[
    {
        "id": 204306,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1961",
        "page_number": 74,
        "title": "RAS-1961",
        "content_text": "Journal of the Royal Asiatic Society Hong Kong Branch\n\nRASHKB and author\n\n70\n\nVol. 1 (1961)\n\nISSN 1991-7295\n\n(P'u-hsien), and Avalokitesvara (Kuan-yin). Only certain Buddhas of the Tantric Sect, such as Cundi (Chun-t'i) and Vairocana (P'i-lu-chê-na) are mentioned as \"saints from the West\"; but even these are given Taoist-sounding titles like tao-jên. In this way, the mainly Taoist framework of the novel is preserved. This amalgamation of Buddhist and Taoist deities is highly interesting and may have influenced actual religious practice in China. The practice of worshipping Taoist gods side by side with Buddhas and Bodhisattvas seems to have started after the publication of the novel, for in earlier Taoist literature we find no Buddhist deities mentioned among Taoist gods. For instance, in the Yün-chi ch'i-ch'ien, chüan 103, we find an account of the Taoist pantheon as it was in the eleventh century, which contained no Buddhist deities or fictional gods. But after the sixteenth and seventeenth centuries, various Taoist gods mentioned in the novel came to be worshipped together with Buddhist ones. What is more, most of the temples which apparently first adopted such practice were situated in northern Kiangsu, near Hsinghua, the native district of Lu, the author of the novel. It is therefore not unreasonable to suggest that the novel influenced the composition of the Chinese pantheon and contributed to the amalgamation of Buddhist and Taoist gods in popular belief.\n\nThe amalgamation of Buddhist and Taoist gods seems to have been achieved purposely by the author of the Fêng-shên. As a concrete illustration, I propose to describe how Vaisravana (P'i-sha-mên Tien-wang), one of the Four Heavenly Kings in Buddhist belief, and his third son Nata (Na-cha or No-cha), became important characters in this novel. Vaisravana was of course an Indian god, but during the T'ang and Sung periods he became identified with the Chinese general of the T'ang dynasty, Li Ching. But stories about him were disconnected before the novel Fêng-shên Yen-i was compiled. In various prompt-books which existed before the novel, such as the Nan-yu-chi (\"Prince Hua-kuang or The Voyage to the South\") and the Hsi-yu-chi (“Pilgrimage to the West”, the prototype of the famous novel of the same name) in the Ssu-yu-chi (\"The Four Travels\"), there were already stories about this god and his son. But in the hands of the author of the Fêng-shen these fragmentary and disconnected stories were reorganized and transformed into a vivid tale which can almost stand on its own as an interesting story apart from the whole\n\n* For illustrations of some of these temples, such as the Kuang Fu Monastery in Tai-hsing, Yangchow, and the Tu Tien Temple in Hai-men, Kiangsu, see Père Henri Dore, Recherches sur les superstitions en Chine, (10 vols., Shanghai, 1913-38), Bk. 9, Pt. 2, in Vol. 6.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1961.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/vd6724704",
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    {
        "id": 204309,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1961",
        "page_number": 77,
        "title": "RAS-1961",
        "content_text": "Journal of the Royal Asiatic Society Hong Kong Branch\n\nORASHKB and author\n\nVol. 1 (1961)\n\nISSN 1991-7295\n\n73\n\ncalled \"Umbrella of Noumenon and Unity\" (hun-yüan san A) which is decorated with emeralds and precious pearls of divine power which are threaded together to form the words: \"to pack up the universe.\" When this umbrella is opened, heaven and earth, the sun and the moon, will be covered up by darkness, and when it is rolled the world will be shaken. Mo Li-hai carries a spear and on his back there is a four-stringed guitar (p'i-p'a) which will produce the same effect as the \"Blue Cloud Sword\" when played on and the four strings correspond to earth, water, fire and wind. Mo Li-shou carries two whips and a bag in which is concealed a peculiar creature resembling a rat, hua hu-tiao (the striped marten). When hurled into the air this creature will assume the shape of an elephant with wings from its ribs and will devour every one.\n\nThe combat between these four brothers and the heroes from the camp of King Wu can be found in Chs.39-41 of the novel. They are engaged in mortal combat with the Li brothers, Chin-cha, Mu-cha and No-cha in Ch.40. If the reader knows that Li Ching, the fabulous father of these three Li brothers is in fact derived from one of these four heavenly kings, Vaisravana, the ingenuity of the author of this novel can be appreciated, because before the publication of this novel, in many other works Vaisravana and the Chinese god Li Ching, based on the historical hero so named of the Tang dynasty, had long been amalgamated and formed a single name, P'i-sha-mên t'ien-wang Li Ching (Vaisravana or Li Ching, the Heavenly King of Vaisravana). The Chinese transliteration from the Sanskrit \"Vaisravana\" since the T'ang dynasty has been Pi-sha-mên (R), the last character of which, mên, though senseless in this connection, normally means \"gate\". Thus, in popular literature, the term P'i-sha-mên lost its original meaning and became the name of the P'i-sha Gate, and it was therefore natural enough to have a heavenly general, like Li Ching, to take charge of it, though in English this may appear peculiar.\n\n* In Yang Ching-hsien's (MRK) play T'ang San-tsang Hsi-t'ien Ch’ü-ching (EXRE), Scene 9, we read \"P'i-sha-mên hsia Li Tien-wang\" (TX) which means the Heavenly King Li under the P'i-sha Gate. In the prompt-book Ch'i-kuo Ch'un-ch'iu P'ing-hua ta (TH), chüan 3, we have \"P'i-sha-mên To-t'a Li T'ien-wang\" (*XE) or P'i-sha-mên, the Heavenly King Li who holds in his hand a pagoda. Sometimes the story-tellers thought since there was a P'i-sha mên (gate), it was wise to create a palace, called P'i-sha Kung (CE W D). In the Nan-yüeh-chi, Ch. 11, we have \"P'i-sha Kung Li Ching Tien-wang\" (K*XE). In a long eulogistic poem in Ch. 12 of the Feng-shen, there is a palace in heaven called K'un-sha Kung (R V E) which is obviously an erratum.",
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    {
        "id": 204853,
        "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-1964",
        "page_number": 156,
        "title": "RAS-1964",
