[ { "id": 209701, "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-1982", "page_number": 358, "title": "RAS-1982", "content_text": "336\n\nBOOK REVIEWS\n\n(No. 92) are equally successful in giving new perspectives on the human life of Hong Kong.\n\nAll in all, this volume is recommended to anyone wishing to own a superbly produced volume of intelligently conceived and masterfully produced photographs of Hong Kong.\n\nP. H. HASE\n\nChukoku Saiki Yengeki Kenkyu (Ritual Theatres in China). By Issei Tanaka, Institute of Oriental Culture, The University of Tokyo, 1981, xvi + 926 pp, Index.\n\nThis impressive book contains the results of the author's researches during the period of ten years since he joined the Institute of Oriental Culture, University of Tokyo, in 1972. Trained as a sinologist, Prof. Tanaka started his study on ritual theatre in China from a historical viewpoint. Later his research focus shifted to field studies, particularly in Hong Kong. Between 1978 to 1981 he visited Hong Kong eight times and stayed here in total for eleven months. Most of the data presented in this volume are his field reports collected during his time in Hong Kong, and these form a mine of fascinating material which will prove to be of great value to many scholars.\n\nIn addition to presenting the field reports, however, the book analyses three aspects of ritual theatre in China. One of these is the origin of ritual theatre. Based on historical data, the author traces the process of transformation of ritual theatre from ancient times to the present. Through these studies, he points out that the original form of ritual theatre was aimed at exorcising or controlling evil forces or at celebrating beneficial forces and seeking their assistance. Theatre of this kind can still be found in Hong Kong. The ritual theatre of Hoklo and Ch'ao-chou people in Hong Kong are mostly performed for exorcising, i.e., these theatrical performances are mainly aimed at freeing orphan souls and wandering spirits. Cantonese ritual theatre, on the other hand, is of the latter type, celebrating the deities' birthdays and beseeching their blessing.\n\nThe second aspect is concerned with the social organization of ritual theatre. The author classifies Chinese local theatre,", "txt_file_path": "txt/dfo323lmgvd/RAS-1982.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/mk61z420p", "rank": 0 }, { "id": 210615, "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": 222, "title": "RAS-1985", "content_text": "203\n\n第二冊\n\n[伏以拜請\n\n+ +\n\n+\n\n]\n\nCopied from a reprint made for James Hayes by a priest who practised from a room in a housing estate in Tsuen Wan\n\n茅山來源 張法能傳 張子興書] 迎聖科 道安堂宣統貳年吉立\n\nCopied by Prof. Tanaka Issei at the Lam Tsuen ta-tsiu 1981\n\n第三册\n\n洪聖廟 宰西年 月號\n\n(洪聖廟釋氏借出之大悲懺[孔嶺村]1982年7月20日)\n\n仙巷庵\n\n蓮花經 (仙悲庵藏書)\n\n早晚課誦\n\n蓮花經 (孔嶺洪聖廟釋氏借出 一九八二年七月二十日)\n\n第四册\n\n調朝書 民國十四年抄 林道常置\n\n(林培先生藏 元宵洪朝文獻)\n\n晋今洒口神水蕩穢天尊...This is a text that the naam-mo priest 陳九先生 used in the 襬 斗 ceremony at the ta-tsiu in Lam Tsuen on 1/12/81\n\n引福堂蓮惜\n\nThis is a text that the naam-mo priest Mr. 陳九 used in the ji ceremony in the Lam Tsuen ta-tsiu on 1/ 12/81. I was told afterwards that the original belongs to Mr. 謝貴 北斗經 引福堂\n\n深圳文獻:\n\n第一册\n\n(以下各目皆為向西張子英先生藏)\n\n西溪家乘 扯年五月重修\n\n廣東城西湖街張瑞元堂鐫 張氏述善堂藏版\n\n(Mr. Cheung said this was presented to him by an American scholar, but confirmed this is their genealogy)\n\n契尼 光緒十六年\n\n稅契 民國十九年\n\n第二冊\n\n羅湖袁氏家譜 上卷 ·中華民國八年歲次乙未孟秋重鐫\n\n(Copied through kindness of Dr. James Hayes)", "txt_file_path": "txt/dfo323lmgvd/RAS-1985.