[ { "id": 206632, "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-1972", "page_number": 180, "title": "RAS-1972", "content_text": "174\n\nKEITH STEVENS\n\nA legend in another book, the Shen I Ching (*) says that Chin Ch'ong (†) the son of Pan Ku the Creator of the World, who lived in the mountains of Shantung province, was canonised T'ai Sui for his many good deeds and was made responsible to Heaven for supervising the activities of all spirits (shen‡) and demons (kuei§). Few present-day Chinese with whom I have spoken appear to know of this story.\n\nT'ai sui was first worshipped during the Sung Dynasty in the eleventh century A.D. and was first offered official sacrifices during the Yuan (Mongol) Dynasty. Only after The Deification of the Gods popularised the idea was T'ai Sui identified with Yin Ch'iao.\n\nReason for the worship of Yin Ch'iao\n\nYin Ch'iao, or T'ai Sui as he will be referred to from now on, is a stellar deity who in many parts of China is believed to have flood, famine and all good and bad fortune under his jurisdiction. He is worshipped by the general populace to avert calamities, and has to be placated before any enterprise or journey is embarked upon. He was also worshipped by the imperial officials at the beginning of Spring. He is known to control the dates and times of births and deaths, and each one of his sixty images often displayed in rows in temples is dedicated to one specific year in the sixty year cycle of Chinese dating. Chinese place their offerings on the altar before the T'ai Sui bearing the cyclic year date of their birth. Father Doré in his Recherches sur les Superstitions en Chine calls him the \"Patron of the Harvests\".\n\nT'ai Sui is the great Father Time who, presiding over the year, is the arbiter of the destiny of all men. He is very much feared as he destroys those whom he dislikes and those who offend him. He is said to strike when least expected and can injure and destroy the highest and the lowest, at home or on the high roads, but is believed never to injure anyone in the vicinity of his, T'ai Sui's, own person. Therefore it is essential to know where he is at any given moment, and if he is nearby but not immediately present, he is at his most dangerous and precautions against his evil influence must be taken at once. This is done by hanging the appropriate talisman or stellar charm near the front door or facing the entrance. To find where T'ai sui will be during the forthcoming year he is believed to move annually—a device similar to a compass is used by a fêng shui\n\nPage 180\n\nPage 181", "txt_file_path": "txt/dfo323lmgvd/RAS-1972.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/gm80qf99h", "rank": 0 }, { "id": 208062, "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": 101, "title": "RAS-1977", "content_text": "UNDER ALTARS (下壇)\n\nKEITH G. STEVENS\n\nThe first thing to be seen on entering Chinese temples in Hong Kong and Macau, even those in which a murky half-light obscures the view, is the main altar in the middle of the far end of the main hall. What is rarely seen however, even after a stroll around, is the “Altar at which prayers are offered to avert calamities” (避災壇). This is usually an even dingier ground-level alcove inside the back of which is pasted a large green sheet of paper bearing the titles in white, of five or seven spirits all of whom need placating or propitiating as needs arise. The altar often bears the less colourful titles of the \"Under Altar\" (下壇), the \"Yin and Yang Hall\" (陰陽堂), and in very rare instances, more so in Macau than in Hong Kong, the \"Five Demon Altar\" (五鬼壇).\n\nUnder Altars, only to be found in Cantonese, Hakka and Boat People's Taoist folk religion temples and never in Buddhist monasteries and nunneries, are usually situated under or between the main and secondary altars at ground level. They consist of a wooden or stone open-fronted \"box\" about three to four feet high, three feet wide and two feet six deep and are illuminated, if one can use such a term, by a 15 watt dark red electric bulb. In five temples in Hong Kong and Macau the Under Altar was in a corner beside the main altar, but without any top or covering. In one or two temples such altars may be found, again at ground level (this seems to be the one almost inflexible requirement) but without a top, against the side wall about half way down the main hall facing the centre, or alone in a separate side hall.\n\nThere are several different reasons given why people pray at these altars. The most common is the wish to avert ill-fortune of any form and not just major disasters, as the title of the altar “Calamity\" (災) suggests. An elderly lady pointing at one devotee said that he had just told her that he had placed a stick of incense before the Under Altar to avert losses at the races on the morrow. Another, she said, thought her child was sickening for something, and had placed ten cents before the White Tiger image and said a brief word to the deity asking for the illness to be averted.\n\nPlates 20 - 31 at end of this volume illustrate this article.", "txt_file_path": "txt/dfo323lmgvd/RAS-1977.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/np198x23n", "rank": 0 }, { "id": 208064, "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": 103, "title": "RAS-1977", "content_text": "UNDER ALTARS\n\n87\n\nOf these eight titles, Marshal Yin, a famous character in mythology, is a God in his own right in the Taoist folk religion pantheon. He is to be seen only in one temple in the heart of rural New Territories in image form, where, unconnected with any Under Altar, he is one of four generals guarding a major deity.\n\nOthers who regularly appear in the Under Altar and are the deities who share the occupancy but in image form, are the Local Wealth God and the White Tiger. Others who occasionally appear on top of, near to, or in the Under Altar include the Green Horse, Marshal Chao and a second demonic figure similar to the Local Wealth God.\n\nThe Local Wealth God (地方財神)\n\nThe major image, sometimes called the Wealth God of the Under Altar (下壇財神) or the spirit of the Location (地方神) is usually alone though very, very occasionally he may be accompanied by a somewhat similar image. A Hong Kong Cantonese writer who lived during the last century, Wu Yen-jen, in the collection “Ch'ing Tai Wu Yen-jen Yu Yen Chi” (清代吳恩仁寓言集) calls this local deity the \"Local Demon\" (地方惡魔), a description which is more honest than the anodyne and unprovocative term \"spirit\" used nowadays.\n\nThe Wealth God of the Location is a gaunt middle-aged man dressed in mourning apparel, ill-fitting robes of sacking (hessian). He has a protruding tongue and a tall dunce's cap bearing the message vertically on the front \"Fortune at one glance\" (一覽生財). His face is haggard, often with tears of blood coursing down his cheeks. Most Local Wealth Gods clutch palm leaf fans in their left hand, whilst others carry either furled umbrellas, wands with tattered edges raised above their heads in their right hands, have their arms full of paper charms, or a string of silver coins strung around their necks. The majority of images are roughly made of folded coloured papers, and bear strips of white cloth as a sign of mourning. One, in Macau, had a hessian veil stretched across the face \"to prevent him from eating worshipper's “luck\"\", so the keeper said!\n\nThe Local Wealth God is located at ground level because he is neither fit nor qualified to stand on the altar. According to a God Carver in Macau, he stands in the Under Altar for the want...", "txt_file_path": "txt/dfo323lmgvd/RAS-1977.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/np198x23n", "rank": 0 }, { "id": 208066, "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": 105, "title": "RAS-1977", "content_text": "UNDER ALTARS \n\n89 \n\nhe tries sufficiently hard enough, all other demons too. His hempen robes, they say, are not the same as those worn by mourners but are, in themselves, a charm having the power to drive away demons. The Local Wealth God also secures the safety, if so petitioned, of those who have witnessed such misfortunes as a suicide, a killing, a funeral or a fatal accident, (all of which release, or involve, roaming spirits). The witness need only visit the temple, offer a prayer and incense to the Local Wealth God for his continued safety to be assured. In some temples he is prayed to by relatives on the 49th day after a death, when green and white paper flowers are thrown over him after being taken from the hair of mourners; a sign that mourning is over. It used to be that only filial sons performed this ritual, but nowadays it has become common for any relative to take part. \n\nThe Local Wealth God, customarily, is only given plain unflavoured boiled rice and though he may be offered ordinary meat, either cooked or uncooked, he is never offered red-dyed sacrificial meat. \n\nThe Five Demons \n\nWe move on now to one of the less frequently seen groups, the Five Demons, (五鬼), which in one Macau temple were known as the Five Demon Spirits (五鬼神). Their full title is \"The Five Demon Lads who change fortune” (五鬼變財). The Five are masters each of one of the five points of the compass. (The Chinese look upon the centre as the fifth direction), and each is separately known by his direction. For example, the one for the East is called the \"Eastern Chia Yi Five Demon Stellar Deity\" (東方甲乙五鬼星君) \n\nFive Demons are feared as injurious spirits who need constant propitiation. When offended, however unwittingly, they must instantly be offered a large and expensive gift, and their forgiveness sought. In one small temple in Macau they were described as the five servants of the Wealth God, and are prayed to both for \"unexpected money”, and also for a good marriage (bringing in a good dowry). \n\nThey are depicted in the Under Altar in a circle as five standing individual images in human likeness, sometimes men and sometimes women, facing inward. They have been seen once circling an oil lamp consisting of a saucer in which a wick lies floating in the oil, \n\nPage 105\n\nPage 106", "txt_file_path": "txt/dfo323lmgvd/RAS-1977.