[
    {
        "id": 204319,
        "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-1961",
        "page_number": 87,
        "title": "RAS-1961",
        "content_text": "Journal of the Royal Asiatic Society Hong Kong Branch\n\nRASHKB and author\n\nVol. 1 (1961)\n\nISSN 1991-7295\n\n83\n\ncolour, and as No-cha stirred it up in the stream heaven and earth were shaken and the river trembled. This river was called Chiu-wan Ho (Nine-bend River) and was situated at the mouth of the Eastern Sea. Ao Kuang (#), the dragon-king of the Eastern Sea, surprised at this unexpected earthquake, ordered his inspector-yaksha, Li Kên (R), to go at once and find out the cause. When the yaksha reached the river he saw that the river was red and a child was bathing there, dipping his red silk gauze in the water. He cleft the water asunder and shouted angrily: \"What prompts you, little child, to make the river red and the crystal palace shake?\" No-cha turned back and saw a monster coming out of the water, a monster whose face was as blue as indigo, whose hair was as red as cinnabar, whose mouth was big with long projecting teeth and who had in his hand a halberd. No-cha scolded, \"You monster, how can you speak like a human being?\" The yaksha was exasperated and said, “I am an appointed officer. How dare you insult me?\" He jumped up to the bank and brandished his halberd towards No-cha. No-cha was naked and could only jump aside. Then he took off the bracelet from his right arm and hurled it in the air. This bracelet was a precious weapon bestowed on the Immortal T'ai-I by the Patriarch Yüan-shih T’ien-tsun of the Jade Palace of Abstraction to protect the Chin-kuang Cave where T'ai-I dwelt. It fell upon the head of the yaksha and his brains spilled on the ground. No-cha ignored his corpse but smiled and said, \"He has stained my precious weapon!\" He sat himself again on the rock, smiling and washing the bracelet. The crystal palace was shaken again and even more violently. When Ao Kuang was vexed the soldiers came back to report, “Yaksha Li Kên was killed by a child on the bank.\" The dragon-king was frightened, \"Li Kên was appointed by the Jade Emperor; who dared to murder him?” Saying this he summoned his men, intending to go himself. No sooner had the dragon-king finished his words than Ao Ping (F), his third son, requested permission to go for the father. So, Ao Ping, at the head of a troop of sea-warriors, mounted his water-cleaving monster, and with his trident in his hand, left the palace. The form of the breaking waves was so furious that the river seemed to rise several feet. No-cha stood up and marvelled, \"This is a flood!\"... (Ch.12)\n\nIn Ch.48 of the prompt-book Tung-yu-chi (\"The Eight Saints or The Voyage to the East\") when the Eight Immortals were crossing the Eastern Sea, Lü Tung-pin (SM) initiated an idea, \"During our crossing would it not be fine for each of us to throw one precious thing into the sea so that our divine power may be revealed?\" Therefore, \"When the dragon-king of the Eastern Sea was holding a meeting in his crystal palace, he",
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    {
        "id": 204320,
        "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": 88,
        "title": "RAS-1961",
        "content_text": "Journal of the Royal Asiatic Society Hong Kong Branch\n\nRASHKB and author\n\n84\n\nVol 1 (1961)\n\nISSN 1991-7295\n\nsaw a dazzling light penetrating into his palace making the walls transparent. He dispatched his son, Prince Mo Chieh (E), with a group of mariners to go around in the sea to investigate.”\n\n26\n\nThis Mo Chich, probably a re-incarnation of Bimbisara, who was a king of Magadha () converted by Sakyamuni and who died and was re-incarnated as a son of Vaisravana, has been changed into Ao Ping in the above quotation from the Fêng-shên Yen-i, and has lost his original Buddhist flavour. Comparing this short paragraph from the Tung-yu-chi with the composition and description of the corresponding paragraphs in the Fêng-shên, we can see the artistic superiority of the latter.\n\nThe combat between No-cha and Ao Ping, the third son of the dragon-king, has a tragic end. No-cha put his foot on Ao Ping's neck and struck the latter's forehead with his bracelet, thus killing him. No-cha pulled out the sinews of the little dragon and went back, saying he would make a good belt of it for his father to fasten his cuirass on. The dragon-king, hearing of the death of his son, went to see Li Ching, and put the latter in a very embarrassing position. Li Ching, being ignorant of his son's prodigious feats, denied his guilt. But No-cha came out and apologized for what he had done, and told the dragon-king that his son's sinews were intact. The dragon-king was exasperated and told Li Ching that he would lodge a complaint at the court of the Jade Emperor against father and son. The story continues:\n\nAfter No-cha had calmed his parents he went to the Chin-kuang Cave and told his master, the Taoist Immortal T’ai-I, of his adventure. The master ordered him to unfasten his coat, drew spells on his bosom, and told him what to do the next morning. \"After that,\" the master said, \"you may go back to Ch'en-t'ang Pass. If anything unusual happens, you must tell your parents that I shall be responsible for your misdeeds.” The next morning No-cha reached the Pao-tê Gate (F),27 the gate of heaven. After a while he saw the dragon-king approaching wearing his celestial robes, but because of the magic spells on No-cha's bosom, the dragon-king could not see him. No-cha was so angry that he strode forward from behind and dealt the dragon-king with his bracelet such a heavy blow that immediately he fell to the ground. (Ch.12)\n\n•\n\n26 No. 9, Fu-shuo Jên-hsien Ching (MA), The Tripitaka in Chinese,\n\n27 Ch. 39, Hsi-yo-chi of the \"Four Travels\", the Pao-tê Kuan (OH) is the Gate in heaven where Li Ching dwells.",
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    {
        "id": 204321,
        "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": 89,
        "title": "RAS-1961",
        "content_text": "Vol. 1 (1961).\n\nJournal of the Royal Asiatic Society Hong Kong Branch\n\nRASHKB and author\n\nISSN 1991-7295\n\n85\n\nNo-cha then partially pulled off the celestial robe of the dragon-king and revealed the scales under his left ribs. He tore off some forty or fifty of the dragon-scales and the dragon-king was wounded and suffered a violent pain. He begged his assailant to spare his life. No-cha said, “If you want me to spare your life you must give up your law-suit against me before the Jade Emperor, and follow me back to Ch'ên-t'ang Pass.\" The dragon-king could not free himself and yielded to No-cha. Transforming himself into the shape of a small black snake, he hid in No-cha's sleeve and they descended from heaven. (Ch.13)\n\nSome references can be cited here for comparison and we can see how clever the author was in composing his ingenious and complicated plot which surpasses all the materials he made use of.\n\nIn the prompt-book Ch'in Ping Liu-kuo P'ing-hua (\"The Annexation of the Six States by the Emperor of Ch’in”), chüan 2, there is a sentence, \"to fasten the cuirass he should use the sinews of the old dragon.\" In the Ta-T’ang San-tsang Ch’ü-ching Shih-hua (\"Tripitaka's Search for Buddhist Sutras\"), chuan 2, (7), the Monkey-monk (Hou Hsing-chê) pulled out the sinews from a dragon with nine heads for a belt to hold the cuirass.\n\nAccording to the Min Shu (M), there was a Taoist priest named Yu Chên-chai (2) living in the epoch of Hung Wu, who was called upon by an old woman:\n\nShe was a female-dragon... and was to be struck to death by lightning on account of her failure in regulating the rains. She begged him to save her life. Yü said, “Can you transform yourself to a small shape so that I may hide you in my alms-bowl?\" The dragon followed his advice and transformed herself into a snake wriggling into the bowl.\n\nThe story of No-cha goes on as follows:\n\nOne day as the weather was excessively hot, he felt restless and annoyed, and ascended the tower over the city-gate. On the weapon-stands he found a wonderful bow called ch'ien-k'un kung (the cosmic bow) and three arrows called chên-t'ien chien (heaven-shaking arrows) which he appreciated very much, and did not know that they were left by the Yellow Emperor and since then no one had been strong enough to use them. He was so glad of this discovery and he seized the bow and shot an arrow toward the south-west. With a startling sound the sky was covered with red mist and auspicious clouds floated around. (Ch.13)\n\nIn chuan 13, in the chapter of the \"Competition in Martial Exercises for the Hand of Yasodhara\" of Abhiniskramana-sutra (DATE · #), we have the following paragraph:",
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    {
        "id": 204323,
        "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": 91,
        "title": "RAS-1961",
        "content_text": "Journal of the Royal Asiatic Society Hong Kong Branch\n\nRASHKB and author\n\nVol. 1 (1961)\n\nISSN 1991-7295\n\n87\n\nended in a fierce hand-to-hand conflict. At last T'ai-I hurled his powerful weapon, a lamp-shade of nine fire-dragons, into the air, which fell on the goddess and rendered her senseless. T'ai-I clapped his hands and immediately a flame rose up in the shade, and she died in the roaring blaze. The dragon-kings of the Four Seas now got a warrant from the Jade Emperor to arrest No-cha's parents. No-cha, with secret instructions from his master T'ai-I, rushed back to Ch'ên-t’ang Pass. When he saw the dragon-kings, he shouted in a terrific voice:\n\n\"It was I who killed Li Kên and Ao Ping and I should forfeit my life. How can you molest my parents?\" After this, he spoke to Ao Kuang, \"I am not to be slighted. I am an avatar of Ling-chu Tzu, the Intelligent Pearl. By the command of Yüan-shih I have descended to this world to fight for the establishment of the coming dynasty. I am determined to rip open my stomach, pluck out my intestines and pick out the bones, to return to my parents what I got from them. Are you satisfied with that?\" To this Ao Kuang agreed, and No-cha did as he had just said: he fell down to the ground and his souls dispersed. His corpse was put into a coffin and was ordered by his mother to be buried. (Ch.13)\n\nWe learn from the commentaries and the expository notes of the Ch'an school (or in Japanese Zen) of Chinese Buddhism that there are many historical and hereditary \"cases\" (Kung-an or in Japanese koan) handed down from generation to generation by the learned priests of this school of contemplation as material for their followers to study and to reflect upon. Most of these \"cases\" are metaphysical and to some extent mystical, and as cultivation in meditation involves some experiences which are not subject to communion between the learner and the Patriarch or the predecessors, it has relation with Tantrism.29 The story related in the Fêng-shên about No-cha (Nata) quoted above is one of the cases which appear in chüan 2 of the Wu-têng Hui-yüan (EK), a work written by Monk P'u-chi (#) of the Sung dynasty, and is retold in chüan 2 of the Chih-yüeh Lu (f), edited by Ch'ü Ju-chi (W) of the Ming dynasty. It runs as follows:\n\nPrince Nata, rending himself asunder, gave his flesh back to his mother and his bones to his father, and then manifesting\n\n20 Nan Huai-chin (RM), Ch'an-hai Li-ts'ê (THU), Ch. 15, \"Ch'an School and Tantrism\" (RANER), pp. 205-211, Ching Ming Hsüeh Shê (W204), Taipei, 1955. cf. Daisetz Teitaro Suzuki ( Kil), Essays in Zen Buddhism, Second Series, p. 94, London, Luzac, 1933.",
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    {
        "id": 204427,
        "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-1962",
        "page_number": 59,
        "title": "RAS-1962",
        "content_text": "50 \n\nT. Y. LI \n\nThe seal originated from jade tablets used by the Emperor and members of his Court in religious rituals. Later, seals were used to seal articles in the same way as we use sealing-wax nowadays. The only difference is that in those days, a ball of clay was used to receive the impression made by a seal. Writings on slips of wood or bamboo were bundled and sealed. Valuables were placed in a sack which was tied by string and again sealed in the same way. Naturally, these seals had to be small. Paper or silk for writing was not in popular use until long after the Han period (206 B.C.-221 A.D.), and it was then that vermilion ink was first used for seals. This practice has continued to the present day. \n\nThe Ancient Seals. \n\nThe so-called ancient seals were discovered at a much later period. They were thought to belong to the Chou Dynasty (1122-221 B.C.), or possibly earlier, but there is a lack of historical evidence to support it. The form of this class of seal is most variable. The size ranges from a fraction of an inch to a few inches square. The shape is mostly square, but many odd and strange shapes are also found. The engraving may be intaglio or relief. Many characters are difficult to decipher. The matrix was of bronze, though a few were of jade. The decorations are simple but elegant. They are the \"platform\" or \"nose\" type with an \"eye\" or \"hole\" provided for a cord to go through it. \n\nSubsequently, in the late Chou or Warring States Period (481-221 B.C.), a type known as Small Seals is found. The size is usually about one inch square. The shape may be oblong, oval, or round. The style of engraving is either intaglio or relief. Many characters are difficult to read because during the Warring States Period, each feudal state developed their own writing, and these were afterwards prohibited by the Emperor of the Chin Dynasty (221-206 B.C.). Hence, they became obsolete. However, their style is delicate, graceful, and well-balanced. They are all made of bronze with simple decoration, as in the ancient seals. \n\nAfter the First Emperor of the Chin Dynasty united the feudal states (221-206 B.C.), China was once more under one Government. Great reforms were carried out in many things, among which was the standardization of Chinese characters. A form known",
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    {
        "id": 204430,
        "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-1962",
        "page_number": 62,
        "title": "RAS-1962",
        "content_text": "CHINESE SEALS\n\n51\n\nas Small Seal was proclaimed by the Government in place of the previous existing irregular characters which were known as Big Seal characters 大篆 or ch'ou wen 籀文,\n\nIt was during the Chin Dynasty that the term sist 鉥 was restricted to mean the Emperor's seal and official or personal seals were known as yin 印. The Chin seals are usually cut in intaglio, with cross or vertical dividing lines and a line at the margin. The size is about 1 inch square and the shape is usually square. The personal seals were more or less of the same style as the later Chou type.\n\nThe Royal Seal was said to be made of jade with eight Chinese characters cut in relief ****, with dragons carved on it as decoration. Official and personal seals were made of bronze with simple decoration.\n\nThe Han Dynasty (206 B.C.-221 A.D.) followed the short-lived Chin (221-206 B.C.). This was the golden age of seal making. During the Han Dynasty, a form of calligraphy was specially proclaimed for seal making. This is a cross between the small seal character of the Chin and the later Li 隸 character. It is regular, simple and upright, most suitable for seal making. The different types of Han seals 印 were most numerous, the chief of which were the official seals, personal seals and miscellaneous seals. The engraving may be in intaglio, relief or both in the same seal. Han seals exist to the present day in abundant numbers and their style is studied and copied up to this moment.\n\nThe decoration on Han seals was more elaborately made in that different ranks of officials possessed seals of different decoration; such as camel, horse, tortoise, tiger, leopard, bear, sheep, rabbit, lizard and etc. Even the colour of the cord signified different ranks. Personal seals might have decorations such as a tortoise or other animals.\n\nAs for the matrix of the seal, records show that Han seals were made from gold, silver, bronze or jade according to the rank of the official. Royal seals were made from jade. Personal seals might be made from precious stone, precious metal, bronze or gilt bronze. Ivory or horn of rhinoceros were also used.\n\nAfter the Han Dynasty, the art of seal making suffered a great set-back during the Sui (600 A.D.), T'ang (618-907 A.D.),",
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    {
        "id": 206631,
        "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": 179,
        "title": "RAS-1972",
        "content_text": "THREE CHINESE DEITIES\n\n173\n\nborn a lump of formless flesh which so horrified his father, King Chou, that he ordered it to be abandoned outside the city walls. The lump was recognised as an Immortal, the caul split open and the child removed. He was cared for by a hermit and brought up and nursed by one of the eight Immortals, Ho Hsien Ku († plikt). When he came of age, Ho revealed to him his identity and that his mother, as punishment for bearing such a \"monster\", had been thrown from a high window. Yin then determined to destroy the Imperial concubine who was the Royal favourite and by her calumnies had caused both the death of his mother and his ejection from the city. Yin was presented with two magic weapons by the Goddess T'ien Fei (Ait), a gold club and battleaxe. After the big battle between the forces of Shang and Chou, Yin destroyed the Imperial concubine and was rewarded by the Jade Emperor for his bravery and for his filial piety with the titles of T'ai Sui and Marshal Yin (†). Yin Ch'iao means \"Yin (who was deserted in) the suburbs\". His child's name, so Doré records, whilst living with Ho Hsien Ku was Chin No Cha (4). This adds further confusion to the legends surrounding No Cha, another deity and one who appears with great frequency in Chinese legends and fairy tales.\n\nAnother of the legends in The Deification of the Gods tells of Yin Ch'iao first on the side of his father, the wicked King Chou, and then later, switching sides, and fighting with the good King Wu. Yin Ch'iao was decapitated by a general during the battle after being enclosed by the Buddha Jan Teng () between two mountains leaving only his head protruding. He was deified by Chiang Tze Ya (†††), as described in the 99th chapter of The Deification of the Gods during the general elevation of the gods and also given the presidency of the Ministry of Time. In another novel of the same era as the Deification, the Sou Shen Chi (†††2) the Jade Emperor (11) conferred on Yin the title of T'ai Sui, Marshal Yin (★★K) for his services in combating evil.\n\nYet another story describes a jealous rival of Yin Ch'iao's mother who, as a concubine to the King, caused him to order the execution of Yin Ch'iao, his son, for plotting treason. He was saved by the magic of Ch'ih Tsing Tze (T).\n\n2 Record of Research into the Gods (part of the T'ao Tsang).",
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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",
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        "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).",
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    },
    {
        "id": 206643,
        "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": 191,
        "title": "RAS-1972",
        "content_text": "THREE CHINESE DEITIES\n\n185\n\nthe newly dead. Mara has a cleft head, ear-pressing tufts and protruding eyes. His skirt can be made of leaves and on occasions he has a staff in his right hand.\n\nTHE CULT OF FA CHU KUNG\n\nBackground\n\nThe localised cult of Fa Chu Kung appears to have originated in the areas of An Chi and Ying Ch'uen in Fukien Province and has been carried by emigrants to their new homes in Taiwan and South East Asia. Fa Chu Kung is renowned amongst his devotees for his ability to cure any illness, and is believed to be capable of such potent magic that many Chinese are fearful even to mention his name. In addition it is claimed in some areas that he is able to cause and stop rain at will, and in one Cantonese temple in Kuala Lumpur he is specifically prayed to for confirmation that a marriage in process of being arranged will be successful. A Fukienese temple keeper in Singapore, who was not too fearful to discuss the deity, confided that Fa Chu Kung is the powerful leader of a large group of gods which includes the Northern Emperor Hsuan Tien Ta Ti and has very many disciples. He also claimed that Fa Chu Kung is able to transform himself into anyone or anything and that Chinese spirit mediums can only approach other gods through Fa Chu Kung. Therefore Fa Chu Kung's goodwill and agreement are always necessary before any petition or prayers may be offered to any god apart from the supreme deity, the Jade Emperor.\n\nRecognition Features\n\nFa Chu Kung is more often to be found as a minor deity on an altar dedicated to another god rather than the main deity on an altar or of a temple. His image is very easy to recognise. The basic recognition features are his shiny black face and body, his unkempt hair and slightly protruding eyes; his unsheathed sword is held at the ready in his right hand and a red snake curls round his neck and shoulders and over his left arm. His black feet are bare and are resting on fire wheels, and finally his left hand is making a magical sign. This is made by his whole left hand stretched forward at waist level and pointing vertically with his index and little finger; his thumb and the other two fingers are pressed to the palm. The whole hand is twisted to face the right. Most images have all these",
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    {
        "id": 206847,
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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-1973",
        "page_number": 124,
        "title": "RAS-1973",
        "content_text": "118\n\nSUNG HOK-P'ANG\n\n() as they were called, with themselves ruling almost independently of the Emperor. When the Five Dynasties ended, and the Sung dynasty began, the emperor Sung T'aai Tso (in), in the 3rd year of Kin Loong (1) A.D. 962 made an attempt to unite China and break the power of the generals. He sent certain able and trustworthy men from his own court at the capital, to be responsible for the different districts. They were appointed for three years only, and were called Ling (†). A year later, in the 1st year of K'in Tak () A.D. 963 more civil officers were appointed to take charge of the “Chau” (#) which in the Sung dynasty were as large as provinces although later on they became as small as districts. These officers were called Chau Sui (H}}) or T'ung P'oon (*), and had full power to control the military administration and civil administration of their own Chau. Such officers were under, and reported directly to the capital, and were independent of the generals of the feudatory states, and on an equal footing with them. Thus the generals were gradually deprived of their power, and little by little their armies were taken from them until they were no longer a menace to the crown. It will be seen then, that Tang Foo was a man of considerable importance in his time, having been firstly a \"Ling\" of a district, and then a “Sui” of Naam Hung Chau.\n\n[2]\n\nKwai Kok Shaan where Tang Foo built his school is one of the five famous hills of San On, and is mentioned in the book of \"To Shue Chaap Shing\". The name was originally Kwai Kok (±✩), Kwai meaning sceptre made of jade; but later it was changed to Kwai Kok (⇓), being the Chinese name for olea fragrans, a flower that is considered to be very lucky. There is an old saying, Shim Kung Chit Kwai (#), \"eager to break a branch of the Kwai from the Palace in the Moon.\" Shim Kung means Toad's Palace. According to an old Chinese legend the moon was inhabited by a toad, who was originally Sheung Ngoh () the wife of a feudal prince and famous archer named Ngai (#) who lived in the time of the Emperor Yiu (4) B.C. 2357. Ten suns are said to have been in the sky at that time, and the heat was so great that all the grass was burnt up. The emperor commanded Ngai to shoot the suns down which he did, and as each sun was inhabited by a large",
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    {
        "id": 206852,
        "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": 129,
        "title": "RAS-1973",
