[ { "id": 206126, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1970", "page_number": 206, "title": "RAS-1970", "content_text": "NOTES AND QUERIES \n\n199 \n\ntide and is reached by a single bamboo ladder. The verandah is railed, and is sometimes covered and sometimes not. The shed stands on five pairs of piles, the front two of bamboo and the other three of local granite. The roof is pitched and normal save that it is covered with palm leaves and not with tiles. The hut itself is made entirely of wood.\n\nIt will be seen from the plan that the main part of the shed has three partitions to provide four rooms, each of which has a door and two windows, one at each side of the room. The kitchen is on the right-hand side of the first room leading off the verandah with a hearth, fuel beside it, and an altar to To Tei (1), the earth god and to Tso Kwan, (#) the kitchen god. [The notebook does not say of which material the hearth was, but it was presumably of brick or stone in a wooden dwelling.] The next room was apparently used as a bedroom by the master [and presumably mistress] of the house; the third was given over to the ancestral altar, that, like the kitchen altar, was set against the east wall; whilst the fourth and last room was used by a married son and his wife. Inspection of neighbouring sheds also shows the cooking place and ancestral altar on the east side.\n\nOn the day of the visit it happened that a new shed was being built nearby. See Fig. 2. [The structure was new though it could have been a reconstruction on old piles.] It was rather smaller than the one just described, measuring 7′ 6′′ wide and 18′ 6′′ deep with a 'round roof' (sic). There was also a verandah-to-be, not yet constructed. From this verandah a door led into one large room. This had a side door onto an open platform that ran outside and along the full depth of the main structure. Beyond the main room was a second, smaller one, with a window opening onto the open platform. There were three pairs of stone piles for the main structure. Again it appears that the cooking was to be carried out on the east side, but this time on the open platform.\n\nThe structure was entirely built of wood, with bamboo slats supporting the roof. The roof beam was already in position and from the centre hung over and down from it a red cloth with a single \"cash\" or Chinese copper coin at each corner, put over it and pinned. In addition two oranges hung over it at one edge.", "txt_file_path": "txt/dfo323lmgvd/RAS-1970.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/ww72j0241", "rank": 0 }, { "id": 207312, "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": 80, "title": "RAS-1975", "content_text": "72\n\nHELGA WERLE\n\nand then a company is contracted to erect the temporary bamboo structures to house performances and ceremonies. The ideal is for the structures to be arranged in a square, the temple facing East and the stage opposite (i.e. West), so that the god is conveniently positioned to get the best view of the stage. The organizers are housed on one or both sides of the temple and on the sides of the square are exhibited the giant-sized dragon-robes, crowns and boots, all elaborately made of paper, which will be burnt and, in this way, sent as a birthday present to the god.\n\nAND RICE TO DONATE TO THE POOR EXHIBITION OF COLLECTED GOODS\n\nFESTIVAL\n\nTEIFLE\n\nCOMMITTEE\n\nHALL FOR CEREMONIES TO\n\nAPPEASE SOULS\n\n辉花\n\nROOF TO SHELTER AUDIENCE\n\n(FORMERLY OF NATTING, NOW TIN SHUI WAI)\n\nSTAGE\n\nKITCHEN\n\nEXHIBITION OF PAPER DRAGON ROBES\n\nChiuchow festival square (the layout is almost the same whether it is used for the celebration of god's birthdays pao-tan or for the appeasement of the hungry souls in the 7th month called Yu-lan-p'en).\n\nThe interior of the temporary temple is almost completely occupied by a large square table (about 4m x 4m) on which items donated by individuals of the community are displayed before they are auctioned off. Holding a microphone and a gong several auctioneers stand on a table in front of the temple and, competing with the loudspeakers amplifying the opera music, they promise prosperity and good fortune (in the traditional 4-character phrases) to the highest bidder. Bottles of brandy and whiskey, porcelain figures of immortals and deities, and colourful lamps and lanterns go for several hundred or thousands of dollars at a time. Although the successful bidder can take his acquisition home he does not pay the bid until the following festival. And especially if he is poor at the time, he", "txt_file_path": "txt/dfo323lmgvd/RAS-1975.