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/np198x23n", "rank": 0 }, { "id": 208489, "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-1978", "page_number": 213, "title": "RAS-1978", "content_text": "NOTES AND QUERIES \n\n197 \n\nleg down and right leg bent, and with round protruding eyes fixed on the horizon. \n\nNews of his sainthood quickly spread throughout Chuan Zhou, as did the word that he now had great spiritual powers. A small temple was built for him and his fame slowly spread far and wide. He helped and advised people, in their dreams, and his popularity was such that the title of King was awarded him. He did not always answer people's prayers himself as he had a small staff of spirits as assistants. One day a very elderly couple were promised a child by a spirit assistant in his absence. When Guo returned and heard of the rash promise he realized there was only one way to fulfil it and had himself reincarnated as their child. His temple fell into disuse, and for 21 years it lay empty. A fortune teller told the old couple that their only child would pass the Imperial examinations with very high marks. Whilst a student, “Guo” (though not now of the Guo family) cured the Emperor's mother who was very ill and for this he was given the title of Guang Ze Zun Wang.* He was warned, however, never to touch anything black as this would result in his death. The award of a 1st Class Civil Examination result required him to attend the Imperial Palace at the Capital in scholar's clothes, and as he had been created a magistrate his uniform was black! He donned it, returned to Nan An in triumph but because he had touched black, dropped dead on his return. \n\nA beggar asked \"Guo's” mother for money. When she replied that she had none and was in mourning for her recently dead son, the beggar said that he had just seen “Guo” riding a white horse, and moreover \"Guo\" had promised him a stated amount of money which he had told the beggar was under his pillow. When \"Guo's” mother looked there was the exact money! \"Guo's\" mother then knew he had not died but had returned to his temple. She followed, instituted prayers and incense burning before the deity who now bore the title of Guang Ze given to him by the Emperor. \n\nA Taoist priest's daughter fell in love with the image of Guang Ze in the temple and said she wanted to marry him. The image heard her and from then on, each day whilst the daughter was washing the family's clothes in the stream, she saw a jade bangle lying on red linen in a bowl floating near her. On her mother's \n\n*This literally means the Saintly King of the Wide Marsh.", "txt_file_path": "txt/dfo323lmgvd/RAS-1978.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8g84t8593", "rank": 0 }, { "id": 208491, "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-1978", "page_number": 215, "title": "RAS-1978", "content_text": "NOTES AND QUERIES \n\n199 \n\nPopularly known as FAN Yi-lang (-), his full title is 'The Great Immortal Master FAN' (FAN Ta Hsien Shih) (#14 BF). His birthday is celebrated in the village from the 12th to the 17th of the fifth lunar month, with his birthday proper falling on the 16th day. \n\nLegend claims that he was one of three brothers, believed to have lived near the county capital at Pao An (7) formerly Hsin An (†✯) (just north of the present Sino-Hong Kong border), where he and his brothers were bowl makers. FAN Yi-lang however, through his diligent cultivation of the Tao, achieved immortality. \n\nAbout 200 years ago the people of Mui Lung near Pao An (then Hsin An) moved to what became known as Wun Yiu in Hong Kong, where they continued their trade of bowl making. Most villagers bear the surname MA, and at that time they brought FAN's image with them because, as a bowl maker and an Immortal, who but he could look better after their interests? Although bowl making is no longer carried on in the village, evidence of it remains in a pile of shards and moulds lying just outside the temple. (For a note on the Wun Yiu Kilns see JHKBRAS15(1975):291). \n\nFAN continues to serve the villagers well and is consulted on a variety of topics, notably on auspicious dates for commencement of local building projects. The original image was destroyed some years ago, and the present one is a copy carved in Kowloon. \n\nIt has been said that FAN is the patron of bowl makers and by extension, of potters. This is not so. FAN is simply the local deity of a village which used to be involved in bowl making, and was a bowl maker himself. The general patrons of potters, in eastern China at least, were the twin Immortals of Fortune, Ho Ho Erh Hsien (和合二仙). \n\n(An extract from a work at present in hand, The Gods on the Altars of Hong Kong and Macau by Keith G. Stevens). \n\nHong Kong 1979 \n\nKEITH STEVENS", "txt_file_path": "txt/dfo323lmgvd/RAS-1978.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8g84t8593", "rank": 0 }, { "id": 208871, "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-1980", "page_number": 33, "title": "RAS-1980", "content_text": "CHINESE MONASTERIES, TEMPLES, SHRINES, ALTARS\n\nfortune slips and interpret the fortune slips.\n\n5\n\nth\n\nCompetition between Buddhists and Daoists for the support of devotees led to grander and bigger temples. Small village shrines and temples, not in the same league, did not need to compete. Competition for devotees also led to the present circumstances in which rural shrines and temples are comparatively small and unkempt whereas their urban equivalents, though not much larger, have had to be made more attractive, usually by offering unique deities and services in order to wean devotees to their particular altars.\n\nIn Hong Kong and Macau there are a number of temples patronised primarily by people of a particular class, sub-ethnic group or occupational calling. Devotees tend to patronise their local temple irrespective of who the deities are, though they may be attracted to a more distant temple by a particular deity famous for his specialised power and efficacy. The latter might be a god whose cult is long standing and whose characteristics are unique and pertinent to the devotee's requirements. He might however be a new star, rising suddenly amid great publicity, only to wane again but not necessarily to disappear completely.\n\nLocation of temples\n\nPrior to the anti-superstition campaign in China in 1928, traditional temples were scattered across China in their tens of thousands. Not quite so abundant in Hong Kong, they are to be found squeezed in among high-rise buildings in the city and among houses in villages, and may be free-standing or joined to other structures. But apart from monasteries, rarely does one appear beyond the village bounds and when it does it is usually derelict or almost so. Buddhist, Daoist and popular religion temples do not usually materialize as full-blown two-court buildings with numerous images, large and small. Their development has been a natural progression from the small shrine on a hillside, probably beneath the overhang of or attached to a living rock, at the base of a large old tree, or in many cases inshore from a sandy beach of a bay with an easy landing for boat people. If the shrine is well attended, the protective construction around the small shrine will grow as years pass, until eventually it reaches the maximum size that devotees can afford to build and maintain.", "txt_file_path": "txt/dfo323lmgvd/RAS-1980.