        "content_text": "LEGENDS & STORIES OF THE NEW TERRITORIES: KAM TIN\n\nthe Emperor Sung Kwong Tsung (***). After her death her eldest son Lam (†) took a letter that she left behind to Sung Kwong Tsung, who ordered that honours should be paid to the dead princess, the name of Wong Kwu bestowed on her, and a thousand Chinese acres of cultivated land given to Lam, the income from which to be spent on her grave for customary rites and worship. The To Shue Tsaap Shing which was written in the 4th year of Yung Ching (£) of Ts'ing dynasty, A.D. 1726, mentions the fields as being still used for this purpose.\n\nThe princess was very famous for her humility. When she first came to Kam T'in she willingly helped to do the servants' work in the house, and showed no pride in her high birth. There are two sentences referring to her in a poem written by the poet Kan Sz Leung (MA) which run:—\n\n1. 金枝玉葉無人偶,\n\n2. 凄絕農家執箕帚。\n\nwhich roughly translated read:\n\n1. Gold branch jade leaves no one dare to make a pair with.\n\n2. Sad utmost farmer family hold dustpan and broom.\n\nWhen the princess became very old a site for her grave was chosen by a famous \"fung shui\" man named Lai Paak Shiu (16 #). He selected a hill called Sz Tsz Shaan (#) in Shek Tseng (#) near Shek Lung, which was supposed to resemble a lion, but he first asked her if she would prefer to be buried on the lion's head or its tail. She asked what difference it would make, and she was told that if her grave was on the head her descendants would be very great men; but if on the tail they would be more humble people, perhaps officers of low degree, and, although prosperous, none would succeed to high rank. The princess at once said, “I do not want my descendants to become great. They could never be as high as an Emperor's daughter, and yet even I was in danger of my life. I wish them to enjoy the red rice and the shiny scale fish (the unhusked rice and herrings, farmers' food). If they have that they should be content.\" So she was buried on the lion's tail, and two more sentences were written about her,\n\n1. 紅米之飯錦鰍魚,\n\n2. 田家風味甘有餘。",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1973.txt",
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    },
    {
        "id": 206875,
        "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": 152,
        "title": "RAS-1973",
        "content_text": "146\n\nNOTES AND QUERIES\n\nIt is not surprising therefore to encounter an image of Hai Jui on an altar. One such image is in the nunnery on the Pasir Panjang coast road in Singapore in which most of the nuns are of Ch'aochow origin. He is prayed to for strength of purpose and for his ability to obtain support from the Spirit World without demanding a fee or putting the devotee under an obligation.\n\nIn the nunnery, which incidentally contains a mixture of Buddhist and T'aoist folk religion images, is a seated, whey-faced image of Hai Jui, holding a sceptre in his right hand. He is wearing Mandarin robes, a scholar's hat and has a long black beard. He has two anonymous assistants, one on either side of him. The one standing on his left is carrying his official seal wrapped in a red cloth, whilst the one on his right bears his sheathed sword (photograph at Plate XI). The nuns referred to the image as the Duke Hai Jui (##2). He was known to be a good spirit (††).\n\nColonel Burkhardt in his Chinese Creeds and Customs recounts how, during the Ming Dynasty, the Eastern Dragon King who in cooperation with the Northern Dragon King controlled rainfall, was dismissed for dereliction of duty. The Jade Emperor (1) the Supreme Being both of the Spirit and the Human World, appointed Hai Jui in his stead.\n\nSo here we have the story of the incorruptible minister, in a garbled version as known to the Ch'aochow nuns in Singapore; the image in their nunnery, and the modern drama which triggered off the greatest upset in China since the communists came to power; all linked by the shade of Hai Jui who without a doubt made an indelible impression upon, amongst others, the Ch'aochow peoples of eastern Kwangtung Province over the four centuries since his death.\n\nAshford, Kent, 1973.\n\nKEITH G. STEVENS\n\n* V. R. Burkhardt, Chinese Creeds and Customs, published by South China Morning Post Hong Kong, Volume 2 (1955) page 161.\n\nANOTHER VOLONTIERI MAP?\n\nThe following Note with Map are taken from the publication Les Missions Catholiques No. 239 of 20th May 1875, and were brought to my attention by Mr. H. A. Rydings.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1973.txt",
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    },
    {
        "id": 206995,
        "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-1974",
        "page_number": 66,
        "title": "RAS-1974",
        "content_text": "60\n\nCAROLE MORGAN\n\nOther ceremonies involving dogs are mentioned in the Chou Li, the Chou Book of Rites (a utopian picture of Chou society compiled from late Chou, Chin and Han sources in the 1st Century B.C.). In the nu (（）) sacrifice to drive away pestilence, a dog was dismembered and his remains buried in front of the main gates of the capital.10\n\nThe ba (*) sacrifice to ward off evil required the participation of the Emperor himself. Riding in a jade chariot it was his duty to crush a dog under the wheels of his carriage. An analysis of the character ba clearly shows what took place in the ceremony. The term ba is written with the radical for cart and a phonetic element (（）) which originally meant an animal whose legs had been bound. It was the duty of a specially appointed official to supply a dog of one colour and without blemishes for the sacrifice.12\n\nAccording to one author, Schindler, the origin of using dogs as sacrificial animals dates back to a primitive cult in honour of a dog-shaped god of vegetation whose worship later became amalgamated with that of Shang Ti, god of agricultural production and reigning deity of the Shang pantheon.13 The fact that alone among domestic animals dogs and horses were buried (dogs being wrapped in reed mats and horses in sheets) gives some support to this theory.14\n\nIn Chou times, horses too were used as sacrificial victims. In the ma (（）) ceremony horses were used as chthonic sacrifices to the Earth Goddess;15 and Ssu Ma Ch'ien tells us that Duke Hsiang of Ch'in (776-766 B.C.) sacrificed a red colt to the White Emperor of the West.16 In such cases the horse to be sacrificed was first shot with an arrow and then buried.17\n\nBut as horses became more valuable the practice of using them as sacrificial victims gradually died out. By 103 B.C. Ssu-Ma Ch'ien informs us all live horses had been replaced by wooden statuettes except in cases such as the chiao (*) sacrifice, celebrated by the Emperor himself, during which he informed his ancestors that he was about to undertake a punitive expedition.18\n\nHorses, however, were not only used as sacrificial animals, they were also entitled to a cult of their own.\n\nAccording to the Chou Li it was the duty of an official, the Hsiao Jen, to sacrifice in Spring to the ma tsu (（马祖）), the ancestors of horses. It was the duty of the same official to honour the \"tamer",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1974.txt",
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    },
    {
        "id": 207547,
        "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": 315,
        "title": "RAS-1975",
        "content_text": "NOTES AND QUERIES \n\n307\n\ncommitted suicide'.... \"This spirit, honoured at Foochow under the name of Wu Tai Yuan Shuai is the same as Lei Hai-Ch'ing (*) of the T'ang dynasty worshipped in several cities in Fukien. The character Hsieh (), crab, has approximately the same sound locally as Hai () the sea, and the willow branches symbolize Verdure, Ch'ing (†). Lei Hai-Ch'ing was a musician and is popularly referred to in the district as Marshal. He died cursing robbers, and for that reason temples were erected to him. Thus the young scholar become apotheosized owing to this play on words having the same or similar sounds. He is represented as attended by two male and two female instrumentalists holding respectively a mandolin, a lute, a violin and a tambourine. To evoke the spirit, his image is placed on a raised platform, its forehead is dabbed with red, it is prayed to and candles and incense burnt before it. The priests kneel in front of it, and then rise, skipping about with dishevelled hair and staring eyes. Crying out that the Spirit has come they scratch their tongues and write charms with the blood. When incense has been lit in the four corners of the room everyone can ask the spirit for what he wants, and the answer is explained by the accompanying musicians. He is frequently prayed to remove abscesses, boils etc. from children'. \n\nI can confirm the latter from medium practices in Singapore, and looking back to the sighting in Ipoh referred to earlier he is also a deity worshipped for a cure for mental diseases in children. \n\nThe following legends were told to me by devotees :— \n\na) Tien is the deification of a rich patron of actors in Foochow city (or Soochow) who lived in the fifteenth century. b) As a handsome child, the youngest son of three, he constantly played pranks on others. An ugly sister-in-law in a fit of pique drew a crab around his open mouth whilst he was asleep, and as a result his soul which had left his body to roam was unable to return. He complained to the Jade Emperor (1) who out of pity adopted him and allowed his soul to inhabit his body again. His mouth was open, incidentally, because he was an unwanted child, thrown out as a babe and suckled by animals! \n\nc) Prince T'ien of Foochow lived for pleasure. He was once sleeping with the wife of a local businessman and awoke to \n\nPage 315\n\nPage 316",
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    },
    {
        "id": 207581,
        "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": 349,
        "title": "RAS-1975",
        "content_text": "340\n\nBOOK REVIEWS\n\nChinese bronze is again by Prof. S. Umehara and was separately published in Kyoto in 1961.\n\n2 The Senoku Seisho is sub-divided according to nature of bronzes, into two parts. The first part dealing with ritual vessels is by Prof. K. Hamada while the next part, devoted to Chinese bronze mirrors, is edited by Prof. Yoshito Harada.\n\n3 In addition to these catalogues about the Sumitomo collection, in 1951 Prof. S. Umehara has also edited Kakkaku Kikkin Senshu (Selected specimens of the Chinese Bronze collection in the Hakkaku Art Museum), an illustrated and descriptive catalogue on Chinese bronzes housed in a private museum possessed and financed by Mr. Jihei Kano in Kobe.\n\n4 For instance, among his various studies on ancient Chinese bronzes, there are three catalogues. The first, \"Bronzes in the Hellström Collection\", is in the Bulletin of Museum of Far Eastern Antiquities (hereafter abbreviated as BMFEA) (1948, Stockholm), No. 20, while the second, \"A catalogue of the Chinese Bronzes in the Alfred F. Pillsbury Collection\" was published in Minneapolis in 1951. The third, \"Bronzes in the Wessen Collection”, is in BMFEA, (1958, Stockholm), No. 30.\n\n5 For instance, his Fruhe chinesische Bronzen aus der Sammlung Trautmann (1939, Peking).\n\n6 For instance, the Chinese Bronzes from the Buckingham Collection, (1946, Chicago), jointly edited by M. C. Chen and Charles F. Kelley.\n\n7 Alfred Salmony (1890-1958): Archaic Chinese Jades from the Edward and Louis B. Sonnenschein Collection (1952, Chicago).\n\n8 W. Perceval Yetts (1878-1957): The Georg Eumorfopoulos Collection: Catalogue of the Chinese and Corean Bronze, Sculpture, Jade, Jewellery, and Miscellaneous objects (1929-32, London).\n\n9 Howard Hansford: The Seligman Collection of Oriental Art, Vol. I, (1957, London).\n\n10 Yoshito Yonezawa: Painting of the Ming Dynasty, (1956, Tokyo).\n\n11 Osvald Siren: Chinese painting, Vol. VII, (1958, London).\n\n12 Victoria Contag: Chinese Masters of the 17th Century (1969, London).\n\n13 The date of Hsuan-ho hua-p'u is not known. But a general date, 1120, the second year of the Hsuan-ho era during the reign of the Emperor Hui-tsung of the Northern Sung Dynasty, associated with its preface, is normally considered to be the date of completion of its compilation. Regarding its authorship, it has been previously suggested by scholars in the Ch'ing Dynasty, such as Wang Wan, as having been edited by Emperor Hui-tsung himself, and by Chou Chung-fu as being by Tsai Ti, and by Pien Yung-yu as being by Hu Kuan. But according to Yu Shao-sung, a 20th-century specialist on the historiography of Chinese art, none of these old identifications are reliable. Instead, a possible editor of this imperial catalogue is perhaps an anonymous eunuch of the Northern Sung palace. For detailed discussion see his Shu-hua shu-lu chieh ti (hereafter abbreviated SHSLCT), \"A Collection of Summary of content and Studies of Titles of Books on Chinese calligraphy and painting\", (1931, Peking).\n\n14 Although it carries a preface by the author, this book is undated. In general, as Yu Shao-sung has suggested (SHSLCT Chuan 12, p. 9), Hsu Hsin must have lived in the transitional period of Ming and Ch'ing but the book itself is written in early Ch'ing.\n\n15 See Yen-Tzu chun-chiu, Nei pien, 10th chapter of the Tsa-hsia section. This book is generally regarded as a work of the 6th century B.C.",
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    {
        "id": 207922,
        "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-1976",
        "page_number": 310,
        "title": "RAS-1976",
        "content_text": "NOTES AND QUERIES\n\n295\n\nThere was a 'fleshy body' in Anking in Central China. It had been placed in a large earthenware k'ang filled with willow charcoal and left for three to four years. The corpse was then gilded and set up beside an image of the Buddha, Sakyamuni7.\n\nThe shrivelled and varnished body of a Taoist priest named Sun (), who died in 1703 aged 94, was enshrined in a glass case in the Grotto of the Immortals in the east side of the lower Court of the Temple of either the Jade Emperor or, as stories vary, of the Three Sovereigns on T'ai Shan in Shantung. He had lived in the temple nearby for some sixty years under the religious title of Chen Ch'ing and was known as \"the Immortal\". Apparently he felt divinely inspired, and slowly starved himself to death; he became just skin and bone sitting cross-legged. He had requested his fellow priests not to inter him but instead to leave him in a vacant room. This they did, and he remained withered but not decayed as a relic for future generations of believers. One could see, apparently, only the bare bones of his arms and legs. His face had been replaced by a mask in his likeness and all that remained on his hands was skin and nails.\n\nIt was not only monks who had their bodies preserved. In 1878 Reverend MacKay, a missionary in Taiwan, wrote of a Chinese girl who died of consumption not far from Tamshui, North of Taipei. Someone in the neighbourhood more gifted than the rest announced that a goddess was present, and her wasted body immediately became famous. She was given the title of the Virgin Goddess, (Sien Lu Niu in Fukienese) and a small temple was erected and dedicated to her. Her body was immersed in salt and water for some time, and then placed in a sitting position in an armchair with a red cloth around her shoulders and a wedding cap on her head. Seen through the glass of the case in which she was placed she looked to MacKay, with her black face and teeth exposed, very much like an Egyptian mummy. Before many weeks had passed, hundreds of sedan chairs were to be seen bringing worshippers, especially women, to her shrine, and rich men sent presents to adorn the temple. Another preserved body of a female was exhibited in a temple near Fenchow in Szechuan. She was a Buddhist devotee who died there in a sitting position: being Tibetan she was particularly worshipped by the local aborigines?.\n\nThe most recent example of a 'fleshy body' has been the mummification of the corpse of the Buddhist monk, Yueh Chi Fa Shih",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1976.txt",
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    },
    {
        "id": 208340,
        "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": 64,
        "title": "RAS-1978",
        "content_text": "48\n\nKEITH STEVENS\n\ndecorated with a large dragon across her bosom, and the \"bird\" hat with its representation of a small bird, wings outstretched, lying on top. She holds a raised fly switch in her right hand and her girdle is grasped in her left hand (the latter pose is usually reserved for male images). She is seated on a dragon throne.\n\nPerhaps readers can offer their views on the use of impersonal images on family altars and further examples of the practice in other parts of China?*\n\nNOTES\n\n1 Lao Tzu—the philosopher generally believed to have founded Taoist philosophy.\n\n2 Erh Lang (#) often identified with Yang Chien (##) the nephew of the Jade Emperor, the supreme Taoist deity.\n\n3 The Five Thunder Magic () is used in Taoist folk religion as the ultimate threat; a magic of destruction brought about by Taoists against those who broke the rules or opposed the Taoists.\n\n4 Lei Kung (2) the God of Thunder.\n\n5 usually read Wei, is read Yu in this surname.\n\n6 The image of Kuan Ti, the God of Loyalty and one of the most popular of deities throughout China also contained a slip which noted that it had been dedicated in the autumn of 1789 in the same area in Wo Kang as the images in illustration 2 and 4. The slip tells us that Devotee Pan Mu-shih, together with his wife, two sons and two daughters-in-law offered sacrifices to the deities in the City God shrine in the local temple, reporting that he and his whole family had had the image of Kuan Ti carved by a scholar. This they respectfully presented to have its eyes opened before the Gods so that it would be able to rid their dwelling of evil spirits and bring them blessings. The latter part of the text on the slip says that, \"Your Honour Kuan Ti is the cleverest, most faithful and righteous in the world both past and present. You are a true spirit, a wonderful inspiration and have the ability to suppress demons. To show you our sincere respect we shall now dress you up, worship you every morning and evening with incense and further, offer you Spring and Autumn sacrifices each year....\n\n7 The provenance of three further images in the shipment, in better condition, is unclear though possibly they came from one of the areas in Hunan or Kiangsi from which the others originated. Of these three, two are versions of Yao Wang (1) the King of Doctors, who is easily recognisable by his tiger and dragon, one below and the other above him, and the small red pearl he holds aloft between his fingers. The third image is Yao Wang's aide, a middle-aged man standing carrying a herbalist's case slung over his shoulder and a furled umbrella in his hand.\n\n* Mr. Stevens has made a further discovery in the matter of ancestral images: see the Notes and Queries section at p. 206.",
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        "page_number": 213,
        "title": "RAS-1978",
        "content_text": "NOTES AND QUERIES \n\n197 \n\nleg down and right leg bent, and with round protruding eyes fixed on the horizon. \n\nNews of his sainthood quickly spread throughout Chuan Zhou, as did the word that he now had great spiritual powers. A small temple was built for him and his fame slowly spread far and wide. He helped and advised people, in their dreams, and his popularity was such that the title of King was awarded him. He did not always answer people's prayers himself as he had a small staff of spirits as assistants. One day a very elderly couple were promised a child by a spirit assistant in his absence. When Guo returned and heard of the rash promise he realized there was only one way to fulfil it and had himself reincarnated as their child. His temple fell into disuse, and for 21 years it lay empty. A fortune teller told the old couple that their only child would pass the Imperial examinations with very high marks. Whilst a student, “Guo” (though not now of the Guo family) cured the Emperor's mother who was very ill and for this he was given the title of Guang Ze Zun Wang.* He was warned, however, never to touch anything black as this would result in his death. The award of a 1st Class Civil Examination result required him to attend the Imperial Palace at the Capital in scholar's clothes, and as he had been created a magistrate his uniform was black! He donned it, returned to Nan An in triumph but because he had touched black, dropped dead on his return. \n\nA beggar asked \"Guo's” mother for money. When she replied that she had none and was in mourning for her recently dead son, the beggar said that he had just seen “Guo” riding a white horse, and moreover \"Guo\" had promised him a stated amount of money which he had told the beggar was under his pillow. When \"Guo's” mother looked there was the exact money! \"Guo's\" mother then knew he had not died but had returned to his temple. She followed, instituted prayers and incense burning before the deity who now bore the title of Guang Ze given to him by the Emperor. \n\nA Taoist priest's daughter fell in love with the image of Guang Ze in the temple and said she wanted to marry him. The image heard her and from then on, each day whilst the daughter was washing the family's clothes in the stream, she saw a jade bangle lying on red linen in a bowl floating near her. On her mother's \n\n*This literally means the Saintly King of the Wide Marsh.",
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    {
        "id": 208732,
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        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
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        "document_key": "RAS-1979",
        "page_number": 189,
        "title": "RAS-1979",
        "content_text": "162\n\nJULIAN F. PAS\n\nare, of course, an enormous number of deities mentioned and described in Taoist ritual texts, of whom the common people do not even know the names. They belong to the esoteric tradition of Taoism and are only known to Taoist priests. But besides those, the majority of deities worshipped in the temples belong to the popular religion, although many border cases may exist of mutual absorption between the three traditional religions and the popular religion. Some of the most ‘popular' deities of Taiwan religion belong to the popular or community religion: examples are Matsu, Kuanti, the earth god(s), the Wang-Yeh gods, the city god(s), Prince Nat'o or T'ai-tzu, Pao-sheng ta-ti and even the so-called supreme god of Taoism, Yü-huang Ta-ti. A number of originally Taoist or Buddhist deities have been absorbed into the folk religion and have become part of it: Kuan-yin and Ti-tsang wang for the Buddhist side; the kitchen god, Yü-huang (Jade Emperor), the 8 Immortals for the Taoist side.\n\nAccording to the third criterium mentioned above, ownership of a temple, several categories exist greatly coinciding with the division based on the other two criteria. Temples may be government-owned (Confucian temples); owned by the local community on the neighborhood or town levels (these are the community temples); or privately owned, either by individuals, families, sectarian groups or monastic institutions.\n\nFinal sub-section of Chapter Three. After this long digression, I had better return to my book review. In this last part of Chapter Three the author discusses the 'genesis of temples'. Although strictly speaking there is a difference between temple and cult, between temple and deity worshipped in it, still the two should be discussed together. In fact there is a special chapter on the Genesis of Gods. However, since the author prefers to discuss the genesis of temples separately, we had better follow him. He distinguishes several ways of temple development:\n\n(A) by process of fen-shen or \"splitting bodies\" (p. 125). The reason of the spread and construction of new temples is the god's efficacy.\n\n(ii) by process of proselytization or a conscious effort on the part of the believers to spread the cult. This applies to Buddhist temples (and Christian churches).\n\n(iii) by transformation of a private home or temple into a community temple.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1979.txt",
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    {
        "id": 208757,
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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-1979",
        "page_number": 214,
        "title": "RAS-1979",
