[ { "id": 205425, "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-1967", "page_number": 187, "title": "RAS-1967", "content_text": "180\n\nBOOK REVIEWS\n\nChildren's toys and games are not overlooked, and are detailed in the chapter on the Tenth Moon. This was the season for kite flying, often with aeolian harps attached. The forms mentioned include the flamingo, wild goose, and flying tiger, all painted with extreme care. Tun is fond of seeking motives for children's amusements and considers the kites beneficial in making the eyes clearer as they are strained to look after the mounting objects. He finds a similar value in shuttlecocks. These were made of a skin covering sewn over a copper coin, with a bunch of feathers attached to the top with a cord. When children kick them about it promotes the circulation of the blood, and keeps them warm. As a side-line the glass factories produced two forms of trumpet, one gourd-shaped, and the other of conventional type. By blowing these the young people were obliged to take deep breaths and filled their lungs with fresh air. Boys of the poorer class ground stones into small marble-like balls which they kicked about as footballs, so keeping the blood circulating in their extremities.\n\n\"Peace Drums\" sound like very modern propaganda. They consisted of an iron circlet over which a donkey skin was stretched. They were furnished with a handle like a fan, at the lower end of which was a loop with a number of iron rings. The drum was beaten with a rattan cane making a booming noise that contrasted with the jangling of the rings. Diabolo was a favourite toy, and the flanges were provided with a rectangular opening to produce a humming sound when sufficient speed was acquired. The cotton string which operated the reel was always given a twist, and some children were very skilful at operating a diabolo with only one flange balanced by a ball-shaped piece of wood.\n\nNothing in the local scene escapes the observant author, who describes fighting crickets and the seasonal birds, with notes on their training. He describes one autumn fruit, Tou Ku-niang as being “shaped like a small egg plant, red as coral, round, glassy and slippery.\" It was, he says, a great favourite with the young, and owes its name \"Fighting girls\" from the contention it arouses for its possession.\n\nThe book is lavishly illustrated with Chinese line drawings and several coloured plates, whilst inside the covers are skeleton maps of Peking, with conventional signs for places of interest referred to in the text. In addition, there are six most useful", "txt_file_path": "txt/dfo323lmgvd/RAS-1967.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/0c488p70g", "rank": 0 }, { "id": 207339, "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": 107, "title": "RAS-1975", "content_text": "EUROPEAN WORKING CLASS IN 19TH CENTURY\n\n99\n\nadjacent to the European business centre, the so-called Central District (Chung Wan), or, eastwards along Queen's Road, in the district of Wan Chai.\" Once Kowloon was acquired, pong-paân were attracted to this new area of settlement because of low rents and the propinquity of the docks, wharves and godowns soon established there, which in time gave employment to numerous European overseers. At the end of the century, Kowloon had become the principal habitat of lower class Europeans. There were terraces of houses occupied solely by them. A witness wrote:\n\nThese are generally employees in the dockyards, or clerks, or the families of engineers and mates of the small steamers that have their headquarters in Hong Kong... Hong Kong looks down on Kowloon with all the well-bred contempt of Belgravia for Brixton. And even in the despised suburb on the mainland these social differences are not wanting. The wives of the superior dock employees are the leaders of Kowloon society; and the better half of a ship captain or marine engineer is only admitted on sufferance to their exclusive circle.18\n\nBut the part of Victoria most frequented, especially at night, by the European lower orders—soldiers, sailors, merchant seamen, beach-combers and others—was Tai Ping Shan, a densely populated Chinese residential area west of the Central District. In 1875 a visitor to Hong Kong wrote:\n\nPassing westward along Queen's Road, we come upon a quarter of the town much frequented by seamen of all nations. Here spirits are sold in nearly every second shop, and bands of common sailors may be seen spending their time and money on questionable drink in more questionable company, roaring out some rough sea-song in drunken chorus, or dancing to the time of a drum and flute, accordion or cornopean. The piles of Chinese houses which rise above this locality embrace Tai-Ping-Shan, or the hill of great peace. The name is a fine one, but a fine name will not hide the sins of the place. Tai-Ping-Shan is inhabited, for the most part, by Chinamen; but men are found there belonging to all the nations of the East. As for women, these are principally Chinese; they are numerous enough, but of the lowest type. There are strange hotels in this quarter,\n\n* There are a number of 19th century street maps available for early Hong Kong, held in the Public Records Office, Hong Kong.", "txt_file_path": "txt/dfo323lmgvd/RAS-1975.