[ { "id": 204409, "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-1962", "page_number": 41, "title": "RAS-1962", "content_text": "32\n\nG. FINDLAY ANDREW\n\ntravelling for some days over the broad plains of the Kokonor and the first trade centre we reached was the small market town of Tangar. We both had to replenish our cash supply but unfortunately the smallest piece of silver the Scot had was an ingot of some ten taels weight. I took the problem along to the blacksmith smithy in the east gate of the small city. The smith took the ingot and nonchalantly tossed it on to the fire. When sufficiently heated he took it from the fire and laid it on the anvil and commenced to chisel off the required piece of about three taels weight. When old Jock saw the sparks begin to fly he got very excited and jumped in all directions trying to catch them under the firm impression that his precious silver was being dissipated before his very eyes. Of course in the large cities the cash shops had their own silver shears and it was only in the smaller centres that the blacksmith was called upon to act as the travellers' friend in such exchange transactions.\n\nIn the former Tibetan province of Amdo, on the Kansu Tibetan border lies the large lamasery of Labrang. In the days of which I write, the Living Buddha who presided over the destinies of this very large lamasery was Kia Muh Yang. He was reputed to be the owner of a mountain of silver which had been created by the molten silver offerings of the faithful being poured into one solid lump. Thus when the Buddha set off on one of his periodic journeys, all he had to do was to load pack animals with pieces hacked out from the side of his mountain and his finance problems were solved! In another connection, the same practice obtained in the neighbouring lamasery of Kumbum where the gold offerings were melted and poured down the roof of the temple that housed the sacred figure of Tsong Kaaba, the reformer of Lamaism whose birth-place the shrine marks. I wonder whether either the Silver Mountain or the Golden Roof exist to-day?\n\nThe handling of sycee had its own particular problems, perhaps the main one being the assessment of the standard of purity on which subsidiary currency exchange rates were fixed. I shall never forget my feelings when on a certain occasion I opened the boxes of a large consignment of silver which I had received from a Moslem war-lord. Inside was the queerest mixture imaginable of everything approximating to silver either in the form of ornaments or coins. There were bracelets, rings,", "txt_file_path": "txt/dfo323lmgvd/RAS-1962.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/9s166f47f", "rank": 0 }, { "id": 206644, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1972", "page_number": 192, "title": "RAS-1972", "content_text": "186\n\nKEITH STEVENS\n\nfeatures, but as with all Chinese images there are local variations of which two major ones observed have been:\n\na. A shiny black Fa Chu Kung with six arms and standing barefoot, holding in his six arms:\n\n(1) a sword held in each of three of them,\n\n(2) a scimitar in one,\n\n(3) a magic ring in one (this is identical to the bracelet of San T'ai Tzu),\n\n(4) the sixth has a hand making the magical sign described above.\n\nHe is dressed in flowing golden robes, and has a small snake entwined around the arm with the hand making the magical sign. (Plate 25)\n\nb. A Ch'ao Chow style carving of Fa Chu Kung has two pillars protruding from the base on either side of his body reaching to his waist height, making two \"side table\" tops on either side of him. On one side, on the \"table top\", stands a vase and on the other stands a bowl. Otherwise he is exactly as described in the basic description.\n\nThe images most likely to be confused with Fa Chu Kung are those of his two brothers which apart from the colour of their faces are identical to his. They have never been observed on an altar without him.* Also possibly confused with Fa Chu Kung is T'ai P'ao or Sha Ho Shang who is described at the end of this article.\n\nTitles\n\nFa Chu Kung is known by various names or titles than by his best known title of Fa Chu Kung. According to Fukien temple keepers, Fa Chu Kung means the Controlling Duke. There is, however, a Buddhist term, Fa Chu, for the Lord of the Dharma, which is the Buddha himself. It is unlikely that this is the origin of Fa Chu Kung's title, even though several informants have suggested that, as he is black, he was an Indian and was formerly a trader from India. The various titles and names by which he is referred to, are:\n\na. Fa Chu Sheng Chün 法主聖君\n\nTitle given in Mutseh near Taipei to the group of the three brothers, all to be seen on one\n\n* See Plate 26. A Fukienese god-carver's sketch of Fa Chu Kung is at Plate 27.", "txt_file_path": "txt/dfo323lmgvd/RAS-1972.