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/j0995146d", "rank": 0 }, { "id": 207313, "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": 81, "title": "RAS-1975", "content_text": "NOTES ON CHIUCHOW OPERA\n\n73\n\nmay later increase his bid to several thousands of dollars, because the people are convinced that a god who is powerful (for whom it is worthwhile to give such a lavish celebration) will ensure the bidder good fortune so that he can pay his debt the next year. And because many people become rich in this way it is possible to collect the large sums of money necessary to cover the cost of these on-going festivals.\n\nThe community proves its wealth by inviting, if it can, the best and most costly operatic troupe. This is now the Sang Ngai Chiuchow Opera troupe (founded in 1965) which charges a fee of up to 20,000 HK$ per evening. The troupe consists of about 80 members, which include 20 musicians, 40 actors, stage-hands, a costume-keeper, hair-dresser, art-director, designer, manager, coolies and a cook.\n\nOZTUKI CORTEN\n\nTABLE 2\n\nPROVI\n\nSTART OF\n\nW.C.\n\nThe Chiuchow Opera stage and 'p'o-t'an' ceremony.\n\nThe size of the stage depends on circumstances and forms a square, including its backstage which is only accessible by climbing up a ladder where the troupe's kitchen is. On the morning of the first performance the coolies carry the 20-40 big wooden trunks on a bamboo pole up the ladder and then they are all put in their right position backstage. Those with the musical instruments go left and right of stage; those with hats and small props are lined up at the", "txt_file_path": "txt/dfo323lmgvd/RAS-1975.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/j0995146d", "rank": 0 }, { "id": 207428, "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": 196, "title": "RAS-1975", "content_text": "188\n\nDONALD C. BOWIE\n\nvaried greatly at different times. In 1942 and 1943 we had much difficulty in maintaining a growth of yeast, but we produced a kind of hop barm made from cod liver oil and hops which produced with flour, bran and ground rice a bread which in our circumstances was passable. In 1945 bread and what we called rock buns were made from rice, bran and beans steamed in an old refrigerator converted for the purpose and suspended over a fire. To us the result was excellent.\n\nStoring the food\n\nWe maintained a steward's store throughout in which food stocks were held under the care of the steward and an assistant who lived with their charge. I said earlier that the arrival of food stocks was a spectacle never missed by the observant eyes of staff and patients, and by the time the Red Cross bulk stores began to come in I judged it wise to publish lists showing the quantities and varieties of food in all intakes, and this was appreciated.\n\nCooking the food\n\nThis was a heavy and often thankless task. The cooking apparatus was improvised after the main hospital kitchen was destroyed by enemy action in 1941. It was often very hard to get a good fire burning; the early rice boilers were deep and whether because of this or as a result of inexperience, the rice produced was often stodgy and gooey. Shallow boilers were installed later, and the quality of the rice delivered to the consumer improved greatly. The worst times were in 1942 when the hospital was overcrowded, the infections were rampant and the deficiency diseases were appearing, and also in 1943 when a long period of undernutrition could be foreseen. The unfortunate cooks came in for much criticism which of course did not improve matters. In addition to cooking they were called upon to divide the cooked food into containers for messes and wards and this led to further recriminations. I watched this situation with a great deal of care and I believe that we were fortunate to have men in these key positions who did not take advantage of their offices to get extra food for themselves, and who withstood apparently with only slight resentment much ill-informed and envious criticism. My natural faith in these men was all the stronger for the fact that the records of the body weights", "txt_file_path": "txt/dfo323lmgvd/RAS-1975.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/j0995146d", "rank": 0 }, { "id": 207477, "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": 245, "title": "RAS-1975", "content_text": "CAPTIVE SURGEON IN HONG KONG\n\n237\n\ndays in selected cases but without improving the condition of their patients.\n\nIn addition to beautifying our cemeteries further by means of tiles removed from walls in the hospital, a wooden Memorial Cross was completed and erected in the front cemetery to those of 27 Company R.A.M.C. who had been killed. The names of the men had been skilfully carved by a patient, Private Medhurst. The ideas for beautifying the cemeteries and for the memorial cross as well as for many of the improvements made in the hospital came from many sources and I was able to give all encouragement to men with ideas and to provide materials when available.