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/gt54s866x", "rank": 0 }, { "id": 210749, "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-1986", "page_number": 100, "title": "RAS-1986", "content_text": "83\n\nthe right direction. At that time the Shek O men worked as seamen and their farm land was idle. The newcomers did vegetable gardening and fishing, renting farm land from Shek O people. To explain why the locals accepted the newcomers, Mr. Lau said that the local population was only some 300 at that time. The newcomers had built their houses on Crown land, which Mr. Lau said was ba-wong-dei, i.e. land which was claimed by the exertion of physical presence in force.\n\nBesides the predominately Western residents of the “villas”, there were newcomers from the cities too. One woman who started a brief conversation with me when preparing among others the final offerings to the ghosts told me that her husband who worked in an accounting firm moved to Shek O some 20 years ago in his forties because he liked the place. Among the newcomers was also a Tanka family.\n\nShek O has a temple for Tin Hau, who was the main god of the jiu celebration. According to Professor Tanaka Issei, the oldest dated object found in the temple was a bin-ngaak inscription dated the eighteenth year of Gwong-seui (1893).* Immediately to the left of the Tin Hau temple is a Residents' Association which organized an annual celebration in honour of Tin Hau. Third in the row of houses is the Man San Sports Association. I remember that the primary school is also named Man San, and at one of the shops or tea-houses near the bus stop, there was a poster announcing the results of football matches organized by the Man San Sports Association.\n\nAccording to Mr. Wong, the Shek O Residents Association takes care of local public affairs, relaying messages from the Hong Kong Government. It liaises with the South District Office and the Chai Wan district police headquarters. I saw a poster inviting entries for a South District Festival competition, with \"forms available from the Shek O Association” added in handwriting. The officers of the association also organize the annual opera performances in honour of Tin Hau. Mr. Lau saw the association as essentially a development of the village office (heung-gung-so) of pre-War times. The association has almost 2,000 members, although some of the Shek O residents do not join. Mr. Lau could", "txt_file_path": "txt/dfo323lmgvd/RAS-1986.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/jq08c7063", "rank": 0 }, { "id": 210766, "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-1986", "page_number": 117, "title": "RAS-1986", "content_text": "100\n\nCHAN WING HOI\n\nNOTES\n\nBesides \"three-day jius\", there are more elaborate “five day jiu” celebrations in the New Territories.\n\nThe annual ritual takes place typically in Chiu Chau, Wai Chau and Hoklo settlements to make offerings to uncared-for dead spirits.\n\n1 The oldest dated object in the Tin Hau Temple, which housed the main god of the festival, was about one hundred years old. I shall refer to this again later.\n\n6\n\nThere could have been more than one \"chairman\".\n\nProbably part of the golf club, or otherwise a similar establishment.\n\nTanaka Issei 田仲一成, Chugoku saishi engeki kenkyū 中国祭祀演劇研究 (Tokyo: Institute of Oriental Culture, University of Tokyo 1981) p. 891.\n\n7 The Fuk-Wai-Chiu immigrants had their own gods and their operas in the Tin Hau festival. According to Tanaka, eleven or twelve gods other than Tin Hau were sacrificed to (op. cit., pp. 891-3). One of them, the Daai Wong Paak Gung of Naam Bin Chyn, is attributed by Tanaka to the Hoklo residents. Tanaka also points out that the Fuk-Wai-Chiu members of the organizing committee were alone responsible for a special part of the festival, that is, the performance of Wai Chau and Chiu Chau operas.\n\n8 Piu-sik are usually carried on frames at a height far above that of the audience in a parade. Because of the rain during the procession this time they stood in a lorry instead.