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/gm80qf99h", "rank": 0 }, { "id": 210296, "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": 267, "title": "RAS-1984", "content_text": "246\n\nCHOI CHI CHEUNG\n\nTable A. Name of the Objects of Worship\n\n \n 1.\n A Nan Chun Che *\n \n \n 2.\n Buddha #N*\n \n \n 3.\n Chia Ych Chun Che\n \n \n ***\n \n \n \n 4.\n Kannon, the Goddess of Mercy\n \n \n 5.\n Dragon Kings of the 4 Seas\n \n \n 6.\n Representative of the Heavenly Kitchen 天厨使者\n \n \n 7.\n Chin Kwong Wang\n \n \n 8.\n Cho Kiang Wang thi\n \n \n 9.\n Sung T'i Wang ✯E\n \n \n 10.\n Wu Kwan Wang HE\n \n \n 11.\n Yen Lo Wang\n \n \n 12.\n Bien Chen Wang |\n \n \n 13.\n Thai Shan Wang E\n \n \n 14.\n T'u Shi Wang\n \n \n 15.\n Pin Deng Wang\n \n \n 16.\n Chuen Lun Wang\n \n \n 17-18.\n The Courts of extreme happiness 極樂殿\n \n \n 19.\n Kan Tsai Wang\n \n \n 20.\n Wai Lo ##\n \n \n 21.\n ?\n \n \n 22.\n The Great Kings and Emperors 大王大帝\n \n \n 23.\n The Lord of Pu-tu\n \n \n 24.\n Ancestral Hall of all Lineages 各姓宗祠\n \n \n 25.\n 6 paths and 4 species 0%\n \n \n 26.\n Wandering spirits of 4 directions 西方忘魂\n \n \n 27.\n The 3 Pure Ones E\n \n \n 28.\n Gods of the 3 levels\n \n \n 29.\n ?\n \n \n 30.\n Male and female orphan spirits 男女孤魂\n \n \n 31.\n 3 religions and 9 schools\n \n \n 32.\n Million souls of the 3 levels 三界萬靈\n \n \n 33.\n Office of the Yin and Yang H\n \n \n 34.\n Lord 8th A\n \n \n 35.\n Lord 7th\n \n \n 36.\n Temporary resting place ✯✯S\n \n\nQ 1-3 as told by the organizer of the Uji O Festival\n\nR\n\nET\n\nT\n\nH No. 7 to No. 16 were the ten courts of the Underworld. Informants always mention them without any difference from no. 17 and 18, as ‘Chigoku Juunoo' (M&E) or 'Chigoku” (Ten Kings of Hell, or Hell). 7 to 9, 10 to 12, 13 to 15, 16 to 18, were all made in one paper-made house (informants simply class them as Ming-che too) respectively.\n\nF Both 19 and 20 were regarded as the guardians of the festival. 19 for avoiding any meat, and 20 for keeping out evil and watching over the spirits.\n\nQ No one knew what it was\n\nT\n\nT\n\nGIF\n\nT\n\nQ No one knew what it was\n\nT\n\nT\n\nQ Told by the organizer of the Uji festival. It was also called T'ien Ti Tan (X).\n\nF Both 34 and 35 were the runners of Hell.\n\nH\n\n! \n\n! \n\n! \n\n¡", "txt_file_path": "txt/dfo323lmgvd/RAS-1984.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/5h73wh572", "rank": 0 }, { "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", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211735, "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": 150, "title": "RAS-1989", "content_text": "125\n\nhillslope at the back and sides.\n\nstone\n\nAs far as can be ascertained, the walls of the nunnery are throughout either of blue brick or of heavily plastered stone rubble, on footings of the standard building technique in the region. The roofs are of tile laid single thickness on beams supported directly by the walls. The only windows are very small (about one foot square) openings with bars and wooden shutters in the front face in the second and fourth sections, and the side wall of the fourth section, and two tiny single-brick openings, in the front wall of the second section, and the side wall of the fourth section.\n\nThe main temple hall is the third section. The main entrance to the nunnery is here, at the top of a shallow flight of steps. The double-leaved door opens into an Entrance Hall bare of all furniture except for the brick spirit-screen wall, with the altar to Wai To (卫道), the Defender of the Way, against its inner face. The Entrance Hall opens out into the Tin Tseng, which is mostly filled with the large brick paper-burner, and the steps up to the upper level. Above the steps is the Main Hall, with the altar against the back wall, and with a large offering table in front. The altar is to Kwun Yam, and has statues of the Lord Buddha (Sakyamuni), and the King of Hell (Ti Ts'ang Wang, 地藏王), as well as of Kwun Yam on it. To either side of the main altar are very small subordinate altars, where the tablets commemorating certain deceased monks are kept. In front of the main cult statues are five small images: two are unidentified, the others are of Milofu, Shan Ts'ai (善财), and Yũ Nũ (玉女). Below the altar is the usual shrine to the spirits of the Five Directions (五方).