": "46\n\nappeared to the Sixth Son who was resting, weary and sick with over-work and revealed to him that Meng Liang had recovered the bones of another and gave the Sixth Son details of where his, the father's, body really lay. Meng Liang set out once more, disguised as a Tatar soldier and after a series of episodes the bones were recovered, but not before several of the Sixth Son's comrades had been killed or committed suicide. These deaths led the Sixth Son's condition to deteriorate and for his spirit to wander whilst he lay in a coma. The emperor's nephew on his way to visit him saw a tiger barring his path and shot and grazed it with the arrow. On reaching the bedside of the Sixth Son, who rallied at that point, the Prince was told that the tiger was the spirit of the Sixth Son roaming the hills and was duly appalled at the idea that he had nearly killed the Sixth Son. Despite all efforts, the Sixth Son's condition grew worse and soon he died, vomiting blood.\n\nIn another episode of the tea-house tales the ruler of the Liao Khitan planned to assassinate the Sung Emperor at a meeting to which the Sung Emperor had been invited at Chin-sha Nan. As the plan had been detected by the Eldest Son of the Yang family he disguised himself as the Sung emperor whilst the Second Son went as the Crown Prince, with the other brothers in attendance. In the event they in turn were recognised and in the ensuing fight the Second and Third Sons were killed and, apart from the Sixth and Seventh Sons, the others were captured.\n\nOne of several cult centres dedicated to the Yangs in northern China developed in a temple on the Buddhist holy mountain of Wu T'ai Shan, in northern Shansi province. There are at least three temples in Taiwan in which Yang Yeh is the main deity. And only in Taiwan are the Fourth, Fifth and Sixth sons collectively portrayed together on several altars with the collective title of the San Wang-tsu. In an old temple near Taichung the seven main images on the main altar represent the Seven Sons although, according to the temple keeper, the group did not include the father. However, the smaller portable images of the Seven on the front of the same altar had alongside them several other images which did include the Father, Yang Yeh, and the Mother, Yü Lao T'ai-chün, and a complete outsider, the mythological deity, Yang Chien [Erh Lang] who bears the same surname. The temple keeper explained that in about 1986 all nine main images, carved on the mainland many years ago and brought over to Taiwan, which at that", "txt_file_path": "txt/dfo323lmgvd/RAS-1997.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/wp98g7579", "rank": 0 }, { "id": 214712, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1999", "page_number": 127, "title": "RAS-1999", "content_text": "91\n\ndifferences between Catholicism, the Non-Conformists and the Orthodox Churches. Similarly, it is not really surprising that there are marked differences within Chinese folk religion (the religion practised by the common folk) and with aspects of Buddhism and Taoism that Chinese popular religion commonly embraces.\n\nIt is interesting to compare observations in this paper with those of Judith Strauch at a tun fu ceremony held at Tai Po (Strauch, 1983, 147). The ceremony at Pat Heung, described in detail in this paper, it must be stressed again, was largely within a Hakka community. With a Cantonese ceremony there are marked differences and sometimes the comb of a cock is cut, its head is pierced, or it is even nailed to a tree in order to obtain its blood. This is smeared on the talismans and allowed to drip on the pots. Such customs frequently shock westerners (Grout, 1971, 204). Rooster's blood is considered to possess magical properties and is used during the swearing of oaths, for conducting sacrifices and for bringing the statue of a god to life (Burkhardt, 1982, 267). The cockerel is, of course, one of the twelve animal signs of the Chinese Zodiac and its comb depicts a crown denoting literary success.\n\nAgain, with some village tun fu ceremonies, restrictions are placed on inhabitants who are not allowed to leave their village, in some cases for a period of three or four days after the ceremony (Hayes, 1983, 125). In addition, villagers only partake of vegetarian food - Buddhist fashion. This mixing of folk religion (such as tun fu), Taoism and Buddhism, in varying proportions, is of course in line with Hong Kong's practice of syncretising religion. Nevertheless, irrespective of the religion, obligations frequently seem to be less stringent these days. For instance, with a Chinese funeral, today the number of weekly rites, which used to number seven, is now sometimes reduced to five. Again, for a tun fu ceremony, villagers are often not now confined to their village for a period of days. Life is also easier for Catholics. For a long time they have been able to eat meat on Fridays.\n\nTun fu ceremonies again differ because, although the priests and masters who perform them may practise the same basic rules, they often have different beliefs when it comes to some details. For example, as previously mentioned, exactly where pots should be placed in a village and the number of talismans that should be put in them.", "txt_file_path": "txt/dfo323lmgvd/RAS-1999.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/s178b887x", "rank": 0 } ]