\n\nThe year 1944 was a bad one for the supply of our Japanese rations and fuel. In February we had our last baking of bread using flour, and by that time the flour was very stale and weevily. In compensation the ration of rice allowed by the Japanese was raised from 384 grammes first to 570 grammes and later to 600 grammes daily. We were never able to issue rice on these scales because of the short weight sacks to which I have referred before. A typical disappointment came in March when the ration was cut back to 480 grammes, the cut being made retrospective to 1 March. March also brought news through Watanabe who told me that Red Cross bulk supplies would be delivered twice a month and I prepared lists of items we considered desirable, again keeping my suggestions within the bounds of what I guessed to be practicable in Hong Kong. Saito told me on 8 March that supplies I had asked for on 29 February after one of his searches could not be provided. This was an advance for me because so often in the past I never heard what the decision was on any request. In our first receipt of Red Cross supplies in March we received cod liver oil which I allocated to the medical officers for use as they judged proper. We had also received some shark liver oil from visitors and I used this by adding it to any stews we had in proportion of 5 minims for each person in the hospital. At this time we began to issue to all in hospital soy bean powder as such, instead of making what turned out to be rather repulsive milk from it. We continued to make soy milk for certain patients on the assumption that it might be more readily absorbed. Our meals were often late, mainly because of difficulty of getting good fires in the kitchen. Deliveries of rations were often irregular and we were generally uneasy about the system. Our guards seemed to share this anxiety. The quality of rations", "txt_file_path": "txt/dfo323lmgvd/RAS-1975.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/j0995146d", "rank": 0 }, { "id": 208111, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1977", "page_number": 150, "title": "RAS-1977", "content_text": "134 \n\nW. J. HINTON \n\nThe fishing fleet, or what part of it is in harbour, lies outside this floating village, and so do the salt and cargo junks, which occupy the centre of the harbour in lines on either side of the fairway to the pier, and boats ply to them from the beach all day and night. To the West are the boats of the Hoklo tribe, drawn up on the beach or riding to their stone anchors. Wonderful boats these, shaped like a crescent moon and able to ride the great waves in the monsoon, miles from land. They are heavy, yet easily rowed by a few men. These tribes like the Puntis and Hakkas keep their own distinctive customs, languages and crafts though so closely packed in one small island. \n\nBeyond the Hoklo beach lies the greatest temple of the island, the Pak Tai Temple, dedicated to the Guardian of the North, and the scene of an annual Theatrical display in honour of the God. The Guardian it appears was once an official under the Sung Dynasty, canonised later for his services to the Empire, and now worshipped in some parts of China. At the other end of the town, among the Hakka tribe is the Temple of the Queen of Heaven, goddess of sailormen. It is hung with votive offerings from the happy sailors whose ships and lives she has saved. One is reminded of the Church of Notre Dame de la Garde at Marseilles. Still farther to the east is a rock shrine, shared amicably by the genius loci, and the gentle and compassionate Kwan Yin. The streets show small shrines wherever a strangely shaped stone or tree is to be found, and of course the Kitchen god, can be seen in his smoky niche above the fire as one peeps through the open doors. Elsewhere in the island are two small shrines or temples. One is the beloved Kwan Yin, and the other a shrine for fishermen where some fish god gives luck to the devotee and receives his offerings and thanks when success has followed the fishing. At the little temple of Kwan Yin mothers often kneel to ask for favours, above all for children. \n\nThus far the village is purely Chinese but some of the houses in the centre are built in the hideous style of the tenements of Hongkong, like a pile of empty boxes with the mouths gaping blankly at the spectator, but the majority are still Chinese in style and ornament. Most of the houses are of one storey, and they are built of a great variety of material. Some are of granite masonry (looking much more substantial than it really is, since the walls are hollow and the mortar practically mud,) and others of brick, \n\nPage 150\n\nPage 151", "txt_file_path": "txt/dfo323lmgvd/RAS-1977.