\n\nAbout half of the gods sacrificed to in the Tin Hau Festival, including the Fuk-Wai-Chiu deity mentioned above, were not found among the spirit tablets in the jiu festival.\n\n10 \"Picking green\". In this case the two lions competed in capturing a bank note hanging near the entrance to the house.\n\nGlossary\n\nChoi Paak Lai 蔡伯勵\n\nchoi-cheng 採靑\n\nDai Wong (Ye) 大王(爺)\n\nba-wong-dei 霸王地\n\nChiu Chau 潮洲\n\nbaai-chaam 拜懺\n\nBaak Mou Seung 白無常\n\nBaak-gung 伯公\n\nBak Dai 北帝\n\nBao'an 寶安\n\nbui 杯\n\nbin-ngaak 匾額\n\nChai Wan 柴灣\n\nChan Wa 陳華\n\nCheung Chau 長洲\n\nDaai Si (Wong) 大士(王)\n\ndaai-gat 大吉\n\ndiu-lau 碉樓\n\nDongguan 東莞\n\nfa-laam 花籃\n\nfa-paai 花牌\n\nFaaigou jeungdaai ...", "txt_file_path": "txt/dfo323lmgvd/RAS-1986.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/jq08c7063", "rank": 0 }, { "id": 211591, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1989", "page_number": 6, "title": "RAS-1989", "content_text": "CONTENTS\n\nPRESIDENT'S REPORT\n\nHON. TREASURER'S REPORT\n\nHON. LIBRARIAN'S REPORT\n\nARTICLES:\n\nDan Waters\n\nLIBRARIES\n\n138 1937. vii\n\nAR\n\nIn the Steps of Lu Pan: Reminiscences of Building in Hong Kong\n\nK.J.P. Lowe\n\nHong Kong, 26 January 1841: Hoisting the Flag Revisited\n\nKeith Stevens\n\nThe Jade Emperor and his Family, Yu Huang Ta Ti\n\nKeith Stevens - Fukienese Wang Yeh (Ong Ya [Hokkien])\n\nP.H. Munro-Faure\n\nThe Kiukiang Incident of 1927\n\nA.D. Blackburn\n\nHong Kong, December 1941 July 1942\n\nChan Ka-yan\n\nJoss Stick Manufacturing: A Study of a Traditional Industry in Hong Kong\n\nP.H. Hase\n\nCheung Shan Kwu Tsz, An Old Buddhist Nunnery in the New Territories and its Place in Local Society\n\nJ.H. Haan\n\nThalia and Terpsichore on The Yangtze, Survey of Foreign Theatre and Music in Shanghai 1850-1865\n\nFred Dagenais\n\nJohn Fryer's Early Years in China: I. Diary of His Voyage to Hong Kong\n\nChan Wing-hoi\n\nThe Dangs of Kam Tin and Their Jiu Festival\n\nxxi\n\nxxiii\n\n8\n\n18\n\n34\n\n61\n\n77\n\n94\n\n121\n\n158\n\n252\n\n302\n\nNOTES AND QUERIES:\n\nE. Sinn\n\nNotes on the Robert Hart Papers at the University of Hong Kong Library\n\n376\n\nP.H. Hase\n\nA Song from Sha Tau Kok on the 1911 Revolution\n\n382\n\nP.H. Hase\n\nThe Mutual Defence Alliance (Yeuk) of the New Territories\n\n384\n\nP.H. Hase - More on The Man the Emperor Decapitated\n\n388\n\nIssei Tanaka\n\nThe White Tiger\n\n389\n\nKeith Stevens - British Chinese Labour Corps Labourers Buried in England\n\n390\n\nAnthony Siu Kwok-kin\n\nThe History of Hong Kong: From A Village to A City\n\n391\n\nAnthony Siu Kwok-kin\n\nHistorical Records\n\nAnthony Siu Kwok-kin\n\nBOOK REVIEWS\n\nTai Yu Shan from Chinese\n\n394\n\nA Tung Lo Wan\n\n399\n\n400\n\nV", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211669, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1989", "page_number": 84, "title": "RAS-1989", "content_text": "59\n\ndeities are not pestilence deities. The confusion has been compounded by the Fukienese themselves when over the years they unconsciously accepted all deities bearing the honorific Wang Yeh as protectors from epidemics.\n\nNOTES\n\nThe term Wang Yeh is best translated perhaps as 'The Excellencies'. It was a title given to imperial princes or lords, and interestingly it was also a term used by robbers for their brigand chief. See Plates 9-14 for illustrations to this article.