[
    {
        "id": 206633,
        "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-1972",
        "page_number": 181,
        "title": "RAS-1972",
        "content_text": "THREE CHINESE DEITIES\n\n175\n\nexpert, a geomancer. In general everyday use, prognostications are looked up in the farmer's almanac which is still published annually in Hong Kong and Taiwan and sold widely. In former days the source of information on this subject contained in the farmers' almanac, was the Imperial Calendar, the Hwang Li (). This, until the end of the Empire in 1911, gave the details of T'ai Sui's position every year. Nowadays the birth hour and date of an individual is matched to the movements of T'ai Sui given in the farmers' almanac, thereby obtaining the auspicious and unauspicious dates for most social functions, such as weddings, travel, initiating business, starting building, launching a ship or burying the dead. As can be seen T'ai Sui is important in the life of individuals: but, despite this importance, T'ai Sui is worshipped on as few occasions as possible. Persons fear approaching him too frequently as he is so alarmingly unpredictable and, being so awe-inspiring, he is given a very wide berth. Very rarely indeed, will you see devotees worshipping before his altars in comparison with other altars in the folk religion temples.\n\nIn the Yangtze Valley, and elsewhere in central and southern China, at the start of Spring, a clay bull and an image of T'ai Sui were carried on a float through the city with the civic officials bringing up the rear. The bull was constructed in a special pattern consisting of sixty separate parts. Hodous3 in 1929 tells of this image of the spring bull, a clay and coloured paper bull, being carried through the streets of Foochow together with T'ai Sui, the tutelary god of the current year. When the procession arrived at the Yamen the district officials formed a circle about the bull and each one struck it with a vari-coloured stick three times, breaking off pieces of clay. The bits of clay and other parts of the bull were picked up by the crowd and thrown to their pigs to stimulate their growth.\n\nHodous also continued that \"the position of T'ai Sui behind or in front of the bull tells the farmer whether to begin planting late or early; and upon the position of the tail, or the opening of the mouth of the bull depends the Yin and Yang principles of the year. The tutelary god of spring and of the year is Kou Mang () who holds a whip in his hand. The age of the image, the colour of his clothing and his belt and the position of his coiffure, the holding of his hand over his right or left ear, is determined by the 3 Hodous, L., Folkways in China, Probsthain's Oriental Series Vol. XVIII (1929).",
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    {
        "id": 206634,
        "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-1972",
        "page_number": 182,
        "title": "RAS-1972",
        "content_text": "176\n\nKEITH STEVENS\n\ncyclical characters of the year.\" Hodous appears either to be confusing T'ai Sui and Kou Mang, or to be giving T'ai Sui yet another alias.\n\nIn T'aip'ing in Malaya two images of mud bulls are to be seen standing on a pile of paper hell money on the altar beside T'ai Sui. The reason for their inclusion on the altar was not known by the temple keeper nor by the devotees who said that they had always been in that position as far back as anyone could recall. (See Plate 15).\n\nThe Rev. Wm Milne4 in Ningpo in the mid 1840s noted \"the festival of the Beating in of Spring\" when on the first day of spring the Chief Magistrate of the city beat the \"god of spring\", a multi-coloured paper ox, which was then torn to pieces by the crowd, for luck. Milne claimed to have seen this same ceremony elsewhere in Central China, and said that in some districts the bull is made of mud. “The colouring varies as laid down in the Peking annual book of ceremonies. The variations in colours such as red horns, black tail and feet, white body, blue head and neck are regarded as prognosticating the portents of the coming year. The amount of black signifies sickness, blue winds, white rain and floods, red fire and yellow the fruits of the earth. There are also a number of smaller mud oxen mainly sold for household good fortune.”