[ { "id": 206137, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1970", "page_number": 217, "title": "RAS-1970", "content_text": "210\n\nBOOK REVIEWS\n\nby prolonged contact with the urban environment. Excellent material for comparison with the Plover Cove situation exists in the Tai Lam Chung (1956) and Shek Pik (1960) removals. Like the Plover Cove villages, they were agricultural villages which were removed to urban Tsuen Wan to allow the construction of reservoirs. They have been resettled for a number of years, however, and a brief survey of their religious practices would provide the Christian Study Centre with a most interesting supplement to its information on the Plover Cove villages.\n\nHong Kong, 1970.\n\nELIZABETH L. JOHNSON\n\nNOTES\n\n1 p. vii of the book under review.\n\n2 More information on this village removal can be found in M. I. Berkowitz, \"Plover Cove to Tai Po Market: A Study in Forced Migration.\" Journal of the Hong Kong Branch of the Royal Asiatic Society. Volume 8, 1968, pp. 96-108.\n\n3 p. 142.\n\n* V. R. Burkhardt, Chinese Creeds and Customs. 3 vols. Hong Kong: South China Morning Post, 1955, and Wolfram Eberhard, Chinese Festivals. New York: Henry Shuman, 1952.\n\n3 p. 100.\n\n6 Ibid.\n\n7 Ibid.\n\n8 Ibid.\n\n9 See, for example, pp. 14-15, 116-117.\n\nTRADITIONAL CHINESE PLAYS, translated, described and annotated by A.C. Scott, Ssu Lang visits his mother, Ssu Lang T’an Mu, The Butterfly Dream, Hu Tieh Meng, The University of Wisconsin Press, 1967, Madison, Milwaukee, and London, pp. ix, 165, 13 photos hors-texte.\n\nA. C. Scott, the best Western specialist of Chinese and Japanese theatre, here gives us a translation of two Peking operas. The first, Ssu Lang visits his mother, is a tragedy which takes place in the second half of the tenth century, under the reign of the Sung. The son of a famous general has been taken prisoner by the barbarians, but, because of his fine looks, he is married", "txt_file_path": "txt/dfo323lmgvd/RAS-1970.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/ww72j0241", "rank": 0 }, { "id": 207626, "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-1976", "page_number": 14, "title": "RAS-1976", "content_text": "CONTENTS\n\nPage\n\nPRESIDENT'S REPORT\n\nTREASURER'S REPORT\n\nTHE LIBRARY\n\nARTICLES:\n\n· Reflections on the Comparative Study of Modernization in China and Japan - RICHARD J. SMITH\n\n· The Teochiu: Ethnicity in Urban Hong Kong - Douglas W. SPARKS\n\n· Interethnic Interaction-a matter of Definition: Ethnicity in a Housing Estate in Hong Kong DOUGLAS W. SPARKS\n\n· \"Patterned Bands\" in the New Territories of Hong Kong - ELIZABETH L. JOHNSON\n\n· A Hawaiian King Visits Hong Kong, 1881 - TIN-YUKE CHAR\n\n· In Search of the Chinese Name for \"Li Sun\"-TIN-YUKE CHAR\n\n· Chan Lai-sun and his Family: a 19th Century China Coast Family - CARL T. SMITH\n\n· Notes on Friends and Relatives of Taiping Leaders - CARL T. SMITH with Additional Notes by JEN YU-WEN\n\n· Operation and Maintenance of a Road Transport System in West China 1942-46 — W. A. REYNOLDS\n\n· Land and River Routes to West China - A. D. BLUE\n\n· In the Path of the Ancient Mon: Pagan, Pegu and Nakom Pathom - MICHAEL SMITHIES\n\nREPORT:\n\n· A Report on Social Research in the New Territories of Hong Kong, 1963 - MAURICE FREEDMAN\n\nNOTES AND QUERIES:\n\n· Visit to Tung Wah Group of Hospitals' Museum, 2 October 1976 — CARL Smith and JAMES HAYES\n\n· Political and Pugilistic Freemasonry? - Y. F. LAM\n\n· Sandal Wood Mills at Tsuen Wan - JAMES HAYES\n\n· Chinese in the Volunteer Forces of Hong Kong — James HAYES\n\n· A Missing Chinese Library? - JAMES HAYES\n\n· Notes on Ho Chung-a 19th Century Artist in Kwangtung - CHUANG SHEN\n\n· Chinese Preserved Monks - KEITH STEVENS\n\n· Preliminary List of the Baker Collection of New Territories Genealogies in The British Library — H.G.H. NELSON\n\n· The Occurrence of Troides Helena (Linn.) in Hong Kong - J. CAREY-HUGHES AND J. B. PICKFORD\n\nPage\n\n1\n\n6\n\n10\n\n12\n\n25\n\n57\n\n81\n\n92\n\n107\n\n112\n\n117\n\n135\n\n162\n\n179\n\n191\n\n262\n\n281\n\n282\n\n283\n\n284\n\n285\n\n292\n\n297\n\n301", "txt_file_path": "txt/dfo323lmgvd/RAS-1976.