\n\n2 There has long been controversy whether the Pestilence Wang Yeh are shen (Supernatural beings, spirits or deities) or kuei (shades of the human dead and pejoratively used for ghosts, spectres and demons). One god carver in Singapore explained that Pestilence Wang Yeh are \"half-deities\", (pan shen) that is half-shen and half-kuei. However, whilst a number of Pestilence Wang Yeh have ferocious faces, the great majority are portrayed as standard deities with no indication of demonic characteristics. An elderly and authoritative Fukienese god carver in Singapore explained in hushed tones that the Pestilence Wang Yeh are neither gods nor demons, are feared but not revered, and not only protect against plague but also cause it. They are, he repeated, semi-deities from the lower echelons of the bureaucracy of the Afterworld who do not like the human world and therefore cause trouble and bring calamity and misfortune. However, if prayed to they are quite prepared to care for devotees who seek protection. For this reason, more often than not the scale of devotion and offerings to the Pestilence Wang Yeh is greater than that provided to more powerful but orthodox gods.\n\nE\n\nDoolittle J. Social Life of the Chinese 2 Vols: New York: (1865).\n\nA god carver in Singapore suggested that Pestilence Wang Yeh have been given surnames so that no particular surname group is left without a specific deity to worship.\n\nThe only time that all images can be guaranteed to be on their altar in their temple is during the temple's annual festival.\n\nThe altar of Chu Wang Yeh in a temple in Lukang, Taiwan was destroyed by a flood some fifteen years ago. Of the three Wang Yeh images in the temple at that time (Chu, Ting and Nieh) only one image, that of Chu, was recovered. Although a new temple has been built for the three but only containing one image, the one of Chu recovered from the flood, devotees have largely stopped away. They seem to have lost confidence in deities who were unable to protect themselves against disaster.\n\n7\n\n**At Cheung Chau Island in Hong Kong in the afternoon of the third day (of the chiao festival of ritual purification held every ten years) a ('paper boat') ritual to chase away the Demon of Pestilence is performed. A Taoist issues orders to a Heavenly Envoy to carry off the boat and puts the Demon of Plague on a boat and leaves it in the outer seas. The Heavenly Envoy, like the King of Ghosts (Yenlo Wang), has a fierce-looking face. It is an image of about one metre high and the boat is a small one of about one and a half metres long. A Taoist lifts the Heavenly Envoy to a stage in the matshed theatre and chants a question-and-answer song which instructs the Heavenly Envoy. Having finished that, the villagers then put the Heavenly Envoy into the boat loaded with offerings. The boat is taken to the sea shore and left on the waters.\" Tanaka Issei: \"The Jiao festival in Hong Kong and the New Territories\", The Turning of the Tide Religion in China Today: Hong Kong Branch, Royal Asiatic Society, and Oxford University Press (Hong Kong); (1989), p. 287.\n\n8 There is a K'ang Yuanshuai, ie Marshal K'ang, on several Taiwanese altars where he", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211978, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1989", "page_number": 393, "title": "RAS-1989", "content_text": "368\n\nSung, Hok-p'ang et. al. (1984), pp. 1-9.\n\n1973 \"Legends and stories of the New Territories: Kam T'in', JHKBRAS xiii, 1973, pp. 28-40.\n\n1974 \"Legends and stories of the New Territories: Kam T'in\", JHKBRAS xiv, 1974, pp. 160-185.\n\nTaga, Akigoro Tanaka, Issei\n\n1982 Chugoku Sofu no Kenkyu, vol. 2, Tokyo.\n\n1985 \n\nTsui, Bartholomew\n\nWatson, Rubie S.\n\nWolf, Arthur P. (ed.)\n\nA Chiu 亞潮(?) baai 拜 baai-san\n\nBaak Mou-Seung Ú Baak-Ging\n\nBaishe Zhuan\n\nLineage and Theatre in China. Interdependence of Festival Organization, ritual, and theatre in the lineage society of South China, Tokyo.\n\n1989 Village Festivals in China: Backgrounds of Local Theatres. Tokyo\n\nforthcoming\n\n\"Daojiao Yili ya Jishen Kiju zhijian de Guanxi”,\n\nforthcoming\n\n\"Taoist Ritual Books of the New Territories\".