\n\nThe Rev. Milne also reported that “the \"god of spring\" was seen in the shape of a youthful human image, the son of an early Emperor. He too is attired in a fashion prophetic of the fortune of the coming year: bareheaded predicted cold weather, and white robe augurs a dry year etc.\" This youthful image is almost certainly T'ai Sui. In all temples where he was observed in the \"scroll or bell-holding\" two-armed version, his image was seen very frequently to be balanced on wads, sometimes very high wads, of hell money. This is the paper money purchased from temple keepers to be burnt by devotees for the use of deceased members of the family in the Underworld. This custom is usually only to be seen in temples under wealth gods, but in the case of T'ai Sui, the wads are offerings to T'ai Sui for protection and not for transmission by burning to deceased relatives. Shyrock in his Temples of Anking says hell money is burnt for use by ancestors and is never presented to Gods. It would appear to be otherwise in Central and South China.\n\n4 Milne, W. C., Life in China (London, Routledge, 1857).",
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    },
    {
        "id": 206636,
        "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-1972",
        "page_number": 184,
        "title": "RAS-1972",
        "content_text": "178\n\nKEITH STEVENS\n\nC. as a fierce, two or six-armed, three-eyed general or two-eyed Taoist priest.\n\nd. as an array of sixty rather characterless seated images, each with a two-character cyclic date on a scroll or tablet (...), or a number between one and sixty painted on the stand or pedestal, or painted over its head. The sixty statues have been seen only in Cantonese and Shanghainese areas though reported on one occasion by Hodous in Foochow. Sometimes all images are identical, sometimes they are a mixture of fierce and gentle, and in one particular Cantonese temple they were beautifully finished. Werner, however, says that the 60 cycle-gods are represented by most grotesque images. (See plate 16).\n\nIn Ningpo in the 1890s the gods of time, gods of the year, months, days and the hours were all represented with long black moustaches. The central one was seated beneath a triple scarlet umbrella, richly embroidered in gold and colours representing the highest emblem of authority. They are also represented in the temple of the Thunder God in the same town. Rev. Henry in Canton saw sixty small images each one to the presiding genius of each year on a minor shrine in the temple of the City God. Some were raised on tiles and some bedecked with gaudy red coats, the gifts of those who had received special favours in their particular years.\n\nC. B. Day says that in Buddhist temples in Chekiang province these are 12 protectors of the Chinese cycle of years. In Suifu, Graham9 saw two images of the 12 rulers of the cyclic year (元甲).\n\nThe Cantonese version of the youth in a. above, is more often than not dressed only in an apron and shoes. The apron is gilt or green, covering the chest and below the waist only, and is secured by a string around the back of the neck and by a girdle around the waist. In several Cantonese temples he is the main deity. The bell he carries has magical properties. Very occasionally he is to be seen with either a sceptre or a silver shoe in his hands; and on still rarer occasions he can be bearded.\n\n7 Henry, Rev. B. C., The Cross and the Dragon (London, Partridge 1883).\n\n8 Day, C. B., Chinese Peasant Cults (Shanghai 1940).\n\n9 Graham, W., \"The temples of Suifu\" in The Chinese Recorder, (vol. LXI, 1930).",
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    },
    {
        "id": 206637,
        "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-1972",
        "page_number": 185,
        "title": "RAS-1972",
        "content_text": "THREE CHINESE DEITIES\n\n179\n\nIn c. above, he is two different beings, his benevolent form is as a man with two eyes, “ear pressing\" tufts of hair, three pairs of arms, and hair standing erect on the back of his head. In his malevolent form he is depicted as a man with a leopard's head, three eyes, a lion's nose, a tiger's mouth, a bear's tongue, a boar's tusks, and three pairs of arms. Again, above his ears are \"ear pressing\" tufts of hair, and on top of his otherwise bald head is a headdress called a k'ui ying.