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/kh04md207", "rank": 0 }, { "id": 208956, "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-1980", "page_number": 118, "title": "RAS-1980", "content_text": "86\n\n-\n\nDAVID LUNG\n\nconducted in the New Territories, the British anthropologist ascertains that \"... action in geomancy can be seen to be a form of social control, which works as long as the individuals or communities in contrast are concerned in the long run to maintain peace among themselves,”13 “It is not social,” says Stephen Feuchtwang, the author of An Anthropological Analysis of Chinese Geomancy (1974), more precisely, \"but the social world is subject to it. It is not a supernatural order such as would entail the concepts of fate or predestination. A good site is where this order is unconfused. The [geomancy] manuals continually stress this in their concern with the clear recognition of patterns, with proper balance, with elegance, and in the frequent injunctions to avoid disaster, confusion and conflict,\"14\n\nThe segment of fung-shui practice which perplexes a great number of foreign scholars, especially the missionary-sinologists, is the application of the principle to burial sites. They find this metaphysical aspect deceptive and superstitious — how can the fortune of the living be benefited from the proper burial of the dead? This has to do with ancestor worship, a cult which is as old as Chinese civilisation itself. The Chinese believe that after a person is dead, he does not turn into a god or deity, but becomes part of the \"principles of Earth, [and] Earth is the source of amoral fortune.\"15 While the bones of the dead are buried underground, the spirit resides in the tablets housed in the ancestral hall. That is why the siting of graves and of the ancestral hall is of prime importance. The location of the ancestral hall should have a commanding view not impeded by any obstacle in front. Thus, such halls are never built inside walled hamlets. Despite all the rituals and rites performed in a ceremonial ancestor worship service, one has to grasp the spiritual essence of the belief. While one is paying tribute to one's ancestor, at the same time, one is teaching (very subtly) one's children to have respect and filial piety towards the aged. Having children who will take care of one at old age is the highest form of virtue in Confucian ethics. Hence, this goes back to the anthropocentric cosmic schemata of Heaven, Earth and Man, where man is in it and part of it.\n\nMicrocosm of Kam Tin's Fung-shui\n\nThe microcosm of Kam Tin's fung-shui can be traced through its topographical features. The Kam Tin village area lies in a", "txt_file_path": "txt/dfo323lmgvd/RAS-1980.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/kh04md207", "rank": 0 }, { "id": 210466, "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-1985", "page_number": 73, "title": "RAS-1985", "content_text": "54\n\nBARBARA E. WARD\n\nwould engage a Taoist priest to come down to his junk and perform a ceremony known as Changing the Gods (woon shan). This, which involved spilling the blood of a domestic fowl, was believed to provide cleansing from pollution and open the way for good fortune.\n\nThe annual ritual cycle began with the New Year and proceeded almost immediately to the public festival for the 'birthday' of the local tutelary deity, Hung Shing Kung, on the 13th day of the 2nd lunar month. These two occasions were the ritual highlights of the year. Quickly in their wake came Ch'ing Ming, fixed by the Chinese solar calendar at a date corresponding with April 6th and falling therefore usually in the third lunar month. This was one of the two special occasions for the commemoration of a family's departed members. The third month saw also the festival to T'in Hau, the so-called Queen of Heaven, protectress of all seamen, celebrated biennially with Chinese opera at the neighbouring village of Lung Shuen Wan and annually in a large number of other places in the Colony.\n\nIn the fourth month there was a festival at the temple of T'am Kung in Shaukiwan to which a few Kau Sai people sometimes went to watch the plays, and on the fifth day of the fifth month the Dragon Boat festival. Kau Sai had once had a Dragon Boat of its own which, I was told, on one memorable occasion even came in first in the 'regatta' held in those days at Aberdeen and attended by H.E. the Governor. But that was back in the 'twenties. Later, Kau Sai people merely looked on at the Dragon Boat races held elsewhere, or sometimes 'fielded' a scratch 'team' for the fun of the thing at Sai Kung. All boat families also made offerings at the temple on the Double Fifth which was also widely used as a kind of dividing mark in the calendar: hired crew, for example, were usually engaged or laid off at New Year and the Dragon Boat festival.\n\nIn the sixth lunar month was held the festival for Koon Yam, 'Goddess of Mercy', observed in all her many temples but attended particularly by Kau Sai residents at the village of Pak Sha Wan, near Sai Kung. (The fact that this village was also the site of that Kau Sai New Village to which the landsmen were", "txt_file_path": "txt/dfo323lmgvd/RAS-1985.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/gt54s866x", "rank": 0 }, { "id": 211655, "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": 70, "title": "RAS-1989", "content_text": "45\n\nOn another occasion the main Wang Yeh of the Five was on his way to Hsikang in central Taiwan on a tour of inspection when he encountered a demon causing trouble. He had gathered together a large force of spirit soldiers from the Underworld and was causing great hardship and harm to the local people. The Wang Yeh summoned the other four Wang Yeh and, with help from Kuan Yin, the local City God, and the Ma Tsu from Peikang, he defeated the demon and his army but suffered a wound to his head. Although repeated efforts have been made by craftsmen to repair the damage to his head the wound can still be seen today. Some say that the wound on the Wang Yeh's head was the result of his fight with the Yu Ying Kung, but whatever the reason might be, the people look upon the deity as a hero.\n\nIn Fulai, a village near Chia1 in central Taiwan, the main Pestilence Wang Yeh of the five on the altar is afforded an honour generally reserved for powerful major deities like Kuan Kung. He possesses a horse whose image stands alongside the side wall of the main hall of the temple.\n\nThough the Pestilence Wang Yeh are 'popular' deities they have their demonic aspects as well as their divine and are in general looked upon as dangerous, awesome and fearsome spirits to be approached with great circumspection. A number of devotees believe that the task of the Pestilence Wang Yeh is to police the World and control demons. While a small minority regard them as healing gods the majority believe that their function is to ward off and even attack demonic influence. If the attack is successful, it leads to a cure.\n\nBeing awesome deities the Pestilence Wang Yeh are only worshipped when devotees have a problem which requires the dispersal or destruction of malignant and demonic forces. Only very rarely are these deities approached by worshippers seeking advice and therefore the use of fortune slips and forms of communication such as divining blocks between the devotees and the deities are not usually to be found on the altars dedicated simply to them. Divining blocks are used however when temple committees wish to ascertain the views and wishes of Wang Yeh concerning his personal circumstances such as the location or use of his images.\n\nPestilence Wang Yeh are not approached for aid and advice as are, say, agricultural or fertility deities. Their role is limited to protection, and by extension to cures from pestilential diseases. They are, however,", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211663, "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": 78, "title": "RAS-1989", "content_text": "53\n\nwere destroyed but at the end of the campaign (ca 1127 BC) Lu was made President of the Celestial Ministry of Epidemics () with his four disciples as his senior departmental officials. The coincidence of the number five, and of them dying from epidemics before their due date of death, suggests that these five might be the precursors to the Five Plague Gods of much later times. Lu is described as having red hair, a blue face, fangs and a third eye, and it is therefore not surprising that god carvers have used this description when making Wang Yeh, and a number of images of the Wang Yeh on altars in Taiwan and South-East Asia have blue faces, red hairs and fangs though none has been seen with a third eye. It was interesting to encounter a Hakka ancestral image on a public altar in northern Taiwan which had a bright blue face. This was explained to be so because the ancestor, a Mr Huang, was a Ta Jen, an alternate form of Wang Yeh, a worthy and not a Pestilence deity; but because many of the temples around had Pestilence Wang Yeh and their faces were blue, red or green, it had been decided that the worthy Mr Huang should have a blue face too.\n\nAccording to the Yeh Wang Yeh legend in Tainan, Yeh himself took part in fund raising to build his cult temple in Fukien province. He disguised himself as an old man and went to Fuchou to buy the wood necessary to build the temple and also sent instructions to the villagers in their dreams that he would like his effigy to be carved in camphor wood to be placed on the roof. This they had carved, and when it was delivered to the site the timbers for the temple's construction arrived without anyone appearing to have carried them there, leaving the villagers only the task of erecting the building.