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/j0995146d", "rank": 0 }, { "id": 210052, "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-1984", "page_number": 23, "title": "RAS-1984", "content_text": "JULIAN PAS \n\noracles. Many deities in China have their own set and devotees consult them for all important questions, problems or difficulties. They believe that after honest prayer and a gift of incense or other offerings, the compassionate goddess will manifest her advice through the paper oracle slips, printed by the temple officials.\n\nOn the altar are several bamboo tubes, each containing 60 bamboo sticks numbered from one to sixty; they can be found in almost any temple in Taiwan.* Here in Peikang, however, there is a large number of sets since the flow of pilgrims is endless. Moreover, in many larger temples of wide reputation, one can nowadays see huge oracle containers three or four feet high, made of dark green marble, extracted from the Hualian mountain quarries. The bamboo sticks in these marble containers are very long.\n\nWith almost no elbow space the people kneel on the floor in front of the sacred images. Incense smoke curls up to the carved beams and one hears the unceasing noise of shaking bamboo sticks and the accompanying clatter of the small or large moon-shaped divining blocks dropping on the temple floor. The noise is non-stop but there is reverence in the atmosphere, and the worshippers believe that Matsu's spiritual power is at its strongest here in her Peikang shrine.\n\nI am standing near a pillar on the side, watching the whole scene of devotees coming and going, of groups leaving the temple, and groups arriving to the joyous sounds of bell and drum. I watch the people, study their facial and bodily expressions and realize that their sense of religion is perhaps different from the Western type. Yet, there is faith in their actions and an implicit trust in the power of the goddess. Her oracles are the especial focus of this power. An older lady goes to the marble container, shakes the sticks (she cannot lift the heavy container itself, of course) and picks up one of them. She puts it on the altar table, takes a set of small divination blocks — there are dozens of them here — and holds them with both hands at the level of her chin. Her lips mutter prayer; she must be asking the goddess whether the numbered stick she has just taken is her true and correct answer in this case. The situation\n\n* See line drawings on following pages, by Ho Yu-dao, of Taichung, Taiwan.", "txt_file_path": "txt/dfo323lmgvd/RAS-1984.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/5h73wh572", "rank": 0 }, { "id": 211737, "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": 152, "title": "RAS-1989", "content_text": "127\n\nabove it which could be used as a further bedchamber. A small window lights the cockloft, and there is also a single-brick opening near the ladder to the cockloft which provides a little light. Apart from this, the only light for this area comes through the archway linking it with the Main Hall. In front of the bedchamber was a small living hall, originally with chairs and side-tables this space could also have been used as sleeping space if the number of guests was large. The nunnery Bell and Drum are housed in this area, near the arch.\n\nThe front part of the fourth section is the kitchen, with a store-room behind it. The kitchen is quite large, with a large wok built into a brick stove, and three charcoal stoves on a stone shelf. The kitchen also contains the big water jars and the guest latrine. There is no cockloft in this area; the kitchen occupies the whole space below the rafters. There are two tiny windows in the front wall of the kitchen, one above the other, to let light in and fumes out.\n\nIn the kitchen, in place of the more frequently found Kitchen God, is a paper tablet to Na Luo Wang (**捺罗王**). This rare deity, found only in monastic kitchens in the Hong Kong region, is the deity who supervises fasting and vegetarian diets, and his shrine in the kitchen is intended to ensure that the kitchen is not defiled by being used to cook meat.