        "content_text": "BOOK REVIEWS\n\n131\n\nartists. It is disturbing indeed to find that two of these previously published elsewhere as \"attributed\" — are promoted here to \"full\" Chinnery status without a word of explanation!\n\n12\n\nHow does one reconcile the title \"The Hong Merchant, Gou Qua\" with the picture showing a man in the costume of a North China scholar?\n\nAnyone familiar with Chinese ship portraits and Chinese port scenes will question the two handsome Chinese Junk oils.13 The clue is the small British and American vessels in the lower corners of the \"War Junk\" — alluring to a prospective nautical purchaser, typical of many ship portraits, but so different in style and subject from other Chinnery marines.\n\nThe time has come to bury forever that misused, euphonic term \"School of Chinnery\". Take port scenes. Mariners and merchants arrived in Canton centuries before Chinnery. Even my two great grandfathers14 had won their battle with the pirates off Macao nearly a generation before Chinnery's arrival. What is more natural than to take home a port scene oil to show one's family. These men were not art experts and Chinese representations were good enough for them. It is possible today to date port scenes definitely prior to Chinnery, proving that Chinnery had no influence on those Chinese artists. It is also possible to date similar port scenes after Chinnery's death that show no style change from the earlier representations. Why not be honest and call them \"China Trade Port Scenes\",15 which they are, instead of \"School of Chinnery\", which they are not? To all other port scenes such as St. Helena and the Cape of Good Hope16 “School of Chinnery”, verges on fantasy, particularly so when the text denies the existence of any Chinnery pictures made on his voyage to India.17\n\n12 Plate 42 top.\n\n13 Plate 73.\n\n14 William Sturgis and Daniel C. Bacon. See R. B. Forbes — Personal Reminiscences.\n\n15 It has taken many years to substitute the correct \"China Trade Porcelain\" for \"Oriental Lowestoft\".\n\n16 Plate 55 bottom, Plate 56 top.\n\n17 Page 59.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1964.txt",
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    },
    {
        "id": 206420,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1971",
        "page_number": 237,
        "title": "RAS-1971",
        "content_text": "BOOK REVIEWS\n\n211\n\nenamelled and monochrome wares of the same period. In commenting on the rise and fall of artistic merit in porcelain production during the 15th Century, Mr. Brankston aptly observes that \"In Yung-lo the lotus has budded; in Hsuan-te the flower has opened in all its freshness but, by Ch'eng-hua, the leaves begin to tremble in the breeze\" — a quotation which is affectionately remembered by students and writers on the subject. The chapters on the kiln sites of Fou-liang and on the methods of porcelain production provide material not usually given in books of this nature and the photographs and woodcuts of the potters at work are of particular interest. Diagrams illustrating the shapes and sizes of typical forms and also the sectional drawings of foot rims make a most valuable contribution to the work.\n\nThe aspiring connoisseur would do well to heed the advice given with regard to acquiring good eyes for judging ceramics when the author suggests that he drink tea each day from cups of different periods. If, after two weeks, no particular piece has asserted itself, he may be assured that the interest in porcelain was formed only in order to create a diversion and to occupy time and space, so a change over to stamps or coins would be recommended.\n\nOf slight build and quietly spoken, Brankston was possessed with unusual gifts of mind and eye in relation to Chinese porcelain and he writes about his favourite pieces in a most charming and sensitive manner. The dedication \"To the Lotus, who knows why\" provides an aperitif to the subtleties and delicate appreciation of the subject in store for the reader.\n\nHong Kong, 1971\n\nF. WARRINGTON-STRONG\n\nCHINESE FAMILY AND COMMERCIAL LAW, G. Jamieson, M.A., C.M.G., Shanghai: Kelly and Walsh Ltd, 1921. Now reprinted in Hong Kong: Vetch and Lee Ltd, 1970.\n\nWhen George Jamieson wrote the preface to his work, Chinese Family and Commercial Law, he considered it a \"pioneer treatise on the Civil Law\" as it then prevailed and regarded it as a work which would assist the \"future pleaders and judges in the Courts",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1971.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/z029vt43g",
        "rank": 0
    },
    {
        "id": 206425,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1971",
        "page_number": 242,
        "title": "RAS-1971",
        "content_text": "216\n\nBOOK REVIEWS\n\ncusp of the crescent\" (of the Praya Grande), deserves the derision of every collector.\n\nTheir description of \"the ambroidered (sic) phoenix plastron” conclusively proves the authors know nothing of the eight privileged classes in China. With this lack of knowledge they are in no position to comment on any portrait of a mandarin or hong merchant. To suggest that Gou Qua, a hong merchant, would take to the street as a fortune teller is quite impossible as he would lose face by such an act and never would paint himself in this situation.\n\nThe authors really know very little about Chinnery. They state \"Chinnery's forte was for portraits and these comprise the greater part of his oeuvre\". Pages later they quote him \"I have about 6,000 sketches of Eastern Scenery already - an invaluable collection, I assure you; but you see I am constantly accumulating”. They produce the completely unproven slur that one of the portraits he painted was of “a man of great wealth, an important qualification in the artist's philosophy as he was at his best when a generous fee had been agreed\". They also attempt, again with no proof, to attribute to him “occasional bouts of opium smoking”.\n\nIt is an error to say \"Russell & Co..... in turn came under control of Low Brothers of Salem\". W. H. Low, Senior was a partner 1830-1833. His nephew, A. A. Low, was a clerk 1833-1837, partner 1837-1840. W. H. Low 2nd worked as a clerk but never was a partner. The famous firm of A. A. Low and Bros. of New York, please, not Salem - was founded in 1841 by A. A. Low after he had retired from Russell & Co. It is a solecism to call the firm \"Russells\". It makes a good story only to the authors that \"W. C. Hunter\", later a partner in Russell & Co., “grasped sufficient of the local dialect to act as interpreter\". It is common knowledge that he specifically was sent to Singapore and Malacca to study Chinese.\n\nIt is inaccurate to state that Harriet Low, in her Diary, mentions seeing the double portrait of Dr. & Mrs. Colledge, plate 79, in London at Daniells' on 19 July 1834. She \"saw pictures of Mr. & Mrs. Colledge, not a single picture. Let us read further in the Diary: \"Ayok\" (the Low Chinese servant) \"burst into quite an hysterical laugh when he saw his father's face in Mr. Colledge's picture\". This is an obvious reference to the Chinnery portrait",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1971.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/z029vt43g",