\n\nFishermen in 1795 found an unmanned bamboo raft near the island of Haifeng on which there was a tablet dedicated to Chang, Li and Moh, Three Wang Yeh. They built a shrine on the island dedicated to the three and later the tablets were moved to the present temple at T'ai Hsi in Yunlin county on the west coast of Taiwan.\n\nOther groups of five deities in Taiwan have similar and on occasions identical legends and are believed to be able to control or prevent epidemics. They too are also prayed to for a cure by the sick, and for the maintenance of good health by the hale and hearty. Temple keepers on occasions identify them as Pestilence Wang Yeh though they are not officially referred to as such. These groups include The Five Great Emperors of Fortune (Wu Fu Ta Ti), and the Five Efficacious Lords", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211664, "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": 79, "title": "RAS-1989", "content_text": "54\n\n(Wu Ling Kung). The helpful keeper of a Wu Fu Ta Ti temple in Tsoying, sited almost opposite the Kaohsiung Temple of Confucius, named the Five Great Emperors of Fortune, Liu, Chin, Chang, Shih and Chao. He was also able to provide the personal names of each and identified them as five scholars who had died in an attempt to save Fuchou from pestilence demons. Four of the Wu Fu Ta Ti images have standard human faces though with nothing unique to identify them individually; the fifth, however, has a bird's beak on his demonic face and in some temples his skin is blue. No temple keeper has been able to offer a reason for this.\n\nLegends about the Pestilence Wang Yeh highlight that all the spirits which became such deities had died an unnatural death, the most popular being the deprivation of the lives of scholars before their due dates of death at the whim of the emperor.\n\nPestilence Wang Yeh were in the main scholars; in some legends ones who had been unsuccessful in the civil service examinations and in others ones who had been successful, who died before their due date either violently or by suicide. This made them spirits to be feared, potentially vengeful and dangerous ghosts who could inflict disease, though through happy circumstances they had all been deified and therefore to an extent placated, and their dangerous potential somewhat nullified.\n\nWhilst this article is primarily about Pestilence Wang Yeh now let us turn to local protective deities which also bear the title of Wang Yeh but are not Pestilence deities. The origins of each individual Wang Yeh as related in its cult centre or local village shrine provides a pattern which can best be discerned from the following examples. Legends describe how named individuals, frequently a local who died an unnatural death either fending off bandits, providing for the weak or performing some other public spirited act, were deified. As referred to earlier, the best example of a non-pestilence Wang Yeh is Koxinga, the son of a pirate and a defender of the native Ming dynasty which was crumbling before the invading Manchus, foreigners who later established the final imperial dynasty in China, the Ch'ing. Koxinga drove the Dutch out of their base in Taiwan and for this act, eliminating foreign rule, he became the patron deity of the island.\n\nA typical title, which at first would appear to be far from straight forward, is that of the rural temple near Tainan dedicated to the San Lao Yeh (=). The three, Wei (), Chu (✯) and Ts'ao (W)", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 212159, "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-1990", "page_number": 101, "title": "RAS-1990", "content_text": "78\n\nicon form on minor altars in Taiwan. These icons are understandable as portraits of Sun the 'Father of the Nation' appear with those of Chiang Kai-shek in offices, schools, barracks etc. where they were bowed to each morning as a sign of respect. Among the less literate and more superstitious it is not difficult to see how this has led to such icons appearing on altars with incense burnt before them.\n\nIn the mid-1960s, the Kuomintang organised a political demonstration in Cambodia on the 15th day of the seventh lunar month, the middle of the month during which Hungry Spirits return to the human world for thirty days. During the demonstration public sacrifices to the spirits of the victims of the communists in China were performed. There was also talk of deification of one or two but this came to nothing.\n\nIt has not been unknown for outstanding living persons to have a sanctuary built in their honour. The magistrate of Ch'ing-ho district in Hopei was such a man. He brought about a substantial reduction in taxes and other government levies and thus lightened the financial burden on a hard pressed people. In 1886, two years after he had been transferred to administer another district, the grateful populace of Ch'ing-ho built a shrine in his honour.\n\nIn Singapore in 1970 a new cult was founded near Woodlands on the northern tip of the island when the deity, Wu T'ien Chu, appeared to a Singapore Fukienese man in a dream. The deity explained to the Fukienese that he, Wu T'ien-chu [The Military Master of Heaven], was a mighty deity who had chosen the Fukienese man to become the 'Master Warrior' of his cult. He required a new bungalow to be converted into accommodation for the founder with the lounge becoming the altar hall. He told the Fukienese man that he would protect his devotees, cure their illnesses and bring them good fortune. A statue of the deity was carved in the likeness of the spirit as he appeared in the founder's dream and placed on the altar. The founder, the Fukienese man, explained that with his wide knowledge of all religions he encourages devotees from every nation and creed to worship in his temple. He explained that the world's most powerful deity is the Jade Emperor, with Sakyamuni, The Buddha, as his deputy. Next in seniority is Kuan Yin followed by Wu T'ien-chu who has a great many assistants and warriors under his charge, none of whom is ever portrayed in image form. He continued that the four pillars of the cult are \"the four gods (shen) of other religions, Buddha, Christ, the Pope and Mohammed”.", "txt_file_path": "txt/dfo323lmgvd/RAS-1990.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/d79206299", "rank": 0 }, { "id": 212250, "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-1990", "page_number": 192, "title": "RAS-1990", "content_text": "THE OFFERING TO THE WHITE TIGER\n\nIN CANTONESE OPERA\n\nSAU Y. CHAN*\n\n169\n\nIntroduction\n\nSymbolically, the White Tiger is a mystic figure in Cantonese folk religion. Though it can also bring merits to people, it is often referred to as a fierce devil. Thus the ritual known as zae bak fu (Offering to the White Tiger) should be held from time to time so that the harm caused by the White Tiger could be minimized. It is performed in a variety of Cantonese folk religious practices and a comparatively more elaborate form of the ritual has been preserved in the tradition of Cantonese opera, where it is also called zuk bak fu (capturing the White Tiger), zae toi (offering to the performing stage), po toi (breaking or initiating the performing stage), da mau (beating the cat) and occasionally as tiu coi sen (dance of the Deity of Fortune) and tiu jyn tan (dance of the Jyn Tan deity). As it has often been criticized as a superstitious act in mainland China, troupes there have, according to some informants, ceased to perform this ritual in recent decades. Nowadays this operatic form of White Tiger ritual is mainly preserved by troupes performing in Hong Kong, Singapore and Malaysia.\n\nI\n\nThe Exorcistic Function of the Offering\n\nAccording to interviews with many Cantonese operatic employees, whenever a theatre, whether temporary or permanent, is built on a piece of land that has never been used for such a purpose, the performing stage is called a sen toi (new stage) and the White Tiger ritual has to be performed for the protection of members of the troupe and the community which hires the troupe. It is believed that a tiger turns white when it reaches the age of 500. It would then make use of people's mouths to harm other people. Before the ritual is done, if one calls the name of another person, or simply talks, the words will be made use of by the White Tiger and the one who responds will be harmed. In the past, disasters such as the flooding, collapse and\n\n* Music Department, the Chinese University of Hong Kong.", "txt_file_path": "txt/dfo323lmgvd/RAS-1990.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/d79206299", "rank": 0 }, { "id": 212253, "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-1990", "page_number": 195, "title": "RAS-1990", "content_text": "172\n\nritual in her paper mentioned above. Her description is as follows.