        "content_text": "RELIGIOUS LIFE IN PRESENT-DAY TAIWAN \n\n187 \n\nThis may at first appear as a tautology: all religions are naturally human. However, in contrast again with the Judaeo-Christian and Islamic traditions, in which God is seen as the Absolutely Holy and Transcendent One, the Chinese worshippers in the folk-religion conceive of their deities and relate to them in very human or humanistic terms. This can be explained in many different ways. One aspect is the magico-religious treatment of the gods, just mentioned, but there are several other angles to look at this complex phenomenon. The Chinese deities are often man-made: created by the people, and sometimes in the past appointed by the imperial government. Many gods and goddesses are actually apotheosized historical figures of special reputation or virtue who after their death proved to possess spiritual powers to assist the suffering people. There exists even the conception that the whole Chinese pantheon (not including the Buddhas-bodhisattvas) is modelled after the imperial government: they present a mirror-image of this world with the emperor — the Jade Emperor at the top. Underneath him are the various boards or ministries, the provincial governors, district and city officials down to the lowest rank of neighborhood inspectors. The humble Tu-ti-kung or Earth-spirits are thus the lowliest rank in the divine hierarchy. Gods and goddesses can be promoted or fired just like humans; in cases of mismanagement or misconduct they are sent into exile or otherwise punished. Man's imagination sees this whole spiritual world as operating by virtue of rules and relationships characteristic of his own this-worldly society. Perhaps the most striking manner to illustrate the humanity of the Chinese religion is that it is so evidently utilitarian. The gods and goddesses are worshipped by the people mainly and perhaps exclusively to obtain divine assistance in various difficult or important circumstances. These may be of individual significance or may relate to social concerns: family and community. But most often the blessings requested belong to the sphere of this life: health and wealth, fertility and progeny, position, success in business, cures of diseases (often in the past: epidemics) and overall protection against evil forces, evil spirits who threaten to destroy human happiness. Concern with the after-life may also be a motivation of religion, but then life after death is seen as a continuation of life on earth. The deceased are imagined to have the same needs as in this world: food, shelter and clothing are their most important concerns. Therefore, the ancestor cult is utilitarianistic in two ways: if it is not intend-",
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        "id": 209024,
        "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": 186,
        "title": "RAS-1980",
        "content_text": "154\n\nNOTES AND QUERIES\n\nnumerous minor grades excel those of other places in their colour, fragrance and taste. Chu Yi-chuen of Sau Shui remarks, \"There is no fixed standard as to which place in Fukien and Kwangtung produces the best quality of lychee, but in my opinion “Kwa Luk” from Kwangtung tops all.\" The three most outstanding selections of \"Kwa Luk” are \"Siu Fa Shan”, “Luk Law Yi” and \"Kau Kei Wan”.\n\nA species named \"Sheung Shu Wai\", literally \"being carried (wai) by the Minister (Sheung Shu)\", originated from a minister Cham Man-kang who brought back a pip of lychee from Windy Pavilion. Most lychees fall into this category. The most valuable lychee tree whose fruit is priced scores of times more than others is the one growing in the West Garden located outside West Gate of the County Seat. In fact, there were other lychee trees which were as good as, or even better than, that tree. Another species called “Crystal Ball\" of Cha Kong is of the same grade as \"Kwa Luk”, and also on the list of the delicious lychees are \"Sai Kok\" (rhino's horn), \"Kwai Mei” (taste of osmanthus), \"Nor Mai Chee\" (like glutinous rice), \"Sung Ka Heung\" (fragrance of Sung Family), \"Chun Fung Yuk” (jade offered to emperor) and Ho Pau (wallet).\n\n(translation by District Office, Tsuen Wan)\n\n3. By chance, I heard recently of the existence of at least one tree of the special type of “Kwa Luk” mentioned in the opening paragraph from the father of a friend. This gentleman, a Hakka from Ng Wah District, served pre-war in the provincial administration of Kwangtung at Canton. He had a friend Mr. Wong Ping-kwan (*A), who was the district magistrate (*) of Tsang Shing at that time (about 1937-38). This official used to send a parcel of this special lychee to his superiors in Canton. The fruit came from trees in the courtyard and gardens of his office in Tsang Shing. It was not for sale, and although my friend said he had heard of some being available on the market in recent times, he was sure they were not the genuine article.\n\nHong Kong.\n\nDecember, 1979.\n\nJAMES HAYES",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1980.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/kh04md207",
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    },
    {
        "id": 209055,
        "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": 217,
        "title": "RAS-1980",
        "content_text": "BIBLIOGRAPHY OF TAOISM\n\n185\n\n(A), object of worship by the Taoist priesthood. The common people consider Yü-huang Ta-ti, or the Jade Emperor as the supreme head of the divine hierarchy, whereas the Taoist priests worship as their highest creative powers the Three Pure Ones, the Celestial Worthy of the Original Beginning, the Celestial Worthy Ling-Pao and the Celestial Worthy Tao-Te.\n\nAs a religious organization, Taoism is divided into several sects, each of which has its own emphasis or specialty, roughly corresponding with five major areas of Taoist concern: good conduct, study of classic literature, alchemy (in modern times rather \"inner\" alchemy, or the search for longevity by \"nourishing one's vital energy\"), magical and religious rites, and finally divinatory practices.\n\nThe philosophical ideas of Lao-tzu and Chuang-tzu slowly permeated Chinese society. \"In office a Confucian, in retirement a Taoist\" became the tag of the scholar-official and even his Confucianism, after the thirteenth century, was to a large extent philosophical Taoism in disguise (H. Welch, The Parting of the Way. Boston, Beacon Press, 1957, p. 158). The Neo-Confucians borrowed the Taoist concept of an underlying unity, which \"does\" nothing (i.e., does not make any purposive effort) but accomplishes everything. They took the old Confucian concept of the Rites, li, and extended it to include the laws of nature as well as of man. They also adopted the Taoist goals of minimizing desires, returning to the purity of one's original nature, and identification of the individual with the universe.\n\nThrough the centuries, the Taoist influence on Chan Buddhism, which appealed particularly to intellectuals, flourished in China from the T'ang through the Sung dynasties and in Japan from the time of the Sung until today. The Japanese call it Zen, which \"rejects verbal teaching, disregards logic, discards morality, and regards Heaven and Earth as unkind. It sees no value in good deeds. The only way to be saved is to do nothing about it. Zen believes that salvation, in fact, is a return to our original nature, that no one else can do it for us, and that doing it makes us into the most ordinary and wonderful people\" (H. Welch, The Parting of the Way, p. 159).\n\nBecause the Chinese and Japanese cultures were considered in Japan to be essentially the same, due to the pan-Asian concept dobun doshu (same script, same race), Taoism spread from China...",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1980.txt",
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    },
    {
        "id": 210297,
        "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-1984",
        "page_number": 268,
        "title": "RAS-1984",
        "content_text": "37. Ten Zo:\n\na. Nu Rai Fo Chu\n\nb. 6 paths and 4 species Kit\n\nc. The Heaven Honorific of origin 元始天線\n\nd. Dragon kings of the 4 seas 14.\n\ne. Male and female orphan spirits 男女孤魂\n\nf. The great Jade Emperor LAWS\n\n38. the City God WP!\n\n39. The Earthgod\n\n40. Chi-zo k\n\n41. T'ien Hau APE\n\n42-43. Generals Han and Ha\n\n44-45. T'ien Hau\n\n46. Kwan T'I IPEXY\n\n47-48. Kwan Ping and Chau Chan PPT-MAT\n\n49. Kwan T'I MÝ\n\n50-51. Kwan Yin (Kannon) 19:*\n\n52-54. The Earthgod sitt laY\n\n55-57. Tzi Nan Kung W E\n\n58. The Lord of the Heaven A^ L\n\n6 paper-made tablets were hung on a paper-made 5 colours lantern.\n\nIt was a Japanese term (see Soo, 1981: 59-60). Most of the informants\n\n247\n\ndid not know what it was and no one talked about it, and no offering was made to it, either.\n\nH Decoration, except the roof, was the same as the Ming-che.\n\nH\n\nRJapanese Earthgod\nRT'ien Hau's Guardmen,\nRThe substitutes of T'ien Hau.\nRThe main God of the Temple.\nRThe guardmen of Kwan T'i.\nRSubstitute of Kwan T'i\nRThe Goddess of Mercy and her substitute.\nRThe god and his substitutes.\nQThe name was a Temple's name. The god of the temple was Lu Tzu ( ) 56 and 57 were his substitutes.\n\nIn addition there was 4 paper-made messenger-and-horses (f†). One of them was burnt after every 'Reporting' ritual and the 'Thanking' ritual of the last day.\n\nNotes:\n\nQ = Incense bowl(s) and offerings only\n\nR = Porcelain Statue\n\nT = paper-tablet\n\nH = paper-made house\n\nF = paper-made figure\n\nP = painting\n\nL = paper-made lantern",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1984.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/5h73wh572",
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    },
    {
        "id": 211054,
        "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-1987",
        "page_number": 115,
        "title": "RAS-1987",
        "content_text": "90\n\nese pronounced exactly like Wang) after becoming a hermit at Mt. Luofu. Thus the foundation for a subsequent merger of the two \"Yerens” was created. According to Soymie, \"Le Lo-feouchan\", pp. 110-111, another immortal of the mountain, Wang Tijing, was also occasionally referred to as Huang Yeren. Today, however, he seems to be totally disconnected from the \"Yeren\" figure,\n\n21 Su Dongpo Ji [collected works of Su Dongpo], Shanghai, Shangwu Yinshu Guan (Commercial Press), 1933, Vol. 2, p. 58. In this volume there are numerous references (poems as well as letters and essays) to Luofu. Su Dongpo was exiled to Huizhou from the Song capital, and went to Luofu Mountain soon after (in 1094) arriving in Huizhou (this probably indicates the fame of Luofu among men of letters and politicians). What attracted him, no doubt, was the name of Ge Hong. Su is said to have spent about two years (of his four years in Huizhou) in Luofu. (Source: Luofushan Fengwuzhi, p. 105).\n\n22 Guangdong Xinyu, Hong Kong, Zhonghua Shuju (Chung Hwa Book Company), 1975 (reprint), pp. 729-730.\n\n23\n\nThe reference is in Tan Cui's work Chuting Baizhu Lu (Records of precious pearls from Chuting [old name of Guangzhou], reprinted in October 1982 by Guangdong Renmin Chubanshe). This work contains a rather detailed account of Luofu Mountain and most (possibly all) of the temples which existed in the mountain in the 18th century.\n\n24 According to the Luofushan Fengwuzhi, the original temple at Luofu was built in 405 A.D., and was called Ge Hong Ci. Later in the early Tang, a large one called Ge Xian Ci was built. Another source (Lingnan Gu Jin Lu or Records of old and present Lingnan [Guangdong], edited by Xu Xu, well-known Guangzhou-based scholar, Hong Kong, Shanghai Book Company, 1984) states that a small temple was built at Luofu in 742 A.D., called Ge Xian Ci. During the Song dynasty, a Taoist temple was built, called the Duxu Guan, later renamed the Chongxu Guan. The deities worshipped in the central shrine of the temple (they have superseded Ge Hong, perhaps from as early as the Southern Han dynasty) are the three gods residing in the 35th (San Qing Tian) of the 36 heavens (Tianbao Jun, Taishang Daojun and Taishang Laojun). They are the mightiest among the \"shenxians\" (the fairies and saints [immortals]). They are normally understood by worshippers to be the Jade Emperor and his two closest officials.\n\n25 We learned this from the interviews at Luofu, especially from an interview with Mr. Zhang Zongquan, the presiding Taoist at a smaller temple, the Jiutian Guan (devoted to Beidi, the \"northern emperor\"), on the plain near the mountain several kilometres from the main temple. Mr. Zhang had been an officer in the anti-Japanese forces of the area in the 1930's. The provincial Fengwuzhi (Guangdong Fengwuzhi, Guangzhou, Huacheng Chubanshe, 1985, p. 151) also mentions worship of Ge Hong together with worship of Huang Yeren and the mute tiger often mentioned in folk-tales. This account refers to the situation prior to the restoration.\n\n26 See the picture of the Red Pine Fairy in Zhongguo Shenhua Chuanshuo Cidian (Dictionary of Chinese myths and legends), Shanghai, Cishu Chubanshe (Lexiographical publishing company), 1985, p. 185.\n\n21 One Taoist whom we interviewed (see note 25) dismissed the importance of the differences in the biographies of the two Huangs with the remark that the spirit of Huang Chuping entered (or could enter) into the person of the later Huang Yeren. He was the only one we met who explicitly used this strategy to rationalize the merger of the two Huangs into one figure at the Chongxu Guan. It is possible that",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1987.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/rx919b522",
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    },
    {
        "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",
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    {
        "id": 211628,
        "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-1989",
        "page_number": 43,
        "title": "RAS-1989",
        "content_text": "18\n\nTHE JADE EMPEROR AND HIS FAMILY\n\n玉皇大帝\n\nYU HUANG TA TI\n\nKEITH STEVENS\n\nThe Jade Emperor, also known as the Lord of Heaven (T`ien Kung), is the chief deity of the pantheon of the Cheng I sect of Taoism. He is only a secondary deity of the Taoist Lungmen sect. He was worshipped China-wide as the supreme ruler of the Heavens, and even of some of the Underworld. In folk religion, he is worshipped as the protector of all mankind, having replaced Lao Tzu in that role and as head of the Taoist faith, possibly because people were uncomfortable taking their problems to a philosopher. According to a majority of Taoists his earthly mouthpiece was Chang T'ien Shih, The Heavenly Master and his descendants.\n\nAlthough he is well known to both Chinese and to interested foreigners, what is not so well known are the ramifications of his family and the extent to which several of its members have their own cults.\n\nThe development of the supreme deity in China is far from clear. In earlier times the all-seeing, all-powerful, unseen god was Shang Ti who even now is occasionally referred to as the all-highest. Not only is the term Shang Ti used by Protestants for the Supreme Deity, God, but also the late Chairman Mao in his statement that, at the age of 72, “he was soon going to see God“, used this expression.\n\nHoward Smith, a missionary in China for 24 years, describes how the Chou dynasty (ca 1050-256 BC) founded its government on religion and transformed 'Shang Ti', probably originally a term used for the deified spirits of the imperial ancestors under the previous dynasty, the Shang, into a high God, independent and supreme, He added \"The importance of this change cannot be over-emphasised. When this supreme deity finds the rule of an emperor abhorrent, whenever a king fails, by persistent misrule, in his duties to God, then God rejects him and seeks out a suitable substitute.\" The transfer of the mandate of Heaven, based on the belief in a supreme deity, carried with it strong ethical implications, and continued down to the last dynasty, which fell in 1911.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt",
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    },
    {
        "id": 211629,
        "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-1989",
        "page_number": 44,
        "title": "RAS-1989",
        "content_text": "19\n\n2\n\nGoullart in his description of the monastery in Kiangsi in which he spent several holidays, describes in one hall 'Shang Ti smiling benevolently and enigmatically from his canopied throne'. He then refers, in his description of another temple, to the Jade Emperor and speaks of him as Shang Ti. There are various explanations offered as to why this deity is called the Jade Emperor. One suggests that the reference in the Book of Changes to '. . . heaven being the ruler, and is... jade' is its origin; Goullart however gives, in translation, an invocation from the abbot to Shang Ti in which he refers to him by title as 'the Mightiest Emperor over all Heavenly Kings, who lives in the Jade Hall of the Western Heaven'. This, surely, is a clue. The supreme deity, Shang Ti, lives in the Jade Hall, hence his title the Jade Emperor. This title is a relatively recent development in Chinese chronology having only become prominent during the 11th century AD. However, popular recognition of and interest in the cult became apparent during the Manchu (Ch'ing) dynasty.\n\nThe title of the sovereign divinity of the Chinese State religion until 1911 was Huang T'ien Shang Ti, the First Rank Supreme Deity in the 17th century regulations of the Ch'ing dynasty. Shang Ti, as the All-highest, was never portrayed in image form, and in a number of temples in South-East Asia the title of Huang T'ien Shang Ti is still given for the supreme deity, usually carved on plaques, and in one temple in Singapore an image of the Jade Emperor even bore a vertical slip of paper inscribed with this title.\n\nMany Chinese myths and legends involve the Jade Emperor; those surrounding his origins are shrouded in mystery and probably his genesis will never be known. China has a rich popular tradition incorporating local tales from every corner of the vast empire, and it is no wonder that numerous and varied explanations have been given by devotees of how and when the Jade Emperor became the senior deity. The earliest known reference to him is from the T'ang but he could have existed long before that. Since then it has commonly been believed that he was either an incarnation of, or given the task of Supreme Deity by Yuan Shih T'ien Chun, the senior deity of the Taoist trinity, the Three Pure Ones (San Ch'ing). His popularity declined somewhat during the Ming. Although a Taoist deity, his image is to be found on altars in several Buddhist temples and some Buddhists even claim that he is really just an adaptation of Indra. To the man in the street all Buddhist, Taoist and folk religion deities are his subordinates, and well timed worship will",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt",
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    },
    {
        "id": 211630,
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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-1989",
        "page_number": 45,
        "title": "RAS-1989",
        "content_text": "20 \n\nsecure a writ of pardon for a soul in the Underworld. Buddhists have occasionally accused the Taoists of stealing him from their pantheon. The Buddhist Indra, known as Yu Ti (**玉帝**), literally The Jade Emperor, was, they say, adopted by Taoists to counter Buddhist power. Others suggest that the Jade Emperor was a creation of a Chinese emperor to help maintain the authority and stability of his rule. In one popular version the Sung emperor Chen Tsung (**宋真宗**) in AD 1012, in order to divert his ministers from an unfortunate treaty he had been obliged to sign with some barbarian tribes, announced with great pomp that he had been visited in a dream by an immortal with a letter from the Jade Emperor. In the letter the Jade Emperor explained that he was sending one of the emperor's ancestors in person. The Sung emperor then claimed that a dazzling deity appeared before him in a dream and informed him that he was the Jade Emperor, Master of Heaven and Earth, and the Incarnation of Tao. Later the emperor, having announced that the visit had taken place, ordered that thereafter the Jade Emperor, “one of his ancestors\", was to be treated as a major deity. The next year, in 1013, the Jade Emperor's image was cast and placed in a special temple, the Jade Palace (**玉皇殿**) where it was worshipped by the whole court. One hundred years later, the Sung emperor Hui Tsung (**宋徽宗**) built an even more magnificent temple for the Jade Emperor and thereafter the image was portrayed in imperial robes.\n\nH. Y. Feng3 claimed that the earliest reference to the Jade Emperor was in a poem by Han Yu (768-824), a Confucian scholar who wrote, admiring plum blossom, \"Riding clouds we came together to the home of Yuh Huang', proving, he states, that the Sung emperor's claims were after the fact. However, state recognition by emperor Chen Tsung made the Jade Emperor an important deity in the pantheon.\n\nA Fukienese legend describes the Jade Emperor as being born to a queen who conceived miraculously after a visit by T'ai Shang Lao Chun (Lao Tzu) in a dream. When this prince in due course became king, he ruled with great compassion and concern, and was a model ruler who later devoted part of his life to religion and attained sainthood. This was, however, many centuries before the Sung emperor Chen Tsung popularised the cult.\n\nAnother popular version explains how the Jade Emperor appeared in his visible manifestation to a Sung emperor and told him that he, The Jade Emperor, was the manifestation of the power and thought of Tao,\n\nPage 45\n\nPage 46",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt",
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    },
    {
        "id": 211631,
        "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": 46,
        "title": "RAS-1989",
        "content_text": "21\n\nto be regarded as such by mankind and to be revered only as the representation of that power. However, over the centuries, he has developed into a god in his own right, depicted as a gilded image of an emperor sitting on a throne, and is accepted by the masses as the ruler of the Heavenly bureaucracy.\n\nIn T'aishan in Shantung province it was claimed that the Jade Emperor in mortal life had been merely a learned doctor of medicine who had lived during the 12th century AD at the Sung court in Kaifeng. He attended the emperor Hui Tsung during a serious illness and saved his life with a miraculous cure. He was known as Chang Yu-huang, but, on his death, he, like many a hermit, was deified by imperial decree.\n\nBritish representatives met the imperial representative, Li Hung-chang in 1876 in the temple (Yuh Huang T'ing) dedicated to the Jade Emperor to the west of Yent'ai (Cheefoo) in Shantung province to arrange the Chefoo Convention. Another incident involving the British in North China and connected with the Jade Emperor concerned Sir Meyrick Hewlett of the China Consular Service at the turn of the century during the clearing up after the siege of the British Embassy during the Boxer Rebellion. He found in the house of Sir Ernest Satow, HM Ambassador in Peking, a tablet with a background of sky-blue, framed in rich gold and inscribed with the four characters in gold — 'Huang T'ien Shang Ti'. Prince Ch'ing identified it as an item from the Temple of Heaven which had been missing for more than a year. When Sir Ernest asked how to restore it to its rightful place, the Prince begged the Ambassador not to send it round to his palace as should it be placed in the entrance he could neither leave nor enter his home without kowtowing twenty-seven times before it. Another more enlightened official helped out by bearing it off at dead of night in a Peking cart to the vaults of a European bank where it awaited a favourable day for restoring it to the Temple of Heaven. Some thirty-five years later, Sir Meyrick, paying his farewell visit to Peking, visited the Temple of Heaven and asked the attendants whether he could see the tablet, kept with the other tablets sacred to the emperors of the Ch'ing dynasty in a small temple opposite the Altar of Heaven. They replied that this was quite impossible, since even in post-imperial Kuomintang days no-one was allowed to see it. Sir Meyrick related the story of its recovery, upon which the attendants agreed to show him the tablet together with the tablets to the 28 Major Constellations, to Thunder and Lightning, and to the other forces of nature, but said that the tablets to the emperors were all lost after their",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt",
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    },
    {
        "id": 211632,
        "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": 47,
        "title": "RAS-1989",