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    },
    {
        "id": 206640,
        "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": 188,
        "title": "RAS-1972",
        "content_text": "182\n\nCo-location of deities\n\nKEITH STEVENS\n\nIn Fukienese temples in Singapore and Malaya, the T'ai Sui images are often seen with Hsuan Tien Ta Ti (***) or with the Goddess of Mercy (##). In Cantonese and Amoy temples there, the T'ai Sui images are occasionally to be seen with the medical deities Lu Tung Pin (†) or Hua To ($) and in one temple with T'ai Shang Lao Chün (LB).\n\nIn another Fukienese temple in Singapore a triad occupying the centre altar was said by the temple keeper to be three of the Nine Emperors (g). Two were positively identified, one as the second brother of the main deity Chiu Hwang ( ). He is black skinned, bare footed, with one foot on a fire wheel, has protruding eyes, black beard, and his hair is wound into a top knot. His two arms are at his side, otherwise he is very similar to Fa Chu Kung (✯✯2). The second identified image is on the right of the main deity, and he is, without doubt, Wang Tien Kung (1A). The third unidentified image on the left of the main deity could easily be T'ai Sui. He is black faced and bearded, a standing general in armour, holding a bell in his left hand and a sword in his right; he has three eyes, ear tufts of hair, and wears a Taoist crown.\n\nIn one Fukienese temple in Taipei, Yin Ch'iao was seen together with Ch'ü Kung Chen Jen (AA). (Plate 19)\n\nIn North China in Kalgan his second brother Yin Hung ( *) is a special deity said to save people from the \"fifteen bad deaths\". He sits on the opposite side of the central deity, the Jade Emperor (11), from Yin Ch'iao. Both brothers are naked and, surprisingly, have claws, beaks and wings. Grootaers10 says that Yin Ch'iao is never to be seen except as an attendant to the Jade Emperor. It would appear that either the local god maker in Kalgan did not know the identification features of Yin Ch'iao and has confused him with the Thunder God; or that there is a local legend which we do not know about; or thirdly that Grootaers misidentified the two attendants of the Jade Emperor.\n\nC. B. Day bought a hand-painted scroll in Hangchow, depicting five Buddhist figures and six Taoist ones. This pantheon chart included T'ai Sui Ti Chün ( *#*#) together with the San Kuan\n\n10 W. A. Grootaers, Rural Temples around Hsüan Hua (Folklore Studies vol. 10).",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1972.txt",
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    },
    {
        "id": 206795,
        "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",
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        "document_key": "RAS-1973",
        "page_number": 72,
        "title": "RAS-1973",
        "content_text": "66\n\nCHIU LING-YEONG\n\nThe style of I-seng was of Iranian origin, in which modeled and shaded polychrome figures seemed to stand out in relief, or even to float free from their background. His style is believed to have influenced Wu Tao-hsüan and to be traceable in the caves of Tun-huang.\n\n35\n\nFrom Chinese sources, Ta Yü-chih had three paintings extant in T'ang period, namely: (1) Liu-fan tu; (2) Wai-kuo pao-shu tu (the six foreigners); and (3) Po-lo-men tu (exotic tree from foreign country); (the Brahmara). However, according to Hsüan-ho hua-p'u, there were seven paintings of Hsiao Yu-chih's work, kept by Sung Hui-tsung, namely:\n\n1. Icon of Maitreya 彌勒佛像一;\n\n2. Buddhist icon 佛鋪圖一;\n\n3. Buddhist followers 佛從像一;\n\n4. Buddhist followers from foreign country 外國佛從像一;\n\n5. Avolokitesvara 大悲像一;\n\n6. Vidyaraja 智;\n\n7. Foreigners36;\n\nThese seven masterpieces were kept by the Emperor in the Inner Palace. Some of I-seng's paintings are still kept by collectors either in China or America, like the Dancing girl of Kucha #✯✯; A Sitting God 坐神; Buddha under the Mango Trees 吉羅林果佛; and Drunken Monk 醉僧圖.\n\nThe Yu-chihs were also masters of mural-paintings. Some of their works can still be found in temples and pagodas in China. In the Sung period, their works were classified as shen-p'in (divine category). I-seng also introduced the 'iron-wire' line to China—the Western technique of using a line of unvarying thickness to outline figures.37 I-seng, according to Chang Yen-yüan, had brought new light to Chinese painting and made more paths for painters of the later generations to develop.\n\nCh'in Ming-ho\n\nAt th...\n\nIn the field of medical science in T'ang China, Professor Lo Hsiang-lin inclines to believe that Persians had made tremendous contributions, especially in surgical operations. In A.D. 683, a Persian known as Ch'in Ming-ho, performed a neurosurgical",
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    {
        "id": 206996,
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        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
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        "document_key": "RAS-1974",
        "page_number": 67,
        "title": "RAS-1974",
        "content_text": "DOGS AND HORSES IN ANCIENT CHINA \n\n61 \n\nof horses\" in Summer, sacrifice to the ma she (1) or earth god of horses in Autumn and the ma bu (✈) in Winter.19 (According to K'ang Ch'eng, a commentator of the Chou Li, the ma she was a spirit who sat in judgement on horses.) \n\nThe Chou Li also tells us that other officials were entrusted with the care of horses. It was, for instance, the duty of the mu shih (**) or Herdsman to supervise the imperial horse pastures and see to it that they were annually improved by burning off the top grass.20 The Herdsman was also required to perform a curious task which consisted of clamping bamboo pins on the ears of any restless two-year-old fillies, a treatment guaranteed to soothe the most restive animal.21 \n\nTo treat sick horses there was not only a veterinarian but also a horse sorcerer or wu ma (4) to assist him. It was the sorcerer's task to diagnose a sick animal's ailment by studying its gait, after which the veterinarian bathed the horse in a herbal decoction (which may have had mildly analgesic properties) before undertaking any other course of treatment.22 The sorcerer also had to be conversant with the sick horse's pedigree in order to sacrifice to its ancestors. If, despite these ministrations, the animal died, one of the two merchants attached to the sorcerer's office had to sell the carcass and return the money to the officer in charge of the corral.23 \n\nThat horses were used both as sacrificial victims and as cult objects may be due to the fact that traces of two completely different cultures survived into Chou times. According to Schindler horses were used as chthonic sacrifices because the Earth Goddess had originally been horse-shaped.24 The author bases his argument on a passage from the I Ching (Hexagram 1 and 2) which states that \"Earth is a mare.\" (This passage may have been responsible for a taboo, current in Han times, against riding mares.25) But in the Shuo Gua section of the I Ching we find a statement to the effect that \"Heaven is a horse and Earth is an ox.\" Obviously this is a relic from a different culture which identified horses with the virile qualities of heaven,26 \n\nDogs and Horses as Sources of Food \n\nIn ancient China it was customary to use as sacrificial victims only animals whose flesh was habitually eaten. Thus, the custom of eating both dogs and horses goes back to very ancient times.",