\n\n+\n\n*Indeed, actors may well be especially requested to carry out similar acts of exorcism on behalf of their clients, just like priests. In 1975 at Sai Kung, in Hong Kong's New Territories, a development comprising several modern blocks of shops and high-rise flats was declared open in an official ceremony, which included the (also symbolic but hardly magical) act of cutting a red, white and blue ribbon performed by a high-ranking member of the British administration. On the preceding evening the actors already engaged to perform operas in the town in connexion with a temple festival were asked to perform The White Tiger, and they did so in exactly the same manner as in the performance of the same ritual scene two weeks before. The sole difference was that the second performance was for the purpose of exorcising evil forces from the new buildings, which stood on recently reclaimed land where people had never lived before. In other words, the players were acting here as exorcists for the community, not at all for themselves: like priests.\" (Ward 1979:32)\n\nActors and Characters in the Offering Ritual\n\nIn Cantonese opera, the White Tiger ritual requires only two actors who play the Deity of Fortune and the White Tiger respectively. In Cantonese folk religion, there are five deities which are believed to bring fortune to people. The one portrayed in the White Tiger ritual is known as Jyn Tan (literally \"abstruse altar\") whose real name is Ziu Gung-ming and who is thus often called Ziu gung jyn sey27Ah (supreme commander Ziu). To distinguish him from the other deities of fortune, Jyn Tan is often referred to as the \"military\" Deity of Fortune.\n\nAccording to legends, Jyn Tan has a black face and black beard. He wears an iron helmet, rides on a black tiger and carries an iron staff and a number of other magic weapons. Besides bringing people fortune, Jyn Tan is believed to uphold justice and eliminate disasters.\n\nThe origin of the White Tiger ritual is still unclear though the\n\nPage 195\n\nPage 196", "txt_file_path": "txt/dfo323lmgvd/RAS-1990.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/d79206299", "rank": 0 }, { "id": 212254, "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-1990", "page_number": 196, "title": "RAS-1990", "content_text": "173\n\nThe legend of the Deity of Fortune is known. It is understandable that the deity is incorporated in the ritual as he has the power to eliminate disaster and bring fortune. In the modern performance of the ritual, the deity's magical weapons are represented by a wooden staff and a chain. Troupe members often call the deity hak min (black face).\n\nStage Setting and Preparation\n\nA wooden table and chair are placed in the middle back portion of the frontstage. Another wooden chair is put on its side at the edge of the stage left. Occasionally, additional wooden chairs are put in front of the accompanying musicians who sit at stage right.\n\nA better understanding of the ritual enables one to discover the different functions of these pieces of furniture. The wooden table and chair together symbolize a high mountain, and the chair facilitates the actor's climbing to the top. The other chair that is put on its side at the stage edge has a piece of raw pork hung from one of its legs, so as to facilitate the White Tiger's consumption of the pork. The chairs placed in front of the musicians function to protect them from the possible harm caused by the White Tiger. Ward has mentioned that a row of chairs had been seen at the edge of the stage to protect the audience (1979:31). However, the use of these chairs has not been noticed during the several White Tiger rituals observed by the present writer.\n\nThe accompaniment to the ritual is provided by three percussionists: the gong and cymbal players, and their leader who is responsible for the wood blocks and the zin gwu \"kök (battle drum). Such players usually set their instruments ready one to two hours before the ritual and then stay away from the stage until shortly before the time assigned to hold the ritual comes.\n\nAccording to several experienced actors, traditionally the White Tiger ritual should be held immediately before the evening's operatic items start, which is approximately 8 to 9 p.m. In modern Hong Kong, as many troupe owners find it extremely inconvenient to maintain the taboo, they prefer to hold the ritual in the afternoon, usually at around 3 p.m. on the day that the series of performances begin.\n\nWithin the whole course of preparatory work for the offering, the", "txt_file_path": "txt/dfo323lmgvd/RAS-1990.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/d79206299", "rank": 0 }, { "id": 212255, "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-1990", "page_number": 197, "title": "RAS-1990", "content_text": "174\n\nmost important part is to fix a piece of ritualistic red sash to the black hat which is to be worn by the Deity of Fortune. Often a pair of gem fu TE (golden flower), which are made of thin metallic foil and used for decorating a deity's shrine, is placed on both sides of the hat, and sometimes the pair of \"wings\" on the hat are turned upright to imitate the hat worn by the deity Zung Kwae who is well known for his exorcistic power. In either case, the hat's peculiar features illustrate that the one who wears it is a deity and not a mortal. Once the hat is ready, troupe members should hide themselves and follow the taboo in an absolute manner.\n\nAfter putting on the appropriate costume, the actor who plays the Deity of Fortune paints his face black with only some white spots, and puts on the mock black beard. Another actor who plays the White Tiger dresses in the tiger costume, and gets the mask but does not put it on until he has to enter the stage. The actors then quietly offer incense at the shrine of the deity Wa Gwong #, who is the major patron of the Cantonese operatic profession. Often incense, fruit and meat are also offered at the shrines of the other patron deities of the numbers of the troupe, which are also placed on the same altar alongside the shrine of Wa Gwong. When the chosen time is approaching, the two actors wait behind the Tiger Gate at stage right. One of the backstage workers hands over the wooden staff to the actor who plays the Deity of Fortune. A string of firecrackers has already been tied to the end of the staff. Holding a joss candle, the worker stands close to the Deity of Fortune and is ready to light the firecrackers when the time comes.\n\nThe Performance of the White Tiger Ritual\n\nThe complete White Tiger ritual is described below and the key episodes are highlighted.\n\n1. With the lighting of the firecrackers and the playing of the gong, cymbals, drum and woodblocks, the Deity of Fortune holds the wooden staff upright, enters the stage from stage right, runs straight across the stage, enters the backstage, runs through the corridor at backstage right behind the backdrop and immediately re-appears onstage.\n\n2. After making a posture, known as zat ga loeng soeng (扎架亮相)", "txt_file_path": "txt/dfo323lmgvd/RAS-1990.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/d79206299", "rank": 0 }, { "id": 212256, "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-1990", "page_number": 198, "title": "RAS-1990", "content_text": "175\n\n3.\n\n4.\n\n(to make a posture and show one's face), the actor goes through a series of stylised stage movements known as tiu dai ga (literally \"to dance the grand posture\") which is often used in Cantonese opera at battle scenes when a general appears onstage.\n\n5.\n\nWith another series of gestures and stage movements in a style similar to mime, the Deity of Fortune goes indoors, falls asleep, wakes up and discovers that his tiger has gone. The Deity goes out and searches for the tiger but cannot find it. He then climbs up and stands on the top of the wooden table, symbolizing that the Deity is now on the top of a mountain and waits for the tiger to appear. One of the backstage workers often hides under the table to keep the structure steady and firm.\n\n6.\n\nThe White Tiger actor enters the stage from stage right. Sometimes an actor might choose to enter with his back turned towards the audience (if there are any) so that the White Tiger's magical power would not hurt them.\n\nThe White Tiger crawls towards the piece of pork, grabs it and puts it through the mouth of the tiger mask. To symbolize the consumption of the pork, the actor throws it beneath the edge of the stage.\n\nThe Deity of Fortune jumps down from the table and fights with the White Tiger. After some struggle, the Deity surmounts the tiger and sits on its back. A backstage worker then goes onstage and hands a chain to the Deity who then fits it to the tiger's mouth.