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/np198x23n", "rank": 0 }, { "id": 208732, "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-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", "external_url": "https://digitalrepository.lib.hku.hk/catalog/2801w5938", "rank": 0 }, { "id": 208877, "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": 39, "title": "RAS-1980", "content_text": "CHINESE MONASTERIES, TEMPLES, SHRINES, ALTARS\n\n11\n\nThere are a dozen or so temples in Hong Kong the titles of which should leave one in no doubt that they are Buddhist. To highlight the problem of classifying temples by their religious affiliation, let us examine one in Lo Wai above Tsuen Wan which has a typically Buddhist name followed by the characters for \"Buddhist temple\". The staff consists of three laymen who run the vegetarian restaurant below the temple and the deities on the altar from senior to junior are Guan Di, Guan Yin, Lu Dong Bin, Dou Mu and Yao Shi Fo. Guan Yin and Yao Shi Fo are Buddhist, whilst the other three are Daoist folk religion deities. Opposite the main altar, on a secondary altar, are a Kitchen God and a Protector of the Law, both represented by framed prints; the first is a folk religion deity and the second Buddhist. And finally, on the table before the main altar is a red wooden rice bucket containing a peck of uncooked rice in which stand numerous items which have without doubt Daoist and not Buddhist origins. Despite the mixture, the three laymen were surprised that there was any doubt that their temple was Buddhist.\n\nConfucian and Daoist temples\n\nIn Hong Kong and Macau there are no Confucian temples as there were in China and still are in Taiwan. There are, however, Confucian Halls such as the one in a school sponsored by the Confucian Society at Caroline Hill, Hong Kong Island. Several Chinese societies in Hong Kong are understood to have private altars dedicated solely to Confucius.\n\nThe official state religion had its own rites and deities and involved the official bureaucracy and the gentry only. The nearest thing to a State temple in our two territories is the rural school at Fanling where an image of the Yellow Emperor (*) stands on an altar in the main hall, and the side hall of a Macau temple in which a school is held where on an altar there are full-size images of the inventors of ink and writing.\n\n\"Pure\" Daoist temples are rare, there appearing to be none in Macau and some two dozen in Hong Kong of which two are branches of two of the others. These two dozen contain distinct Daoist deities, are run by Daoist bodies represented by a committee, whilst Daoist lay priests and priestesses perform Daoist ceremonies.\n\n* Peng Lai Ge (**M**)", "txt_file_path": "txt/dfo323lmgvd/RAS-1980.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/kh04md207", "rank": 0 }, { "id": 208888, "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": 50, "title": "RAS-1980", "content_text": "22 \n\nKEITH G. STEVENS \n\ncolumns, boards, boards bearing auspicious phrases, balustrades, roofs and lattice windows exactly like full-size temples (Illustration 16). Several wooden miniature shrines seen on lower decks of large sea-going junks were heavily ornamented and the carving exquisitely detailed. At the other end of the scale, soap boxes, painted red and upended, serve as the simple shrine of the less affluent household. \n\nActual images of gods in homes are few, and their worship is very limited. Usually, there is just a framed print, and routine offerings consist of a daily incense stick burnt before the print with, in addition, a small offering of tea or rice on the first and fifteenth day of each lunar month. The majority of Chinese who have a household shrine display on their main altar the bodhisattva Guan Yin, who is, without a doubt, the most popular deity of Chinese everywhere. Most homes also have a second “altar”, the Kitchen or Stove God, whose title on a red board is hung up, or when written on a red paper is pasted up near the family cooking range. \n\nShop or factory shrines usually stand or hang on walls at shoulder height, constructed of wood and painted vermilion. The majority of shop shrines contain plaques or prints of Guan Di as patron deity of merchants and Tu Di Gong, the Earth God. Those in fire stations and police stations bear prints of Guan Di in his role as the patron deity of loyalty. \n\nOn days marked Chu (除)22 in the Almanac (i), old lady devotees offer prayers in the street before unpainted wooden boxes used as shrines. They are propitiating the demons who cause disasters, and are also attempting to change their luck for the better. They use one of their shoes to strike the \"small men” (1-A) banging small figures of humans cut out of black paper and at the same time calling out in high-pitched voices for the demons to flee. The voice is pitched particularly high when calling back the roaming soul of a sick child (the absence of the soul being the cause of the sickness). \n\nApart from modern concrete decorative structures in places like the Tiger Balm Gardens and on the foreshore of Repulse Bay, there is only one pagoda in Hong Kong or Macau. This is at Ping Shan, in the New Territories, and was built of stone blocks some three hundred years ago. Like other Chinese pagodas, it has little use other than to enshrine some sacred object, in this case, several images", "txt_file_path": "txt/dfo323lmgvd/RAS-1980.