*\n\nThe ruins of the Lung Kai nunnery seem to show a plan similar to that of the Cheung Shan Kwu Tsz. The Lung Kai nunnery was larger, forming a rectangle about 60 feet deep and a little over 60 feet broad. It was divided into five sections rather than the four of the Cheung Shan Kwu Tsz. Whereas the Cheung Shan Kwu Tsz faces approximately south, with the residential area on the west (to the left as you look at the building), the Lung Kai nunnery faces approximately north-west, with the residential area on the west (to the right as you look at the building). The worshipping halls at the Lung Kai nunnery were three in number, and occupied the back part of the three easternmost sections. They opened into a large Tin Tseng, which occupied the central part of all three of these sections, and which was surrounded on all four sides by a covered walkway. The Tin Tseng was one or two steps lower than the worshipping halls. The three altars were to an eighteen-armed Kwun Yam, to Yuen Tan, (2), and, it is thought, to Kwan Tai.\n\n* I am indebted to the kindness of Mr. Keith G. Stevens for the information in this paragraph.", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211751, "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": 166, "title": "RAS-1989", "content_text": "141\n\nless than $400 a year clear from the ferry.\" The power of the Cheungs can be seen from the map. For several miles around their village, no other settlement was ever established. The whole area from the outskirts of Sham Tsun (the village of Heung Tung, ô, Xiangdong) to the Sham Tsun river, and back to the mountains, was Cheung territory. Outsiders entering this territory along the road were required to recognize this.\n\nThis, however, the Ta Kwu Ling villagers refused to do. In the mid-nineteenth century, they initiated a programme to improve the road from Kan Tau Wai to Sham Tsun. Bridges were built across all the marshland ditches, and a causeway was provided across the marsh. They then proceeded to start bridging the main river, across the line of the Cheungs' ferry. This the Cheungs could not accept. They would not only stand to lose $400 a year clan income, but the successful building would demonstrate publicly that their control of their territory was not as absolute as they had always maintained. The result of the Ta Kwu Ling people's insistence on proceeding with the bridge was outright war between them and the Cheungs.28\n\nThe need to respond to very bitter fighting demanded a complete rearrangement of the local structure of inter-village alliances. Previously, as noted above, the strongest and best-organised area was the Ping Yuen Hap Heung, and its wider alliance centred on the Cheung Shan Kwu Tsz. This area, however, was furthest away from the likely fighting area near the bridge, which was precisely the area where inter-village alliances had previously been weakest. The villages decided to establish a network of Yeuk, centred on Kan Tau Wai. Any invading force had to negotiate the bridge over the Law Fong river and the causeway over the marshes before it could arrive at the road intersection at Kan Tau Wai and the paths that ran from there along the higher ground to the other villages.\n\nJust north of Kan Tau Wai, a small hillock rises out of the marshes (just opposite the present Ta Kwu Ling Police Station). Here the villagers stationed a watch with an alarm drum to alert the area if the Cheungs attacked. This hill was called Ta Kwu Ling (‡T, “Drum Beat Hill”), and gave its name to the whole area. When the alarm was given, Kan Tau Wai had to send out runners along all the roads and paths out of the village to alert the other villages further away. The individual Yeuk were arranged as long, thin strips along each of these paths so that the villagers would respond, village by village, as the runner reached them, and thus their defenders reach the critical Kan Tau Wai area in", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211955, "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": 370, "title": "RAS-1989", "content_text": "345\n\nlevel. The rest of the group (on the middle level) included a scene from the story of the Baishe Zhuan, the legend of the love between a snake-turned beauty and a virtuous scholar. The episode represented was that of the monk exercising his supernatural power to kill the lady, so as to free the scholar from the seduction of the demon. The other group bore the sign Wudan Shan, at once one of the famous mountains of China and a well-known place for Taoism. The top level of the group included the Jade Emperor. On the lower levels of these two groups were a temple, runners escorting a sedan chair, and the scene of the Eight Immortals Turning the Sea Upside Down.\n\n51\n\nDecorated with embroidery hangings, the Taoist altar had at its centre portraits of the Three Pure Ones and on either side the Heavenly Master and Taai-Yut Jan-Yan. Further from the centre were portraits of four minor “generals\", named “dragon\", \"tiger\", \"fire\" and \"water\". On the inner walls of the partitions hung pictures of the ten Kings of the Underworld. There was also a backroom to the altar, where the priests stayed between rites. Hanging in this room was an umbrella-shaped object with many charms trailing from it. There were, a priest told me, 28 in all, one for each of the 28 sau constellations. It was called the luo-tian, which meant, he said, the same as xian-tian, the Taoist primordial heaven.