\n\n1985 Inequality Among Brothers: Class and Kinship in South China, Cambridge University Press.\n\n1974 Religion and Ritual in Chinese Society, Stanford.\n\nGLOSSARY\n\nchiu-gaan chiu-dou * Chiu-Yip #\n\nchu 柱\n\nChuk Yuen 竹園\n\nChung E\n\nChung Yeung 重陽\n\nChung-Saan\n\nU\n\nBak Bin 北便\n\nBak Dai 北帝\n\nbei 陂\n\nbong 榜\n\nBou-Dak Chi #AM\n\nbui\n\ncha-gwo 茶果\n\nChan Gau 陳九\n\nChan 陳\n\nchau-san\n\n+\n\nChenghua 成化\n\ncheun-ding\n\nT\n\ncheun-fu 巡撫 Cheung-Cheun Yun cheung-saam Chi-Naam Ching Ming U Ching-Lok\n\nChung-Yut Я\n\nchyun 村\n\nDaai-Si Wong ✰±\n\nDaai-Wong E\n\ndaai-yan ★A daai-yau daam\n\ndaam-jung da-jai 打仔 da-jiu 打醮 dan 躉 Dang 鄧\n\nDang Chung 鄧璁 Dao 道 da-saat\n\nDei-Jong Wong E", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 212000, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1989", "page_number": 415, "title": "RAS-1989", "content_text": "390\n\nStaging this piece has atropaic effects, cleansing the site from harmful influences or malicious spirits. Because opportunities to see \"The White Tiger\" staged are rare, it was felt worth printing a photograph (Plate 23) of the piece as staged at the Lung Yeuk Tau rat siu opera matshed in 1983.\n\nIssei TanakA\n\nBRITISH CHINESE LABOUR CORPS LABOURERS BURIED IN ENGLAND\n\nProbably the only visible reminder of an episode in Sino-British military history in Britain is the group of six graves of Chinese labourers who died during or just after the Great War. Of the two thousand or so who died in Western Europe of the nearly hundred thousand Chinese shipped to France by the British only six lie in British soil, in the Shorncliffe Military Cemetery, which is situated beside the former Shorncliffe Military Hospital above the Channel port of Folkestone. They rest far from their native Shantung and Honan provinces, with no indication as to how they died. The proximity of the former hospital suggests that they may well have succumbed from injuries, wounds or epidemic.\n\n\"China on the Western Front\", by Michael Summerskill, published by Summerskill in 1982 which describes other military cemeteries, in France, where Chinese labourers are buried, is a most interesting description of the British Chinese Labour Corps with its officer cadre consisting mainly of missionaries and sinologues.\n\nDespite each of the thousands of Chinese labourers being awarded a war medal, it is worth noting that they are exceedingly rare and a much sought after collectors' item. It would be interesting to know where they all went.\n\nThe illustrations (Plates 24 and 25) are of Shorncliffe Military cemetery with the English Channel and Romney Marsh in the background; and of one of the six gravestones, all of which are well cared for in a tranquil spot under shady trees.\n\nKEITH STEVENS", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 212120, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1990", "page_number": 62, "title": "RAS-1990", "content_text": "39\n\nKat Hing Wai and Wing Lung Wai terminated their own independent Jiao but continue to participate actively in the Jiao of the whole Kam Tin community. Still others, like Tai Wai and Tin Sam, celebrate their own Jiao festivals on the one hand but also participate as members in the Jiao celebrated by the Sha Tin Kau Yeuk (Sha Tin Village alliance). Reasons such as the Japanese occupation or economic recession given by villagers themselves cannot explain the diversities found in the New Territories. All villages experienced the Japanese occupation. With regard to economic constraints, a community like Ping Shan, though as prosperous and powerful as Kam Tin and Ha Tsuen, stopped the celebration for some unknown reason. Therefore, the continuity