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/kh04md207", "rank": 0 }, { "id": 208896, "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": 58, "title": "RAS-1980", "content_text": "30\n\nKEITH G. STEVENS\n\nor halls.32 Nearly 70% of all nunneries are on Lantau island, whereas only 10% of the monasteries are; and three hundred and fifty-three temples and monasteries have resident staff.\n\nThere are thirty-two temples in Macau, of which two are well-nigh derelict. Of the thirty-two temples, six are coastal, twenty-four are urban, and two rural. The majority of temples contain a mixture of Buddhist and folk religion images (no temples contain only Buddhist images), and the remainder contain only folk religion deities.\n\nDegrees of popularity of the major deities in temples and shrines\n\nThe total number of temples dedicated to a specific deity throughout the two areas reflects the importance of that deity to devotees. In Hong Kong and Macau, forty-four different gods each have at least one temple dedicated to him (or her), whilst only seven gods have more than five temples to him (or her). The seven, in order of precedence (based simply on them being the main deity of a temple or monastery), are Tian Hou (seventy-eight) (*), Sakyamuni Buddha (thirty-nine), Guan Yin (thirty-eight), Guan Di (twenty-one), Hong Sheng (twenty), Bei Di, who is better known as the Northern Emperor, (ten), and Lu Zu or Lu Dongbin (seven). Although this gives only a very rough guide, the number of images of Guan Yin throughout Hong Kong and Macau vastly outnumbers those of Tian Hou. However, when the criterion is the number of temples in Hong Kong and Macau in which a particular deity is to be found (on any altar and not necessarily as the main deity), then the first five are Guan Yin, whose image appears in at least seventy-five temples, Tian Hou (114), Guan Di (88), Qi Tian Da Sheng (Monkey) (61), and Di Zang Wang (59).\n\nThe Kitchen God, most frequently depicted by a reddish-orange paper pasted on the chimney above the stove, is the most common deity to be seen on the household altar, followed closely by Guan Yin, whose image, as we have noted, is also to be seen in 70% of all temples. The most common deities outside the home are Tu Di Gong, the Earth God (the local tutelary deity), in both urban and\n\n* The totals are not the number of images seen but the number of temples in which the deity is the main image in both Hong Kong and Macau.", "txt_file_path": "txt/dfo323lmgvd/RAS-1980.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/kh04md207", "rank": 0 }, { "id": 208968, "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": 130, "title": "RAS-1980", "content_text": "98\n\nJULIAN F. PAS\n\nwords. The Ch'ing-ming festival, now usually seen as a festival to commemorate the dead, was in its origin a celebration of spring: all the fires, including the kitchen fires, had to be extinguished in the country; only cold food was used for two or three days. On the third day, new fire was struck, and the spring festival taking place was called “pure” and “bright”: the new fire was pure since taken directly from the source of light, the sun, and bright since it symbolized the growing strength of sunlight that was on the increase after the equinox. This interpretation of the Ch'ing-ming makes better sense than the more usual and popular explanation.14 Although the old name was retained, the meaning of the festival shifted at a later time, probably due to Buddhist influence.\n\nDe Groot sees this relighting of the fires in ancient China as a parallel with the Easter festival and with similar celebrations taking place in the ancient world, where every year the god's ritual death was followed by his resurrection:\n\nAll those legends speaking of death and resurrection, all those feasts passing from mourning to the most exuberant joy have all had one only purpose: the symbolical reproduction of the history of the sun's light and of the phases through which it passes on earth. What one worshipped was this sacred fire of Nature, which is the soul, the life of the universe, and which finds itself engaged in an ever recurring struggle against the god of Darkness, of Death, which exerts itself incessantly to obstruct it in its dispensation of benefits to man. The most significant of all the phases in this solar cycle is the one when the sun reaches the spring equinox, celebrates its victory over darkness and the days grow longer than the nights. The whole earth then starts a new life.15\n\nWhereas in many societies the god's death and resurrection was thus ritually enacted, the Chinese example is characterized by a more rationalistic, naturalistic tendency: the object of the cult was not a particular god for whom a new name was created, but was the sun itself, as one of the heavenly bodies without strong supernatural overtones.