        "content_text": "22\n\nremoval to T'ai Miao.\n\nIn Tainan in southern Taiwan an elderly temple keeper claimed that the heads of the five major religions, Confucius, Lao Tzu, The Buddha, Christ, and Mohammed gathered and chose Kuan Yu (otherwise known as Kuan Kung, the Patron deity of loyalty) to be raised in succession as the 18th Jade Emperor. He assumed the throne at Chinese New Year in AD 1864 and still occupies the throne.\n\nAlthough the Jade Emperor is concerned with running the bureaucracy of the spirit world and with meting out justice, he delegates many of his day-to-day responsibilities to his ministers and judges. It is accepted by devotees that he is the arbiter during disagreements between the gods. His rule is conceived of as similar to a reigning Chinese emperor, he being the heavenly ruler with the Chinese emperor the terrestrial ruler. Most people believed that the emperor of China was his terrestrial equal. Despite the large pantheon the Jade Emperor commands, containing an inordinate number of Buddhas and bodhisattvas, The Five Emperors, Kings/Judges of the Underworld, major gods and all the deified spirits (shen), in Chinese mythology he is frequently duped and outwitted, as indeed the Chinese well knew that their emperors were. One only has to remember the story of Ch'i T'ien Ta Sheng, better known in the West as Monkey to see how gullible he can be. This does not mean that he was not feared. The Jade Emperor's forces include his powerful spirit armies, capable of destroying anyone or anything, which he can unleash upon anyone who offends him.\n\nAn English missionary in the nineteen thirties after 36 years in North China wrote \"Lao T'ien Yeh is the Supreme God, the popular equivalent of Shang Ti of the Classics. He is not represented by any image or other symbol nor are there any temples in his honour, nor is he the object of popular worship. But built into the outer wall of the house, beside the doorway, there is commonly a little shrine in which thank offerings are placed at harvest time. When you inquire what people know about him, the usual answer is 'He sends the wind and the rain and ordains life and death, and to him the Kitchen God makes his annual report'\"*.\n\nIt is well known that the Jade Emperor personally receives reports from each and every Kitchen God during the period from the 12th day of the final lunar month until the Lunar New Year's Day, and from these",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt",
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    },
    {
        "id": 211633,
        "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": 48,
        "title": "RAS-1989",
        "content_text": "23\n\nhe examines each human's conduct and adds his comments to the records kept on each person against the day when that human will die and be summoned to enter the Courts of the Underworld for judgement.\" A temple dedicated to the Jade Emperor on Coal Hill in Peking was where the living emperor of China prayed for rain during long droughts, requesting the Jade Emperor to instruct the Dragon King to cause rain to fall.\n\nReverend Hutson in Szechuan recorded his observation that lanterns hanging before the altars of Yuh Huang were taken home by childless couples and a new lantern presented in its place if a son was born to them. These lanterns were also hung in orchards and elsewhere to secure a good crop.\n\nThe Jade Emperor is a puritanical god, offended, for example, by the sight of a pregnant member of the family attending a sacrifice. In some places women are not permitted to worship him. As supreme Sovereign of the universe he is rarely approached directly, and usually only receives devotional offerings. Worship is therefore performed with great care, and his image and altar is treated with the greatest solemnity. The common man is loath to approach him unless he has little choice. The main reason for doing so is to obtain a prediction of fate; he knows that he cannot always change it, but if the common man is aware of what is in store he can plan ahead.\n\nThe Jade Emperor is only approached directly, with great trepidation, when the plea being submitted by the devotee is of the greatest import, or when the Jade Emperor's underlings have failed to come up with the goods, and devotees' expectations have not been achieved; under normal circumstances pleas are submitted to the Jade Emperor through lesser deities. In a small temple in an immigrant community in Kowloon, the Jade Emperor, their only main deity, is approached by devotees for remission of punishment for their sins in return for promises of future good deeds. The devotees have to submit their pleas to the Jade Emperor through the temple keeper. He in turn voices their pleas to an unnamed invisible bodhisattva (pusah) who approaches the Jade Emperor on their behalf.\n\nIn many parts of China the Jade Emperor was considered too holy, too awesome, and too powerful to be represented by an image, and only a tablet bearing his title was permitted to be placed on the altar (see Plate 1). In other parts, amongst the Fukienese in particular, he is believed to reside in the ash of the main incense pot on his altar (the main altar)",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt",
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    },
    {
        "id": 211634,
        "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": 49,
        "title": "RAS-1989",
        "content_text": "24 \n\nand not even a tablet is permitted. Images of the Jade Emperor seen in Taiwan, Hong Kong, Macau and in South-East Asia are all very similar, portraying him as a bearded, usually gilded, image of an official seated on a throne, with a jade tablet clasped in both hands before his chest (see Plates 2 and 3). His head-dress is not a crown in the western sense, but a classic hat, the mien (mian) the rectangular mortar board cap from which is suspended, front and back, thirteen red cords bearing green, red and blue beads and descending almost to the level of his eyes. Thirteen indicates his supreme rank. This, it should be noted, is the typical standard image of a great number of official deities other than the Jade Emperor, and the only way one can categorically identify his image is to see it on his altar, or to find that it bears an original inscription describing it as the image of the Jade Emperor.\n\nHis image is placed as high on the altar as possible, even to the extent of placing it on as many as three to four tiers; his image, even more than most, must never permit his feet to be touching the ground. In a number of places he is considered to be too holy and too powerful to be portrayed by an image; his title only being recorded on a tablet which occupies the centre of his altar. Images of the Jade Emperor are to be seen not only on the main altars of temples dedicated to him but also, in a small number of instances, on secondary altars in temples dedicated to lesser deities. In Suifu in Szechuan, Graham in 1928 counted nineteen images of the Jade Emperor on altars in the town. The images were placed on the first floor of the temples whereas other gods were normally on the ground floor.\n\n7\n\nGrootaers noted that the cult of Yuh Huang was well represented in the sanctuaries built in high spots in the city of Hsuan Hua (south of Chang Chia Kou [Kalgan] and northwest of Peking). The earliest was dated 1535 AD. Yuh Huang was better known there as Hao T'ien Shang Ti and his image portrayed him as a bearded scholar with a mortar board cap.\n\nIn many folk religion temples in Ch'aochou (Teochew) communities his tablet stands in the front centre of the altar table nearest the main entrance, and in front of the main altar, with only an image of the Third Prince on his altar table standing between the Jade Emperor's tablet and the entrance. The altar of the Jade Emperor is referred to as the T'ien Kung T'an (Tiangong Tan). On his birthday, the 9th of the first lunar month, large sacrificial offerings to T'ien Kung are placed on this special altar",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt",
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    },
    {
        "id": 211635,
        "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": 50,
        "title": "RAS-1989",
        "content_text": "25\n\nwhich is reserved exclusively for the occasion. The offerings must include red pork and two long stems of bamboo in leaf; these are laid out on special tables placed on small stools so that they do not touch the ground and be defiled.\n\nThe Jade Emperor's image has been noted on altars in nine temples in Hong Kong and in two in Macau. It is also to be seen on numerous altars throughout South-East Asia and in Taiwan. In Taiwan his image appears alone or with two or three attendants on a number of secondary altars and even on side altars. In Hong Kong he is the main deity in six of the nine temples and is the major deity on a secondary altar in the other three.\n\nThe most fascinating image of the Jade Emperor in Hong Kong is to be seen in the upper level hall of the Monastery of the Ten Thousand Buddhas in Shatin where he is flanked by two of his ministers. In a large number of temples in which he is the main deity the Jade Emperor is supported in this way by the two stellar deities, each in his own secondary altar flanking the main altar with the Jade Emperor. They are the Lord of the Northern Bushel and the Lord of the Southern Bushel, Nanpei Tou (jjdk-1-). There are also a number of images of attendants flanking the image of the Jade Emperor, and on occasions the Civil and Military Judges (Wenwu P'ankuan).\n\nHe is the main deity in a tiny temple near Shaukiwan on Hong Kong island, a tiny image in a small single-room temple occupied by one elderly lady, the temple keeper. The original occupants were refugees from Yunnan province in the early fifties, dead these many years. By the mid-seventies the temple was being kept spotlessly clean by the elderly lady who had been an amah to a long-departed English family. She explained that she had to earn her keep somehow, especially as her husband had already 'long time gone topside'.\n\nIn Penang people will tell you that the small red shrine outside their shop or house is dedicated to the Jade Emperor even though neither his name nor title is recorded anywhere.\n\nSupporting the Supreme Deity is a Board or Ministry of Thirty-Six Ministers, with duties to supervise junior celestial officials and clerks, whose images are rarely to be seen on altars though on temple murals all thirty-six are frequently portrayed. Their role is to control and run",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt",
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    },
    {
        "id": 211636,
        "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-1989",
        "page_number": 51,
        "title": "RAS-1989",
        "content_text": "26\n\nthe destinies of mankind on behalf of the Jade Emperor.\n\nImages of four of his 36 ministers are to be seen with him on several altars. They are:\n\nHsu Chenjen (許眞人)\n\nSa Chenjen (薩眞人) both on his right hand, and\n\nChang Chenjen (張眞人)\n\nKo Chenjen (葛眞人) both on his left hand.\n\nTheir collective title is Hsu Lung Chang Ko Ssu Chenjen (許呂張葛四眞人).\n\nPopular versions of the deification of the Jade Emperor are no more than an echo of the stories related by tea house story tellers who, in turn, came by many of the stories from the Ming dynasty book containing a collection of myths describing the wars which ended in the fall of the Shang dynasty and its replacement by the victorious Chou, \"The Deification of the Gods' (Feng Shen Pang). The collection, also known as the Feng Shen Yen I, describes the appointment of the Jade Emperor by Chiang Tzu-ya, the Prime Minister of the Chou, in about 1180 BC. Chiang had appointed the majority of the heroes who had lost their lives in the wars to overthrow the Shang tyrant to fill vacancies in the bureaucracy of the spirit world with only one post left unfilled, that of the Supreme Deity, the Jade Emperor, which Chiang had been reserving for himself. When he was offered the post, with customary courtesy he paused and asked people to 'wait a second' (Teng lai) whilst he considered. However, having called out \"Teng lai', an opportunist, Chang Teng-lai, hearing his name, stepped forward, prostrated himself and thanked Chiang for creating him the Jade Emperor. Chiang Tzu-ya, stupefied, was unable to retract his words. However, in tense anger he quietly cursed Chang Teng-lai, ‘Your sons will become thieves and your daughters prostitutes!' Chang Teng-lai became the Jade Emperor but was unable to prevent the curse from working. The sons, in the Feng Shen Pang, planned to steal Buddha's lotus throne, but omniscient Buddha trapped them with his fingers and enslaved them under a pagoda. Despite this human origin, and his apparent lack of qualifications for the post of Supreme Deity in the pantheon, he is above all other spirits in the Taoist and folk religion pantheon and is a distant deity to whom all others must pay their respect.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt",
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    },
    {
        "id": 211637,
        "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-1989",
        "page_number": 52,
        "title": "RAS-1989",
        "content_text": "27\n\nOne of the unique features of the cult of the Jade Emperor is the extent to which members of his immediate family also appear on altars. In Taiwan and South-East Asia in Fukienese community temples, some of the daughters of the Jade Emperor are portrayed in image form on altars both with their father and alone, and prayed to in their own right. The Jade Emperor is said to have sons and four, or according to others, seven daughters. Temple keepers, when asked, without exception denied that the sons and daughters were approached by devotees who hoped for indirect but preferential treatment of their requests from the Jade Emperor.\n\nGraham in Suifu noted two statues in Jade Emperor temples portraying his daughters. (Regrettably Graham did not provide characters, simply giving their titles as Yin Fei U Nu and U Giang U Nu (the U Nu probably being Yuh Nu)).\n\nThough his daughters did not become prostitutes in the ordinary sense of the word, many amusing and ribald stories are told about them. The Jade Emperor's seventh daughter, Chang Ch'i-chieh (A) [Chang the seventh sister] chose to marry a woodcutter who, from the description in the legend, must have been not far off mentally defective. He did not even understand what a wife was. She overcame the woodcutter's mother's natural reluctance to see a beautiful and intelligent young woman throwing away her life to marry her idiot son. Ch'i Chieh was a good wife and all went well. However, unfortunately, she came to the notice of a rich and handsome young man who was determined to have her. She arranged to marry him in exchange for a very large bride-price to be paid to the idiot and, being an immortal, she punished the rich man severely on their wedding night. He promptly changed his mind and released her, whereupon she returned to the idiot who was now rich, and bore him a son. She then returned to Heaven having fulfilled the curse, but at the same time, she had punished the wicked and rewarded the filial, if idiot son.\n\nIn one temple only, small images of the mother and two wives of the Jade Emperor stand alone in a small shrine behind the main altar on which stands the image of the Jade Emperor himself. This temple layout in Silat Avenue in Singapore is very rare as the consort of the Jade Emperor, according to several different god carvers, is never portrayed on the altar. However, Graham, in Suifu in Szechuan in 1928, noted an image of the Jade Emperor's mother on the side altar in his temple, called Yuh Huang.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt",
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    },
    {
        "id": 211638,
        "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-1989",
        "page_number": 53,
        "title": "RAS-1989",
        "content_text": "28\n\nSheng Mu (玉皇聖母)\n\nOne of the more interesting arrangements is the main hall of the Temple of the Jade Emperor in Tainan. The Jade Emperor occupies the main altar with the San Kuan (Three major Taoist deities) immediately before him. On his left hand is his son, referred to as the Fourth Heir Apparent (Yu Huang Ssu Tien Hsia F) (see Plate 4) but without any personal name, and on his right is his grandchild, the Third Princess (San Kung Chu Niang, see Plate 5). According to the temple keeper she is the younger sister of the Jade Emperor's heir Yuh Huang T'ai Tzu, and her annual festival is celebrated before her altar on the 15th day of the third lunar month. The other children of the Jade Emperor are not represented. An image of the Jade Emperor's third daughter (see Plate 7), a princess whose name is not given, is the main deity on an altar in a temple in Pai Sha on the Pescadores Islands. On the same altar are four other princesses, said to be her sisters, but again without names. These four are lesser deities.\n\n10\n\nMrs. Goodrich was told by her Peking informant that Yen Kuang Niang-niang, the deity who watches over eyesight, was the sixth daughter of the Jade Emperor. Her image in the Temple of the Eastern Peak in Peking portrayed her carrying images of eyes in her hands. She has to be worshipped by a pregnant mother or her child will be born with incurable eye trouble.\n\nIn another temple on the Pescadores, the Lung Tu Temple in Makung, the Third Prince of the Jade Emperor is the main deity on one of the major altars. He is flanked by smaller images of the First, Second, Fourth, and Fifth Princesses (Ta, Erh, Ssu, Wu Kung Chu). This Third Prince Yu Huang San T'ai Tzu should not be confused with Na Cha, who is also referred to as the Third Prince (Nacha San T'ai Tzu). The third son of the Jade Emperor is portrayed as a seated, beardless, middle-aged man holding an unsheathed sword vertically before his chest and with his left hand raised to shoulder height making a mystic sign. He is wearing a high, round-topped cap with a bead-screen, and has four flags signifying his military rank in a rack across his back.\n\nThis same deity, Yu Huang San T’ai Tzu, has been noted with an image of the Taoist deity, the Saintly Mother (Sheng Mu) on a side altar in the main hall of a large folk religion temple in Manila.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt",
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    },
    {
        "id": 211639,
        "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-1989",
        "page_number": 54,
        "title": "RAS-1989",
        "content_text": "29\n\ndedicated to Pao Kung, the Lenient Judge, and also in a Buddhist temple in Beverley Hills on Cebu where he has behind him a small image of the Jade Emperor's second son Erh T'ai Tzu (...). The whole group of the Jade Emperor's family, though only the two sons (the second one and the third) are portrayed, is referred to as Chiu Chung T'ien Lao Tsu (LICEEM).\n\nA rural temple on the island of Penang contains three images on its secondary altar identified as the Three Sons of the Jade Emperor. They are referred to as San Yuan T’ai Tzu (SAT).\n\nAnother rural folk religion temple at Bukit Mertajam on the Malaysian mainland opposite Penang contains an image of the Jade Emperor's Fourth Daughter (Ti Ssu Kung Chu Pч2) on one side of the main deity on the altar, the Jade Emperor himself, with an aide to the princess on the other side of the Jade Emperor. The aide is known as Meng Yen Hua (夢燕花),\n\nAn unusual image, of a farmer standing holding a hoe over his shoulder, stands on a private altar belonging to a Hakka petty businessman in Kranji, Singapore. The businessman explained that it portrayed one of the sons of the Jade Emperor and had been brought from eastern Kuangtung province last century; it has been prayed to for good crops ever since. He is known as Li Po Kung Kung (#22).\n\nIn one group in Singapore, on a Taoist altar in Lorong How Sun, the Jade Emperor is attended by four of his seven daughters. The first is Hsien Chi Niang Niang (瑄姬娘娘), the second is Kuan Yin, the third is T'ien Hou and the fourth is Nu Wa. All but the eldest are well known deities from early Taoism and Buddhism in their own right. Hsien Chi Niang Niang has only been noted twice, both times in Singapore, on altars where she is said to be the eldest daughter of the Jade Emperor. She is portrayed standing on rocks, holding a fly whisk in her right hand.\n\nAgain in Singapore, on a private altar, a Buddha figure, gilded and seated in a lotus position, was identified as Han Hsien Fu Tsu (#\n\nbili), and said to be a daughter of the Jade Emperor (see Plate 8). She has three identifying features apart from her Buddhist five-leaf crown. These are a small dragon crawling over her left knee, a vase balanced on her right knee and her palms held facing together before her chest with her fingers making a mystic sign. This image has also been seen",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt",
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    },
    {
        "id": 211640,
        "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-1989",
        "page_number": 55,
        "title": "RAS-1989",
        "content_text": "30\n\non an altar in a folk religion temple in Pongol in northern Singapore.\n\nIn the Feng Shen Yen I, mythical tales known to most Chinese, Yang Chien is described as the nephew of the Jade Emperor. Yang, also known as Erh Lang in some stories and in some temples, was a mythical general fighting for the legendary Shang (Yin) dynasty during the wars of the 12th century BC.\n\nAnother popular romance of the Ming, the Journey to the West, better known as the story of Monkey, tells of the incident when a heavenly being was exiled to Earth for re-incarnation as a punishment for assaulting one of the Jade Emperor's daughters. By mistake he entered the womb of a sow and was born half-man and half-pig and is now best known as Piggy, one of Monkey's assistants.\n\nThe Jade Emperor's festivals are celebrated on his birthday, the 8th and 9th of the first lunar month, and on the 6th of the eleventh lunar month, the anniversary of his ascension. In parts of Taiwan he is also feasted on the 24th of the sixth lunar month, and in South-East Asia on the 6th of the fourth, and fifth of the eighth lunar months. Though it is not a date on which humans especially revere the Jade Emperor, all the gods of Heaven assemble on the 19th of the first lunar month to pay their respects to him.\n\nHe is offered a feast on his birthday which includes duck and chicken, but must include pork. These offerings are placed on a table in the open, before the front entrance to the courtyard, together with candles and the large-size sticks of incense. Two whole sugar canes with leaves intact are especially popular offerings in Fukien communities to celebrate the escape of Fukienese who hid amongst the fields of cane to avoid being killed by an enemy. The survivors offered such canes to the Jade Emperor in thanks and the custom has persisted.\n\nIn general, routine offerings before the altar of the Jade Emperor consist of the standard three sticks of smouldering incense. However, offerings of a vegetarian feast are made to him in Hong Kong on the first day of the lunar new year, accompanied by the burning of spirit money. Not all families perform this ritual, many Hoklo and Hakka families prefer only to offer the basic vegetarian meal.\n\nThe Jade Emperor is usually accompanied on the altar by images of",
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    {
        "id": 211641,
        "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-1989",
        "page_number": 56,
        "title": "RAS-1989",
        "content_text": "31\n\naides and guardians. His two major aides, according to a Taiwanese temple keeper, are major deities in their own right:\n\nT'ai I Chiu K'u T'ien Tsun (AZREF) and Lei Yin P'u Hua T'ien Tsun (LEO).\n\nHe has a senior deity as his personal messenger, Teh Chih Chiangchun (特赤將軍)\n\nA Buddhist priest guiding a visitor around his temple in Chia I county in Taiwan, in which the Jade Emperor was the main deity on a side altar in a side hall pointed out that he had four bodyguards:\n\nThe Marshals Wen (溫), Ma (馬), K'ang (康) and Chao (趙) with blue, white, red and black faces respectively.\n\nThe full title of the Jade Emperor is:\n\nHao T'ien Chin Kuan Yu Huang Shang Ti (昊天金阙玉皇上帝) or T'ien Ti San Chieh Shih Fang Wan Ling Chen Tsai (天帝三界十方万灵真宰). This is possibly best translated as The True Lord of Heaven, Earth and Mankind, in all areas and of the Mystical Spirits.\n\nThe following are the short titles by which the Jade Emperor is known:\n\nYu Ti (玉帝)\n\nYu Huang T'ien Kung (玉皇天公)\n\nT'ien Kung (天公)\n\nT'ien Kung Tsu (天公祖)\n\nT'ien Kung Yeh Yeh (天公爷爷)\n\nT'ien Shang Ti (天上帝)\n\nTien Ti (天帝)\n\nHe is also known as:\n\nYu Huang Ta T'ien Tsun Hsuan Ch'iung Kao Shang Ti (玉皇大天尊玄穹高上帝)\n\nYu Ch'ing Shang Ti (玉清上帝)\n\nHao T'ien Shang Ti (昊天上帝)\n\nShang Ti (上帝)\n\nLao T'ien Yeh (老天爷) North China",
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    {
        "id": 211642,