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    {
        "id": 207170,
        "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-1974",
        "page_number": 241,
        "title": "RAS-1974",
        "content_text": "BOOK REVIEWS\n\nHUA SHAN, THE TAOIST SACRED MOUNTAIN IN WEST CHINA ITS SCENERY, MONASTERIES AND MONKS. Foreword and 111 Photographs by Hedda Morrison, Introduction and Taoist Musings by Wolfram Eberhard, published by Vetch and Lee Ltd., Hong Kong, January 1974.\n\nVetch and Lee Ltd. have published many beautiful and outstanding books on Chinese culture in the past, and have just added another two to their record, both dealing with sacred mountains in China. The Vetch and Lee editions are well-produced bibliophile books with a dark-blue cloth hard cover engraved in gold with a phoenix, the emblem of the publishers, and a very heavy matt white paper is used, which adds to the soft quality of the black and white photographs.\n\nIn August 1935 Hedda Morrison, a photographer, and Wolfram Eberhard, a sinologue and serious student of Chinese culture, both living in Peiping at the time, visited the Hua Shan, one of the five sacred mountains in China. According to the foreword by Hedda Morrison, the excursion cannot have lasted longer than one to two weeks.\n\nConsidering the fact, it is remarkable that 110 photos of great artistic beauty and solid technical skill were produced in such a short period of time.\n\nThe photos are divided into three groups: 40 depicting the scenic grandeur of the five peaks of the Hua Shan and their various moods; shaded by clouds or shrouded in morning mist, or illuminated by bright sunshine with silhouettes of crooked pine-trees. Also, small temples dangerously stuck on cliffs, a ladder of steps cut into a sharp angle stone slab, top and bottom connected with an enormous iron chain to facilitate the ascent.\n\nThen are followed by a group of 24 photos with details of the monasteries, close-ups of the images inside, a mural of the god of thunder, and the graffiti of visitors, a perpetual calendar carved in a slab, embroideries representing shaman dancers, a monk dozing",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1974.txt",
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    {
        "id": 207545,
        "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": 313,
        "title": "RAS-1975",
        "content_text": "NOTES AND QUERIES \n\n305 \n\nand Fire of the Ninth Heaven' (AARAX). The character for fire () was written upside down and though he was unable to explain why, a senior actor claimed that in this title it was always written in this way. \n\nIt is possible to group the images of Marshal T'ien into two types, the civil and military, the former without a sword or swords. In the latter he is unconnected with the theatre and is a potent God of epidemics and a demon dispeller, and as a soldier he frequently carries a bell and wears armour. We have only the Bangkok Chinese actor's unsubstantiated claim that this epidemic deity is the middle brother of the three, although in Singapore and in Taiwan the sword carrying, armour-wearing version also bore the same title as the actor's patron. \n\nAs a general rule Marshal T'ien has eight attendants: two boxers, two jugglers or dancers, two wrestlers and two musicians (one male and one female normally surnamed Cheng). His main festival is celebrated on the sixteenth of the sixth lunar month, although his birthday is also celebrated in one or two places on the twenty-third of the eighth lunar month. \n\nChief Marshal T'ien's titles \n\nHe is known by many titles, the following being the most common: \n\na) T'ien To Yuan Shuai (田都元帥)\n\nb) San T'ien To Yuan Shuai (三田都元帥)\n\nc) San T'ien To Ch'ien Sui (三田都千歲)\n\nT'ien, the Chief Marshal\n\nThe Chief Marshal, Tien the third (brother)\n\nThe Imperial Prince, Tien the third (brother)\n\nd) To Yuan Shuai (*) The Chief Marshal\n\ne) T'ien Kung Yuan Shuai (田公元帥) Duke T'ien, the Marshal\n\nf) T'ien Hsiang Kung (田相公) T'ien the Minister\n\ng) Chen Hua San T'ien To Yuan Shuai (探花三田都元帥) The Graduate T’ien*\n\n* Chen Hua (T'an Hua) - the third level of Imperial graduate in the chin shih or doctoral examination at the Capital.",
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        "id": 207745,
        "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": 133,
        "title": "RAS-1976",
        "content_text": "118\n\nCARL T. SMITH\n\nGovernment, for they hoped that through those converts, whom they financed in their efforts to reach the areas controlled by the Taiping government, they might influence the movement. Since they believed that these converts who had been under their instruction were better grounded in the fundamentals of the Christian faith than the Taiping leaders at Nanking, the missionaries expected their converts to strengthen the Christian element in the movement and correct some of its reported misconceptions in doctrine and aberrations in practice. They also hoped that through the good offices of these converts, once they had established themselves at Nanking, the missionary would, in time, be able to join them.\n\nThe most prominent of these individuals was Hung Jen-kan, a distant cousin of the Taiping leader Hung Hsiu-ch'uan. He became the Kan Wang (Shield King) in the Taiping government at Nanking in 1859 and was executed in November, 1864, after the fall of Nanking.\n\nHe accompanied Hung Hsiu-ch'uan to Canton for Christian instruction under the Rev. Issachar Roberts in 1847. In an appendix to Dr. Margaret M. Coughlin's unpublished doctoral thesis, Strangers in the House: J. Lewis Shuck and Issachar Roberts, First American Baptist Missionaries to China (University of Virginia, 1972), there is a letter of Roberts to Shuck, dated 27 March, 1847, giving details of Hsiu-ch'uan's spiritual development. After a month's instruction, they were sent out on a preaching tour in the course of which they returned to their home district, Hua-hsien, Kwangtung. Jen-kan did not return to Canton with Hsiu-ch'uan for further studies but remained at home to study medicine.