\n\n7. After the capture of the White Tiger, the Deity of Fortune holds the ends of the chain in his left hand and raises the wooden staff upright with his right hand. In order not to harm the troupe members backstage, the two actors keep facing the audience. With a backstage worker pulling its tail, the White Tiger and Deity of Fortune step backward towards the Tiger Gate at stage left. Upon their arrival at the gate, one of the workers helps the two actors to remove the mask, hat and beard; another worker assists in the cleaning of the painted face with a thin pile of joss papers. Sometimes a towel is used instead. Interviews with some experienced actors reveal that the tradition prescribes that the", "txt_file_path": "txt/dfo323lmgvd/RAS-1990.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/d79206299", "rank": 0 }, { "id": 212258, "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-1990", "page_number": 200, "title": "RAS-1990", "content_text": "177\n\n(mouth) from the character get di (fortune) should not be completely joined, so that the \"mouth\" is an \"open\" one. In this way, the troupe members are freed from the curse of \"not being able to open the mouths\", which implies that the actors could not sing or speak, that the troupe would become unemployed, and that the members would have to suffer from starvation. In case the stage is a \"new\" one, the hoi bet ritual has to be carried out by the actor who is to play the Deity of Fortune.\n\nFrom these taboos and religious practices, one might easily deduce that Cantonese operatic employees are highly superstitious. However, without understanding the function behind these practices, such a judgement would be nothing more than a subjective evaluation.\n\nIn his Exorcising the Trouble Makers: Magic, Science and Culture (1983), the anthropologist Francis L.K. Hsu has pointed out that religion and superstition are indispensable in every culture, including those praised as “civilized” and others criticised as “primitive”, and that it is not always easy to draw a distinction between science and religion. According to Hsu, a community which believes in science would dress-up their religious beliefs and superstitious practices in the form of science, and similarly, a community which inclines towards religion and superstition would interpret its empirical and scientific experience in the form of religion (Hsu 1983:129).\n\nTraditionally, Cantonese operatic troupes are often hired to perform for festivals, birthdays of both ghosts and deities, and an elaborated Taoist ritual known as da ziu k (rite of purification). In fact, before permanent theatres became an additional context of Cantonese operatic performances in the late 19th century, for most Cantonese operatic troupe members, ritual performance had been their major source of employment. Even in modern Hong Kong, every year over two-thirds of the total productions are staged in a ritual context.\n\nIn the late Qing Dynasty and even up to the early 20th century, ritual performances were held in temporary theatres built with palm leaf mats, bamboo and wood poles. Modern ritual theatres replace mats with tin sheet. When a troupe is hired to perform a series of ritual plays, the temporary theatre becomes not only their performing venue but also their living quarters.", "txt_file_path": "txt/dfo323lmgvd/RAS-1990.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/d79206299", "rank": 0 }, { "id": 213073, "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-1993", "page_number": 141, "title": "RAS-1993", "content_text": "122\n\nshih. The latter has not been noted in any altars in southern Fukien province, nor in SE Asia, though it is almost certainly a local Fukienese cult. However, in one of the temples in Singapore containing the image of San P'ing Tsu-shih it was claimed that there was a trio of sworn blood brothers, San Tai Tsu-shih, San P'ing Tsu-shih and Ch'ing-shui Tsu-shih. This group logically ties together the concept of a trio, with Ch'ing-shui being involved as a junior deity and with a black face.\n\nThe confusion arises presumably due to the similarity of the images. San Tai Tsu-shih is also depicted as a standard image of a monk, sitting cross-legged, wearing the five-leaf bodhisattva crown, but with a pink face. He is also depicted holding a fly whisk in his right hand and his left hand in a Buddhist mystical sign. Legend, as related in one of the temples, claims that the three generations, the father, grandfather and son, were fortune tellers of great renown who lived a thousand years ago in Ankur in Fukien, who cured the sick. In several successive years of desperate drought and famine, so the legend continues, they disposed of all their worldly wealth, giving it away to the poor and needy. Revered predominantly by emigrants from the Ankur region the triad is prayed to for a cure for all forms of sickness. They are also revered by local people who bear the same surname, Lin, with people referring to the old grandfather for advice on land purchase and before starting up a new business.\n\nThese three cult deities are revered separately and on their own altars in different temples both in the Amoy region and elsewhere, and are regarded as important cult units. Ostensibly the latter two, the deified Buddhist monks, would seem to be Buddhist deities; however, in practice all three cults are to be seen nowadays only in popular religion temples though never together. As with virtually all popular religion cults, they are not revered in isolation and stand on their own altars in temples beside altars bearing other deities of unconnected cults.\n\nNOTES\n\nOthers claim that it was the Lord of the North Star (Pei-tou Hsing-chun) who introduced this deity to mankind.\n\nThis is one of the instances when he appears to be being confused with Sun Ssu-miao.\n\nChang Sheng-che was identified in a rural temple in Chin-mei, on the mainland across the strait from Amoy island as the 'magician' Fa-chu Kung [qv]", "txt_file_path": "txt/dfo323lmgvd/RAS-1993.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/66833t302", "rank": 0 }, { "id": 213839, "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-1996", "page_number": 191, "title": "RAS-1996", "content_text": "164\n\nin Tai O, following the practice of the Houwang Temple in Kowloon City, Tung Chung sets the date on the 15th of the eighth lunar month. As explained by local villagers, people in a farming community such as Tung Chung, in contrast to the fishing community of Tai O, are busy with farm work until mid-autumn. Setting the date for festival celebration in the slack season guarantees mass participation and enjoyment to the full,52\n\nDuring this festival of four days and five nights, representatives of Tung Chung's villages present the best sacrificial offerings to their local principal temple. All inhabitants from the area participate in the mass worship of their patron god. It is the climax of religious and social activities of the year as operas, Ch'iang-p'ao (rocket-snatching) contests, and other forms of entertainment are incorporated in the god's birthday observance. For the performance of the opera show, a bamboo stage is built in the open area in front of the main entrance of the Houwang Temple. On two sides of the stage, many stalls are set up in rows selling food, oblations, religious souvenirs, and even toys. Among these booths are some for the \"rocket associations\" which are formed mainly by competing villages and organizations in the names of 'ang, to vie with one another in the capture of lucky rockets. These rockets are considered relics of the temple god, or representations of the deity, which will bring good fortune and glory to the winning units. They must be returned to the temple with a thanksgiving observance on the god's birthday in the following year.\n\nBefore World War II, according to the natives, the \"rocket-snatching\" contest was held on the 18th of the eighth lunar month during which rockets were shot into the air by officers in charge of temple management. Representative members of the rocket associations, usually young men assembled in the square in front of the temple, would then scramble for the numbered wooden tablets inside the rockets just fired. Whoever got hold of the tablets could purchase the rocket numbered accordingly.\n\nAfter the War, owing to population increase, fighting over the possession of the rockets became a serious problem. In 1949, to reduce the chances of violent conflict, some rural areas decided that participants would draw lots for the rockets. In Tung Chung in recent years,", "txt_file_path": "txt/dfo323lmgvd/RAS-1996.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/3n209j641", "rank": 0 }, { "id": 213911, "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-1996", "page_number": 263, "title": "RAS-1996", "content_text": "239\n\nSUPPLICATING THE DEITIES\n\nIN MAINLAND CHINA'S TEMPLES\n\nKEITH STEVENS\n\nIt was interesting to note that in recently rebuilt or refurbished Buddhist and Taoist temples in Shanghai city there was no evidence of fortune sticks and blocks or of any equipment such as sand tables used for spirit communication. Temple keepers when questioned about it were quite clear. It was forbidden as superstition [mi-hsin]. In retrospect I have now noted a similar absence of spirit communication paraphernalia on altars on photographs taken in other cities and even in the countryside which I had overlooked during my visits.