        "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": 57,
        "title": "RAS-1989",
        "content_text": "32\n\nHuang T'ien Shang Yi (LR)\n\nSan Chieh Yu Huang Ta Ti (三界玉皇大帝)\n\n(The San Chieh altar before a temple entrance in Fukienese and Ch'aochou communities, represents the Supreme Deity, T'ien Kung (The Jade Emperor). It is a trinity of Heaven, Earth and Mankind, and the altar is usually higher than normal altars.)\n\nYuan Chih T'ien Tsun (X) (Taiwan)\n\nYu Huang Chih Tsun(玉皇至尊)\n\nYu Huang Ta T'ien Tsun (X) (Taoist)\n\nCh'ing Ching Tzu Jan Chiao Wang Ju Lai (a**=**)\n\nSome temple keepers claim that Yuan Shih Tien Tsun is an incarnation or alternative title for the Jade Emperor. Though Yuan Shih T'ien Tsun is often claimed to be the Supreme Emperor of the Beginning of time, he is primarily a member of the Trinity, the San Ch'ing (), and its first member. He is the First Principle, he has no beginning and no end, is the source of truth and his doctrine leads to Immortality. He dwells in the Kunlun Mountains and was possibly a deity invented by the Taoists to counter the then growing influence of Buddha. His image appears with that of the Jade Emperor on a number of temple altars, thus highlighting the difference between the two deities.\n\nMost of the information related above about the Jade Emperor is reasonably well known; however, the question of the images of the children of the Jade Emperor is a subject which appears not to have been investigated before. Most of the children, numbering up to seven daughters and four sons, appear on altars with their father, in groups on their own or individually alone as deities in their own right. Temple keepers without exception did not know why the particular son or daughter was represented on the altar in their temple though some suggested that the children were really well known major deities such as T'ien Hou and Kuan Yin. However, it is understandable that individual members of the Jade Emperor's family who are referred to on a number of occasions in the legendary history, the Feng Shen Yen I, together with mythical apotheosised heroes from the same legends whose images appear on Chinese altars, should themselves also appear on Chinese altars.",
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    {
        "id": 211643,
        "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": 58,
        "title": "RAS-1989",
        "content_text": "NOTES\n\n33\n\n1\n\nChinese Religions; D Howard Smith, Weidenfield and Nicolson, 1968.\n\nThe Monastery of Jade Mountain; Peter Goullart, John Murray, 1961.\n\nThe Origin of Yuh Hwang, H. Y. Feng, Harvard Journal of Asian Studies, 1936, p. 242-250.\n\n4\n\n\"Religion in the villages of North China\"; Rev. A. J. J. Murray, Religion, No. 16. July 1936, p. 18-25.\n\nLao T'ien Yeh was one of the titles given to the Jade Emperor in North China.\n\nIn Min Hsien in North-West China, where hailstorms are very prevalent during harvest time, peasants used to believe they occurred when the Jade Emperor was angry and the actual hail itself was produced on his instructions by the Mountain Gods.\n\nD. C. Graham, \"The Temples of Suifu”, Chinese Recorder, Vol. 61, 1930, p. 108-120.\n\nK\n\n\"Rural temples around Hsuan Hua\", Folklore Studies, XI, 1951.\n\n1\n\nop. cit.\n\nThe Jade Emperor's heir is very rarely seen on altars, but the author has an image of him, described on the base as \"The Imperial Heir\" (XRF). See Plate 6.\n\nA. S. Goodrich, \"The Peking Temple of the Eastern Peak\", Monumenta Serica, (Nagoya) 1964.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt",
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    },
    {
        "id": 211661,
        "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": 76,
        "title": "RAS-1989",
        "content_text": "51\n\nAnother version of this legend claims that it was the T'ang emperor Kao Tsu (618-626 AD) who wished to test the 'pope's' powers by hiding 360 of his most elite literati (and not failed scholars) in the basement where they were required to play music. The 'pope' was instructed to stop the unidentified noise in the cellar and having waved his magic sword all sounds ceased. The 360 were all found dead, decapitated. The 360 complained to Yen Lo Wang, the ruler of the Underworld on their arrival at his Court who criticised the emperor and required him to appease the dead literati. This the emperor did by appointing them all to be Wang Yeh and by ordering a magnificent Buddhist mass to be said for their souls.\n\nIn some versions the detail of the test set by the emperor for the Taoist 'pope' suggests that the imagination of the tea-house story tellers was stretched to the limit. In one, when the music reached its crescendo the emperor ordered the 'pope' Chang to put a stop to it. Chang replied that the only way he could do so was by killing the makers of the music but the emperor insisted. Chang sprinkled rice and salt on the floor, struck it with magic sword or wand and all 360 were instantly decapitated. After their souls had appeared before Yen Lo Wang in the Underworld demanding to be restored to life and Yen Lo had explained that this was not possible, the spirits of all 360 were confined to a box and cast into the waves of the sea. Found later by a fisherman on the foreshore, the box was opened and the spirits released. They returned to haunt the emperor who thereupon ordered that they should be deified as Wang Yeh. He also decreed that they should be revered in all parts of the empire. The spirits separated and went their ways with five going to Fukien where they have been worshipped ever since.\n\nA version heard in rural Singapore claimed that Chang T'ien Shih was told by some immortals that other immortals, heavenly ones who played music and wrote poetry, were in fact demons in disguise and that they should be destroyed. Chang, who could not resist a challenge, drew his sword and killed a mere 36 at one blow. Chang was later horrified to hear that the 36 were not demons at all but genuine immortals, and immediately sped to the Court of the Jade Emperor in Heaven to apologise and request that the 36 should be deified. The Jade Emperor granted his request and the 36 were sent to all parts of China to serve as pestilence deities. This legend in one form or another is possibly one of the best known legends about pestilence deities amongst the Chinese.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt",
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    {
        "id": 211662,
        "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": 77,
        "title": "RAS-1989",
        "content_text": "52\n\nA second legend also tells of five scholars, again during the T'ang dynasty, on their way to the capital to take the imperial examinations when they overheard demons plotting to poison a village well with pestilence pills. The villagers themselves would not believe the scholars so the five jumped into the well and polluted it with their corpses. The Jade Emperor was impressed by their self-sacrifice and appointed them Pestilence Wang Yeh. This story was originally specifically told by people from Ch'uanchou in Fukien.\n\nA third legend claimed that five men, Li, Chih, Wu, Chu and Fan became blood brothers in order to serve the man who, after his military campaign, established the T'ang dynasty and became its first emperor, Kao Tsu. The five were appointed to various offices of state, served the country well, and after they died were appointed Celestial Inspectors, known colloquially as Pestilence Princes, Wen Wang (HE).\n\nTwo further legends date the origins of the Pestilence Wang Yeh to the Ming, some four hundred and sixty years after the T'ang. The first tells of 36 literati ordered by an early Ming emperor to travel forth beyond the borders of China to tell the world about China's greatness and in particular about the history of the great Tang dynasty. On one of the voyages all 36 were lost in a storm at sea and according to one of the surviving sailors, an auspicious pink cloud drifted over the roaring waves and celestial music was heard as the 36 were borne aloft. The emperor ordered a new ship to be built to be called the Ship of the Wang Yeh into which was placed a tablet for each of the 36 together with a decree personally written by the emperor requiring the officials at every port where the ship docked to welcome and honour the spirits of the dead literati.\n\nYet another local legend claims that towards the end of the Ming era five literati, Chih, Li, Chu, Hsing and Chin, on their way to invigilate at the local imperial examinations at Ch'uanchou fell ill and died of plague. They lost their lives in the service of the people of the town and have been worshipped ever since as the Five Excellencies (Wu Fu Wang Yeh).\n\nIn a popular story teller's tale, the Feng Shen Pang, recorded during the Ming dynasty, Lu Yueh, a Taoist with his four disciples fought for the last of the Shang dynasty against the Chou forces, using germ warfare (pestilence weapons). All five were on the losing side and",
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    {
        "id": 211953,
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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-1989",
        "page_number": 368,
        "title": "RAS-1989",
        "content_text": "Ching Lok Ancestral Hail\n\nFaan Posts\n\nSite for fetching water\n\nFaan Posts\n\nN\n\nMau Ging Tong) Ancestral Hail\n\nJau & Wong Temple\n\nSite for posting the name list\n\nPaak Mou Seung Wing used as kitchen\n\nGeneral Gods\n\nJade Emperor & City God\n\nFaan Posts\n\nA\n\n8\n\nSite for offering to gods\n\nGuardian Gods Yau-Saan Daai Si Wong Gwon Yam\n\nCompartment for villages\n\nCompartment for villages\n\nC\n\nAncestral altar\n\n0\n\nPuppet altar Theatre\n\nA-B-C-D Main paang Later used for opera\n\n(Map taken from Tanaka 1989)\n\nThe Kam Tin Jiu Festival Ground\n\n343",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt",
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    },
    {
        "id": 211954,
        "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-1989",
        "page_number": 369,
        "title": "RAS-1989",
        "content_text": "344\n\npolice. A cluster of smaller temporary structures were built to house the paper images of the Jade Emperor, the City God, the Daai-Si Wong and Baak Mou-Seung. The Daai-Si Wong, also known as Gwai-Wong (King of Ghosts) is a transformation of the goddess Gwun-Yam, who has a fierce appearance befitting his role in the ritual: to oversee the ghosts when they come for the offerings. The Baak Mou-Seung, literally the White Unpredictable, is one of the two Unpredictables, both members of the Underworld bureaucracy who take peoples' spirits when they are to die. Further away from the main paang was a larger structure for general gods, which was to house most of the gods invited from local temples and shrines.\n\nDecked out with many fa-paai banners from the villagers and outsiders, the main structure had several partitions. At the entrance in front were two huge paper images of two armed gods, who served as the supernatural guardians of the paang. Beside them were two horses with attendants, and a pair of lions. Furthest from the entrance was a stage divided into three sections, all facing the entrance. The middle one is the Taoist altar where the priests performed many of their rites. To the right was the altar for the Dang ancestors Hung-Yi and his two wives. On the left side was the puppet stage, on which plays were performed. On both sides of the central area of the paang were rooms for each of the five gu villages/groups of villages, plus Ying Lung Wai. On the same rows were two rooms for the guards for the festival site, one for guards drawn from the young men of Bak-Bin and the other from those of Naam-Bin. Nearer the front on the right side was a temporary altar for Gwun-Yam.\n\nOn the left side was a large partition dedicated to four separate groups of paper images, many with pottery/ceramic heads. The area was known as the yau-saan, a place to harbour ghosts. Each of these groups was divided into three levels. Two large groups depicted the ten Kings of the Underworld on the topmost level. Under the Kings on the middle level were ten shops, each with signs indicating the business: barber's, brothel, sundry goods shop, pawnshop, second-hand clothing, department stores (two), tailors, porters, and “cool” drinks. On the lower levels were some devils, ghosts under torture in the Underworld, and many shoppers. The subjects of the two other groups were more difficult to identify. One of them was labelled Zizhu Lin, “Purple Bamboo Grove”, the place associated with the Goddess Gwun-Yam. She and her male and female attendants were recognizable among the images on the topmost",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt",
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    },
    {
        "id": 211955,
        "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-1989",
        "page_number": 370,
        "title": "RAS-1989",
        "content_text": "345\n\nlevel. The rest of the group (on the middle level) included a scene from the story of the Baishe Zhuan, the legend of the love between a snake-turned beauty and a virtuous scholar. The episode represented was that of the monk exercising his supernatural power to kill the lady, so as to free the scholar from the seduction of the demon. The other group bore the sign Wudan Shan, at once one of the famous mountains of China and a well-known place for Taoism. The top level of the group included the Jade Emperor. On the lower levels of these two groups were a temple, runners escorting a sedan chair, and the scene of the Eight Immortals Turning the Sea Upside Down.\n\n51\n\nDecorated with embroidery hangings, the Taoist altar had at its centre portraits of the Three Pure Ones and on either side the Heavenly Master and Taai-Yut Jan-Yan. Further from the centre were portraits of four minor “generals\", named “dragon\", \"tiger\", \"fire\" and \"water\". On the inner walls of the partitions hung pictures of the ten Kings of the Underworld. There was also a backroom to the altar, where the priests stayed between rites. Hanging in this room was an umbrella-shaped object with many charms trailing from it. There were, a priest told me, 28 in all, one for each of the 28 sau constellations. It was called the luo-tian, which meant, he said, the same as xian-tian, the Taoist primordial heaven.\" In the room was a temporary altar set up for the Three Pure Ones, plus a place with two red slips of paper saying \"May Tao be popular with people\" and “Good Luck in the rites\".\n\n52\n\nOn the day before the seven-day period of rites, the villagers decorated the room for their own gu in the main paang. Before each of the rooms stood a Luk Gwok flag, which was the same as the flag used in the Cantonese opera of the same name to announce the identity of a player; and a lo-gu ga; i.e. “drum and gong holder\". Hanging from the top of the opening were mechanical \"hanging puppets\". Inside near the front was a heung-on incense burner set of the siu-cheng type. The tables inside were decorated by toi-wai embroidery that hung from the edges. Hanging from the \"ceiling\" were similar pieces of embroidery known as waang-mei.\n\nSome of the villages put on displays in these rooms of relics of their illustrious ancestors. In the room for Shui Mei was the screen presented to Dang Git-Sau by relatives and friends to congratulate him on the occasion of his 61st birthday, which I mentioned previously. In the room for Wing Lung Wai was a series of scrolls presented in 1919 to celebrate",
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    {
        "id": 211960,
        "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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        "page_number": 375,
        "title": "RAS-1989",
        "content_text": "350\n\nworld by first fixing them in the arms of a mounted paper horse rider known as gung-chou, who served as a messenger, and then burning the three (horse, rider, and memorial) together. The other form, known as bong, was posted in a rite on the main day of the festival on a wall, and remained there until the conclusion of the ritual.\n\nThe scripture chanting/Repentance session took place before the Three Pure Ones three times a day. The manual used was the common Jade Emperor's Repentance Scripture. The sessions were very short. The one I timed lasted only fifteen minutes. The other daily rite was the procession of offerings, which started at the Taoist altar with worship of the Three Pure Ones, then visited all the five faan posts, all the temporary altars and the Jau and Wong Temple, the guardian gods of the paang, and the yau-saan. The procession included flags and banners, and was preceded by a man holding a \"spirit summoning flag\". At each spot it stopped at, the priests briefly chanted and made offerings.\n\nThe other (and longer) rites involved a lot of chanting and singing, which, in many cases, nobody could hear clearly. The amplified music of the puppet theatre drowned out any other sound. The only exception was a scholar of religion from the Chinese University of Hong Kong who had the high priest carry a wireless microphone for him and who could therefore listen to the priests' words from a headphone radio and compare them with the manual. My descriptions of the Taoist rites, therefore, are often interpretations of what I saw and heard on the basis of past experience and manuals. 63\n\nE. The Participants List in the Taoist Rites\n\nOf the elements of the rites, the villagers probably knew most about the Memorials in their different forms. The women villagers in general knew less about the festival (or they pretended to). When I asked some elderly ladies at the ritual site what da-jiu was all about, they explained that it was heui-lok promised to Jau and Wong, to commemorate them. They suggested that I should ask elderly men instead. It was men who knew more about these things. The knowledge was handed down from one generation to another. But I overheard, during the opening rite, the same group of elderly ladies asking themselves how many priests were reading the Memorial (the one to be burnt). They observed that there was too much noise for them to hear the reading. They explained to me that the names of all the villagers (yan-hau) were being read. The priests\n\nPage 375\n\nPage 376",
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    {
        "id": 212035,
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        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
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        "page_number": 450,
        "title": "RAS-1989",
        "content_text": "Plate 1. A main altar on the first floor of the San Feng Kung in Kaohsiung, southern Taiwan, containing a tablet to the Jade Emperor, but no image.\n\nPage 450\nPage 451",
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    {
        "id": 212036,
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        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
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        "document_key": "RAS-1989",
        "page_number": 451,
        "title": "RAS-1989",
        "content_text": "Plate 2. Image of the Jade Emperor,\n\nthe main deity in the Hsing Hsin Kung, Tai Pei.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt",
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    },
    {
        "id": 212037,
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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-1989",
        "page_number": 452,
        "title": "RAS-1989",
        "content_text": "Plate 3. The image of the Jade Emperor amongst a number of other major deities in a side hall of the Kuan Tu temple at Pei Tou, Taipei.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt",
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    },
    {
        "id": 212038,
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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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        "page_number": 453,
        "title": "RAS-1989",
        "content_text": "Plate 4. Image of the eldest son of the Jade Emperor, known as the Imperial Heir. (from the author's collection).",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt",
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    {
        "id": 212039,
        "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": 454,
        "title": "RAS-1989",
        "content_text": "1\n\n墨重畫法 \n\nPlate 5. Image of the Third Daughter of the Jade Emperor, in the Main Hall of the Jade Emperor Temple, Tainan.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h",
        "rank": 0
    },
    {
        "id": 212040,
        "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": 455,
        "title": "RAS-1989",
        "content_text": "敬\n\nPlate 6. Image of the Fourth Son of the Jade Emperor in the Main Hall of the Jade Emperor Temple, Tainan.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h",
        "rank": 0
    },
    {
        "id": 212041,
        "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": 456,
        "title": "RAS-1989",
        "content_text": "Plate 7. The Image of the Third Daughter of the Jade Emperor in the Lung Te Temple on Pai Sha Island in the Pescadores.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h",
        "rank": 0
    },
    {
        "id": 212042,
        "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": 457,
        "title": "RAS-1989",
        "content_text": "UTA\n\nPlate 8. The image of Han Hsien Fu Tsu, said to be a daughter of the Jade Emperor, on a private altar in Singapore. This is an Amoy carving.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h",
        "rank": 0
    },
    {
        "id": 212158,
        "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": 100,
        "title": "RAS-1990",
        "content_text": "77\n\nexalt the magical power of the tree god.'\n\nOn the 23rd day of the first lunar month in 1925 just west of Suifu in Szechuan province some Chinese saw a beggar lying on the ground. They returned very shortly after to find the beggar had disappeared completely, the ground where he had lain was bone dry and his imprint on the wet grass stood out. They realized that he must have been an Immortal and built a small shrine dedicated to him. Once a year thereafter, on the 23rd of the first month anniversary local people held a special festival to celebrate his disappearance.\n\nInnumerable stories are told of the creation of such new deities. These tend to have the following common factors:\n\na. a human dies under unusual circumstances and his spirit is 'found' to have special and supernatural characteristics.\n\nb. An image is carved and placed on an altar as a direct result of the god's behaviour or action. Usually the deity has appeared in a dream, or in a more tangible form as a piece of wood sometimes rough, at other times shaped (a gate or door) — floating in the sea, on a lake or a river, and manifesting supernatural characteristics.\n\nAlthough in theory the deification of a dead soul requires the joint authority of the supreme Taoist deity, the Jade Emperor and the terrestrial emperor of China, there have been a large number of minor deities in particular who owe their deification to the common people, voting with their feet, going to shrines to offer up incense and oil. And just as gods fade and disappear because of lack of support from devotees who have found other and apparently more potent deities, so the creation of new gods springs from a natural but unusual happening such as was the case of the small boy in Singapore, who, as we shall see later, was killed in 1963 by lightning.\n\nCults spring up whenever the spirit of a dead person responds to public devotions and offerings and grants devotees their requests. The deceased need not be from the distant past. An image of Chiang Kai-shek, who only died in 1976, has been seen on at least one major altar in Taiwan, against the wishes of the Kuomintang government, though they would appear to have turned a blind eye. Sun Yat-sen, one of the Republic's greatest worthies, has also been seen in both image and",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1990.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/d79206299",
        "rank": 0
    },
    {
        "id": 212159,
        "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": 101,
        "title": "RAS-1990",