\n\nWhile Hung had been preaching near his home in Kwangtung and studying with Roberts at Canton, Feng Yün-shan, a friend of his who had also been influenced by Christian ideas, had been gathering a group of followers in Kwangsi. They adopted the name of \"The Society of God Worshippers\" and were the nucleus from which developed the Taiping movement. The usual accounts of the movement attribute its origins to the activity of Hung Hsiu-ch'uan. This interpretation rests heavily on the account given in Hamberg's booklet The Visions of Hung Siu-Tschuen and Origin of the Kwang-si Insurrection, published in Hong Kong in 1854, and on various documents of the movement which were written after the death of Feng Yün-shan. There are several contemporary references which",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1976.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/hq382988q",
        "rank": 0
    },
    {
        "id": 207760,
        "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": 148,
        "title": "RAS-1976",
        "content_text": "NOTES ON FRIENDS AND RELATIVES OF TAIPING LEADERS\n\n133\n\nGützlaff ever met each other in 1848 when Feng returned from Kwangsi and stayed in his native place for a short period to wait for the return of Hung Hsiu-ch'üan. I cannot see how the fable started. It may be that some members of the Union did join the Taiping army and recognized superficially the similarity of the organizations of Feng and Gützlaff with practically the same contents in their teachings, thus misunderstanding the identity of the two groups; and thus, Feng was mistaken for a fellow-member of the Union. All in all, this problem needs further study and intensive research before a conclusive answer can be obtained.\n\n(2) Li Tsin-kau ($£$)\n\nAccording to Hamberg's account, Li Ching-fang (***) was Hung Hsiu-ch'üan's cousin who lived in Lien Hua Tang (##) in Hua-hsien where Hung taught. The Tai P'ing pamphlet T'ai Ping T'ien Jih (***ŋ) identifies him. Hung first studied Liang Fa's pamphlets seriously with him.\n\nW. Oehler, Die Taiping-Bewegung (1923), asserts that Ching-fang was the grandfather of Li Tsin-kau. For certain reasons I believe Ching-fang was more likely the father, as Tsin-kau was seemingly too young to befriend and discuss such serious matters with Hung.\n\nThe late Rev. Chang Chu-ling (✯✯✯) told me a very amusing anecdote about Li Tsin-kau. After establishing his capital in Nanking, Hung Hsiu-ch'üan ordered Tsin-kau to recruit followers in Kwangtung. Tsin-kau failed in this mission but went north personally. When he arrived at Shanghai on the way to Nanking, he heard that the God whom Hung saw in his visions years ago wore a black robe. He thought that God, the True God, should be dressed in white, and therefore what Hung had seen was really the Devil. The result was that he turned back to Hong Kong immediately without attempting to see Hung again. (See my Taiping Tienkuo Chuan-shih, pp54-55, notes pp58-59) This story corroborates with the account Carl Smith found (p. 124), but the call to come to Nanking might be from Hung Jen-kau rather than from Hung Hsiu-ch'üan.\n\n(3) Hung Jen-kau (Shield King †1##)\n\nAt last, the question 'who financed Hung Jen-kau's trip to Nanking?' is solved with Carl Smith's finding that the London",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1976.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/hq382988q",
        "rank": 0
    },
    {
        "id": 208067,
        "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": 106,
        "title": "RAS-1977",
        "content_text": "90\n\nK. G. STEVENS\n\nand in another temple with a carved wooden coiled snake in the middle of the group. In one Macau temple four of the Five Demons have very cheeky, European children's faces. This is because the original heads of the images had been so badly burnt by candle and incense heat that the temple keeper had substituted European doll's heads.\n\nApart from the background sheet of titles and the image of the Local Wealth God and those of the Five Demons already described, there are some five other items and images which may feature in Under Altars. As with every temple disposition there does not appear to be any firm rule as to where or how each image or item should be placed within the altar.\n\nThere are many conventions, but none without the exception. The first group of items consists of wooden or stone images of living animals or creatures, the most popular being cockerels, dogs and snakes. No keeper was prepared to say why these creatures are depicted.\n\nSecondly, there are several Gods whose images are seen in Under Altars in addition to being on normal altars. The most popular and easily the most common of these is Marshal Chao, a Wealth God who is also called the \"Marshal of the Dark Altar,\" Hsuan T'an Chao Kung-ming Yuan Shuai (#). Chao's image is relatively standard, and was very common in temples throughout China. He is a ferocious general, seated astride or seated with a foot on a tiger; or standing on a tiger; with his right hand raised holding a magic whip (a knobbly-bladed sword). He was spotted on one occasion in one temple only with a long folded white strip of paper and a short strip of hessian laid across his head. We will briefly refer again to Chao. Others include Tzu Wei Hsing Chun (***), The Star God of the Planet Venus, and Hua Fen Fu Jen (✯✯✯A), the Powder Maiden (who preserves a girl's beauty). The face of the latter image is coated with cosmetic powder by young girls and she is frequently bedecked with strings of imitation pearls as offerings. The connexion between the Powder Maiden and the rest of the altar escapes explanation, and the answer from temple keepers has been that it is simply custom. There are also numerous other unidentified individual images unconnected with the altar which have been placed there by ignorant temple keepers or worshippers.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1977.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/np198x23n",
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    },
    {
        "id": 208072,
        "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": 111,
        "title": "RAS-1977",