\n\nIt would appear that devotees in mainland China are permitted to offer incense and oil for the ever-burning lamp, and in some areas they also can burn charm papers before the images of the deities after which they can, orally, though virtually silently, put their pleas and offer prayers to the deity. However, in Shanghai at least, they were not, under any circumstances, able to obtain the immediate response which is the practice in Taiwan, Hong Kong, SE Asia and formerly, in China itself. They have to wait for their wishes to be responded to positively, or otherwise, by the deity. One of the temple keepers added that, as he understood it, 'this was the foreign method of worship'.\n\nIt must be added that outside mainland China possibly the prime reason why many devotees ever visit a temple is to obtain an immediate assurance and response to a question or problem which is worrying them.", "txt_file_path": "txt/dfo323lmgvd/RAS-1996.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/3n209j641", "rank": 0 }, { "id": 213933, "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": 3, "title": "RAS-1997", "content_text": "From the Hon. Editor\n\nVol. 36, 1996\n\nAddendum\n\nConcerning the Note on page 239 of Vol. 36, SUPPLICATING THE DEITIES IN MAINLAND CHINA'S TEMPLES, by Keith Stevens, the author has asked that the following paragraph be added at the end:\n\nDespite what I had observed in Shanghai and elsewhere in Mainland China, in March 1998 I came across devotees using oracle sticks in two temples in Hunan province to seek advice from deities. One was in the main temple at the base of the Taoist Holy Mountain, Heng Shan; the other was in a large popular religion temple some ten miles south of Changsha on the banks of the Xiang Jiang, the major river flowing through the area. In both places temple staff sat behind a counter, with the devotees collecting the bamboo tubes from them and then rattling the sticks before the image of the main deity until one of the sticks rose up, thereby providing the 'lucky' number for the devotee who then collected the usual small printed slip bearing the same number and the relevant destiny or fortune.\n\nii", "txt_file_path": "txt/dfo323lmgvd/RAS-1997.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/wp98g7579", "rank": 0 }, { "id": 215063, "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-2000", "page_number": 159, "title": "RAS-2000", "content_text": "116\n\nwhich tends to bewilder foreigners is the lone deity representing Taisui on one altar and images of his sixty forms on another. This appears to be due to a policy decision by the temple committee which decided that in addition to a lone Taisui, the whole group of sixty would be more appropriate and rather than replace the lone image they added the sixty on another altar. In other temples the Taisui group is represented merely by sixty almost identical heads affixed to individual wooden blocks that are covered in red paper or swathed in red ribbon. The range of images is quite wide with, for example, in a temple on Hong Kong island one of the sixty is an aged man with a long white beard. His image has as its neighbour a standing youth with one arm raised holding an axe.\n\nThe only image of the sixty which would seem to have a unique and extraordinary characteristic is the primary one of the sixty, Jiazi. It consists of two small arms in addition to his normal pair which emerge, one from each eye-socket, and stretch a short distance in front of his face with the forearms turned upwards at their elbows and the hands poised as if about to grasp something. Although his unique feature is to be seen in sketches in several 19th century western books, such as DuBose in 1885, his image depicted with his extraordinary feature has only been noticed on altars in three temples. All three are popular religion temples where all sixty images are arrayed along the walls of their side hall. In Pudong, across the river from Shanghai, he is portrayed as an ordinary male sitting on a bench, dressed in gilded robes, holding a small lion cub in his right hand. He has a black beard and eyebrows and with his unique feature. The Jiazi Taisui in the Taisui Hall in the temple at Song Shan in Taipei is wearing a blue outer robe decorated with gilded Daoist signs, and two large red roundels on his knees bearing the character Fu, for good fortune. He is holding two peaches in his left hand symbolising longevity, rather than a lion cub. An almost identical image is the initial Taisui of the set of sixty in the Taisui hall of the third temple, the Taipei Fazhu Gong Temple. However, this time the tiny arms and hands emerging from the eye sockets are much smaller than elsewhere. Nonetheless, the two sets in these Taipei temples have only been installed within the last decade and both sets appear to have been ordered from and carved on the mainland, possibly near Shanghai. These unique Taisui are obviously blind having these miniature arms and hands taking up their eye sockets, and temple custodians have no idea what these miniature arms signify. However, DuBose writing in", "txt_file_path": "txt/dfo323lmgvd/RAS-2000.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/nk328168n", "rank": 0 }, { "id": 215073, "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-2000", "page_number": 169, "title": "RAS-2000", "content_text": "126\n\nWorkload of the Gods\n\nAn idle passing thought - The endless stream of pleas for assistance and advice by devotees to the gods and goddesses in general is beyond our comprehension, especially when we consider the burden of the daily workload of the God of Sickness, the Maternity Goddess, as well as that of the God of Wealth, particularly on race days at the Jockey Club in Hong Kong or the Canidrome in Macau. If we then reflect on the daily workload of the members of the Ministry of Time, what exactly do they all do? Apart from the image of the President, the images of the ten members of the Ministry do not appear on altars and are therefore not venerated by devotees nor are they approached for specific blessings. It would be blasphemy to suggest that their posts are sinecures but looking back at the rôle of certain mandarins during dynastic times, with the celestial mandarinate so strongly paralleling their terrestrial counterparts, it does leave one with a strong suspicion that the Gods of Time are not exactly overworked in their celestial duties. The workers, the Sixty Taisui, do however have an onerous workload, complying with the requests of devotees seeking from their individual Taisui of their year, protection from all evil and calamities.\n\nAlthough Taisui is the Minister of Time, another major deity, Fu Xi, has been credited not only with the establishment of kingly rule and of marriage laws, but also the computation of time by inventing a form of calendar using a knotted cord. The Eight Trigrams (bagua) are attributed to Fu Xi as well as the development of a system of fortune telling using these trigrams, which has governed the lives of a great many Chinese ever since. Geomancers to this day use their specialist compass to read the future. It comprises concentric bands in which there are the Eight Trigrams of Fu Xi, the twelve branches, the ten stems, the twenty-four solar periods, the Twenty-eight Constellations,\n\nas well as the Thirty-six Stars of the 'Plough' [Tiangang Xing 太綱星] and the Seventy-two Stars of Evil Omen [Disha Xing 地煞星].\n\nTime and Calendars\n\nAlthough time is no more than the distance the Earth turns in one day, together with its human sub-divisions, there are two separate and distinct types of time, the first being lunar and solar time, and the second,", "txt_file_path": "txt/dfo323lmgvd/RAS-2000.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/nk328168n", "rank": 0 }, { "id": 215081, "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-2000", "page_number": 177, "title": "RAS-2000", "content_text": "134\n\nQuadrants of the 28 Heavenly Constellations, the image of Chen Wu [Xuan Wu], as Lord of the North, was usually to be seen on altars, usually in Daoist monastery or temple entrance halls, together with the Azure Dragon [Qing Long] of the East, the Vermilion Bird [Zhu Qiao] of the South and the White Tiger [Bai Hu] of the West, where they were the guardians.\n\nAlthough Tai Sui is the Minister of Time, another major deity, Fu Xi, has been credited not only with the establishment of kingly rule, of marriage laws, but also the computation of time by inventing a form of calendar using a knotted cord. The Eight Trigrams [bagua] are attributed to him as well as the development of a system of fortune telling using these trigrams which has governed the lives of a great many Chinese ever since.