\" In the room was a temporary altar set up for the Three Pure Ones, plus a place with two red slips of paper saying \"May Tao be popular with people\" and “Good Luck in the rites\".\n\n52\n\nOn the day before the seven-day period of rites, the villagers decorated the room for their own gu in the main paang. Before each of the rooms stood a Luk Gwok flag, which was the same as the flag used in the Cantonese opera of the same name to announce the identity of a player; and a lo-gu ga; i.e. “drum and gong holder\". Hanging from the top of the opening were mechanical \"hanging puppets\". Inside near the front was a heung-on incense burner set of the siu-cheng type. The tables inside were decorated by toi-wai embroidery that hung from the edges. Hanging from the \"ceiling\" were similar pieces of embroidery known as waang-mei.\n\nSome of the villages put on displays in these rooms of relics of their illustrious ancestors. In the room for Shui Mei was the screen presented to Dang Git-Sau by relatives and friends to congratulate him on the occasion of his 61st birthday, which I mentioned previously. In the room for Wing Lung Wai was a series of scrolls presented in 1919 to celebrate", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211971, "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": 386, "title": "RAS-1989", "content_text": "361\n\nBack at the ritual site, the ritual representatives installed the image of Gwun-Yam in the temporary altar dedicated to her, and the spirit tablets for the others in the san-paang altar for general gods. These, with the spirit tablets for the gods from the villages, gradually filled up the three levels of the temporary altar. Two ritual representatives fetched the tablet of Hung-Yi from the Ching-Lok Ancestral Hall to his altar on the stage. The portrait of the Heavenly Master was fetched from the village gate of Tai Hong Wai, and installed at a temporary altar set up for him in the Mau-Ging Tong ancestral hall.\n\nThere were also a few deities to be invited from the sky. They included Tin-Dei-Sheui-Yeung, the gods of the realms of Heaven, Earth (the Underworld), Water, and the human world; Gods of the Naam-Dau (\"North Dipper\") and Bak-Dau (\"South Dipper\"), both for blessings to men; the City God and the Lei-Wik (who supervises the local Gods of Earth and Grain and the Earth Gods); Tin-Chyun San-Gwan (two common titles of the highest deities); and the Dragon King. In the last stage of the Opening Rite there were complaints that those gods were omitted. But later on that day temporary spirit tablets for them were seen in the san-paang.\n\nD. Procession of incense I\n\nThe first Procession of Incense took place on the main day of the ritual, to the participating villages of the Kam Tin heung. It was to visit all the temples, shrines, and major ancestral halls to worship the gods and higher-level ancestors. There did not seem to have been a clearcut rule about the lower-level ancestral halls. When I mentioned to an elder that the procession had stopped and worshipped at Lai-Gaan Tong, his first response was that the procession should not have worshipped there. But he changed his mind later: the worship in the rite was indiscriminative, it went to every ancestral hall if the doors were open.\n\nA very large number of villagers participated. Priests took part in the procession as well, but their part was limited to a brief invocation. Most of the villagers wore hats with special ornaments indicating their villages. The procession was accompanied by the sound of large gongs, a flag saying jeun-heung (\"to offer incense\"), and the priests' musician playing sona. There was one lion dance group, and Luk Gwok flags and percussion teams playing drum and gong on lo-gu ga frames representing each of the five main villages. There were also flags", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 212175, "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": 117, "title": "RAS-1990", "content_text": "94\n\ncity, which is some eleven miles in circumference; that was before it was included in the prohibited areas. Now concrete machine-gun loopholes peered at you from various angles; and towards the great gate, where the wall made its nearest approach to the Yangtze, the fortifications were believed to be particularly heavy and well provided with deep dugouts to serve as battle headquarters in time of need. We heard that even the German officers, who advised on how these concrete emplacements should be constructed, were not allowed to know the actual details of their location, and we used to think how ungrateful and suspicious it was of the Chinese to act thus. However, subsequent events have surely justified the Chinese attitude.