\n\nThat this ancient custom might have inspired the Taoist priesthood to introduce it in their own rituals is not unlikely. The relationship between imperial sacrifices, Buddhist rituals, and Taoist practices is not an exception: the eclectic nature of Taoism has", "txt_file_path": "txt/dfo323lmgvd/RAS-1980.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/kh04md207", "rank": 0 }, { "id": 209819, "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-1983", "page_number": 78, "title": "RAS-1983", "content_text": "56\n\nwith kuk (*) and the other with mai (*), and candles and joss-sticks placed standing in the rice. Worshipping takes place at the shrines of the earth god (t'o tei £) and kitchen god within the house. If the applicant can still afford it, he holds a feast for friends and relatives who often bring presents of mirrors and furniture.\n\n12. Some Fung Shui (¥) Problems\n\n(a) Certain localities, particularly hills, are sometimes regarded as throwing out good or bad influences, according to the animal which the locality represents. In the same manner, strong objections are frequently raised to the opening of windows in a house that faces some other house or temple. The window represents the open mouth of a tiger ready to swallow up the occupants of the building facing it. A lamp flashing in the direction of a house is equally obnoxious.\n\n(b) Antidotes to these evil rays or influence are often difficult to apply. One method is for the aggrieved householders to put up a paat kwa (^) or eight-sided diagram on the outside of their house. Alternatively, a mirror sometimes will suffice to reflect the evil rays. A third method is to erect some effective barrier in between, such as trees or bamboos, with a temporary wall until the trees have attained sufficient height and bushiness to be an effective screen.\n\n(c) These objections are for the most part confined to Cantonese rather than Hakka (). However, because of their greater belief in animism, Hakka (*) are the more concerned with fung shui (¥) trees and rocks, damage to which they will strenuously oppose.\n\n13. Oaths\n\n(a) Before the lease of the New Territories to the Crown in 1898 and the coming of British law, the question of which party to a dispute was telling the truth was customarily settled by a form of trial by ordeal in a temple. Both parties would attend at a mutually agreed temple (miu, never a clan temple or Tsz t'ong) with witnesses and all interested villagers.", "txt_file_path": "txt/dfo323lmgvd/RAS-1983.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/j9607p61v", "rank": 0 }, { "id": 210315, "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": 286, "title": "RAS-1984", "content_text": "265\n\nfields or tombs\n\nsome sites are only a few hundred yards from\n\nthe village but others a mile or more away.\n\nTea is first picked in the second ten-day period of the third lunar month: this is often close to the Ching Ming tomb worship-ping festival when villagers will in any case be visiting their tombs. If the tea is ready, worshipping can conveniently be combined with tea picking in a single one-day trip. The middle of the third lunar month is the time when the new young tender leaves are at their full size but have not yet thickened and coarsened — the best possible time for picking them. Traditionally, this period coincid-ed conveniently with a slack time in the rice-fields, after the first rice crop was transplanted out (end of first lunar month), and before the major cleaning of the crop from weed (end of third lunar month).\n\nBoth men and women pick the tea. First, any creepers or weeds which have grown up around the tea trees since the previous year are cut away. Then the new leaves are stripped off the tree. Most of the leaves are picked, but a proportion must be left to preserve the health of the tree. Later, new leaves will sprout to replace those stripped off: these were traditionally left for a few weeks and then picked. The trees would be stripped up to four times a year. At present, however, the villagers only pick for their own use, and only strip the trees once: the other strippings were to provide leaf for sale in the market towns. The first picking was by far the best; the later pickings producing a coarser tea with a poorer taste.\n\nPreviously, in preparation for the tea picking, the women of the village cut firewood on the hills and stack it near the houses to dry. Each house has a brick-built stove with a brick chimney which has on it an alcove for the Kitchen God shrine. The stoves are con-structed in the form of a hollow brick box with a circular hole on the top into which a wok just fits, and an opening on the side to allow the fire lit inside the stove to be tended.