        "content_text": "78\n\nicon form on minor altars in Taiwan. These icons are understandable as portraits of Sun the 'Father of the Nation' appear with those of Chiang Kai-shek in offices, schools, barracks etc. where they were bowed to each morning as a sign of respect. Among the less literate and more superstitious it is not difficult to see how this has led to such icons appearing on altars with incense burnt before them.\n\nIn the mid-1960s, the Kuomintang organised a political demonstration in Cambodia on the 15th day of the seventh lunar month, the middle of the month during which Hungry Spirits return to the human world for thirty days. During the demonstration public sacrifices to the spirits of the victims of the communists in China were performed. There was also talk of deification of one or two but this came to nothing.\n\nIt has not been unknown for outstanding living persons to have a sanctuary built in their honour. The magistrate of Ch'ing-ho district in Hopei was such a man. He brought about a substantial reduction in taxes and other government levies and thus lightened the financial burden on a hard pressed people. In 1886, two years after he had been transferred to administer another district, the grateful populace of Ch'ing-ho built a shrine in his honour.\n\nIn Singapore in 1970 a new cult was founded near Woodlands on the northern tip of the island when the deity, Wu T'ien Chu, appeared to a Singapore Fukienese man in a dream. The deity explained to the Fukienese that he, Wu T'ien-chu [The Military Master of Heaven], was a mighty deity who had chosen the Fukienese man to become the 'Master Warrior' of his cult. He required a new bungalow to be converted into accommodation for the founder with the lounge becoming the altar hall. He told the Fukienese man that he would protect his devotees, cure their illnesses and bring them good fortune. A statue of the deity was carved in the likeness of the spirit as he appeared in the founder's dream and placed on the altar. The founder, the Fukienese man, explained that with his wide knowledge of all religions he encourages devotees from every nation and creed to worship in his temple. He explained that the world's most powerful deity is the Jade Emperor, with Sakyamuni, The Buddha, as his deputy. Next in seniority is Kuan Yin followed by Wu T'ien-chu who has a great many assistants and warriors under his charge, none of whom is ever portrayed in image form. He continued that the four pillars of the cult are \"the four gods (shen) of other religions, Buddha, Christ, the Pope and Mohammed”.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1990.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/d79206299",
        "rank": 0
    },
    {
        "id": 212658,
        "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-1991",
        "page_number": 212,
        "title": "RAS-1991",
        "content_text": "193\n\nto and honouring the memory of Wang Te-lu, an Imperial fleet commander who helped clear the Straits of Formosa of pirates during the early years of the nineteenth century. The Wang Clan Temple in T'ai-pao village in Chia I county in central Taiwan was an elegant building first built during the late 19th century by the proud clan whose surname Wang Te-lu bore. It was rebuilt in 1979, this time a modern metal frame construction retaining the comparatively small single hall in which there is but one altar on which stands one large multi-ancestor tablet and three ancestral tablets. The flanking walls bear texts, with Wang Te-lu referred to in a number of the captions as Wang Ta-jen, i.e. His Excellency Wang, and paintings of Wang Te-lu stage left and of his primary wife stage right.\n\nAlthough we know little about Wang's early life apart from what has been retrieved from local folk memory which, as with all family recollections, is highly subjective and probably exaggerated out of all reality, we do have official records of the highlight of his life. This \"five minutes of glory\", depicted in a painting hanging in his Memorial Chapel illustrating the incident, was his victory over pirates who had been causing immense and terrible problems up and down the coasts of the southern provinces of Chekiang, Fukien and Kuangtung since the late 1790s. One pirate fleet in particular had sailed the Fukien coast under its dreaded Fukienese leader, Ts'ai Ch'ien. The Chinese Imperial naval commander, Li Ch'ang-keng, commanding the joint fleets of Fukien and Chekiang province, determined to suppress them, successfully defeated the pirates on a number of occasions but was killed in action in 1808, following which his two subordinate admirals, of whom Wang was one, were entrusted with continuing the task. Wang, in charge of the Imperial Fukien fleet, together with the Chekiang fleet under Admiral Ch'iu, fought the major battle in September 1808 near the Tai-chou islands off the Chekiang coast. The pirate fleet was destroyed with Ts'ai Ch'ien going down with his ship.\n\nWang was born and named Te-lu, literally meaning \"To become prosperous and happy\", in 1771, the thirty-fifth year of the emperor Ch'ing Ch'ien Lung, in Kiangsi's provincial city of Nanch'ang, and in later years acquired the courtesy name of Pai-ch'u, literally \"All Honours are concentrated within Him\"; and the literary name, Yü-feng, literally meaning \"The Jade Peak\". He died at the age of 71 in 1842 on the Pescadores, an archipelago in the middle of the Straits of Formosa, and having been borne in honour back to Taiwan, was buried in Hsin-",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1991.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/k356gt84j",
        "rank": 0
    },
    {
        "id": 212740,
        "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-1992",
        "page_number": 49,
        "title": "RAS-1992",
        "content_text": "34\n\nhad a head of steam and wrote several pages of detailed description on one particular theme, usually with an educational value aimed at foreigners in China. One in particular was his portrayal of a Chinese banquet, consisting not only of various menus, but seating plans, courtesies and the role of the servants.\n\nHis Promotion of Western Education\n\nSince 1868, Mesny claimed, he had had an inclination to do something towards dispelling some of the gross darkness that prevailed amongst the Chinese. In 1870 he established a small day school for boys and girls in a temple called the Yu-huang Kung [The Temple of the Jade Emperor], which served as a club house for the people of the Hu-kuang provinces who resided in Kuei-yang. He imported some school books which he considered suitable and paid a Chinese teacher to teach the children during the four years of his residence in Kuei-yang.\n\nMesny in later years had interviews with senior Chinese mandarins with a view to promoting western sciences and other subjects of study for examinations in China. He also claimed that he had persuaded a Chinese Viceroy to submit a memorial on educational reform to the throne and that this was the start of such reform. The reforms were abolished by the Empress Dowager in 1898.\n\nMesny and Women\n\nDespite the genuinely colourful life he led in China, his experiences living with the Taiping rebels, his service with the Szechuan Force în Kueichou and his treks across much of the country; when we come to his descriptions of his love life with Chinese ladies, although they may have been real and authentic, for the most part they read like episodes out of a modern pulp novelette. This may be due to a possible inability to describe them without a modicum of exaggeration or 'editing' or, though unlikely, they may have been figments of his imagination. There is little doubt that he was red-blooded and normal, and as a single man in foreign parts with few if any women of his own race or culture it was the understood thing for expatriate westerners to have a local female partner. He frequently wrote of pretty women at the roadside during his journeys across China who attracted him or, more to the point, were attracted by him. However, the exact measure of his intimacy with any but his wives is destined to remain tantalizingly obscure.\n\nCorrected minor OCR errors, reformatted text into paragraphs, and corrected \"în\" to \"in\" for consistency and correctness.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1992.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/qf85tx75x",
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    },
    {
        "id": 212767,
        "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-1992",
        "page_number": 76,
        "title": "RAS-1992",
        "content_text": "61\n\nNovember 1862\n\n1863 March\n\n1863 May 1864 April\n\n1864\n\n1864-1865\n\n1867 Winter\n\n1867\n\nhis junk and three others\n\nCaptured at Fu-shan-chan by Taiping rebels. Mesny held first in Soochow and Chang-shu, then at Pao-ying the Taiping camp, and finally in Nanking\n\nRescued by Adkins, the British Consul at Chin-kiang aboard HMS Slaney and taken back to Chin-kiang\n\nJoined Chinese Imperial Customs Service, Hankow\n\nResigned from Customs Service after fourteen months Involved in cotton broking\n\nEstablished the Hankow Horse Bazaar, a private hotel in Hankow, and set up Hupei Iron and Brassworks, Han-yang Romantic interlude with a Chinese widow in Hankow Mesny called on Tso Tsung-tang during the latter's visit to Hankow and was appointed his French and English Secretary, and was further offered the opportunity to accompany Tso on his campaign to the Northwest. Mesny also claimed that he had made recommendations to Marquis Tso Tsung-tang for a number of undertakings to help modernise China\n\nSold the Huper Iron and Brassworks to officials of the Viceroy of Szechuan province\n\nMesny's trek to war\n\n1868 June\n\nLate July or early August Late August\n\nSeptember\n\nLeft Hankow, after five year's residence, for Szechuan to become a drill instructor with the Szechuan Force\n\nArrived Chungking\n\nDeparted Chungking for Kueichou to join the Szechuan Force suppressing the Miao rebellion: he accepted employment as a military instructor (wu-chiao hsi)\n\nArrived Niu-ch'ang, the headquarters of the Szechuan Force in Kueichou\n\nSeptember 1868-May 1874 Involved in the military campaigns to suppress the Miao\n\nThe Advance: Late Summer 1868-March 1869\n\n1869\n\nPromoted Colonel, awarded the Star of China and the Flowery Plume The Retreat: Summer 1869-Summer 1870 1870/1871\n\n1871\n\n1872\n\nHelped form a joint stock company in Kuei-yang to \"recover mercury\"\n\nThe Withdrawal: mid-August 1870-Lunar New Year 1871\n\nca 1873\n\n1873\n\n1874 Spring\n\nEstablished a small day school for poor boys and girls in the Jade Emperor temple in Kuei-yang, importing suitable books and paying a Chinese teacher, a struggling student painter, Chin Yü-t'ang Siege of Hsin-ch'eng in upper Kueichou (Mesny involved in preparations for the siege during 1871)\n\nWent to Szechuan with General Chou Ta-wu\n\nPromoted Major-General and awarded the Ying-yung Pa-t'u-lu Left Kueichou for Szechuan: Margary expected to meet Mesny in",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1992.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/qf85tx75x",
        "rank": 0
    },
    {
        "id": 213070,
        "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-1993",
        "page_number": 138,
        "title": "RAS-1993",
        "content_text": "119\n\nhe was asked to come down from his cave to pray for rain. As he arrived the clouds opened and sufficient rain fell ending the lengthy drought. The grateful populace insisted that he should stay with them and many wanted to build him a house. However, he returned to his cave which he named Clearwater Cliff [Ch'ing-shui Yen] from the brook that flowed from a rock just outside his cave. Henceforth he was known as the Patriarch of Clearwater He died at the age of 65\n\nA third story, common to a number of deities, tells of Ch'en killing with his bare hands a large man-eating snake which lived in a cave on Ch'ing-shui cliff. He himself died in the struggle and turned black In another version he is said to have a black face following an incident in which a demon unsuccessfully tried to smoke Ch'ing-shui out of his cave, or in another variation the demons tried to cook him alive in his cave. He stepped out alive, arrested the demons and imprisoned them for ever in his cave He was later deified by the Jade Emperor Ch'ing-shui is also said to have been hermit in a cave called Ch'ing-shui in a cliff on the P'eng-lai mountain near Anhsi where, on his death, devotees built a shrine dedicated to him on the ridge above the cave.\n\nThe story told about his unusual nose has one or two variations but in general it relates how a robber cut off the nose from his main image in a fit of anger. It was picked up by one of the devotees who tried to reattach it but without warning, the nose disappeared After a short search someone noticed that it was now reattached. It is now said that whenever the deity is angered the nose disappears until his anger dissipates During the Franco-Chinese War [1884/1885] following the defeat of the French at Keelung in northern Taiwan, part of the invading force retreated to the old centre at Tamsui. The French troops were again repulsed by the Chinese under Sun Kai-hua who was assisted by local Chinese from the Manka district [now down-town Taipei] who brought along an image of their patron deity, Ch'ing-shui Tsu-shih. This led to a fifty year struggle in the law courts between the Chinese of Tamsui and those in the Manka as the Tamsui people had held on to the image refusing to return it. The Manka Chinese won in the end. The image is also known as the Drop-nose saint [Lo-pi Tsu-shih] after the nose on the image in the temple fell off every time something bad was said in his presence\n\nHe is famous for his extraordinary powers and is said to have been able to have conjured up rain during his lifetime whenever there was a",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1993.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/66833t302",
        "rank": 0
    },
    {
        "id": 213385,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1994",
        "page_number": 207,
        "title": "RAS-1994",
        "content_text": "195\n\nBirch, John Grant, Travels in North and Central China, London Hearst and Blackett, 1902\n\nBishop, Isabella Lucy, The Golden Chersonese and the Way Thither, London J Murray, 1883\n\nThe Yangtze Valley and Beyond, New York Putnam, 1900\n\nBlackburn Chamber of Commerce, Report of the Mission to China of the Blackburn Chamber of Commerce, 1896-7, Blackburn North East Lancashire Press, 1898\n\nBlakiston, Thomas Wight 1832-1891, Five Months on the Yang-Tze and Notices of Present Rebellions in China, London J Murray, 1862\n\nBland, John Otway Percy, Houseboat Days in China, London Heinemann, 1919\n\nBoardman, Eugene, Christian Influence Upon the Ideology of the Taiping Rebellion, 1851-1864, Madison University of Wisconsin Press, 1952\n\nBohr, Paul Richard, Famine in China and the Missionary Timothy Richard as Relief Administrator and Advocate of National Reform, 1876-1884, Cambridge (Mass) Harvard University Press, 1972\n\nBoone, Murel, The Seed of the Church in China, Edinburgh St Andrews Press, 1973\n\nBraam Houckgeest, Andreas Everard van, An Authentic Account of the Embassy of the Dutch East India Company to the Court of the Emperor of China in the Years 1794 and 1795 (Subsequent to that of the Earl of Macartney) from the journals of..., London printed by R Phillips, 1798\n\nBradford, Ruth, \"Maskee?\" The Journal and Letters of Ruth Bradford 1861-1872, Hartford The Prospect Press, 1938\n\nBredon, Juliet, Sir Robert Hart: The Romance of a Great Career, London Hutchinson, 1909 (New York Dutton, 1909)\n\n—, Peking, Shanghai Kelly and Walsh, 1931 (Hong Kong reprint Oxford University Press)\n\nBruce, Clarence D., In the Footsteps of Marco Polo, Edinburgh Blackwood, 1907\n\nBryson, Mary Isabella, The Land of the Pigtail, London The Sunday School Union, 1905\n\nBurland, Cottie Arthur, The Travels of Marco Polo (with photographs by Werner Forman), London Joseph, 1971\n\nCable, Mildred, Through Jade Gate and Central Asia, with an introduction by Rev John Stuart Houghton, London Constable, 1927",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1994.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/zk522640g",
        "rank": 0
    },
    {
        "id": 213787,
        "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": 139,
        "title": "RAS-1996",
        "content_text": "110\n\nand their brothers several generations earlier than the one with whom the last part of the genealogy starts counting generations from one.\n\nThe above shows that celebration of Fengchao is connected with ordination names. It is not meaningful to ask if all those who celebrate the rite had ordination names in their genealogies—in any case, as mentioned before, all Hakka genealogies I examined, except short excerpts, contain ordination names. There is a similar problem in asking if all lineages with ordination names in their genealogies celebrated Fengchao. One may ask, however, the following question: if two lineages trace to the same ancestors who are the only ones who had ordination names, and one of the lineages celebrates Fengchao, would the other celebrate Fengchao too? There are some cases in the New Territories of which we may ask this question: e.g., Ping Yeung and Ting Kok, So Lo Pun and Lai Chi Wo, Shuen Wan and Wu Kau Tang. At this stage of research, I cannot answer the question for any of those pairs.\n\nAccording to the memorial for the ritual of Fengchao, it is dedicated to ancestors. Chao is also written as Zuchao, zu meaning \"ancestor\". Elsewhere in the memorial, it is written as shangzu, “early ancestors”. Many of the sessions in the ritual are named in the memorial. They were for maintenance of an “immortal army” which seemed to be under the control of the ancestors. When a priest read the memorial to demonstrate his rendering, he added zugong (\"ancestors\") before bingma (\"army\") in the passage, indicating that he does think of the army as belonging to the ancestors. He compared the army to \"policemen\", and told me that they were to guard the village to prevent entry of outsiders. The rites were to remedy possible loss of soldiers and horses due to lack of provisions; loss of the wuhua qihao flags of the army; and the loss of yingsuo stations [garrisons?]. One major feature is petitioning the Jade Emperor and his subsidiaries for issuance of a Zhaobing Pai order for recruitment of soldiers.\n\nThe rite I witnessed was performed inside the ancestral hall, with the exception of a session to “pacify the kitchen god” at the kitchen stove of the bridegroom's house. At the ancestral altar of the hall, the priest hung a picture showing the Three Pure Ones and gods peculiar to the popular tradition, including the Three Ladies. Three temporary spirit",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1996.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/3n209j641",
        "rank": 0
    },
    {
        "id": 213797,
        "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": 149,
        "title": "RAS-1996",
        "content_text": "120\n\n24\n\nН\n\nTou To Wang, Changsha Wang and various Muowang \"demons\" I have not consulted Shuton Yoshio eds. Yao Documents (Tokyo Kodansha 1975)\n\nFor example the Buddhist concept of Liu Dao, and the Asura was summoned by the Devil King to fight the Buddha in the Dunhuang narrative literature Buo Muo Branwen, in Dunhuang Brannen, in Tarper Shipe Shuju reprint, 1980, p 347 But in a passage of the Hua Yan Jin quoted by Hong MA,, op cut P. 1680, the King of Asura was among those summoned by the Bodhisattva to come to the rescue of those in turmoil\n\nBut Muowang \"Demon Kings' also featured in canonical Daoism in which They have been conquered by the Daoist gods and can be summoned by Daoist for protection\n\nEven then the Jade Emperor's native place, according to the same document, was \"Puo Xi\" which could have been Persia too\n\nSee Jiang op eit for Qujiang, and Hu Qiwang et al Bancun Yang, Minzu Chubanshe, 1983, for Guangxi Province\n\n\"See Lagerwey for the present situation\n\n\"The SJYLSSDC as we see now, a Qing reprint of the Ming book, has a passage that says Chen went to Lu Shan to study magic. But the next four characters do not make sense The crucial characters will give the master's name as Jiu Lang and can be found in reprints in a more recent series A Ming version reprint of the same book, under the title of Sanpao Yuanliu Shengdi Faozu Shoushen Dachuan, in the series Zhongguo Mijian Xinvang Zijido Hunbuan, Taiwan, 1989, gets most of the characters right. Compare also Shi Shen, a Qing manuscript also reprinted in the same series that quotes a Zheng Shou Shen ji, the passage is otherwise identical with SJYLSSDC\n\n\"See for example Lagerwey, perhaps Liu Zhiwan also. Note the latter being account of practice of the Zhang Fazu sect, which seemed not to involve the Lu Shan Jiu Lang at all\n\nTh\n\nInteresting information is found in John Lagerwey was not mentioned, instead \"John Keupers\", \"A Description of the Fa-ch'ang Ritual as Practiced by the Lu Shan Taoists of Northern Taiwan\", in Saso and Chappell eds Buddhist and Taoist Studies 1. Hawaii University of Hawaii, 1977, p 83 This article on the Lu Shan San Nai sect shows, without saying so, that the confusion has multiplied as the priest has mistaken the pair Lu Shan Jiu Lang and Wang Tu Mu for Dong Wang Gong and Xi Wang Mu, two prominent gods in canonical Daoism, and by two steps of substitution (Xu Xun = Lu Shan Jiu Lang, Dong Wang Gong = Lu Shan Jiu Lang) identified Dong Wang Gong with Xu Xun\n\n-\n\nSee for example the San Jiao Shou Shen Da Chuan\n\nMin Du Wai Ji by den He Qiu, reprinted 1987 by Fujian Renmin Chubanshe\n\nYuan Hao-wen, Yi Jian Zhi, Reprint Beijing Zhonghua Shuju, 1988\n\n14\n\nALL\n\nOp eit pp 1181, 1429\n\n+",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1996.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/3n209j641",
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    },
    {
        "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",
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    },
    {
        "id": 214016,
        "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": 84,
        "title": "RAS-1997",
        "content_text": "50\n\nin pairs on Min [Fukienese] community altars as offerings to the Jade Emperor, whose birthday is celebrated the following day and who had persuaded Yang to call off the pursuit.\n\nAn image categorically identified as the Seventh Son, Yang Yen-ssu has only been observed in one temple, in Medan in Sumatra, where it stands alone on a separate side altar simply marked, Yang Ch'i Yeh. He is portrayed as a black-bearded general, standing dressed in long yellow robes and holding a long staff but without any unique features. In a temple near Taichung where he is depicted together with the rest of his brothers he is inexplicably portrayed with a ferocious, decorated face and a bird's beak mouth. His black skin is decorated with a white [opera-style] face pattern, whilst the beak with a red edging is under a human nose. His eyes are staring, round and bulging, and he is holding an unsheathed sword at the ready. All in all, an extraordinary image which, whilst accepted and labelled as the Seventh Son by the temple staff, is completely out of character.\n\nFinally, in Seremban in central Malaysia, the temple keeper of a small rural temple pointed out a small standing figure of a soldier in armour at the rear of a crowded secondary altar. The image has no unique characteristic and could be any soldier/deity. The temple keeper identified him as Yang Sung-pao, a T'ang general who had been the protector of a Sung emperor. In Seremban he was also known as the Venerable Golden Lion, Chin-shih Ta-jen, as well as the Great General, Ta Chiang-chün.\n\nThe Eighth Son, Yang Pa Yeh, has only been noted on two altars in northern China despite the two Yang Family Daughters being numbered Eight and Nine, Yang Pa Chie and Yang Chiu Mei. These two daughters were involved in several battles fighting alongside the Sixth Son.\n\nPost Script\n\nChinese characters carved into a roadside rock beside the modern main road from the Fen River plain in northern Shansi to Inner Mongolia proclaimed that the nearby old temple had been dedicated to Wu Lang, the Fifth Son of the Yang. This was confirmed by a local peasant. The temple was in a col between two mountains, itself several thousand",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1997.txt",
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    },
    {
        "id": 214239,
        "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-1998",
        "page_number": 97,
        "title": "RAS-1998",