\n\nIn the two and a half thousand or so temples visited in South East Asia, Hong Kong, Macao, and Taiwan, the basic forms listed above can be grouped into general categories. T'ai Sui/Yin Ch'iao were seen in 48 temples; among which 11 were Fukienese, 28 Cantonese, 2 Hakka, 2 Ch'ao Chow and two inter-community Buddhist temples. Of these, 18 were in Singapore, 15 in Malaya, 9 in Hong Kong, 3 in Macao, 1 in Cambodia and 2 in Taiwan. The 'youths with a scroll' are mainly Cantonese, as are the majority of the 'youths holding a bell.' The ‘elderly man with a bell' was seen in two Hakka temples and one Cantonese community temple. The images of the 'fierce general' was seen only in Fukienese community temples and a few images of 'youths with bells or scrolls' were seen in Fukienese temples.\n\nThe groups of sixty images have been seen in Shanghai, Hong Kong and Macao, and in Fukien by Hodous. In Singapore and Kuala Lumpur large but odd numbers of T'ai Sui, including a mix-ture of them with scrolls or bells, were seen in two Cantonese community temples.\n\nThese images have not been seen in any Hainanese temples. Only in Cantonese and Hakka temples were these images observed standing on wads of hell money.\n\nThe four charms carried by T'ai Sui, according to a Fukienese god carver, are:\n\na. a seal of office, which, if shaken, causes the heavens to quake.\n\nb. two swords, one male and one female, which are able to destroy demons and wrong-doers.\n\nc. a bell, called Jung Kuei Ch'ung (*) which causes one to lose the way when rung. This bell causes demons to forget their tasks and to wander aimlessly. It is also a magic teller of time.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1972.txt",
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    },
    {
        "id": 206638,
        "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": 186,
        "title": "RAS-1972",
        "content_text": "180\n\nKEITH STEVENS\n\nIf the image of T'ai Sui wears shoes, claimed a Fukienese temple keeper, a drought is presaged, and if without, floods are expected; but if one foot is shod and the other is bare, then balanced weather will be the lot of the region. Images of T'ai Sui with one bare foot have been seen in temples in Hong Kong, Singapore and Bangkok.\n\nVariations from the basic characteristics\n\nThe youth holding a scroll or plaque of split bamboo is depicted seated, except in a very few sightings where he stands. In the sixty-year cycle of Chinese deities, each year is ruled by a particular image of that year, who is called the “T'ai Sui of the present year\" and the scroll has one of the following inscriptions on it:\n\nTang Nien T'ai Sui (††★★). Liu Nien T'ai Sui (*) Chih Nien T'ai Sui (††✯✯) or Chia Nien T'ai Sui (P‡★A)\n\nYin Ch'iao as a fierce general often has three eyes and six arms, wears armour, and a Taoist crown on a bald head, and has fierce, almost vertical, eyebrows. He holds in five of his hands two discs, one with the character for the sun and the other with the character for the moon, a large ring, a fly whisk, whilst his sixth hand rests on his left knee.\n\nIn Foochow, in the temple of the City Guardian, one of the side altars was devoted to T'ai Sui. His image was dressed in yellow garments, he had a black beard and a necklace of skulls about his hand. The skull necklace, according to Hodous, is a symbol of his authority over the lives of men. Beside him on his left is a trio of small images a foot high representing the present year, last year and next year. Also on either side of him, are the twelve images representing the twelve months or branches and pictures of the twenty-four seasons.\n\nIn only two sightings, one in Penang and one in Singapore, had he a blue face, fierce fangs, was standing, dressed in armour, and carried a mace in each of his hands. One of these images of T'ai Sui, labelled the Great Year of the Moon (A) was one of the twenty-four Celestial Generals (A) who range down each side of some temples. (Plate 17)",
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    {
        "id": 208373,
        "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-1978",
        "page_number": 97,
        "title": "RAS-1978",