\n\nWhen the fresh tea leaves are carried back to the houses they have a slight fragrance and taste, but neither the fragrance nor the taste is at all similar to that of the prepared tea. To achieve the desired tea taste and fragrance it is necessary to rid the tea leaves of", "txt_file_path": "txt/dfo323lmgvd/RAS-1984.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/5h73wh572", "rank": 0 }, { "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", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211734, "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": 149, "title": "RAS-1989", "content_text": "124\n\nCHEUNG SHAN KWU TSZ\n\nUrinal Ladder Fang (Dachlatt art)\n\nNINTELI 000 Total Allor Kwun Yam Aller\n\nCockle mark Guest Quarters Side Holl Offering Table ·Gable Ladder Living Hall Main Hall Living Holl Inscription Steph Craw miscingh Store Slepa\n\nFong Tin Tseng Tin Tseng Living Hall Fong (+ Dwark Bod Side Boer Slaps Pate Wai To Allar Spitil Servan Entrance Hall\n\nHAIR Dor Som sebou. Ola Brick und Kitchen 000 Kitchen Gr Urinal\n\nSham Tsun ROAD Sho T40 Kak FEET Q +\n\nIN EEN --> Goble", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211737, "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": 152, "title": "RAS-1989", "content_text": "127\n\nabove it which could be used as a further bedchamber. A small window lights the cockloft, and there is also a single-brick opening near the ladder to the cockloft which provides a little light. Apart from this, the only light for this area comes through the archway linking it with the Main Hall. In front of the bedchamber was a small living hall, originally with chairs and side-tables this space could also have been used as sleeping space if the number of guests was large. The nunnery Bell and Drum are housed in this area, near the arch.\n\nThe front part of the fourth section is the kitchen, with a store-room behind it. The kitchen is quite large, with a large wok built into a brick stove, and three charcoal stoves on a stone shelf. The kitchen also contains the big water jars and the guest latrine. There is no cockloft in this area; the kitchen occupies the whole space below the rafters. There are two tiny windows in the front wall of the kitchen, one above the other, to let light in and fumes out.\n\nIn the kitchen, in place of the more frequently found Kitchen God, is a paper tablet to Na Luo Wang (**捺罗王**). This rare deity, found only in monastic kitchens in the Hong Kong region, is the deity who supervises fasting and vegetarian diets, and his shrine in the kitchen is intended to ensure that the kitchen is not defiled by being used to cook meat.*\n\nThe ruins of the Lung Kai nunnery seem to show a plan similar to that of the Cheung Shan Kwu Tsz. The Lung Kai nunnery was larger, forming a rectangle about 60 feet deep and a little over 60 feet broad. It was divided into five sections rather than the four of the Cheung Shan Kwu Tsz. Whereas the Cheung Shan Kwu Tsz faces approximately south, with the residential area on the west (to the left as you look at the building), the Lung Kai nunnery faces approximately north-west, with the residential area on the west (to the right as you look at the building). The worshipping halls at the Lung Kai nunnery were three in number, and occupied the back part of the three easternmost sections. They opened into a large Tin Tseng, which occupied the central part of all three of these sections, and which was surrounded on all four sides by a covered walkway. The Tin Tseng was one or two steps lower than the worshipping halls. The three altars were to an eighteen-armed Kwun Yam, to Yuen Tan, (2), and, it is thought, to Kwan Tai.\n\n* I am indebted to the kindness of Mr. Keith G. Stevens for the information in this paragraph.", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211953, "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": 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", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "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": 213788, "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": 140, "title": "RAS-1996", "content_text": "111 tablets were set up on a table before the picture. The one in the middle is dedicated to Taishang Laojun (styled Taishang Hunyuan Jiaozu Daode Tianjun) and the masters of the priest. On the right was one for the ancestors of the groom styled Pengshi Tangshang Shigaozhengzu Kaobi shenwei (“Founding ancestors, and great grandfather and grandfather\"). On the left-hand side was one for the gods of the four domains Heaven, Earth, Water, and Yang. Offerings on the table included plates full of homemade red-colored buns from, I was told, each household of the village.