or discontinuity of the Jiao festival depends on the effectiveness of the festival's communal structure and organization. In Lam Tsuen, the Jiao festival is a means to reconfirm the roles of its alliances (the Luk Hap Tong [Lui He Tang] “Hall of the Six [Sc. Village Clusters] United\"). In Kam Tin and other single lineage communities, the Jiao plays an essential role in re-establishing the structure of the segmented lineage as well as in re-confirming membership in the branches. The question of whether Jiao festivals will survive after the 1997 take-over is in fact a question of whether or not there is a need to preserve such a tradition in the community.\n\nNOTES\n\nLiu Zhi-wan, \"Taiwan Taibeixian Zhonghexiang Jianjiao Jidian\" Bulletin of the Institute of Ethnology, Academia Sinica 33 (1972): 135-64.\n\nTanaka, Issei, Chugoku Kyoshon Saishi Kenkyu: Chihogeki no Kankyo [Village Festival in China: Background of Local Theatres] (Tokyo: Tokyo Univ. Press, 1989), 799. Some fishing villages in Hong Kong like Kau Lau Wan, Tap Mun and Kat O name their Jiao festivals \"An Long Qing Jiao\" meaning the Jiao celebrated to pacify the earth dragon.\n\nTanaka claimed that originally \"Qi An Jiao\" was celebrated only when there was need to pray for peace (Ibid., 799). However, evidence in Hong Kong, at least, shows that the festival is celebrated in a regular cycle. The shortest cycle is the Jiao of Cheung Chau where it is celebrated yearly. The longest is Sheung Shui and Shuen Wan where the Jiao is said to be celebrated once every 60 years. In some fishing villages in the New Territories, it is celebrated once every two or seven years. A five-year cycle is also practised in some agrarian communities like Tai Hang. However, a ten year cycle is the most popular in agrarian communities. Nonetheless, the method of counting also differs from one community to another. For instance, Lam Tsuen claims to celebrate the Jiao once every ten years but they actually celebrate it once in nine years. Their Jiao festival was celebrated in the following years: 1963, 1972, 1981, 1990.\n\nMr. Cheung Chi-fan (Zhang Zhi-fan), JP, and Mr. Chung Chi-leung (Zhong Ji-liang), interviewed by author, Lam Tsuen, Dec. 1, 1990. According to Dean, about 80,000 Chinese yuan was spent on the Jiao in a village in Zhangzhou, Fujian in 1986. See", "txt_file_path": "txt/dfo323lmgvd/RAS-1990.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/d79206299", "rank": 0 }, { "id": 212123, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1990", "page_number": 65, "title": "RAS-1990", "content_text": "42\n\ndisasters. the second is for those who died because of plague. The final reason is to thank the benevolent governors Wang Lai-ren and Zhou You-de of the beginning of the Qing dynasty. In my opinion, all these reasons can be integrated into the first one.\n\n(d) Chan Wing-hoi \"The Tangs of Kam Tin and their Jiu festival\", Journal of the Hong Kong Branch of the Royal Asiatic Society, Vol. 29 (1989) 302-375, a rich and detailed account of the lineage, its temples and villages, and the festival which draws them together.\n\nDr. Faure gradually switched his interest to the Pearl River Delta while Prof. Tanaka, as I was told, is now looking at Sichuan province. Talk on publishing a book on Hong Kong Jiao festivals has been going on for years by members of the \"Research Circle of the Regional Society of Southern China''. In 1990, the editorial board of the society set up a schedule to compile a book focusing on the Jiao festival. It is expected that papers on various aspects will be completed by the end of April 1991. (Correspondence from the society dated 28.12.1990)\n\nSchipper, Kristofer M., \"The Written Memorial in Taoist Ceremonies\" in Wolf, Arthur P. (ed.) Religion and Ritual in Chinese Society (Stanford: Stanford University Press, 1974), 324,\n\nFor example, according to Chan Wing-hoi, villagers of Shek O celebrated their 16th Jiao in 1986 (Chan, 78). The Dengs in Kam Tin claimed to have celebrated their Jiao since 1684 (Tanaka, 918).