*\n\nTo the left of the Main Hall as you look at it from the entrance, i.e., at the back of the second section of the building, is the Side Hall, containing an altar to the Earth God (To Tei, 土地). This Side Hall has no Tin Tseng or windows, and is in consequence rather dark, being lit only by the light coming in from the arch which links this Hall with the Main Hall. The nunnery is now in a very run-down state, and it is not clear what furnishings were originally in this Hall: presumably there was an offering table of some sort in front of the altar. This Side Hall contains the inscription commemorating the rebuilding of the nunnery in 1868.\n\n* I am indebted to Mr. Keith G. Stevens for identification of the deities worshipped in the nunnery.\n\nPage 150\nPage 151", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211762, "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": 177, "title": "RAS-1989", "content_text": "152\n\nMun, founded by Pooi To. This is, however, perhaps unlikely. The note of 1089 on the history of Pooi To and his monastery (Hsin An County Gazetteers, loc.cit.) is sufficiently comprehensive that it is unlikely that it would have failed to notice if Pooi To had founded two monasteries in the immediate vicinity of Tuen Mun, but it refers to only one, and clearly identifies Pooi To's Kwangtung area of interest with this one monastery. I am indebted to the students of Ng Yuk Secondary School who presented a study of the Ling To monastery to the Hong Kong Institute for the Promotion of Chinese Culture for the Institute's 1990 Historical and Cultural Investigation Award for much of my information on the Ling To monastery.\n\n4 See Sung Hok-p'ang, \"Legends and Stories of the New Territories: Kam Tin (B)\", in The Hong Kong Naturalist, June 1936, reprinted in Journal of the Hong Kong Branch of the Royal Asiatic Society, Vol. 13, 1973, p. 127-129.\n\nThe nunnery bell is dated Kang Hsi 40 (1701), and this is probably the date of foundation. The bell speaks of a desire to achieve success for the Tang lineage in the imperial examination.\n\n9\n\nSee Plan, and Plates 20 and 21.\n\nSee Location Map.\n\nA two-day survey was conducted on December 11th and 12th, 1904, which showed that 1823 persons used the road on the 11th (a market day at Sham Tsun), and 708 on the 12th (a non-market day). The market day at Sha Tau Kok would have been the 10th. The survey was taken “on the road”, and very probably at the nunnery. These figures suggest a monthly total of up to 43,000 travellers: even if this is substantially discounted (the report suggests that travellers carrying rice after the second rice harvest, and fish, made the road very busy at that time) about 25,000 a month would seem a reasonable figure, or 300,000 a year. The Governor gave a more conservative statement of the yearly total, at 250,000, or about 20,000 a month. Of the 2531 travellers surveyed on the two days, 679, or 27%, (29% on the market day, 22% on the non-market day) were \"carrying goods\". Assuming that these carriers were carrying the standard cookie distance load of 100 lbs, then they were carrying 67,900 lbs, or 30 tons, implying perhaps 400 tons a month, or 4,800 tons a year. The survey for this road gave figures entirely in line with those shown by the surveys conducted at the same time on the other roads along the line of the railway. See file C.O.882, despatch No. 59, from Sir Matthew Nathan to Mr. Lyttelton, received February 13th, 1905, Public Record Office, London, (copy in P.R.O. Hong Kong). A second survey, conducted outside the nunnery, on 26th and 29th December, 1910 (both market days at Sham Tsun) showed 319 and 203 people \"carrying goods\" on those days. Assuming that the percentages of people carrying goods (those not carrying goods were not surveyed) was, as in 1904, 29%, then total passengers on those days would have been 1100 and 700, suggesting a monthly total of about 23,000, and a yearly total of just under 300,000. See file C.O.129/376, despatch no. 165 (page 582), from Sir Frederick Lugard to Rt. Hon. Lewis Harcourt, 28th April, 1911, (copy in P.R.O. Hong Kong). A monthly total of between 20,000 and 25,000 people passing the nunnery, therefore, seems very reasonable.\n\n... The inscription is at Vol. 3, p. 679 of David Faure, Bernard H.K. Luk, and Alice N.H. Ng Lun, The Historical Inscriptions of Hong Kong, Urban Council of Hong Kong, 1986. The bell was donated to stand for ever before the altar of the Lord Buddha in the nunnery at Cheung Shan by \"the mass of the devout people from all the villages\". 各鄉衆信弟子慶具鳴鐘一口，敬酹長山廟佛生爺爺案前永遠供奉、福有攸歸。The nunnery is mentioned in the Hsin An County Gazetteer of 1819, as the \"Cheung Chun nunnery, at the Loi Tung Pass\", at ch'uan 18, page 149 of the Chung Lap Pao edition, 1979.", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 212575, "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": 129, "title": "RAS-1991", "content_text": "109\n\nbasket-like container. A pail of water sprinkled with fresh pomelo leaves is sometimes left on the spot where death occurred and a pair of new trousers (these pun with ‘rich' in Chinese) with a blue sash may be draped over the pail. As a more down-to-earth disinfectant, sulphur is burned.