\n\nThe rite started at a quarter to 7 p.m. and continued, with intermissions, until about half past 4 a.m. the next morning. The assistant who dressed as a woman joined the priest in most of the rites, with the exception of the first rite “invitation of gods”, and probably the last one of “seeing off the gods” which seems to have been performed by the priest alone, and the rite of “pacifying the kitchen god\" which was performed by the \"woman\" assistant alone. The assistant held a fan in one hand and a handkerchief in another. The two danced together, forming postures in which the priest kicked at his \"female\" assistant. The rituals made frequent use of the horn, the divination block, and mudra formations. A third assistant played percussion instruments to their accompaniment.\n\nThe series of rituals begin with an invitation of gods. I recorded in my notebook that in the final section of the rite the priest faced the table at the ancestral altar and mentioned langming and gongming in a recitation about the purpose and scope of the ritual. I have already mentioned the rituals connected with the maintenance of an army under the control of ancestors. Another important session is the Jianchao, \"witnessing the Chao”, which is an offering of a raw pig. The pig was placed before the table at the altar, with its head facing inside. The offering included the whole pig, with even blood and hair. On the back of the pig's neck, three cuttings had been made; fixed in the middle one were incense sticks and the two sides candle sticks. The chicken song should have been performed in the series. Some of the villagers present expected to hear it. But the priest and his \"female\" assistant omitted the singing because they had not recovered from their sore throats that had resulted from the Anlong rite they performed at Cheng Lan Shue a few days ago.", "txt_file_path": "txt/dfo323lmgvd/RAS-1996.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/3n209j641", "rank": 0 }, { "id": 214265, "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": 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", "external_url": "https://digitalrepository.lib.hku.hk/catalog/1g05n0794", "rank": 0 }, { "id": 216316, "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-2003", "page_number": 75, "title": "RAS-2003", "content_text": "24\n\nas seated, holding a long-stemmed lotus flower with a small temple perched on the blossom, and has a third eye in the centre of his forehead. Wei Tuo Pusa is represented by a golden statue in which he poses wearing armor and holding a drawn sword. Wei Tuo is the protector of all Buddhist temples.\n\nOn the other side of the Tian Wang Dian is the third courtyard, on the far side of which is the Hall of the Great Hero (Da Xiong Bao Dian). This hall's origins date to an 1878-1879 reconstruction, when it was rebuilt to replace an earlier structure destroyed during the Taiping rebels' attacks on Shanghai in 1860-1862. The hall was closed for a massive reconstruction and renovation in November 2002, but had been reopened by January 2004. The interior is now nothing less than spectacular. Three large Buddhas (San Fo) are placed in the centre. Sakyamuni Buddha stands in the centre, flanked on the left by the bodhisattva Samantabhadra (Pu Xian) seated on an elephant, and on the right by the bodhisattva Manjusri (Wen Shu) seated on a blue lion. Overhead the hall's ceiling is pierced by a massive wooden dome that spirals upward, looking much like the wooden domes (Zao Jing) often found over traditional Peking Opera stages (Xiju Wutai). Behind the San Fo facing out the rear exit is a large Guanyin statue in front of a floor-to-ceiling landscaped rockery covered with smaller figurines depicting the Buddhist heaven and hell. Along the side walls stand 36 quite expressive human statues of the Buddhist saints, 18 on each side of the hall. This is an unusual number, which seems to include 16 Arhats (Luohan) and 20 Devas (Zhu Tian), and an assortment that includes such non-Buddhist figures from Chinese tradition as Confucius (Kong Fu Zi), the War God (Guan Di), the God of Literature (Wen Chang), and the Kitchen God; Hindu gods such as Brahma, Indra, and Yama (Yen Lo); as well as Buddhist deities such as the Four Heavenly Kings (Si Tian Wang) and the bodhisattva Wei Tuo as well. The hall also houses one of Longhua's three bronze bells, this one dating from 1586.\n\nOn the other side of the Da Xiong Bao Dian is a fourth courtyard. On the far side of this fourth courtyard is the Hall of the Three Gods (San Sheng Dian). This hall is dominated by enormous floor-to-ceiling golden statues of three Buddhas (San Fo) who appear side by side in an unusual standing position with golden flames rising up behind them. In the centre is Amitabha Buddha (O Mi Tuo Fo), to your left is the bodhisattva Da Shi Zhi, and on your right is the bodhisattva Guan Shi Yin.\n\nPage 75\n\nPage 76", "txt_file_path": "txt/dfo323lmgvd/RAS-2003.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/2v242g390", "rank": 0 } ]