        "content_text": "UNDER ALTARS\n\n95\n\nGod of Loyalty and patron of businessmen, soldiers, detectives and firemen. When represented, this stands near the entrance to his temple and is held on a short rein by a standing groom. The second is the paper horse used for carrying messages to the dead ancestors during the Yu Lan festival (15th of the seventh lunar month). These white or red horses look very similar to the Green Horse and are burnt during ancestral rituals. The third is the White Horse of the monk Hsuan Chuang, Tripitaka, who brought the Buddhist Sutras back from India in the 7th Century, and is only to be seen in one temple in Macau and not at all in Hong Kong.\n\nAn interesting observation which would appear to have no special significance, and one which surprised many Chinese temple keepers, is the sighting of the Green Horse on the altar of the maids and attendants of Chin Hua, the Goddess of Childbirth, in some thirteen temples.\n\nOfferings, Charms and Messages\n\nApart from the force feeding of the White Tigers at the festival in Spring, an offering of a large slab of cooked fatty pork is frequently placed on the Tiger's head, and sometimes several ounces of Chinese yellow wine is then poured over it. Charms, printed on yellow or red paper, are pinned to the Local Wealth God and incense and candles are burnt before the whole Under Altar. Offerings of paper money on the \"Bank of Hell\" are piled onto some Local Wealth Gods, as are paper taels of gold and silver. On occasions particular to the individual devotee and connected with calamities in their lives, he or she may place five yellow paper charms, purchased from the temple keeper, beneath each of five oil lamp saucers with glowing wicks. These, together with fresh eggs, are offered to the spirits in the Under Altar.\n\nIndividual devotees who wish to report their particular misfortune to the Disaster Spirits obtain slips of paper from the temple keeper. These are normally some four inches long and two inches wide, in either red or green, with a regular pattern of diamonds and circles cut out by folding and snipping in a special way. In a few cases, temple keepers require details of the \"disaster\" to be written on them, with dates and names of the people involved. The slips of paper are then burnt in the temple incinerator. In rare cases where devotees confuse the message papers with charms, they are",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1977.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/np198x23n",
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    },
    {
        "id": 208356,
        "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": 80,
        "title": "RAS-1978",
        "content_text": "64\n\nGÖRAN AIJMER\n\nA chronicler of Yuanjiang2 states that people used cut paper 'to hang money on the mountain'. This was called 'to drink wine on the grave and hang up.' The chronicler goes on to say:\n\nIf it is graves of newly buried, then there is affection. On Earth God Day and earlier, one suspends and sweeps. The proverb says: For the new graves one does not pass she. For old graves one suspends when thirty nights have passed.14 A record of local customs in Yiyang tells us that at Qingming to sweep the graves were repaired. This was called sao mu 'the graves'. Paper money was suspended on the graves. This was called gua shan 'to hang up on the mountain'.15 From Baling we learn that, in the Qingming solar period, women hung up cut paper strips on the graves. It was called gua fen 'to hang on the grave'. Paper money was burnt and wine poured out. It is said that this practice gave rise to much mournful thought 哀思.16\n\nIn Anxiang it was the practice that 'scholars' and 'commoners' swept their grave mounds: Officials arrange money, prepare cattle, and arrange in order wine. Thereby are made ji sacrifices.17\n\nIn Hanzhou the graves were swept and there was much offering.18 In Jingshan the graves were visited, there were ji offerings, sweeping, and suspension of paper money on them.19 Similarly, in Wuchang, the old graves were swept and paper money hung up on them. Here people encircled the grave wailing loudly.20\n\nIn Chongyang everyone made ji offerings at the graves. People used 'top branches' with paper money on top of the graves.21 In Yingshan it was the practice to construct offering tables in front of the graves. This was called 'to welcome (the ancestors?) to return'. This celebration was continued up to the end of the moon.22\n\nI said above that Qingming is a period of about fifteen days. When our sources mention visits to the graves we may assume that these were spread out over this duration. It may well be that the visits were initiated on the Qingming day, the first day of the solar period: I will soon provide some evidence for the importance of",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1978.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/8g84t8593",
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    },
    {
        "id": 208881,
        "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": 43,
        "title": "RAS-1980",
        "content_text": "CHINESE MONASTERIES, TEMPLES, SHRINES, ALTARS\n\n15\n\nIn single-room and larger temples the major altar, which faces the entrance, may be either one large space reaching from side wall to side wall or it can be divided into three, five or more individual altars with, on occasions, a separate altar or two constructed down the side walls. (Plate 6).\n\nIn quite a number of traditional temples the main hall is divided longitudinally by partition walls from floor to ceiling. These stretch a short distance into the main hall from the rear wall of the temple, one on either side of the main altar. The two side altars are therefore outside the partitions, and in practice these partition walls serve to isolate the side altars.\n\nIn many traditional temples several major deities, and even a few minor deities, have a side hall dedicated entirely to themselves and their attendants. These include the God of Loyalty and Literature Guan Di; the fertility goddess Jin Hua Niang Niang; the bodhisattva Guan Yin and the wealth god Cai Bo Xing Jun. It is not necessarily a down-grading of the importance of the deity but a late recognition and addition to the temples' complement. A great many side hall altars contain a group of unconnected and unidentifiable minor images around the major and identifiable deity's image, all placed there over the years by zealous devotees.\n\nA side hall in one temple contained the lone image of the Earth God on the only altar, although the characters above the altar read Jin Hua Niang Niang. Presumably over the years the images of this fertility Goddess and her attendants had been removed and replaced by the image of the Earth God without the title above the altar being changed.\n\nThe temple incinerator, and the temple keeper's kiosk or counter from which he sells charm papers and incense, are usually in one or other of the side halls or courts between side halls.\n\nSide halls also contain large ritual items such as the temple bell, drum and the removable head and tail from the village dragon boat, and in one of the side halls of most Boat People's temples replicas of early junks (some 8' to 10' in length) also gather dust in the gloom. These model junks are used only on festival days when offerings are placed on the decks. The devotees thank Tian Hou for good catches over the previous year and request similar benefits for the coming year.\n\nThe roofs of traditional temples consist of interlocking tiles resting on lathes supported by strong cross beams. The latter are",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1980.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/kh04md207",