\n\nIn 1840s Hong Kong, the dying were often abandoned on hillsides, in open spaces or matsheds, although the Government tried to track down offenders.\"2 Later an I ts'z (#), a public ‘ancestral hall', was constructed. In places like Cheung Chau Island a 'death house' (something like the hospice of today), established in 1878, still stands where the very ill were taken.\" There was another at Tai O. A similar building now in ruins, built by the Kai Fong (neighbourhood welfare association), existed on Peng Chau Island where the destitute could die in peace.\" This was temple-like in appearance with three rooms, one for the sick, one for the dying and one for the caretaker. It also contained an image of the Lord of Purgatory, a Buddha who saves souls. Avoidance of death was not necessarily because of callousness.\" Many Chinese fear spirits of the dying or the dead will possess the living. This was why, of those that took their own lives, many preferred violent, bloody suicides, involving pain on the doorstep of their tormentors, so the unfortunate had the right to haunt the oppressors.\n\n16\n\nThe Tung Wah Hospital was established in 1870, ostensibly to replace the above I Ts'z. It also provided free burials for paupers. Originally sited at Kennedy Town, it moved in 1899 to Sandy Bay where the present 'coffin home', on a 100,000 square foot site, provides transshipment sometimes from overseas to China and storage of bones, bodies in coffins or ashes in urns. The remains of the Tung Wah Director, who was instrumental in building the present home, have rested there since 1906. There is capacity for the bones of about 900 persons. Only about 200 remain at present. Some relatives spread bones of relatives out on sheets of paper to air. Some remains await an auspicious day to be interred. Many emigrants now take ashes of loved ones with them overseas so they can be properly tended.\n\nUp to the 1950s, when people did pass away at home in urban Hong Kong, bamboo ramps were frequently erected so coffins could be brought direct, head first ('head should face heaven, feet should face earth': in England it is feet first), from upper floor balconies or windows to the ground.\" With narrow stairways and corridors, and coffins larger than in the West, knocking and scraping walls were considered harbingers of 'death tapping at doors'. With the construction of multi-storey", "txt_file_path": "txt/dfo323lmgvd/RAS-1991.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/k356gt84j", "rank": 0 }, { "id": 214243, "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": 101, "title": "RAS-1998", "content_text": "64\n\nMaritchi [or Marici Deva], [a Sanskrit term for the Indian mythological form of Parbati, the wife of Siva]; and Ma-yeh, the mother of Sakyamuni, The Buddha, the whole being confused by devotees who tend to describe them all as Chun-t'i, with the legends of Maritchi and Cundi producing an inextricably involved and perplexing picture.\n\nImages of Marici are present in both the Ta Pei Ssu and the Pi-yun Ssu and in both temples he, rather than she, is portrayed as a standing Buddhist deity with eight arms and with three faces. The face facing forward is of a benign human with hooded eyes commonly seen on Tibetan images. He has a third eye in the centre of his forehead. The other two are faces of a pig and of a human. He is dressed in colourful robes and a five-leaf Buddhist crown, and is barefoot.\n\nThe association between Chun-t'i and Kuan Yin goes back to the original relationship in Buddhism of Chun-t’i with the bodhisattva Avalokitesvara who promised to save mankind and bring them to deliverance before they, the two bodhisattvas, Chun-t'i and Avalokitesvara themselves entered Nirvana. Marici has the face and eight arms of Chun-t'i, and is one of the six manifestations of Avalokitesvara who is concerned especially with humans, rather than the deities and demons. Chun-t'i in the form of Avalokitesvara is a male deity, though Tantric sects, giving her an entirely different role left her feminine.