\n\nNear the gate, at intervals, the older houses of the foreign business community, sited along Socony ridge, stare out over the long squat wall of the city at the Yangtze, and the intervening mile of pond, field and shack: but the last house turns its back to the river, straddling a narrow spur, an offshoot from the main ridge. Set in a pattern of mellow brick, our windows faced Nanking and Purple Mountain beyond. From the small lawn in front we could look down on the familiar landmarks of the city, the hillock of the Northern temple, the ancient Drum Tower, the hard concrete lines of the sumptuous International Club, and the salmon-pink walls of the New Metropolitan Hotel, so soon to be painted a hideous black. From the verandah of this house we were to watch the flash and smoke of the bursting bombs of many an air raid.\n\nThis August the discussion of the trivialities of a daily routine had continued against a background of mounting tension. How exercised we were to find a method of circumventing a malignant crack through which the water of our small swimming pool sought to escape down the hill! At the bridge tables of the Bungalow Club, at dinner parties, dancing at the International Club, amidst the humdrum of everyday life, there was a mystery of 'phone calls, a whispered exchange of latest information, the question of increasing urgency **Is it war?**\n\nAlready in July members of the various embassies had begun to return from the summer seaside resorts in the north, where the storm was brewing, following the Marco Polo Bridge incident on July 7th; and a trickle of refugees came in from Tsinanfu. But in Nanking the cinemas remained open, the tennis tournament continued, and I remember an entertainment which was given towards the end of the month to the twenty-four Chinese students, who had been", "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": 213493, "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": 89, "title": "RAS-1995", "content_text": "57\n\n19\n\non the stage and never mention the word \"Meng\" when back stage. What do you do when you have to use the forbidden words in a specific place? You simply substitute, as in the first place, the word “Geng” with the word “Jing”. So instead, the actor will sing, in one play \"Ting qiao lou da chu jing,\" which means \"When I heard the Drum Tower strike the first hour ..\" You will note that in the script the word \"Geng\" remains, but when the singer sings it, he immediately changed it to “Jing” in order to comply with the Taboo. There is no singing back stage, so when someone struck up a conversation with someone else and needed to use the word \"Meng\", you simply say “Da Huang Liang” instead. I have asked many people inside the profession, but no one can tell me why it is so and who started it.\n\nFinal Word of Appraisal\n\nI have written so many paragraphs of anomalies in the setting and acting of the Peking Opera - the question arises as to why the Chinese people still flock to see it. The answer is that the Opera gives them \"beauty\" - beauty in singing, beauty in the acting, beauty in the story as written and acted upon. (Sometimes, though, the beauty is far fetched and subject to logical questioning.) This is why some of the audience will go back to see the play a hundred times and never get tired of it. Certainly, in their heart, they have some fondness toward the acting, the singing which they want to enjoy, which they could not do without, like drugs. In China, we have a word for this kind of mentality, we call it \"itching\". They go back to see the same play many, many times in order to “quench” their itching.\n\nThen what about the anomaly?\n\nIn the psychology of the theatre goers, the whole play is a fake, not the real thing and if there is some small misinterpretation of the story, or the wrong costume the actor wears on the stage, why worry. As long as their \"itching\" is touched and satisfied, everything will be just fine.\n\nA Word of Thanks\n\nOn June 16, 1991, the Shenyang Beijing Opera Troupe was in town for a nine-day performance at the City Hall in Hong Kong. My friend,", "txt_file_path": "txt/dfo323lmgvd/RAS-1995.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/95941j25g", "rank": 0 }, { "id": 214242, "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-1998", "page_number": 100, "title": "RAS-1998", "content_text": "63\n\nthe golden bowl being his unique characteristic.\n\nMahesvara, Mahadevi or Siva, known in Chinese as Mo-hsi-shou-lo T'ien 摩醯首羅天\n\nMahesvara is one of the numerous titles borne by one of the best known of the Indian deities, Siva. He has come to be regarded as the Supreme Being though he more generally represents the more malignant forces and destruction, all part of the cycle of creation and destruction. He is married to either Uma Mahesvara [also known as Parvati], by whom he had a son named Skanda [see 21 below], or to Kali, who is also Durga. The latter is known as Hariti [and in Chinese Kuei-tzu Mu: see 6 below] whose image is also one of the twenty-eight Devi. Hariti has one face, six arms and a necklace of skulls\".