        "content_text": "60\n\nconcrete images of Thai Buddhas, the [Chinese] Jade Emperor and Siva with the tiger. Temple staff of the three religions attend to their own altars and help devotees as and when required.\n\nThe most widespread Buddhist images seen throughout China which are obviously not Chinese deities are the four major guardians in the entrance hall to Buddhist establishments, the Defenders of the Faith. These and other similar minor guardian deities are former gods of Indian folklore and include the giant guardian deities known in Chinese as Wu-shih, such as those whose images stand outside the main hall of the Jinci in Taiyuan. A further two are the traditional guardians of Buddhist temple gates dating from at least the 8th century. The one [facing the gate] on the right hand is opened-mouthed and coloured vermilion, whilst the guardian on the left has a closed-mouth and is the colour of charcoal. Both are made of stucco. In China they are known as the two generals Heng and Ha, the Blower and the Snorter. In legend they fought with secret weapons; one blew a deadly yellow gas from his mouth with a ha! and the second snorted a white beam of light from each nostril with a heng! which vaporised his enemies. They can also be seen guarding the entrances to Japanese Buddhist temples where they are known as Kongo Rikishi. All of these guardians are undeniably foreign in form in comparison with the gilded images of the standard Buddhas which are now not even considered by Chinese devotees to be anything but Chinese.\n\nWe know who the Deva are, when they were placed in their present temples, both in Taiwan and the Western Hills, but not why. From our various sources it would seem that these Sinicised Indian deities are celestial protectors. We can guess that the concept was imported at a comparatively late stage but who, individually, sponsored them and had the images made is now lost in time. It is interesting to note that present day monks in the Western Hills have little idea of their origins and were apparently completely disinterested in the subject.\n\nIn the cave-tunnel in the comparatively modern temple in Taiwan, however, the images were, to the religious specialists there, simply Buddhas of Yore, the principal ones who preceded Sakyamuni.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1998.txt",
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    },
    {
        "id": 214240,
        "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-1998",
        "page_number": 98,
        "title": "RAS-1998",
        "content_text": "61\n\nAppendix A\n\nDETAILS OF THE DEITIES WITH SINICISED SANSKRIT NAMES\n\nWHOSE IMAGES APPEAR IN THE GROUPS IN THE TWO TEMPLES IN THE WESTERN HILLS OF PEKING\n\nAND THE ONE IN NORTHERN TAIWAN\n\n1] Brahma [Mahabrahman] usually known in Chinese as Fan T'ien 梵天\n\nBrahma is the ancient Vedic creator and the Soul of the Universe, an impersonal being, chief of the Hindu gods and celestial spirits and the first in the Hindu trinity. He is usually paired with Indra [see Ti Shih below] though married to Sarasvati. It is believed that the Vedas sprang from Brahma's head.\n\nHe is known in China by several titles including Ta Fan T'ien-shen and Fan Wang as well as Ta Fan T'ien Wang. In India his image varies from place to place but frequently he is portrayed with four arms and four faces or heads. Over the centuries his worship slowly declined in favour of Vishnu and Shiva.\n\nHis image has been noted in a number of folk religion temples in China where he is considered to be one of the forms of the Jade Emperor. In several Buddhist monasteries he has been noted as one of the two attendants flanking Sakyamuni Buddha, the other attendant being Indra.\n\nIn a number of temples in southern China he has been represented as a bearded middle-aged man, standing, wearing long flowing robes, and either the standard Hanlin-style Chinese literati cap or the tiny Taoist crown. He can also be portrayed carrying a stylised incense-stick holder which looks very similar to the long-stemmed tobacco pipe. In some temples in central China he was depicted riding a swan.\n\nIn the Ta Pei Ssu in the Western Hills he is portrayed as an imperial minister, standing with a tablet held in both hands before his chest and dressed in a colourfully decorated robe and Ming decorated leather.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1998.txt",
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    },
    {
        "id": 214241,
        "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-1998",
        "page_number": 99,
        "title": "RAS-1998",
        "content_text": "62\n\nbonnet. He has a Chinese face, white moustache and beard and rather hooded eyes.\n\nHowever, in the Pi-yun Ssu, also in the Western Hills, his modern image depicts him in what appears to be a sarong held up by a long blue bow, and with a bare chest. His shoulders are covered with a decorated blue robe down to his knees, parted revealing his bare chest, and an unusual bonnet which appears to have a pair of short wings extending out beyond his ears. He has a squat nose, large mouth and is holding his right hand making a mystic sign at chest height. His left hand grips an incense-stick holder at waist height. He looks marginally less Chinese than the other images but does not look Indian.\n\nPaired with Indra, he stands in prime position at the head of one of the two rows of fourteen Deva.\n\n2] Indra, known in Chinese as Ti Shih and Yin-t'o-lo\n\nHe is the greatest of the Vedic deities with the dual function of weather and war god, known also as Sakra Devanam. He has been adopted by Buddhists as representative of secular powers, protector of the religious body but inferior to any Buddhist saint. He is said to have taken an oath to defend Buddhism during a former incarnation and was reborn as the King of the Yakshas.\n\nAlthough some Chinese Buddhists identify Indra as the Taoist supreme deity, the Jade Emperor, Brahma is much more commonly accepted as a form of the Jade Emperor.\n\nHis image is present in both the Ta Pei Ssu and in the Pi-yun Ssu, and in both he is completely Chinese with no hint whatsoever of foreign origins. He is standing, an ancient minister, dressed in colourful decorated Chinese robes and imperial bonnet, with pink flesh, a black moustache and goatee, and with both hands held together before his chest, fingers pointing upward.\n\nIn Hong Kong he has been paired with Brahma on altars and is portrayed carrying a golden bowl somewhat similar to an incense pot. He is depicted in a form and dress virtually identical with that of Brahma,",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1998.txt",
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    },
    {
        "id": 214244,
        "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-1998",
        "page_number": 102,
        "title": "RAS-1998",
        "content_text": "65\n\nhand holding a precious object including a rosary, cudgel, jar, spear, pagoda, golden arrow, halberd, or bell, etc. and it is therefore not surprising that the images of Chun-t'i on the altars of both Buddhist and folk religion temples portray her with eight or eighteen arms and hands, the main two hands being held palms pressed together before the chest in prayer. The uppermost hands hold discs of the Sun and Moon respectively and the remainder, individually, hold various attributes including a seal of office, a sword, shield and fly switch. She is variously represented with three heads though predominantly she is depicted with one head with three faces one of which is that of a sow. Chun-t'i again often has a third eye in the centre of her forehead, usually a Taoist form but attributed to her Indian origin as a metamorphosed caste mark. She is generally portrayed sitting on a lotus throne in the same posture adopted by the Buddha and, in one of her poses, also by Kuan Yin P’u-sa. According to Werner the legend explaining the third face being that of a sow and the creatures supporting the lotus also being pigs relates how one of the abbesses of the Semding monastery in Tibet in whom the goddess Chun-t'i was believed to be successively incarnated, had an excrescence resembling a sow's ear at the back of her head.\n\nIn northern and central China in Tantric Buddhist temples, the Lamaist goddess Maritci, portrayed in a chariot drawn by seven pigs is identified as Chun-t'i; in the south however, where Tantric Buddhism hardly penetrated, images identified as Chun-t'i are said by priests, should devotees enquire, to be the Brahmanic cult of Maritci. However, in Tibetan and Mongol [Tantric] Buddhism Tou-mu is a common deity with her three eyes and many arms; she is considered to be an incarnation of Avalokitesvara, the bodhisattva known throughout China as Kuan Yin and this doubtless explains the confusion with Kuan Yin in central and southern China. She has been identified as Tou-mu Yuan-chün, the main deity in the T'ai Sui Hall in the Jade Emperor temple in Tainan, where she is flanked by two Tantric aides, Ch'ieh-ch'ih and Yao Ya.\n\nIn her Taoist form she is portrayed seated on a lotus, again of Indian origin, which in a number of temples rests on the back of a tortoise which in turn rests on three or seven pigs. Most likely this is no more than a reflection of the tale in the Feng-shen Yen-i in which one of the disciples of Tou-mu, Shui-huo Tung-tzu, who changed into a tortoise, bore off Tou-mu to the Western Heavens.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1998.txt",
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    },
    {
        "id": 214256,
        "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-1998",
        "page_number": 114,
        "title": "RAS-1998",
        "content_text": "77\n\ning stick of incense before each with a perfunctory bow, the Four are looked upon as mere soldier guardians with a fifth, Wei T'o [see 21 above], their commander.\n\nThe group of Four are the product of the Mahayana school of Buddhism with additions from the Tantric school. Their original Buddhist title in Sanskrit is usually Dvarapala, though others claim that they are the Chin-kang Shou, derived from the Sanskrit \"Vajrapani', the Thunderbolt Bearer, the Great Protector.\n\nThey are responsible for the security of temples, protecting them from demonic attack and also preventing evil spirits from sneaking in. In Taoist temples, where they have different individual identities, they normally stand in the side wings of the main hall, such as in the Jade Emperor Hall at the Monastery of Ten Thousand Buddhas at Shatin in the New Territories of Hong Kong.\n\nThose in Buddhist temples are the Diamond Kings whilst those in Taoist and folk religion temples are Celestial Kings [T'ien-wang]. They are easily recognisable by their stature, location and by the collocation with the others in the group; also, because each usually holds a unique identifying symbolic object, a furled umbrella or a rodent, etc. They stand with defiant stares and have faces in colours identifying the direction for which they are responsible. The Buddhist Four guardians all wear the bodhisattva's five-leaf crowns with minute Buddhas inscribed on the central leaf, and flying scarves forming a nimbus behind and above their heads and shoulders. Many have demons, thieves, liars and adulterers underfoot. The Taoist Four, who also have demons underfoot, generally wear military helmets.\n\nA manifestation of Vaisravana, the protector of the North and one of the Four Chin-kang, appeared during his journey to aid Hsuan Tsang, the Buddhist monk who trekked from China to India and back to obtain Buddhist scriptures. For this reason Vaisravana was later revered by devotees, alone and in his own right, and over the years became associated with General Li Ching.\n\nAll four of the Mo-li brothers, the Taoist identities of the Four Temple Guardian Generals, are included and represented in the sets of",
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    },
    {
        "id": 214257,
        "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-1998",
        "page_number": 115,
        "title": "RAS-1998",
        "content_text": "78\n\nthe Twenty-four Heavenly Lords. The Four, said to be brothers, are believed to have been born during the 11th century BC and are now protectors of Mi-lo Fo. The 16th century novel, Feng-shen Yen-i, describes the popular myths surrounding the defeat of the four Mo-li brothers during the legendary wars of the 12th century BC who fought with their magical weapons but whose main weapon was the white rat which devoured all enemies. However, Yang Chien, the nephew of the Jade Emperor and son of Li Ching [the General with the Pagoda] was swallowed by the white rat but once inside it he ate the rat's heart and at the same time transformed himself into the white rat which was unsuspectingly put back into its bag by one of the Mo-li brothers. Yang Chien stole out whilst the Four brothers were in a drunken sleep and stole the magic umbrella, whilst Na-cha who had fought and defeated them broke their magic jade ring. The Four lost heart, were defeated and slain. The war was followed by their canonisation by Chiang Tzu-ya who appointed them to the posts of the Heavenly Kings, controllers of the elements, from whom people sought protection from calamities.\n\nThere are standard images of all four of the Great Celestial Kings in both the Ta Pei Ssu and the Pi-yun Ssu.\n\nThere has been a certain amount of confusion over the colours, names, and titles of these guardians; even their characteristics and attributes vary from monastery to monastery. Confusion has arisen over the centuries due to non-Buddhist and even pre-Buddhist factors, with every combination to be seen, such as the General of the North with the Umbrella, the General of the West with the Rat or Mongoose, and so on. The most frequently noted observations are as follows:\n\n  \n    Taoist Titles\n    Symbol\n    Characteristics\n    Buddhist title\n    Sanskrit title\n  \n  \n    Mo-li Ch'ing\n    Magic weapons or Sword/lance or Jade Ring or Parasol\n    black face or black beard\n    Ch'ih-kuo T'ien-wang\n    Dhrtarastra 持國天王 or 東方大王\n  \n  \n    \n    [colours: blue/green] or Lyre/lute",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1998.txt",
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    },
    {
        "id": 214263,
        "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-1998",
        "page_number": 121,
        "title": "RAS-1998",
        "content_text": "84\n\nShan is one of the five sacred mountains of China and is located in Shantung. It is believed to be inhabited by many divinities both male and female with T'ai-shan Yeh the primary deity for most pilgrims to the mountain even though the main deity in the temple on the peak is the Jade Emperor. Temples dedicated to the Lord of T'ai-shan were to be found in all parts of China, where he was regarded as the guardian of life and death.\n\nAs the Supreme Lord of the Underworld he has a very large bureaucratic organisation responsible to him for the maintenance of the Book of Life, the register of the due date on which the soul of every living soul must be summoned to appear before the Judges of the Underworld. Popular belief claimed that the entrance to the Underworld was to be found in one of the temples at the base of the mountain. The arrest and escort of souls is carried out by lictors and runners from the yamen of the local City Gods who drag each soul before the local City God, together with the biography and report on the soul prepared by the local Earth God [T'u-ti] who has carried out the first, very preliminary interview to ensure that the right soul has been arrested and is ready for onward despatch. Again, after verification of the identity of the soul the City God endorses the Earth God's report and if available adds any further information on the soul he might possess, and sends the soul under escort to the First Court of the Underworld where the process of purging the soul of all sin commences. After the soul has passed through all Ten Courts and been fully purged of its sins, it is then despatched either to the Western Heaven [Celestial Paradise] or for rebirth in an incarnation to be decided upon depending upon the weight of sins incurred during the previous incarnation.\n\nIn parts of China and in Taiwan, the alter ego is Tung-yüeh Ta-ti with Yen-lo Wang being the senior and chief of the Ten Judges who are under his charge. This dual role played by both Tung-yüeh Ta-ti and Yen-lo Wang is a further complication and a confusion which appears to be insoluble. The former is not only the Supreme deity of the Underworld but also the Judge of the Seventh Court whilst Yen-lo Wang is not only the senior Judge in charge of all Courts but also the Judge of the Fifth Court. The latter has been explained as Yen-lo Wang having ten different forms, as Judges in each of the Ten Courts. This, however, would mean that T'ai-shan Yeh of the Seventh Court would also be a form of Yen-lo Wang.",
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    {
        "id": 214265,
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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-1998",
        "page_number": 123,
        "title": "RAS-1998",
        "content_text": "86\n\npray to him for the blessing of a son. However, in Cholon [Saigon] his image, seen in several temples are known as Tzu-wei Ta-ti but identified as T'ai-sui, the god of the planet Jupiter and of Time, though in the major Jade Emperor temple in Cholon images of both T'ai Sui with his bell and Tzu-wei astride his lion stand side by side.\n\nHis standard image in Cantonese communities portrays him as a clean-shaven youth with large round protruding eyes, astride or sitting side-saddle on a reclining mythical beast, possibly a stylised lion. He is holding a seal aloft in his right hand, a talisman bearing the inscription \"The Star looks Straight On\" R. He also has a unique feature, a flag pole behind him on to which is fixed a sheathed sword. The youth holds a conch shell in his left hand and is dressed in only trousers and a cape which hangs round his neck and down his back. He is wearing shoes and has neck-length hair which is held in place by a tiara from which two objects, like insects' feelers, protrude upwards.\n\nIn yet another tale, an extraordinary and complicated legend, an emperor had eighteen robes specially embroidered for the Eighteen Lohan. These were being delivered by a trusted minister who reached their palace in the Western Heavens only to find seventeen Lohan. He sought the eighteenth and found him dead in the kitchen crawling with big fat lice. As this Lohan was the god of the star Tzu-wei and this star represented the emperor of China, the minister knew immediately that the emperor had died since his departure and the spirit of the dead Lohan had been incarnated as the new emperor. The minister was puzzled - what he should do? Finally, he placed the cape around the body of the dead Lohan and returned to Earth bearing a box from the other Lohan which would, they assured him, prove that he had accomplished his mission. When, after months of travel, he reached home, the new emperor opened the box and out flew a crane up into the sky and back to the stars. Artists customarily depict this in their portrait of Tzu-wei.\n\n39] Lei Shen The Spirit of Thunder\n\nLei Shen is portrayed and named as such in only one of the two temples, the Pi-yun Ssu. The problem is that Lei Shen, as such, has been noted on remarkably few altars. Lei Kung, the God of Thunder is",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1998.txt",
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    },
    {
        "id": 214316,
        "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-1998",
        "page_number": 174,
        "title": "RAS-1998",
        "content_text": "138 \n\nLegends surrounding the birth, life and death of Xu Sun are numerous, complicated and tangled stories. Just before his birth his mother is said to have dreamed that a golden phoenix dropped a pearl from its beak into her hand. A popular story claims that he was born either in Henan province or at Nanchang in Jiangxi, ca AD 240 where he lived out his life as a saintly doctor. Xu Sun passed the imperial examinations, became a prefect of a district and distinguished himself by his benevolence. According to some versions, his popularity was due to his power and ability to heal diseases using secret preparations. Others claim that he was an official who, having served in Sichuan province, died in about AD 293 or AD 374 when still only in his fifties. In another version, a typical mythological finale to a virtuous and extraordinary life, he died at the great age of 134 and was borne off to Heaven 'together with his wives, children, dogs, chickens and beasts'. \n\nMembers of the Daoist Jingming sect claim that he was the founder of the cult with its centre at the temple dedicated to him in Nanchang city. This no longer exists; however, a temple dedicated to him in the small town of Xi Shan [Western Hill] some twenty miles south-west of Nanchang, is the present cult centre. A large notice before his altar in the temple informs devotees that he lived during the Eastern Jin [317-420 AD] and during a twenty year struggle managed to solve the problem of annual flooding in the province and that he should be revered mainly for his success in water conservancy in northern Jiangxi, particularly around the Boyang Lake. The notice also claims that he lived for 136 years. \n\nHis cult centre in Xi Shan is now a bustling temple complex with two main halls and some four lesser halls set in large grounds. The two large main halls, side by side, are dedicated one to Xu and the other to the Jade Emperor. The inside walls of the hall dedicated to Xu are lined with some twenty or so anonymous minor perfected lords whilst the Jade Emperor's hall is lined by sixteen guardian generals, again unnamed. The Jade Emperor is flanked by four major Daoist deities, the philosopher Lao Zi; the founder of the Heavenly Master sect Zhang Daoling; the doctor of the Eight Immortals Lü Dongbin and the Northern Emperor, Zhen Wu. The main altar in Xu's hall bears two images of Xu, one tall gilded statue of Xu standing, and a smaller, portable image of him sitting swathed in red robes. Neither has any unique characteristic and he is depicted with a black beard, pink face and holding a tablet in both hands before his chest. He is attended by two youthful attendants.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1998.txt",
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    },
    {
        "id": 214317,
        "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-1998",
        "page_number": 175,
        "title": "RAS-1998",
        "content_text": "139\n\nThree of the four lesser halls, though as large as the Jade Emperor Hall and Xu Hall or nearly so, are dedicated one to the Three Matrons of fertility and childcare; one hall to the wife of Xu, whose personal names were Heshi, known as the Palace of the Consort - Furen Gong - in which her image stands on the uppermost tier of three with the Lord of Time and his sixty minions, the Tai Sui, occupying the lower two tiers; a third hall to Guan Gong, the patron deity of loyalty and honour, and patron of soldiers; whilst the fourth hall, much smaller, is virtually empty apart from a single, small pottery image of a wealth god. This spread of cults within one temple is typical of the majority of the larger temples throughout Chinese communities.\n\nAll of the images within the temple complex are of comparatively recent manufacture, certainly since the early 1980s. The original images were destroyed during the years 1949-1976, during one or more of the political campaigns against superstition or social reform, mostly during the first days of the Cultural Revolution in 1966 when the temple was gutted. Some of the new images have been well made, artistically finished in paint on plaster and concrete. Others are crude, poorly finished and eyesores for posterity. The image of Xu, however, is one of the better ones and far from crude workmanship.\n\nThe grounds and halls on the day we were there in the Autumn of 1998 were seething with devotees, many of whom had travelled some distance to pay their respects to the deities. Long strings of firecrackers were being let off and amidst the deafening racket and the palls of smoke from these and burning offerings, the whole area was what Chinese know as re'nao, excitement and noise.\n\nAcross the road, however, in the comparatively small, enclosed and dilapidated garden, silence reigned and not a soul was to be seen. On the far side of the square artificial lake in the centre of the garden is a lengthy row of small, weathered and battered modern images, all unnamed, which on closer examination appeared to be many of the emperors of China since time immemorial. A Nine Dragon Spirit Screen stretches out behind them. Of greater interest were the half a dozen small rooms, similar to horse boxes with half-doors, which lined the rest of the far side, each containing a small tableau of life-size simple and gaudily painted plaster and cement figures. These were identified as episodic scenes from the life of Xu, ranging from his miraculous birth,",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1998.txt",