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/hq382988q", "rank": 0 }, { "id": 207708, "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-1976", "page_number": 96, "title": "RAS-1976", "content_text": "\"PATTERNED BANDS” IN THE NEW TERRITORIES OF HONG KONG\n\nIntroduction\n\nELIZABETH L. JOHNSON*\n\nThese notes on a form of peasant textiles are based on research conducted in Kwan Mun Hau (关门口), one of the old villages of Tsuen Wan District, in the New Territories of Hong Kong.1 Tsuen Wan, now an industrial city with a population of nearly 600,000 with a small rural hinterland,2 consisted until after World War II of a group of about twenty Hakka villages, with a central market area. The villages remain, (some have had to be resited) but most are now surrounded by the city. The area's rapid urban development has meant that traditional forms of dress and adornment have virtually disappeared, to be replaced by western-influenced styles of clothing. Despite this, women of Kwan Mun Hau village were able to describe the use and significance of these textiles, and to demonstrate the technique of weaving them.3 The information reported here, which refers to Tsuen Wan of about thirty years ago but is applicable to the more rural areas of the New Territories even today, is derived from interviews with informants in Kwan Mun Hau Village, as well as from observations elsewhere in the New Territories. The findings are only preliminary; additional research must be done elsewhere in the New Territories to supplement this report.\n\nDefinition\n\nThe fa tai (花带) or \"patterned band” is worn by Hakka women in the New Territories of Hong Kong as an article of personal adornment. Patterned bands are hand woven, intricately patterned ribbons about 1 CM wide, and ranging in length from about 65-145 CM. They are most commonly flat, with tassels of varying length and thickness at either end, and are either multicoloured, or white with coloured or black patterns. If multicoloured, they are made of silk (now often synthetic) threads with silk tassels; if white, they are of cotton with the patterns in silk or cotton and the tassels of white cotton cord.\n\n* Dr. Johnson is on the staff of the Museum of Anthropology, University of British Columbia.\n\nThe plates illustrating this article are at the back of this volume.", "txt_file_path": "txt/dfo323lmgvd/RAS-1976.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/hq382988q", "rank": 0 }, { "id": 207709, "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-1976", "page_number": 97, "title": "RAS-1976", "content_text": "82\n\n+\n\nELIZABETH L. JOHNSON\n\nPatterned bands are woven in a series of discrete patterns, all extremely fine and intricate, each approximately 2-7 CM in length. See Plate. A particular pattern is often woven twice in succession, the second time in reverse. Each pattern or pattern element is named, although more than one name may be in common use for any one pattern. Among the various common pattern names are “olive pit” (A) a lozenge; “plum” (B) an overall pattern of small circles; \"fishbone\" (C) a chevron pattern; and \"angle\" (D) an overall zigzag pattern. These pattern elements may be combined. For example, a pattern like two angular hearts point to point is called \"angles enclosed by fishbones\" (E). Like other Chinese design motifs, these patterns sometimes have significance beyond their immediate meaning. For example, a band brought by a Tsuen Wan bride to her husband's home at marriage had the pattern called \"little olive\" (F), a homophone for the words \"male child\", which she was expected to produce.\n\nAnother type of band is tubular rather than flat, with a spiral striped design in several colours. These are apparently produced by some type of knitting or perhaps spool weaving process. They are worn only as apron bands, by Sai Kung, Shatin, and Kowloon women. They are for summer wear.\n\nUsage\n\nPatterned bands constitute the only ornament worn by traditionally dressed Hakka women in the New Territories, with the exception of some pieces of simple jewellery. Until recently, when more colourful, western-influenced clothing became popular, Hakka women of all ages wore simple suits of dark coloured or black glazed or unglazed cotton or glazed silk, or homespun hemp. Now this clothing is worn only by older women, with younger women in all except the most rural areas favouring modern styles. Patterned bands provide a striking bit of colour when seen against the sombre, dark traditional clothes. They are worn in several ways. The most conspicuous is as an ornament on the characteristic hat with a black cloth fringe commonly worn by Hakka women while working in the sun. A band approximately 70 CM long, of silk or cotton, is cut in two at the centre, and the cut ends sewed at either side of the hat's centre hole. The bands then pass to the side of the hat either on top of, or below, the brim. They are stitched", "txt_file_path": "txt/dfo323lmgvd/RAS-1976.