\n\nSee for instance Basel Mission Archives, doct. Al-6, No. 51 (1869), and doct. Al-7, No. 51 (1870) and Der Evangelische Heidenbote, July 1867, in which a missionary describes how he was forced to go to the Magistrate to get his support before he could avoid having to pay his share of the Jiao expenses. All these cases are from Hsin An County. The Sha Tin poem will, it is hoped, shortly be published by Dr. P.H. Hase.\n\nThese two series are part of the 15 series of historical documents collected by Dr. D. Faure and others in the New Territories. Copies of the collections are kept in the libraries of CUHK, Hong Kong University, Sha Tin Regional Council Library, and Institute of Oriental Culture, Tokyo University.\n\n31\n\nTanaka Chugoku no Sozoku to Engeki [Lineage and Theatre in China] (Tokyo Univ. Press 1985), 608. Jiao festivals celebrated by the powerful communities in Hong Kong like Kam Tin, Ha Tsuen, Lung Yeuk Tau etc., were all performed by the Zhengyi Taoist group, led first by the late Master Lin Pei and now by Master Chan Kau. Another Zhengyi Taoist group is led by Master Chan Wah. However, many Taoist priests work for both groups. There are also other Taoist groups who performed for the Jiao festivals, like a Cantonese group which performed for Ho Chung and a Heklo group for Cheung Chau. In 1983, four out of five Jiao festivals were performed by monastery Taoists. It is not clear whether it was because of tradition or out of economic reasons. A comparison of the two Taoist groups has yet to be made.\n\n14 Choi Chi-cheung **Sho matsuri no jinmei risuto ni mirareru shinzoku ban'i” [Kinship as seen in the name lists of Jiao festival] Bunka Jinnú Gaku 5 (1988): 131, table L. 35 **Shinshi men\" [Section of Believers] in Fanling Wenxian (Historical Literature of Fanling) vol. 8. This brief account records details of the arrangement of the Jiao area, including the contents of couplets, names of deities invited, location and direction of matshed stages, and the sacrifices prepared etc.. See n. 32 for the depositories of Fanling Wenxian.\n\n36 See (1972) Lin Chuan [Lam Tsuen] Xiang Taiping Qingjiao huiyi jilubu in Dapu [Tai Po] Wenzian [Historical Literature of Tai Po] vol. 1. (see n. 32 for depositories)\n\n37 Tanaka Issei's three books, all published by the Tokyo Univ. Press are: Chugoku Saishi Engeki Kenkyu [Ritual Theatres in China] (1981), Chugoku no Sozoku to Engeki [Lineage and Theatre in China) (1985), and Chugoku Kyoson Saishi Kenkyu: Chihogeki", "txt_file_path": "txt/dfo323lmgvd/RAS-1990.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/d79206299", "rank": 0 }, { "id": 212257, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1990", "page_number": 199, "title": "RAS-1990", "content_text": "176\n\n8.\n\ntwo actors resume their normal human identity at the conclusion of the ritual before they can step into the backstage.\n\nAt this moment, troupe members who stay onstage cry out loudly to signal the removal of the taboo which prohibits the opening of mouths. Joss papers are then burned as offerings to the spirits and deities. The whole White Tiger ritual lasts approximately from about three to five minutes.\n\nConclusion\n\nAs pointed out by both Tanaka Issei and Barbara E. Ward, there is an inseparable relationship between Chinese opera and religious rituals. The Offering to the White Tiger aptly illustrates how the performing conventions of Chinese opera are incorporated into the staging of an exorcistic act. On the other hand, as many scholars believe that Chinese opera grew out of religious roots, we might also say that the former adopted the conventions of the latter for dramatic expression.