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    },
    {
        "id": 210416,
        "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": 23,
        "title": "RAS-1985",
        "content_text": "BARTHOLOMEW P.M. TSUI\n\nfire. At first, thirty to forty came to seek cures, but after five months as many as fourteen thousand came each day and the Patriarch cured most of them. Among the more noted cases of cure was that of Li Tsung-yao (), brother of Li Tsung-jen (), the Vice-President of the Republic. Li Tsung-yao had an incurable disease. His intestines were exposed. Lo cured him completely, to the surprise of the then famous German physician called Otto, who pronounced the event as inexplicable.12\n\nThe message of this new god did not stop with curing. He demanded the establishment of an institution with a body of beliefs and a group of disciples. This he revealed on the eighth day of the first month (January 31, 1936). This god, who could not really be named, was provisionally called the Supreme Deityx), and the name of the new belief was called Tan Tse Tao () or the Revealed Truth.13 The Patriarch soon made a number of disciples who were endowed with healing powers equally with himself. Of these the most successful was Ms Liu Han-lien (劉漢廉女士). In 1936, that is, almost immediately after her initiation, she worked in Hui-chou () and Lung-kang Market() and cured over ten thousand sick people. In 1937, two other disciples, Li Han-kun () and Han-lun (), went to Hsin-hui (#) and cured over a thousand people there. Han-lin (***) and Han-ts'ai (#) worked in Wu-chou (梧州) and Han ch'üan (漢全) in Ts'ung-hua(從化).14\n\nThe Patriarch's work in Canton lasted only a few years. Eight months before Japanese soldiers marched into Canton, he was instructed by the Supreme Deity to come to Hong Kong and to establish his religion there. At first, with the help of Mr. Wong Yiu-tung, J.P. (), Lo set up his office at Tung-lu (). Shortly afterwards, he found a plot of land in Ping Shan in the New Territories and built his worshipping hall there where he continued the work of curing and converting disciples. He died in 1981 and his religion is actively carried on by his disciples.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1985.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/gt54s866x",
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    },
    {
        "id": 213778,
        "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": 130,
        "title": "RAS-1996",
        "content_text": "101\n\nSouthern China, as the Liannan document saying the Lü Shan Jiu Lang (written Lu Shan Jiu Lang) buried his father on a mountain in Gaozhou.\n\nOne major source of information of religious practice during the Song is the Southern Song work of anecdotal literature, the Yi Jian Zhi. It made frequent mentions of the well-known styles of Daoist magic such as the Thunder Magic and the Tian Xin Zheng Fa, the Buddhist Weize spell related to the Yujia style of exorcism, as well as various popular gods, and magicians who were neither Daoist or Buddhist. Some of these lay magicians practiced magic of the Daoist and Buddhist varieties mentioned above. Noticeably some of those lay magicians blew the horns [of animals] in their rites, and some were practicing what is called Mao Shan magic. It curiously made no mention of Lú Shan Jiu Lang or his immediate disciples found in Bar's passage.\n\nBut as I have mentioned, sources on Chinese religion of ancient times do have many examples of divinities with names of the same form as the Lú Shan Jiu Lang and his colleagues. The latter appear to be part of the trend between Tang and the Five Dynasties during which many of these other divinities are recorded. Some of the popular gods mentioned in Yi Jian Zhi do bear four character names ending with a numeric character and lang, resembling the names of Lü Shan Jiu Lang. Earlier examples include the Zhu Wang San Lang shen mentioned during the Southern Dynasties, which the book alleges to be the name in use at its time of writing in Yielang county in the present Sichuan Province, although in this example San Lang referred to three people rather than one. During the Tang, a work of anecdotal literature recorded that during the Emperor's visit to the mountain god of Huayue, he was told about a San Lang, who appeared to be a son of the god. Another work of anecdotal literature of about the same time recorded a female shaman(?) who specialized in communicating with the Jin Tian Wang (God of Hua Shan) and his son Hua Yue San Lang. This name, and many others, which are closer to Lu Shan Jiu Lang in form, is also found in Tang stories included in the Song compilation Taiping Guang Ji. During the Five Dynasties the Lu Yi Ji recorded a Pan Gu San Lang temple in a Guangdu county of the present Sichuan Province. An early Song work on the history of the Five Dynasties mentioned that in the year 932 the Emperor of Hou Tang conferred a title (styled \"General\") to a Tai Shan San Lang. Early during the Song it is reported\n\n41",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1996.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/3n209j641",
        "rank": 0
    },
    {
        "id": 213994,
        "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": 63,
        "title": "RAS-1997",