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/hq382988q", "rank": 0 }, { "id": 207711, "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-1976", "page_number": 99, "title": "RAS-1976", "content_text": "84\n\nELIZABETH L. JOHNSON\n\nor keening done at weddings and funerals. They did little, if any, embroidery, home weaving of fabrics, or sewing: this work was generally done by specialists. The main reason for this very limited development of textile arts was, in addition to the prevailing poverty of the area, the fact that all younger women were engaged in heavy labour outside the home. While most of the housework and child-care was managed by elderly women, the younger women did most, if not all, of the agricultural work, and in addition often did heavy carrying work for wages. Many of the men were away for extended periods of time, working either in the urban areas of Hong Kong or abroad; some had local businesses, and others did not work at all. As a result, in many families, women had primary responsibility for subsistence agriculture, bearing an extremely heavy burden of work. The following is the daily work schedule 25 years ago of a woman now 55 years old, a schedule which was repeated in basic outline by many other informants.\n\n“I got up at 5:00 and fed the baby\n\nthen I made a fire and boiled water and put rice porridge on to cook\n\nthen at 6:00 I went to carry water, making four trips to the well\n\nthen I went to the fields to water the vegetables\n\nI cut the vegetables and took them to market\n\nI used the money to buy food and returned home\n\nat 8:30 we had breakfast of rice porridge\n\nthen I went to the Texaco oil company to carry kerosene\n\nat 12:30 I came home for lunch\n\nI worked again from 1:00 to 5:00 carrying kerosene\n\nwhen I got home I cleaned the pig pen\n\nthen I went to work again in the fields\n\nin winter I returned home at 7:00, in summer at 8:00\n\nafter dinner I bathed the children\n\nthen I carried several loads of firewood\n\nthen I prepared food for the pigs\n\nI fed the baby and went to sleep at 11:00”\n\nThis woman had eight children. Such a daily schedule left her little time for any other pursuits. According to another woman, now 80 years old:\n\n“When I was eight or ten years old I began to cut grass and carry firewood. I went with a group of girls, never alone. I was married when I was sixteen. After my marriage I had to work.", "txt_file_path": "txt/dfo323lmgvd/RAS-1976.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/hq382988q", "rank": 0 }, { "id": 207713, "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-1976", "page_number": 101, "title": "RAS-1976", "content_text": "86\n\nELIZABETH L. JOHNSON\n\na chopstick through the warp threads where they have been held in her left hand, and tucks the chopstick into a piece of cord or cloth which she has tied around her waist, so that the warp is held taut but her hands left free.\n\nA shed is then formed by taking a tubular piece of bamboo about 10 CM long as shed stick, and winding the warp threads around it alternatively above and below. They are wound in the order in which they will appear in the band, first forming the edge stripes, then the centre with the red above and the white below, and then the stripes at the other edge. The centre warp threads are wound in pairs, while the edge threads are wound singly. It is only in the centre warp threads that the pattern will be woven.\n\nA bar heddle is then made. For this a beater is used, a flat, dagger-shaped piece of wood with bevelled edges, polished smooth, about 30 CM long. Tsuen Wan women made these themselves from pieces of broken carrying poles. The purpose of the bar heddle is to raise the lower (white) warp threads when weaving patterns. To form the bar heddle, the beater is used to raise the lower threads and to hold them, while a loop of strong thread about 10 CM long is made between each pair of threads and the weaver's hand. When all the loops have been made they are knotted together with a piece of strong grass. This then forms a handle by means of which the bar heddle can be manipulated to raise or release the lower warp threads.