\n\nImages of Siva stand in both the Ta Pei Ssu and the Pi-yun Ssu. In the Ta Pei Ssu he is portrayed as a typical northern Chinese deity dressed in multi-coloured robes and a tall Buddhist crown, but with six arms and an ageless Chinese face of indeterminate sex. He looks like and could easily be confused with other multi-arm Buddhist deities as he has no unique characteristic. In the Pi-yun Ssu he is naked apart from a skirt in colourfully decorated cloth down to his knees. He has four arms and a smaller head on top of his normal head. He has red spiky hair on both heads and fangs rising out of the lower jaw of his normal head.\n\nSoothill described Siva as having eight arms, three eyes and riding a large white bull, holding a handful of snakes and a small drum, and can be represented as the phallic symbol.\n\n4] Maritci [Maritchi or Marici] known in Chinese as Chun-t'i P'u-sa\n\nThe Tantric [Lamaist] bodhisattva, Chun-t'i, is the Buddhist form of the Hindu personification of light and an offspring of Brahma, Cundi or Candi. She is often confused with the Tantric many-armed Kuan Yin and the Taoist stellar deity, Tou-mu Hsing-chün. Two separate deities also are referred to by Chinese devotees as Chun-t'i; these are as", "txt_file_path": "txt/dfo323lmgvd/RAS-1998.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/1g05n0794", "rank": 0 }, { "id": 216028, "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": 327, "title": "RAS-2002", "content_text": "261\n\nwere keen to claim association with the first rulers of the Zhou, of the 12th century BC, and also with the infamous first ruler of China, Qin Shih Huangdi who, it was claimed, had used the area of Dantu as a penal settlement.\n\nDuring dynastic times Zhenjiang was a walled administrative seat, an important prefecture, and one of twelve prefectural cities in Jiangsu province, in a major region known as Jiangnan [South of the River]. Zhenjiang means 'Guard-post of the River', a title given in 1113 during the Song dynasty, and its location, guarding the junction of the Grand Canal and the Yangzi, is such that it was a fortified post at the point where the southern arm of the Grand Canal crosses the Great River to join the northern arm, as well as being the first and ideal position to control the upstream passage of the Yangzi. The British political aim, when their soldiers captured the city in 1842, was to cut off the vital supply route, the Grand Canal, from southern China to the north in order to exert maximum pressure upon the Imperial government.\n\nAlthough Zhenjiang lays claim to a number of incidents, destruction by nature and by human hand, visits by royalty, legendary happenings we shall restrain ourselves to note but a few.\n\nSun Ce**, who was assassinated in 200 AD, conquered a wide territory down to the mouth of the Great River, to which region he gave the title Jiangdong [East of the River]. His brother, Sun Quan of Wu# succeeded to his throne, and it is to him that Zhenjiang is said to owe its existence as a city. Moreover, it was here that he came to court the beauty, Pan Furen, whose father Sun Quan had condemned to death. He pursued her until he was able to make her his wife. Although Nanjing was Sun's main city Zhenjiang had reminders of his fortifications still visible during the early years of the Republic. The foundations of the fortifications that he built round his Governor's Residence could still be traced in a line of crumbling masonry that capped the ridge of heights connecting the then existing Zhenjiang city wall northward to the monastery, Ganlu Si. Also, inside the present city stood a high solitary gateway, with a building on it known as the Old Drum Tower. The masonry foundations of the gate were alleged to date from the time of Sun Quan, and some graves outside the North gate were also said to be those of some members of his line.", "txt_file_path": "txt/dfo323lmgvd/RAS-2002.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/mp4901278", "rank": 0 }, { "id": 216309, "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-2003", "page_number": 68, "title": "RAS-2003", "content_text": "17\n\nIn the early Qing Dynasty Longhua Temple received considerable attention in the form of repairs to the existing buildings and construction of new ones. A major construction project started in 1647 resulted in the completion of the Abbot or Temple Master's Room (Fang Zhang Shi) and the Wei Tuo Hall (Wei Tuo Dian), as well as the repair of the Scripture Storage Pavilion (Cang Jing Ge).