[ { "id": 214827, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1999", "page_number": 242, "title": "RAS-1999", "content_text": "208\n\nfor an excellent, first-hand account.\n\nRev. B.C. Henry, The Cross and the Dragon or Light in the Broad East (New York, Anson D.F. Randolph and Company, 1885), p.85.\n\n21 Ibid, p.106.\n\n22 See Chapter VII, \"Rites for the Dead\", in Holmes Welch, The Practice of Chinese Buddhism 1900-1950 (Cambridge, Harvard University Press, 1967), pp. 179-205.\n\n23 By all accounts, too, the Buddhist and Taoist specialists offering services to the mass of the people were almost identical and interchangeable. One or other were also to be found in local temples, regardless of the supposed origin of the gods in them. I recall the Buddhist monk with an ordination certificate from the famous Ting Wu monastery in Kuangtung who was temple keeper at the Tin Hau temple in Shaukiwan in the 1960s. Also the mentions of the Buddhist priests in charge of the Tung Shan (Kuan Yin) Temple at East Kowloon and the Kam Fa Temple at Tsing Lung Tau, Tsuen Wan in the early years of this century.\n\n24 Moulem, p.212.\n\n25 See Campbell N. Moody, The Heathen Heart, An Account of the Reception of the Gospel among the Chinese of Formosa (Edinburgh and London, Oliphant, Anderson and Ferrier, 1908).\n\n26 Ibid, pp.102-3, 107.\n\n27 Cited with similar quotations in (translated by Janet Lloyd) Jacques Gernet, China and the Christian Impact, A Conflict of Cultures (Cambridge, Cambridge University Press, paperback edition, 1985), pp.82-83.\n\n28 Rev. Hampden C. DuBose, The Dragon, Image, and Demon: Or The Three Religions of China ... (New York, A.C. Armstrong & Son, 1887).\n\n29 One small squatter temple off the route connecting Tsuen Wan with Shek Kong (Route TWSK) is a case in point. The Sin Ha Tong was built about or before 1970, according to the person in charge. The temple is a wooden hut, with a goldfish pond in front, with some open space. Whilst the gods worshipped here include “old faithfuls\" such as Tin Hau, Lui Cho, and Pao Kung, it is intriguing", "txt_file_path": "txt/dfo323lmgvd/RAS-1999.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/s178b887x", "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": 215091, "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": 187, "title": "RAS-2000", "content_text": "3\n\n144\n\nDoré, Le P. Henri : Recherches sur les Superstitions en Chine : Hème Partie : Tome X: Shanghai: 1915: pp 831-832\n\n* See below under Yang Ren for an alternative to Yin Jiao as Commander of the Twelve Branches.\n\n5 No Cantonese devotee appears to have heard of Yin Jiao whereas Fukienese and Chinese of the Yangzi basin knew him as Marshal Yin rather than as Taisui.\n\n6 \"Werner E. T. C. in his Dictionary of Chinese Mythology: Kelly and Walsh: Shanghai: 1932 claimed that the Ministry consisted not of 60 but of 120 spirits as he included the deities controlling the months and days\n\n7 The cycle of sixty years was the basis for the Chinese lunar calendar with its twelve branches and ten stems. The sixtieth year of a man's life signified a turning point, this being the normal life span of a human being, and anyone who is fortunate enough to be older than sixty begins the round again. Other deities are entreated for a prolongation of life beyond the normal span.\n\n* DuBose, Rev. Hampden C: The Dragon, Image and Demon or The Three Religions of China: Partridge and Co.: London : 1886\n\n\"The combination of branch and stem provides the date, with the branches and stems depicting and belonging to one of the five primordial essences [water, wood, fire, metal and earth]. The concentric rings within the compass contain information on planetary movements, the ba gua and yin and yang; the five elements; the twelve animals of the Chinese zodiac, etc.\n\n10 The reason for this is simple. The basic Farmer's Almanac is produced and printed in Taiwan, a predominantly Fukienese community, but with copies sent to Hong Kong and elsewhere for local binding and distribution.\n\n\"According to religious specialists each of the stellar deities of the Twenty-eight Constellations has a title and a specific role, the latter differing depending upon the individual ritual specialists or books. In early China the visible stars were divided into 28 zones or constellations, with seven in each of the four directions. Other similar groups are the Thirty-six Stars of the Plough (T'ien-kang Hsing XXI) and the Seventy-two Stars of Evil Omen [Ti-sha Hsing]\n\n1. Each of the Thirty-six was a legendary hero recorded in one of the numerous stories of the deification of and struggles between the deities. They", "txt_file_path": "txt/dfo323lmgvd/RAS-2000.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/nk328168n", "rank": 0 } ]