\n\nThe weaver begins by weaving four short lengths of strong grass (lease rods) through the end of the warp nearest her body, to prevent the warp from being tangled. She then forms one or more tassels from a number of equal lengths of thread, knotted together at the centre. These are passed through the warp so that they hang out at either side, with several rows of weaving between each. After the tassels have been incorporated, the body of the band is woven, the weft thread being passed through the warp either with the fingers or wrapped around the beater. The edges are done in plain weaving, and the patterns are woven in the centre of the band. Sheds are alternated through use of the bar heddle, and the patterns picked and the weft packed with the beater. The band is finished with the insertion of another set of tassels. About one-quarter of the total length is left unwoven and cut in the middle, forming additional bulk for the tassels, the threads being cut to the same length as the inserted tassels.", "txt_file_path": "txt/dfo323lmgvd/RAS-1976.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/hq382988q", "rank": 0 }, { "id": 207715, "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-1976", "page_number": 103, "title": "RAS-1976", "content_text": "88\n\nELIZABETH L. JOHNSON\n\nTai Po. Bands, mounted on hat, predominantly of white cotton, with thick white tassels. One half the length of the band commonly has zigzag pattern. Bands commonly worn on headcloth, also of white cotton. Patterned bands not often worn on apron, which is fastened with a strip of cloth. Apron relatively short and narrow, with coloured trim at the top. Headcloth is long, hanging down the wearer's back.\n\nYuen Long. Band is used to fasten hat under wearer's chin, being drawn under the chin through rings mounted on either side of the hat, and then back to be tied under the chin. Such a band is very long and narrow, with thin tassels. These bands are silk and cotton with small patterns appearing less clear than those from other areas because of the use of a double weft thread, of white cotton and coloured silk. Similar bands, although shorter, are used on aprons, which are narrow like those in Tai Po, but longer. They are trimmed at the top and sometimes have ornamental frogs.\n\nShatin. Shatin bands are mounted on the hat and have long thick tassels like those of Tsuen Wan. The aprons are like those in Tsuen Wan.\n\nSai Kung. Pink and purple predominate in the bands. They appear to be rarely worn on hats, but are worn as apron bands and to hold head cloths. The tassels are less long and thick than those of Tsuen Wan.\n\nThe bands, and other aspects of dress and adornment, thus served as indicators of regional identity at a time when these differences were socially and politically significant. Topographic conditions in Hong Kong, with its mountains, islands and water, meant that enclaves with distinct identities developed. These were sometimes demonstrated in the form of alliances, as well as in the system of measuring land area. Tsuen Wan, for example, formed a self-conscious enclave of people with a shared identity and an ideal, at least, of cooperative relations.\n\nDespite the importance of regional identity, some Tsuen Wan men married women from outside the Tsuen Wan District. The reasons for this may have been to broaden their network of contacts, or perhaps to avoid the problems which sometimes resulted from living in too close proximity to relatives by marriage: or because the go-between arranging the marriage knew of a suitable match in another place. Interestingly, women upon marriage con-", "txt_file_path": "txt/dfo323lmgvd/RAS-1976.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/hq382988q", "rank": 0 }, { "id": 207717, "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-1976", "page_number": 105, "title": "RAS-1976", "content_text": "90\n\nELIZABETH L. JOHNSON\n\nloom does not appear to have been part of the inventory of Han Chinese material culture, this leads one to speculate that the Hakka may have learned the technique through contact with pre-Han people in the hill areas of Kwangtung where they settled. This is, at least, one possible explanation for their use of this technique.\n\nNOTES\n\n1 The research reported here was done in Kwan Mun Hau Village, Tsuen Wan, during 1975-76, following my dissertation research which was done in the same village in 1968-70. The work was supported by the Joint Centre on Modern East Asia, at York University in Toronto.\n\n2 Recent research reports on Tsuen Wan include:\n\nGraham E. Johnson, \"Leaders and Leadership in an Expanding New Territories Town\", The China Quarterly, March 1977, pp. 109-125. Elizabeth L. Johnson, \"Women and Childbearing in Kwan Mun Hau Village\", in Women in Chinese Society, Margery Wolf and Roxane Witke, eds., Stanford, Stanford University Press, 1975.\n\nAn exhibit of patterned bands, and Szechwan peasant embroideries, was held at the University of British Columbia Museum of Anthropology from April 15-June 15 of this year, with the title \"Chinese Peasant Textile Arts: Kwangtung and Szechwan Provinces\". The exhibit was prepared by the students of Anthropology 431.