        "content_text": "29\n\nway while working\n\nMore accidents happen when scaffolding is being dismantled than when being erected. Most trades have their written and unwritten rules and, with bamboo scaffolding, it is generally accepted that, whoever erects a scaffold, then the same scaffolders should also dismantle it. The argument is that the craftsmen who put it up know the peculiarities of the scaffold and they are in the best position to take it down. There have been disputes between main contractors and scaffolding subcontractors resulting in the latter walking off the job. In the end, in most cases, the main contractor had to relent as no-one else was prepared to take the scaffold down.*2\n\nDeities\n\nFor all employers and employees in the building industry, Lu Pan is worshipped as a general deity. His birthday is celebrated on the 13th day of the Sixth Moon. In addition, the patron saint for bamboo scaffolders, performers in opera troupes, goldsmiths and silversmiths, and incense and funeral-paper shop staff, also worship Wah Kwong (Hua Kuang). He is sometimes described as the God of Fire.* As one mature scaffolder proudly told the author, 'We have three sz foo masters [sic].' He included, of course, Yau Chao Shi, who was mentioned at the start of this paper, as well as Lu Pan and Wah Kwong.\n\nThe last is said to have defied the Heavenly Jade Emperor's order to destroy all bamboo opera stages on earth as punishment for an opera performance that had insulted his Majesty. As a result, Wah Kwong gained the undying gratitude of scaffolders. It is important to remember that Wah Kwong is a powerful, cleanshaven god with a third eye in his forehead. He often has a piece of gold in his hand. He is a destroyer of demons and is rarely prayed to by individuals, but, more likely, by groups. There is a temple dedicated to Wah Kwong in Tai O, a small market town and fishing port to the west on Lantau Island. There is also an effigy of Wah Kwong Sz Foo in the Lit Shing Kung (“temple”), adjacent to the Man Mo Temple, in Hollywood Road.*34 Master Wah Kwong's birthday is observed on the 28th day of the Ninth Moon,*35 The author has, however, been told by scaffolders that the birthday of Wah Kwong is on the 18th day of the Ninth Moon. The author has, however, been told by scaffolders that the birthday of Wah Kwong is\n\n75",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1997.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/wp98g7579",
        "rank": 0
    },
    {
        "id": 215068,
        "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": 164,
        "title": "RAS-2000",
        "content_text": "121\n\nHong Kong having agreed that each of the sixty is a stellar deity in his own right with a title, formerly a human deified after his or her death; one temple keeper then gave as an example the Taisui of 1980 [EM KM] being Luo Dashou a legendary individual who at the age of eleven had obtained his degree and then lived for more than one hundred years. Others must have been similarly identified with legendary and mythical individuals, not only in Hong Kong but throughout China. The question remains, do they vary from place to place? or are they universal throughout China?\n\nAn image of Yin Jiao and known only as that and not as Taisui, is prayed to individually in a small private temple in Taipei, where he is portrayed as the fierce six-armed general, sitting, with a black beard, a third eye and ear-pressing tufts. Lone images of a fierce Taisui portrayed with six arms have been seen in a few temples apart from the one in Taipei including one in Penang. More commonly seen are lone images with the usual pair of arms, depicting him holding a bell in his left hand and a spear or long-handled sword in his right. One such image, in Tungkang in southern Taiwan, is identical with a gilded image on a rural temple altar in northern Malaysia. The hand-bell is claimed by god carvers to be an important attribute indicating as it does the passage of time.\n\nA further image, known only as Marshal Yin, stands at ground level in a rural temple at Mong Tsung Wai on the coast of the New Territories of Hong Kong at Deep Bay. He is portrayed as a martial figure holding a magic sword which at first glance looks like a truncheon, but without any unique characteristics. The temple keeper had no idea who he might be but as he is collocated with Hua Guang, Kang Wang and Zhao Yuanshuai, all characters from the Fengshen Yanyi, it is almost certain that he is Yin Jiao.\n\nImages of what in Cantonese and Fukienese community temples is often regarded as the typical Taisui of the group of sixty, but standing alone on altars nearly always portray him as a seated clean-shaven youth holding a bell12 or a scroll in his right hand. He is usually dressed in a green or gilt apron covering his chest and just below his waist only being secured by a cord around the back of his neck, and with a girdle around his waist. Those with scrolls are regarded as holding an administrative appointment and those with bells, silken shoes, fans,",
        "txt_file_path": "txt/dfo323lmgvd/RAS-2000.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/nk328168n",
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    },
    {
        "id": 215308,
        "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": 85,
        "title": "RAS-2001",
        "content_text": "33\n\ncould also be a day for worshipping at the graves—a spring practice spread over several possible days. There is likely to have been a link of association between the She and the dead—in a way similar to what can still be discerned in some southern parts of China today. The offerings on this day were sometimes made in a grand style with cavalcades and officiants engaging the spirits. It was an occasion for feasting, drinking and games.\n\n31\n\nThere was another festivity in the second lunar month of the year which was called Hua Zhao or 'Flower Dawn,' which occurred on the full moon day, the fifteenth of the moon. The festival is mentioned in chronicles from Tongshan, Baling,32 Yingshan,33 Zhongxiang,34 and Gong'an.35 If the sky was clear on this day in Baling, then the cotton plants would have a good harvest.36 In Gong'an there were similarly good prospects for cotton if there was a clear full moon on this night.37\n\nThe Flower Dawn as a social event is not extensively described, but we learn that in Zhongxiang there were outdoor activities in the open country outside the town, and so there were presumably also picnics. It is said that gentry and commoners ta qing—‘trod on the greenness’—and they dou bai cao ‘gathered one hundred grasses.’\n\nTa qing is a name for a spring outing, and the designation for this festive picnic is in the wider Chinese world associated with various dates, like the eighth day of the first moon, the second day of the second moon and the third day of the third moon. It is also generally held to be among the customs of Qing Ming in early April, even signifying grave visits. In this present corpus of ethnography we find mention of ‘treading on the greenness’ at the Flower Dawn. Dou bai cao was a game in which people armed themselves with stalks of grass. From each of a pair of stalks was pressed a drop of liquid and the two drops were\n\n31 古今圖書集成,1888.VI,1223:風俗考2a.\n\n32 古今圖書集成,1888.VI,1166:風俗考4a.\n\n33 古今圖書集成,1888.VI,1142:風俗考2a.\n\n34 古今圖書集成,1888.VI,1193:風俗考3b.\n\n35 古今圖書集成,1888.VI,1223:風俗考2a.\n\n36 古今圖書集成,1888.VI,1193:風俗考3b.\n\n37 古今圖書集成,1888.VI,1120:風俗考6ab.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-2001.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/zg651950g",
        "rank": 0
    }
]