        "content_text": "QINGMING FESTIVAL IN CENTRAL CHINA\n\n81\n\n39 See Maurice Freedman: Geomancy. Proceedings of the Royal Anthropological Institute of Great Britain and Ireland for 1968. London\n\n1.15.\n\n40 Aijmer, A Structural Approach...p. 95,\n\n41 GJTSJC VI:1223 *** 126.\n\n42 Maurice Freedman, Chinese Lineage and Society: Fukien and Kwangtung. London School of Economics Monographs on Social Anthropology No. 33. London: Athlone Press, 1966.\n\n1* For instance, Lewis Hodous provides an account in his Folkways in China, London: Arthur Probstain, 1929, p. 92. Hodous draws mainly on his long Fujian experience.\n\n44 Aijmer, A Structural Approach\n\np.96.\n\n45 Aijmer, The Dragon Boat Festival, p. 77f.\n\n46 GJTSJC VI:1193, &$ 26.\n\n47 GJTSJC II:51, 6a. A Similar arrangement occurred in Youxian, GJTSJC II:51, 19b.\n\n48 Aijmer, The Dragon Boat Festival, pp. 78f.\n\n49 There were probably several kinds of paper money in use. The yellow kind referred to above was in all likelihood the 'gold variety. As our sources do not carry information in detail on this subject we must leave such further implications aside.\n\n50 I have notes from Gongan (GJTSJC VI:1193, * 36), Hanzhou (VI:1130, 風俗长 Ib), Zhongxiang (VI:1142: #6# 1b, 2b), Jingshan (VI:1142, & 3a) Chongyang (VI:1120 † 4a, 5a), and Tongshan (VI:1120, Afb† 6a).\n\n51 I have found notes from Baling (GJTSJC VI: 1223, K## 2b, ennt juan 11:6a), Wuchang (GJTSJC VI:1120, ✩ 26), Chongyang (VI:1120, £#* 46), Tongshan (VI:1120, ### 6b) and Yingshan (VI:1166, BB‡ 4b).\n\n52 Freedman, Chinese Lineage and Society. pp. 140f.\n\n53 Other names for this festival used in the region are Yulan dahui, 王蘭大會 Yulan penhui 盂蘭盆會,and Duwang dahui 度亡大會\n\nAll are Buddhist terms.\n\n54 I have, at present, no information from the Dongting area on the handling of paper money at funerals, for instance.\n\n55 GJTSJC VI:1223, # 2b.\n\n56 GJTSJC VI:1193, £&$ 26.\n\n57 GJTSJC VI:1142, R&* 3a.\n\n58 GJTSJC VI:1193, # 2a.\n\n59 GJTSJC VI:1259, 6 2a.\n\n60 GJTSJC VI:1130, &‡ 2a.\n\n61 GJTSJC VI:1120, K✩‡ 4b.\n\n62 GJTSJC VI:1166, ### 46.\n\n63 GJTSJC VI:1142, ‡ 4a.\n\n64 GJTSJC VI:1142, &* 2ab.\n\n65 mm, juan 2:96.\n\n66 GJTSJC VI:1193, R 2a.\n\n67 GJTSJC VI:1259, ✩ lb; 1142, * 2a.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1978.txt",
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    {
        "id": 209180,
        "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-1981",
        "page_number": 83,
        "title": "RAS-1981",
        "content_text": "RELIGIOUS RESPONSE TO MODERNIZATION IN TAIWAN THE CASE OF 1-KUAN TAO 69\n\nagainst I-kuan Tao see L. Deliusin, “The I-kuan Tao Society\", in Popular Movements and Secret Societies in China 1840 – 1950, ed. by J. Chesneaux, (Stanford, 1971) pp 225-233.\n\n21 In orthodox Buddhism San Pao stands for Triratna, i.e. Buddha, Dharma and Sangha (W. E. Soothill and L. Hodous: A Dictionary of Chinese Buddhist Terms, Reprint Taipei 1970, p 63)\n\n22 Cf. for example Ching-fen Hsiao, loc.cit., p 17.\n\n23 Cf. Shih Wen-tu *, \"Wo tsen-yang t'uo-li I-kuan Tao” #, in Chuch Shih #(Kao-hsiung, Sept. 1977) pp 20 -- 32.\n\n24 Since these accusations can neither be proved nor refuted by the observer it is very difficult to give a fair description of the sect.\n\n25 Cf. Chao Wei-pang, \"The Origin and Growth of the Fu-chi\", in Folklore Studies, 1 (1942) pp 9 — 27; Hai Ti-shan #, Fu-chi mi-hsin ti yen-chiu *****(Taipei 1966).\n\n26 Cf. G. Seaman, Temple Organization in a Chinese Village, (Asian Folklore and Social Life Monographs, No. 101 Taipei 1978) pp 20 – 35.\n\n27 Cf. Halao, loc. cit., pp 12 – 16. For a case-study ref. Seaman, op. cit.\n\nThe members trace the origin of the sect back to Fu Hsi and have an elaborated list of the transmission of the Tao through the centuries. The historical evidence for the existence of I-kuan Tao as a separate tradition does not reach beyond the last century, however.\n\n29 The ordinary fu-luan cults have sessions much more often, in general eight or twelve times every lunar month.\n\n30\n\nObviously many teachings of the fu-luan cults have their origin in the popular \"Buddhist” tradition which is also a main source of the I-kuan Tao teachings. It is difficult, however, to assess to which degree there is a direct influence of I-kuan Tao on these cults in Taiwan today. Probably there is a mutual influence since many followers of I-kuan Tao participate also in ordinary fu-luan cults. Actually, some fu-luan cults seem to be reservoirs of potential I-kuan Tao proselytes.\n\n31 Tian-jan *, 2 (Hsinchu Febr. 1980) pp 2 - 3.\n\n32 Cf. K. Ch'en: \"Anti-Buddhist Propaganda During the Nan-Ch'ao\", Harvard Journal of Asiatic Studies 15 (1952) pp 166 - 192.\n\n33\n\nFor examples see J. Chesneaux ed. Popular Movements and Secret Societies in China 1840-1950, (Stanford 1972).\n\n34 Of course, Mohammed is not regarded as a god in Islam. The knowledge of Islam in China, however, is rather poor and Mohammed is thought to be a divine person much like the Chinese \"historical\" gods or for that matter – Jesus.\n\n36\n\nThe medium belonged to the Sheng-hsien t'ang in Taichung.\n\n36 W. Grootaers, \"Une société secrète moderne, I Kuan Tao: Bibliographie annotée\", in Folklore Studies 5 (1946) p 332f.\n\n37 Tian Tao Kai Lun (1979 2nd printing), p 61.\n\n38 ibid., pp 61 – 62.\n\nby Su Ming-tung (Kaohsiung, 1978)",