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    },
    {
        "id": 215060,
        "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": 156,
        "title": "RAS-2000",
        "content_text": "113\n\nTHE CELESTIAL MINISTRY OF TIME\n\n太歲\n\nKEITH STEVENS AND JENNIFER WELCH\n\nIntroduction\n\nBelief in a Celestial bureaucracy was universal throughout China, particularly within peasant and the less literate urban communities and it is still believed in by devotees not only within China itself but also in Taiwan and the Chinese communities throughout South-east Asia. The Celestial bureaucracy is headed by the Ruler of Heaven, the Jade Emperor, with the various functions of the officials of the celestial departments being performed within the confines of numerous ministries, though possibly the former term of boards might be better, ranging from the Ministries of Water, Finance and Literature to the Ministry of Public Works, each with the aim of protecting or doing good for mankind. One such ministry is the Ministry or Board of Time.\n\nTaisui\n\nThe President of the Celestial Ministry of Time, the deity Taisui is possibly better known in English as the Ruler of the Year and the God of the Sexagenary Cycle. He is generally thought of as the Supreme Ruler of the Year and of the Seasons. He is one of the fiercest gods in the pantheon who must be placated whenever ground is disturbed for any reason, and is well known as the deity who strikes down any who offend him. In popular belief he is thought of as demonic and, if not regularly placated, he is at least to be avoided. His cult is comparatively commonplace, though the manifold forms it takes in temples throughout China, as well as the disparate names and titles of members of the Ministry, make an interesting picture. Taisui is not only the President but is also the name of the Ministry itself.\n\nIt is accepted by most Chinese that a number of factors control human lives; these include geomancy and astrology. Geomancy, in Chinese fengshui, concerns location whilst astrology is concerned with the auspicious or inauspicious nature of dates and times, and involving the stellar deity Taisui in particular.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-2000.txt",
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        "rank": 0
    },
    {
        "id": 215066,
        "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": 162,
        "title": "RAS-2000",
        "content_text": "119\n\ninside each annual Farmer's Almanac whether it be printed in Taiwan, Hong Kong or Singapore, is of the Spring Ox and the youthful ox herd. The youth, usually armed simply with a willow wand, the symbol of rain, was connected with fertility, good harvests and happiness. Popular belief also claimed that Mang Shen's clothing was intentionally misleading. One shoe meant a balanced rainfall, two shoes meant poor rain, possibly drought and no shoes meant a good and adequate rainfall. If he was dressed in mourning it would be a good year, whereas if he wore light clothing a cold year could be expected. [Similar rituals involving the Spring Ox have been observed as far afield as Inner Mongolia (Wm. Grootaers: Chahar: Peking Catholic University: Monumenta Serica: 1948), Sichuan (Mrs Pruen: The Western Provinces of China: 1906), the Rev. Milne in Beijing and Ningbo in the mid 1840s] and in illustrations within provincial guide books of the 1990s in Shanxi and Shaanxi.\n\nTaisui on Altars\n\nAlthough Taisui is only very rarely the main deity in a temple he has been seen as a lone deity in a wayside shrine, and is frequently the sole deity on a temple's secondary altar. However, in southern Chinese communities, especially Hunan and Guangdong, he is portrayed by sixty individual images in serried rows on a secondary altar, and in one temple in Lukang, on the west coast of Taiwan, all sixty are depicted in a modern temple mural in four rows of fifteen.\n\nNormally Taisui whether as one or sixty images exclusively occupies the altar dedicated to him. However, two temples, provinces apart, have their rows of sixty Taisui, rising row on row, but with different deities, neither apparently connected with Taisui, standing in the superior position on the very top tier of the altar. The first is in Tainan in southern Taiwan where a new hall, built onto the side of the first floor main hall of the large Jade Emperor Temple, is entirely dedicated to Taisui apart from the painted wooden doors and three unconnected images on the top row. The main deity in this instance is Doumu Yuanjun, also known as Zhunti Pusa, the Bodhisattva of Light [or the Dawn]. She is worshipped by Chan [Zen] Buddhists as a merciful goddess and has been assimilated by Chinese religion as the deity Doumu with many of her devotees regarding her as a bodhisattva in her own right, a powerful deity 'who prolongs life and helps avoid",
        "txt_file_path": "txt/dfo323lmgvd/RAS-2000.txt",
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    },
    {
        "id": 215071,
        "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": 167,
        "title": "RAS-2000",
        "content_text": "124\n\nHong, was a special deity said to save people from the 'fifteen bad deaths.' Images of both Yin Hong and Yin Jiao flanked that of the Jade Emperor on the latter's altar. The brothers were portrayed, rather surprisingly, sitting naked and with claws, beaks and wings. Grootaers writing about the Kalgan district of northern China, said that Yin Jiao was never seen on altars except as an attendant of the Jade Emperor.\n\nIn a small folk religion temple at the roadside in Kuala Selangor an image of Taisui has a tiger sitting beside him and when asked the reason for this the temple custodian explained that Taisui keeps a tight control over the tiger who would otherwise eat people's luck. A similar image, holding a bell in his right hand and with a pair of tigers, stands on the Taisui altar in a temple in Cholon [Saigon].\n\nIn Ningbo in the 1890s the Gods of Time, of the year, months, days and hours were, according to one missionary, all represented with long black moustaches, and with the central one seated beneath a triple scarlet umbrella richly embroidered in gold representing the highest emblem of authority.\n\nSixty images [presumably Taisui, though the observer did not actually spell it out] ranged down the side walls of the Temple of the Three Emperors in the Native City in Shanghai in 1906, with twenty-six on one side and thirty-four on the other. Paper 'shoes' representing silver sycee [money] were burnt as offerings.\n\nOther images of Taisui have been referred to in all parts of China by western travellers in groups of sixty. One traveller, Grainger, noted all sixty in one temple in Chengdu, the capital of Sichuan province in 1921, were worshipped for rain and called 'The Spirits of the Rain Dragon of the Year' [Dangnian Xingyu Longshen].\n\nThe Legend of Taisui\n\n19\n\n18\n\nThe story of Yin Jiao begins with him being born a lump of formless flesh which so horrified his father, King Zhou E, that he ordered it to be abandoned outside the city walls. The lump was recognised as an immortal, the caul split open and the child removed. Cared for by a hermit he was brought up and nursed by one of the Eight Immortals, He Xiangu. When he came of age he was told about his birth and about",
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    },
    {
        "id": 215072,
        "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": 168,
        "title": "RAS-2000",
        "content_text": "125\n\nthe death of his mother who had been defenestrated on orders from her husband, King Zhou, as punishment for bearing such a 'monster.' Yin Jiao was determined to destroy not only his father but also the Imperial Concubine, Da Ji, the Nine-tailed Fox Spirit and current royal favourite who had caused the death of Yin's mother by her calumnies. Yin was presented with two magic weapons by the Goddess Tian Fei, a gold club and a battle-axe, and after the final great battle between the forces of the declining, sinister and corrupt Shang dynasty and the victorious future Zhou dynasty at Wan Xian Chen, Yin Jiao fought first on the side of his father, King Zhou. Later, after switching sides and fighting for the good King Wu, he was unfortunately decapitated by a general during the battles having been sandwiched by the Buddha Randeng between two mountains. He was deified during the general deification at the end of the war by Jiang Ziya, the future Prime Minister of the new dynasty, on the authority of the Jade Emperor. Yin Jiao, at the end of the novel, having been sent by Heaven to bring dread calamity down on to King Zhou because of his blasphemies and evil ways, volunteered to be the executioner of his father and his father's concubine, Da Ji. He was proclaimed Prince Jingming and was rewarded by the Jade Emperor for his bravery and filial piety with the titles of Taisui, Marshal Yin and with the presidency of the Ministry of Time. In the novel, the full title of Yin Jiao, the younger son of the evil King Zhou of the Shang dynasty, is Dou Lei Taisui Yin Yuanshuai.\n\nRC\n\nand as one of the Twenty-four Heavenly Lords he is also referred to as Yin the Heavenly Lord (Yin Tianjun).\n\nAn entirely different story is given in another novel, the Shenyi Jing which tells of Jin Chong, the son of Pan Gu the creator of the world, who lived in the mountains of Shandong province. Jin was canonised as Taisui by Fu Xi, a primeval ruler and sage, the first of the three emperors of the legendary period, for his many good deeds and was made responsible to Heaven for supervising the activities of all the spirits and demons. Few Chinese would appear to know this story.\n\nDoré, who refers to Taisui as the Patron of the Harvests, explains that Yin Jiao's baby name whilst living with He Xiangu was Jin Nazha. This adds further confusion to the legends surrounding Li Nazha [the Third Prince - San Taizi], a very popular deity who appears with great frequency in Chinese legends and fairy tales.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-2000.txt",
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    },
    {
        "id": 215101,
        "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": 197,
        "title": "RAS-2000",
        "content_text": "154\n\nA close-up of a recently renovated temple doorway of the Jade Emperor Temple in Tainan showing deities of the 24 Solar Periods on the doors leading to the Taisui Hall.\n\nFrom top right reading across we have:\n\nSpring Begins\n\nVernal Equinox\n\nSpring Showers\n\nQing Ming\n\nAwakening of the Insects Grain Rains",
        "txt_file_path": "txt/dfo323lmgvd/RAS-2000.txt",
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    },
    {
        "id": 215110,
        "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-2000",
        "page_number": 206,
        "title": "RAS-2000",
        "content_text": "163\n\nto teach him a lesson. In yet another rendition it is suggested that he had the crab painted on his forehead by his fellow pupils as a joke whilst he was asleep and who, at the same time, stuck two willow branches behind his ears. When he woke up his chagrin was so great that he committed suicide. Another story maintains that he was a most beautiful child and his sister-in-law in a fit of jealousy painted a crab around his mouth whilst he slept preventing his soul from returning [meaning that he died as a result because Chinese know only too well that one's soul roams far and wide whilst one is asleep]. The Jade Emperor took pity on him and, so the story goes, adopted him as one of his sons, or in another version, allowed his soul to return to his body. In yet another legend he was a Suzhou man who supported troupes of actors. Another legend, related in a Chaozhou temple in Indonesia, tells of a boy who had been working in the fields, stomach empty and very hungry. He fell asleep at the side of the field whereupon a small crab crawled into his open mouth giving him sufficient sustenance to continue. He grew up to be a good farmer, a good neighbour who helped protect his community and who loved music more than anything else. He was, however, conscripted into the army and sent north to fight the Xiongnu [Huns] of central Asia, where he rose in rank until as a marshal and undefeated he returned to his home in Fujian province. He was deified after death as a local community protector. One of the major factors of his victories over the Xiongnu had been the impressive uniforms he had provided for his men which completely over-awed the central Asian barbarians. These uniforms became the stuff of actors' outfits and because of his love for music, and as the crab had saved his life, his image has the crustacean painted around his mouth and he is now the patron of actors and musicians [Photograph 10].\n\nThe legend of the Marshal Tian, better known as San Tian Dou Yuanshuai, the third of the three Tian brothers, another form of this deity, has also been confused by devotees somewhere along the line with the well-known legend of the 360 musicians and the Pestilence Wangye. In the Tian Brother's story they were said to be musicians engaged by the Xuan Zong emperor as his music masters. The emperor, whilst sick, dreamed that their playing had restored him to good health which on waking he found to be true. He then ordered them to stop a plague which was ravaging Fujian province, which again they did and were deified by the Celestial Master Zhang, the Daoist deity.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-2000.txt",
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    },
    {
        "id": 215141,
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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-2000",
        "page_number": 237,
        "title": "RAS-2000",
        "content_text": "PATRON DEITY OF PROSTITUTES\n\nZHU BAJIE\n\n豬八戒\n\n195\n\nKEITH STEVENS\n\nZhu Bajie is better known to Westerners as Piggy or Pigsy. He is one of the three assistants to the Tripitaka [the Chinese monk, Xuanzang] who, in 629 AD, together with the Monkey King [Qitian Dasheng], set out with the monk as his escort and aides on his hazardous and enthralling trek to India to collect the sacred Buddhist scriptures. These were the heroes of the romance the Journey to the West. He is also known by his name in religion - Zhu Wuneng - Seeker after Strength.\n\nIn the story Pigsy was the former Superintendent of Navigation of the Milky Way, banished to be reincarnated on Earth for assaulting one of the daughters of the Jade Emperor. Unfortunately a mistake was made and he entered the womb of a sow and was born half-man and half-pig. He was ordained a priest by Guan Yin and is portrayed on altars and in murals as a composite deity, a human with the head of a pig. He carries a five-toothed rake as a defensive weapon which he used to good effect during the long and arduous journey escorting the pilgrim monk, Xuanzang.\n\nAlthough he is usually regarded China-wide as the epitome of gluttony, in Taiwan he is also revered by prostitutes who call on his divine title Shoushou Ye, offering him incense and chants morning and evening whilst calling on him to bring them rich guests, foolish and witless, to be fleeced. An image, one of a number on loan from devotees, depicts him sitting holding a virtually nude woman in his arms alone on one of the side altars in the City God Temple in Chia I.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-2000.txt",
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    },
    {
        "id": 215345,
        "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": 122,
        "title": "RAS-2001",
        "content_text": "70\n\nHaving been deified by popular acclaim he is now prayed to for fair and just decisions in the Spirit World. He cannot be bribed or corrupted and is approached by people who feel that they have had a wrong done to them which cannot otherwise be righted without aid from the Spirits.\n\nHe is a popular hero of historical significance. He went through his official life in defiance towards his superiors whose moral values were in question. Permanently fired by zeal, a high point in his career was when he stood up for right against the Emperor. The memorial he submitted to the Jiaqing Emperor criticised the Emperor's lifestyle and attitude, and accused him of being directly responsible for the evil times. Hai Rui had bought his own coffin and had bade farewell to his family before submitting it. He was imprisoned and many times the Emperor considered ordering his death. Instead he was released at the death of the Emperor and was re-employed only to be impeached once more. He returned to Hainan in forced retirement, prior to being employed again for the last time during which he died in Nanjing. Whilst in Hainan Hai Rui memorialised the throne on the subject of clashes between Chinese immigrants and the native aborigines on Hainan. Three uprisings in 1501, 1541 and 1550 had taken more than ten thousand Chinese soldiers months to subdue, and Hai Rui's proposal that a road be built through tribal territories to bring the whole area under control was not undertaken.\n\nHai Rui's ancestry included non-Chinese blood from the northern borders, though memories of him tend to reflect his time in Nanjing and his birthplace, Hainan where he spent his time in exile. Legend relates that he was sent to serve in the Chaozhou area of southern Fujian as a Confucian instructor at the local magistracy. He solved many problems for the locals and was very popular. Chaozhou devotees of his cult today tell of a group of corrupt officials and tyrannical landlords who oppressed the people. They were opposed by Hai Rui who was at that time still only a lowly official. He courageously opposed the minister who supported the officials and according to legend he committed suicide to make the point to the Emperor.\n\nIn the 1960s the then mayor of Peking, Wu Han, first wrote an essay in which the target of his thinly veiled criticism of the 'Emperor as being self-opinionated and unreceptive to criticism' would have been",
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    {
        "id": 215346,
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        "document_key": "RAS-2001",
        "page_number": 123,
        "title": "RAS-2001",
        "content_text": "71\n\nobvious to any Chinese with an ounce of nous. Two years later he wrote a play, Hai Rui Dismissed, purporting to be about Hai Rui. This was seen as a covert attack on Mao Zedong's purge of Marshal Peng Dehuai who had openly blamed Mao for the 1959 famine. The purge of the Peking hierarchy led by Yao Wenyuan, a Communist political writer in 1965 [who was later one of the Gang of Four], is usually seen as the overture to the Cultural Revolution in China, Hai Rui being used as a symbol for Peng Dehuai, Mao's fallen rival.\n\nIn a Hainanese community temple dedicated to the Jade Emperor near Bukit Mertajam in northern Malaysia two images flanked the main deity, on his left hand his Fourth Daughter and on his right Luo Yanhua, about whom nothing more is known other than she is claimed to be a unique Hainanese deity. Her image has not been seen or recorded anywhere else, hand, and aide to the Fourth Daughter.\n\nAlthough Lishan Laomu is primarily a Chaozhou local folk religion cult goddess she is also worshipped widely in Hainanese temples where she is regarded as a Hainanese cult. Lishan Laomu is her more popular title rather than Lishan Shengmu, though considering the ambiguities in legend, title and the initial character, it is open to question whether we might have more than one deity here. Three different characters for Li, all homophones, have been noted. The first means black, the second pear, and the third black horse. The first is the more popular version in central Malaysia and Hong Kong. The second appears to be the character preferred by the Hainanese, and the third has only been encountered in Taiwanese temples. She was referred to in a Saigon Hainanese temple as either Yimei Niangniang 懿美娘娘 or Yide Niangniang 懿德娘娘.\n\nAn elderly lady temple keeper in Kowloon approached the deity and \"introduced\" me to Lishan Shengmu as ‘a foreigner who wished to disperse the mists of his ignorance.' She told me that Miss Fan, a Daoist nun, had been summoned by Tian Hou to Heaven to be trained to become an Immortal and is now a caring spirit known as Lishan Shengmu, the Saintly Mother [or Matron] Lishan.\n\nIn an interesting but typical misconception an odd title of a deity was noted in a temple in Lincoln Road in Singapore where the custodian who claimed to be Hainanese also claimed that all the deities were",
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    },
    {
        "id": 215354,
        "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": 131,
        "title": "RAS-2001",
        "content_text": "79\n\nگر\n\nA common saying and not specifically linked with this deity.\n\nIt was explained that there are three Laoye [San Laoye] of whom Da Laoye is the senior.\n\n\"Wilmott WE: The Political Structure of the Chinese Community in Cambodia. The Athlone Press: London 1970.\n\n13\n\nThe phrase 'shuiwer' in Cantonese is a slang expression [slow water] for 'business is slow.'\n\nThe important fact was that all 108 had either reached their prescribed time of death and were therefore deified as saints [shen] by the Jade Emperor OR they died their violent death before their due date and were roaming ghosts who had to be pacified and placated. Here we have some devotees regarding them as spirits and asking advice and others who look upon them as dark spirits who require propitiatory offerings and no more.\n\nMa Yuan was the second general to be awarded the title of the Fupo, Wave Conqueror for the pacification of the southern region. The first was Lu Bode who, during the Earlier Han (ca. 120 BC), had subjugated large areas of what today is Guangdong province.\n\nXianfeng is a title which has been noted in connection with three entirely unconnected deities.\n\n* Henry BC: The Cross and the Dragon: Canton: 1883.\n\n10\n\n$7\n\nMeesny, William: Tungking: Noronha: Hong Kong: 1884,\n\nZhonglic was a common posthumous title used during the early Qing.\n\n12\n\natap is the generic name for the wooden-sided huts with the dried-leaf roof so common in Singapore and Malaysian rural areas until the 1970s. Atap consists of the dried leaves of the nipa palm.\n\n19 lit. Office Keepers.\n\n20 This is the only title which has been noted elsewhere though probably not identical with the Hainanese deity. General Gan is one of the Eight Bodyguard Generals, known as The Day Patrolling General",
        "txt_file_path": "txt/dfo323lmgvd/RAS-2001.txt",
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    {
        "id": 215638,
        "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": 415,
        "title": "RAS-2001",
        "content_text": "367\n\nTEA AND OPIUM:\n\nSOME FURTHER NOTES ON MACARTNEY'S\n\nROLE1\n\nDAVID AKERS-JONES\n\nMacartney's audience with the Emperor Qianlong recorded in the journal which the former wrote actually took place on 14th September 1793 (not on the 30th) at Jehol (Chengde) which is now about five hours journey by 'bus from Beijing. It took the Embassy six days. Macartney himself travelled in a post chaise which he had taken to China especially to ride about in, 'drawn by four little Tartar ponies.' His cavalcade amounted to seventy people of which forty composed the guard. He says that about two hundred porters were required to carry their baggage.\n\nThe great circular yurt where the audience subsequently took place is described in the journal as follows:\n\nThe Emperor's tented pavilion which is circular I should calculate to be about twenty or twenty-five yards in diameter and is supported by a number of pillars, either gilded or damasked according to their disposition....\n\nMacartney then gives a colourful account of the audience.\n\nHe was seated in an open palanquin carried by sixteen bearers attended by numbers of officers bearing flags, standards and umbrellas, and as he passed we paid him our compliments by kneeling on one knee, whilst all the Chinese made their usual prostrations. As soon as he had ascended his throne I came to the entrance of the tent, and, holding in both my hands a large box enriched with diamonds in which was enclosed the King's letter, I walked deliberately up, and ascending the side-steps of the throne, delivered it into the Emperor's own hands, who, having received it, passed it on to the Minister, by whom it was placed on the cushion. He then gave me as the first present from him to his Majesty the ju-eu-jou or giou-giou (a white jade sceptre) as the symbol of peace and prosperity, and expressed his hopes that my Sovereign",
        "txt_file_path": "txt/dfo323lmgvd/RAS-2001.txt",
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