\n\nIt will be recalled that during the Yuan Dynasty the temple experienced a massive expansion in the size of its territory, if not its actual structures. In 1672 the Qing authorities measured the size of the immediate area around the temple halls as occupying 93 mu of land, plus an additional 74 mu of open land in the surrounding area which was used to plant vegetables. It was this later open space which gradually evolved into first Longhua Park, and then the present day Martyr's Cemetery.\n\nDuring a 155 year period in the middle of the Qing Dynasty, from 1672 to 1827, no new construction, reconstruction or repairs were recorded. This begs the question as to why the temple was dormant during such a long period of time. Was it lack of imperial sympathy for Buddhism in general, or simply the absence of wars and destruction requiring later rehabilitation during this relatively peaceful time?\n\nAfter a century and a half of dormancy, the Taiping Rebellion finally provided the opportunity or the need for new construction and repairs. Between 1860 and 1862 the Taiping rebels attacked Shanghai three times, during which records say vaguely that most of the Longhua Temple buildings were destroyed. On August 18, 1860 the Taipings captured Xu Jia Hui, and it was probably then when the nearby Longhua Temple was destroyed. Although no list is provided of exactly which buildings were destroyed, we can infer from later lists of the structures rebuilt afterwards that this included the Great Sadness Hall (Da Bei Dian), the Precious Hall of the Great Hero (Da Xiong Bao Dian), the Heavenly Kings Hall (Tian Wang Dian), the Three Gods Hall (San Sheng Dian), the Maitreya Buddha Hall (Mi Le Fo Dian), the Drum Tower (Gu Lou), the Bell Tower (Zhong Lou), and the Big Buddha Hall (Da Fo Dian). Basically every previously existing key structure is mentioned as having been rebuilt after this period of destruction, with the exception of the die-hard Precious Pagoda (Bao Ta) and the Master's Room (Fang Zhang Shi), raising the possibility that the two structures which stand today are both authentic originals.", "txt_file_path": "txt/dfo323lmgvd/RAS-2003.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/2v242g390", "rank": 0 }, { "id": 216315, "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-2003", "page_number": 74, "title": "RAS-2003", "content_text": "23\n\nThe second courtyard is flanked on the left side by a two-story wooden Drum Tower (Gu Lou) and on the right by the matching two-story wooden Bell Tower (Zhong Lou). On the first floor of the Zhong Lou is a glass case holding a golden effigy of Kshitigarbha (Di Zang). Dizang is the bodhisattva who has the special power to rescue departed souls from Hell, and thus plays an important role in Buddhist funeral ceremonies. Upstairs on the second floor is the bronze bell which can be rung for a fee of 50 Rmb. On New Year's Eve this bell is rung 108 times at midnight. It is considered good luck to be there to hear it ring, and even better luck to be the one who rings it. The Zhong Lou was rebuilt by Qing Emperor Guang Xu in 1895, following the Taiping destruction of the temple in 1860-1862. The bell itself was made in 1894, during the 18th year of the Guang Xu reign of the Qing Dynasty. Beside the Zhong Lou is a Ming-style stone stele with a partially legible inscription which has been damaged.\n\nOn the first floor of the Gu Lou is a glass case containing a golden effigy of Guan Yu, the God of War. In the Ming and Qing dynasties Guan Yu had temples dedicated exclusively to him in every city in China. The former Guan Di Miao can still be visited in Shanghai's Nanshi District. The second floor of the Gu Lou cannot be ascended, and it no longer seems to contain a drum. Beside the Gu Lou is a Ming-style stone stele with a lengthy inscription in very good condition. The present Gu Lou dates from an 1895 reconstruction, following the Taiping destruction of the temple in 1860-1862.\n\nAcross the second courtyard from the Mi Le Dian is the Hall of the Four Heavenly Kings (Si Tian Wang Dian). This hall dates from an 1881 reconstruction, when it was rebuilt to replace an earlier structure destroyed during the Taiping rebel attacks on Shanghai in 1860-1862. The hall was last restored in 1981. The hall contains enormous gilded wooden statues of all four kings, two on each side of the hall. All four wear crowns on their heads and are dressed in heavy armor. One holds a four-string guitar and has a light green face, another holds a sword in his right hand and has a black face, a third holds an umbrella in his right hand and a small stupa in his left hand, and has a white face, while a fourth holds a snake and has a black face. This depiction is somewhat different than in the past. In the centre of the Tian Wang Dian are two glass cases containing golden effigies of two rather obscure Buddhist deities. Tian Guan Mi Le, a variant incarnation of Mi Le Fo, is depicted.", "txt_file_path": "txt/dfo323lmgvd/RAS-2003.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/2v242g390", "rank": 0 } ]