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    {
        "id": 215309,
        "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-2001",
        "page_number": 86,
        "title": "RAS-2001",
        "content_text": "34\n\nbrought into contact. The stalk which in this way drew up the drop of the other was declared the winning party. Perhaps this was an élitist thing to do and we have no description from the central lake land to improve our knowledge. At least the name suggests games in the open under festive conditions. Another designation used for this day was, in Tongshan, pu die hui 'the meeting of the fluttering butterflies.'38\n\n撲蝶會\n\nA note from Yingshan claims that Hua Zhao was a day when young women got their ears pierced. It was also a day when girls who had reached the age of twelve, thirteen or more, started allowing their hair to grow long. In the same place, this day of Flower Dawn was also an occasion for sending presents to a (future?) bride's home, and to arrange- or confirm-betrothals (na bian). Alternatively, it was a day for wen ming or 'to ask names.' This was a preliminary ceremony leading to a likely engagement to be married, generally implying a comparison of the two candidates in terms of the combinations of celestial signs going with their respective birthdays. The Flower Dawn was generally regarded as an auspicious day for this.39 We can see that this festival was marked by femininity-girls were coming of age, passing into womanhood by starting using jewellery and letting their hair grow long. Female reproduction is also stressed in the arrangements for coming marriages. Also, full moon days were generally associated with femininity.\n\nTurning to Zhongxiang we find that the full moon day of the second lunary was an occasion for the flying of paper kites (feng yuan) and this custom implied some games-but we are not informed as to the rules of these. There is the possibility that these competitions were in terms of appearance and beauty.40\n\nThe flying of paper kites in southern China was not only a children's pastime, but was done in a ceremonial way in certain seasons and on specific days. In Fujian Province, around the city of Fuzhou it was an activity associated with the autumnal Chong Yang festival on the ninth day of the ninth moon. In a different context I have suggested\n\n38 古今圖書集成.1888.VI,1166:風俗考4a.\n\n39 古今圖書集成.1888.VI,1142:風俗考2a.\n\n40 Hodous 1974: 190-92; Bredon & Mitrophanow 1927: 430-35.\n\n41 Aijmer 1991.",
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    },
    {
        "id": 215317,
        "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-2001",
        "page_number": 94,
        "title": "RAS-2001",
        "content_text": "42\n\nFaure, David, 1986. The Structure of Chinese Rural Society: Lineage and Village in the Eastern New Territories, Hong Kong. Hong Kong &c: Oxford University Press.\n\nGu jin tu shu ji cheng 4 (The Complete Collection of Ancient and New Matters from Illustrations and Documents). 1885-88 (1726). Compiled by Chen Menglei and Jiang Tingxi. 3rd edition. Shanghai: Major Brothers.\n\nHODOUS, Lewis. 1974 (1929). Folkways in China. Taipei: Ch'eng Wen Publishing Company.\n\nJing Chu sui shi ji (Records of the Seasons in Jing and Chu). Complied by Zong Lin. Liang Dynasty. In Hubei yunxin yi shutt (Documents on Traditional Morals in Hubei). N.d.\n\nTUN LI-CH'EN. 1987 (1936). Annual Customs and Festivals in Peking as Recorded in the Yen-ching Sui-shih-chi. Translated and annotated by Derk Bodde. Hong Kong: Hong Kong University Press.\n\nTURBAN, HELGA. 1971. Das Ching-Ch'u sui-shih chi, ein chinesischen Festkalender. Augsburg: Dissertationsdruck W. Blasaditsch.\n\nYANG, C.K. 1961. Religion in Chinese Society: A Study of Contemporary Social Functions of Religion and Some of Their Historical Factors. Berkeley: University of California Press.\n\nYiyang xian zhi (Chronicle of the Magistracy of Yiyang). 1874. N.p.\n\nYuanjiang xian zhi (Chronicle of the Magistracy of Yuanjiang). 1807-09. N.p.",
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