\n\nYang Ren\n\nThere is ambiguity over the rôles of the two deities, Yin Jiao and Yang Ren. In the very early days, before the emergence of the concept of the stems, the twelve branches were represented by images of the deities of the year with all twelve portrayed on altars in temples, especially in northern China where they were regarded as an entity commanded by Yang Ren. Later, when the Sixty Spirits of Taisui, that is the sixty cyclic deities, replaced the Twelve, they too were commanded by Yang Ren - or by Yin Jiao depending on local legend. According to the Fengshen Yanyi Yang Ren is the Jiazi Taisui [the first of the sixty combinations] and is known as Jiazi Taisui Zhengshen.\n\nXIE. [see photograph 4: with small hands emerging from the eye sockets] whilst Yin Jiao, as we have seen above, was identified in the same historical novel as the President of the Ministry of Time. Though we have accepted Yin Jiao as the President of the Ministry and Yang Ren being the identity of the primary Taisui, the picture is far from conclusive.\n\nThe Ten Stems and Twelve Branches have been represented in human form in a number of temples but, as far as can be ascertained, none has been connected with the Lord of Time, Taisui. One of two side walls of the main hall of a temple near Pingyang in Shanxi province representing the Lord of the Northern Dipper, Zhen Wu, contains 13th century frescoes depicting ten figures. These represent five of the Ten", "txt_file_path": "txt/dfo323lmgvd/RAS-2000.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/nk328168n", "rank": 0 }, { "id": 215115, "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-2000", "page_number": 211, "title": "RAS-2000", "content_text": "168\n\ntheir aid.12 Thus it was that although neither of the two deities had ever set foot in the Chaozhou area during their human existence, yet their divine spirits helped the native Chaozhou people and became their patrons. Chaozhou emigrants to Taiwan bore their cult from their local cult centre at Chaoyang, together with images, over to the new lands where at present there are some ten or so temples dedicated to the pair.\n\nSeveral versions of the tales of their heroism during the siege of Suiyang are related by temple keepers and devotees. Individual stories about Zhang and Xu are well known to Chaozhou devotees, describing how they dug holes to catch rats during the siege, and about Zhang slaughtering his beloved concubine, either to spare her being taken by the enemy or, more morbidly, to be eaten by the starving defenders. Each of the stories highlights their heroism in the face of starvation with no hope of relief from the siege, and their choice of death rather than surrender.\n\nThe two deities are revered together on the main altar in at least five temples in Taiwan. Zhang has some eight temples dedicated to him alone in Taiwan, whilst Xu has a further nine. A further fifteen temples contain one of these two deities under their other titles, with both deities, again under their true names of Xu and Zhang, being noted as the main deity on secondary altars.\n\nA Chuanzhou immigrant named Chen brought an incense pot with him from the cult centre of Baoyi Dafu [Zhang Xun] in Fujian and set it up as a branch temple in Shen Keng village near Taipei. According to temple lore, the deified Zhang Xun proved very efficacious in helping villagers with both good fortune and excellent harvests. Later, as the cult developed, it emerged from dream messages that Baoyi Dafu was also very effective in coping with the ravages of insect pests and, moreover, had won local renown by helping Chinese immigrants overcome the original hill tribesmen.\n\nHowever, in the centre and south of the Taipei Basin, Xu and Zhang together were known by Chuanzhou Fukienese by the single title of Wang Gong 尪公, Wang Yuanshuai 尪元帥 or Wang Wang 王王. Their local legend claims that Wang Gong appeared to a temple keeper in a dream, warning him and the local inhabitants of the San Hsia, Mucha, and Hsintien areas of an intended raid by head-hunting tribesmen from", "txt_file_path": "txt/dfo323lmgvd/RAS-2000.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/nk328168n", "rank": 0 }, { "id": 215331, "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-2001", "page_number": 108, "title": "RAS-2001", "content_text": "56\n\nhis bill. He described the lady who had ordered the materials and when he heard that it was the goddess herself he forwent his bill and donated the materials. The temple was built on the side of the hill above Wenchang town, called Shuiwei Po, which became the cult centre.\n\nMarginal variations of the story heard in Penang and Cambodia include the following: a number of fishermen aboard a junk threw out their net and drew in an enormously heavy but small log, requiring the joint effort of the whole crew. After their communal vow to have the log carved and having hauled in two large catches, they were so embarrassed at not being able to afford to have the log carved and to raise a shrine to house it they left it on the edge of the village where it was incorporated into the walls of a pigsty. Pigs however began sickening and dying, and only when Pan saw a glowing light over the pigsty did he recall the log and their promise. He burnt incense, asked forgiveness and all became tranquil and normal. People claimed to have seen an exquisitely beautiful young woman on the branch overhanging the pigsty and came to realize that it was the spirit of the log. They collected funds, had a temple built and the log carved into the shape of the woman they had seen on the branch. The temple became the cult centre for the Holy Mother who is also known as:\n\nPaihai Shen The Spirit who Controls the Seas.\n\nAccording to Wilmott10, Shuiwei Shengmu, the main deity in the Hainanese temple in Phnom-penh, changed her name to being simply Shengmu because the Cantonese connotation of the term 'Shuiwei' was associated with bad fortune in business11 and kept many people from frequenting the temple.\n\n4: Uniquely Hainanese Secondary Deities\n\n[though a few are also revered China-wide by Han Chinese]\n\na] The One Hundred and Eight Brothers-\n\nYibai lingba Xiongde 一百零八兄弟\n\nThe tablet to the 108 Brothers is exclusively revered on secondary altars in Hainanese temples in South-east Asia only. The Brothers are", "txt_file_path": "txt/dfo323lmgvd/RAS-2001.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/zg651950g", "rank": 0 }, { "id": 216198, "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-2002", "page_number": 497, "title": "RAS-2002", "content_text": "431\n\nTHE WRESTLING PRINCES\n\nKEITH STEVENS\n\nDown the years I have visited many, many Chinese temples in my search for images of the deities and their legends. One near the coastal town of Muar in western Malaysia contained a pair of deities well known to me standing on the altar table before and below the main altar. The image consisted of a pair of conjoined deities - the Taibao Sheren, a Fujian local popular religion Daoist cult, involving a pair of youths, princes, so the story goes, who in image form are depicted standing together, legs apart, holding on to each other either with one arm around the other's shoulders or clutching a part of the other's anatomy, such as the knee, as if wrestling. In this instance the Taibao possibly means The Great Guardian, an old dynastic title for one of the most senior of the Chinese imperial advisers rather than the Great Protector which is the literal meaning. Sheren was a quasi-official title for \"independent kinsmen” in other words \"hangers on.”\n\nIndividually the two youths bear the names of Kang and Ruan though they were identified in two temples in southern Malaysia simply, one the Sheren as the Civil Protector, Wenbao and the other, the Taibao as the Military Protector, Wubao. They are worshipped for general good fortune and have only been identified in small Chinese temples within Fujian communities in Singapore, Malaysia, southern Thailand and in two or three temples in Taipei and Kaohsiung counties in Taiwan. In this rural temple near Muar Kesang the main deity on the altar is a seated matron known as Liu Jia Zhenren.\n\nFor Yuan Jian Zhenren, not seen anywhere else and said to be the mother of the two youths. Before and below her image are two sets of the youths, portraying them as wrestlers with leather shin-guards and wrist strengtheners, with one of the pair grasping the other firmly by the leg.\n\nThe two are believed by some to have been Indian princes brought to Fujian more than a thousand years ago and little more, apart from their surnames, would appear to be known at any of the temples in which these images have been seen. However, in one temple in Taiwan they were said to be the sons of a wealthy man. One son had shown great aptitude and had been sent to study in the capital, and was white\n\nJ", "txt_file_path": "txt/dfo323lmgvd/RAS-2002.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/mp4901278", "rank": 0 } ]