\n\nWhat is discussed in the present article relates to the White Tiger ritual and describes only some of the taboos and religious practices which are preserved in the tradition of Cantonese opera. As the present writer has pointed out in his other articles, other taboos and religious practices require troupe members to pay respect to the local deities upon their arrival at the place where they are hired to perform. Troupe members should also offer incense to the shrines of the profession's patron deities backstage, and place joss sticks at the edge of the frontstage to appease the spirits, ghosts and deities which will then protect them from falling off the stage. On the second day of the performance series, before the evening's play starts, joss papers should be burnt, as an offering to troupe members who have died. Moreover, as in many other Chinese regional operatic genres, whenever a troupe first arrives at a performing hall, even if it does not contain a \"new stage,\" the principal comic role actor has to write the Chinese characters dai ger (big fortune) on the wooden or bamboo pillar closest to the Tiger Gate at stage right, with a brush and using a type of red pigment made from a combination of oil and cinnabar, before the other actors can start their make-up. Such a ritual is known as hoi ber (to open a brush'').\n\nA traditional taboo prescribes that the strokes in the radicle hau ...", "txt_file_path": "txt/dfo323lmgvd/RAS-1990.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/d79206299", "rank": 0 }, { "id": 213855, "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": 207, "title": "RAS-1996", "content_text": "180\n\nThe\n\nIssei, \"The Jiao Festival in Hong Kong and the New Territories,\" in Julian F. Pas, ed., Turning of the Tides: Religion in China Today (Hong Kong: Oxford University Press, 1989), pp. 271-298\n\nInterviews: K'ung Chao-hsiang (age 79), Lung Tseng Tau, Jul 6, 1991; Hsieh Ch'i, op. cit.\n\nInterview of Mo Shu-ling (age 65), Mok Ka, Jun 29, 1991\n\nInterview of Lo Ch'uan, op. cit., Jul 8, 1991\n\n[hid]\n\n\"Ho, op. cit.; while some villagers did not remember the role of the Houwang in the rituals, an old man, who had witnessed the festival three times, indicated that the Houwang idol would be \"invited\" from the temple and enshrined on an altar set up for the ceremony (Interview of Lo Ch'uan, op. cit., Chap Mun Tau, Jun 22, 1991)\n\n\"Tanaka, op. cit., pp. 273-274\n\n*Faure, 1986, op. cit., p. 84\n\n14\n\nJames Hayes, The Rural Communities of Hong Kong: Studies and Themes (Hong Kong: Oxford University Press, 1983), pp. 159-160\n\n\"Ho, op. cit., p. 6\n\n16\n\nInterviews: Cheng P'o, op. cit.; K'ung Chao-hsiang, op. cit.\n\n\"Interviews: Cheng Man-hung, op. cit.; the Tung Chung Public School, Jul 1991; Tseng Kuan-hsing (age 60+), Upper Ling Pei, Jul 12, 1991\n\n*Interview of K'ung Chao-hsiang, op. cit.\n\n14\n\nJCH\n\nIbid.; Interviews: \"Uncle Li\", op. cit.; Cheng Man-hung, op. cit.; the Tung Chung Rural Committee, Aug 12, 1991\n\nInterview of Feng Po (age 65), Ma Wan Chung, Jun 16, 1991\n\nBrum, op. cit.\n\n*James Hayes, \"Chinese Temples in the Local Setting,\" in Some Traditional Chinese Ideas and Conceptions in Hong Kong Social Life Today, Week-end symposium, Oct 2, 1966, the Hong Kong Branch of the Royal Asiatic Society, p. 92\n\n\"Faure, 1981, op. cit., p. 76\n\n**\"Ch'ung-hsiu Houwang-miao pei-chih,\" IV, 1910, collected in K'o Ta-wen, Lu Hung-chi, & Wu Lun Ni-hsia, comp., Hsiang-kang...", "txt_file_path": "txt/dfo323lmgvd/RAS-1996.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/3n209j641", "rank": 0 } ]