\n\n3 I wish to express my gratitude to my informants in Kwan Mun Hau Village, who not only introduced me to the subject of patterned bands but were also very patient in supplying me with information about them. I should also like to thank my very able research assistant, Jennifer Woon Chi-yee.\n\n4 Dr. James Hayes has raised the interesting question of whether the bands used on these occasions would be woven in the colour and style of the wife's or the husband's village or would always be red (a lucky colour). Unfortunately I cannot answer this question without further research.\n\n5 Some of the mountain songs were learned while others were sung in a kind of spontaneous repartee between two groups, often of men and women. The form of the wedding and funeral songs was learned, but the content varied according to the feelings which the individual singer wished to express.\n\n6 See: James Hayes, \"Itinerant Hakka Weavers\", Journal of the Royal Asiatic Society, Hong Kong Branch. Vol. 8, 1968, pp. 162-165. Aijmer, in his article \"Expansion and Extension in Hakka Society” (Journal of the Royal Asiatic Society, Hong Kong Branch, Vol. 7, 1967, pp. 42-79 (p.48)) mentions home weaving of fabrics, but this was apparently not done in Tsuen Wan, at least in recent memory.\n\n7 For a general study of this phenomenon, see Aijmer, op. cit.\n\n8 G. W. Skinner states that this was also true of Szechwan peasant embroideries. G. William Skinner, \"Marketing and Social Structure in Rural China, Part I\" The Journal of Asian Studies, vol. xxiv, no. 1, November 1964, pp. 3-44 (p.40)\n\nPage 105\n\nPage 106", "txt_file_path": "txt/dfo323lmgvd/RAS-1976.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/hq382988q", "rank": 0 }, { "id": 213344, "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-1994", "page_number": 166, "title": "RAS-1994", "content_text": "149\n\nSong dynasty were said to have set up a travelling palace in the vicinity as they passed through the Hong Kong region fleeing the Mongols.\n\nAnother characteristic of this group is that they relied on documentary sources such as dynastic histories, genealogies, local gazetteers and stone inscriptions, but had little use of non-text materials. They did, however, discover an enormous amount of valuable local historical material. In particular, Lo and Lin made important contributions through their systematic collection of genealogies and by expounding on their value in the study of local history. Equally significantly, as renowned mainstream historians, they played an important role in giving Hong Kong history a legitimate place in the wider field of Chinese historiography.\n\nSocial Scientists from the West and Japan\n\nAnother group of scholars working on Hong Kong, anthropologists and sociologists from the West and Japan, not only came from different parts of the world but very different intellectual traditions. Interested in Chinese society and yet no longer able to carry out in Mainland China the kind of prolonged, detailed and intimate field study they required, these scholars opted for Hong Kong's New Territories where much of traditional China still survived. The pioneer was Barbara Ward, an English social anthropologist trained at the London School of Economics, who arrived in 1950, much earlier than anyone else. Then in 1961 came Jack Potter from Berkeley to study economic developments in the village of Ping Shan. Two years later came Hugh Baker from London University to write his Ph.D. thesis, thus becoming the first of a long line of scholars to conduct extensive field work in Hong Kong addressing the issue of lineage which was seen as a key to understanding Chinese society. To carry out his research, Baker lived in the village of Sheung Shui, learnt the Cantonese dialect and generally immersed himself in the local community. The major outcome of his research is A Chinese Lineage Village: Sheung Shui. (London: Frank Cass & Co., Ltd., 1968).\n\nOthers to follow were E.N. Anderson, R.L. Moench, John Brim, and Graham and Elizabeth Johnson from the United States, L.G. Aymer from Sweden, Hiroaki Kani from Japan, Marjorie Topley, H. Nelson and R.G. Groves from the UK. In the 1970s they were joined by James Watson and later, Rubie Watson. Each focused on a particular village or group of people—staking out his or her turf, so to speak. Through their in-depth", "txt_file_path": "txt/dfo323lmgvd/RAS-1994.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/zk522640g", "rank": 0 } ]