\n\nLegends about Chun-t'i usually include stories of her valour in battle. According to the Ming novel The Deification of the Gods [Feng-shen Yen-i], from which many of the beliefs of folk religion devotees have evolved, Chun-t’i was summoned to Heaven during the legendary period of Chinese history when the heroes and Immortals were emerged, in order to acquire the necessary skills to take on K'ung Hsüan, one of the contestants for the dynastic throne. This was because she had attained the required degree of perfection on Earth. She found herself whisked aloft in a rainbow, and having acquired the skills necessary she reappeared in a cloud of fire with twenty-four heads and eighteen arms and, throwing a silken cord around her adversary's throat, she turned K'ung Hsüan into a one-eyed peacock on which she rode off to the Western Heavens.\n\nImages of Chun-t'i show her with four or nine pairs of arms, each", "txt_file_path": "txt/dfo323lmgvd/RAS-1998.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/1g05n0794", "rank": 0 }, { "id": 214496, "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": 354, "title": "RAS-1998", "content_text": "323\n\nTHE DRUNKEN DRAGON DANCE AND THE TAN GONG (TAM KUNG) FESTIVALS: NOTES ON THE RASKB VISIT TO MACAU, MAY 1997\n\nGEOFFREY ROPER\n\nThe eighth day of the fourth lunar month is an important date in the Chinese religious calendar. Principally it is Lord Buddha's birthday, and for that reason is soon to become a Hong Kong public holiday. In Macau, on a more local basis, it is also the date of the Drunken Dragon Dance Festival around the markets of central Macau and the Tan Gong (Tam Kung) Festival celebrations in Coloane Village, Coloane Island. It was with these two Festivals mainly in mind that a twenty-strong party from the Hong Kong Branch of the RAS, led by President Dan Waters, set off for Macau early on Wednesday, the 14th May (the date in the 1997 Western calendar).\n\na.m.,\n\nPreceded by Chinese opera performance the evening before, the initial Drunken Dragon Dance celebrations had already started by 8:30 by the time we arrived at the western end of the former Sao Domingos Market. The dragon heads and tails were being blessed by a Taoist priest outside the adjacent Guan Di (Kwan Tai) Temple and brought to life by the painting of eyes by invited VIPs. A golden flower with a red ribbon was tied around the head of each dancer - representing God's gift of energy for the dancing ahead.\n\nThe scale of the festivities was somewhat smaller than the previous year, with humbler staging for the sponsors from the Macau Fish Merchants Association and restrictions on the free distribution of rice and vegetables to the public at the first market. The reason was disruption caused by building work, but most importantly, the Dance itself remained unchanged.\n\nThe dragons, the dancers, and the dance itself are best seen in the illustrations (which were actually photographed by the author at the 1996 celebrations). Accompanied by a loud drumbeat, the group of about twenty male fish porters circled around and took turns in holding the wooden red and gold dragon heads and red and green tails. As", "txt_file_path": "txt/dfo323lmgvd/RAS-1998.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/1g05n0794", "rank": 0 }, { "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", "external_url": "https://digitalrepository.lib.hku.hk/catalog/nk328168n", "rank": 0 }, { "id": 215491, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-2001", "page_number": 268, "title": "RAS-2001", "content_text": "217\n\nfortunate. An official-looking monk passed along each row, giving what looked like two banknotes to each seated monk. Then, down each row, ran a small boy-monk with a metal kettle, leaving a small trail of water behind him (the water coming from the kettle, I should point out). Obviously symbolic of something - ritual cleansing? Stunned and devoid of all feeling except a sense of being overwhelmed, we were ushered out into the next and final courtyard, beyond which was the building that had suffered most in the flood.\n\nIt may have suffered, but was now receiving its reward. This vast structure was the principal target of the king's no-expense-spared command. Ten years later and the restoration was far from complete. (But didn't Salisbury Cathedral take about a century to build?) The focus of this hall, the highly decorated ceiling of which stretched about six or seven storeys above our heads, was three enormous seated statues. The centre figure was that of Buddha himself, about 40 feet high and carved in wood. He was flanked by two smaller (30 feet) figures, one of whom was Guru Rinpoche. These, we were told, were of brass but they had been covered in clay. In front of these was what must have been a container-load of prayers and religious representations printed on tissue paper. It is the custom to fill the hollow back of statues with printed prayers, so that they are always there. These were waiting to be sealed within Buddha and his sidesmen.\n\nAttention to detail\n\nWorking in a stream of slanting sunlight, and with the dubious benefit of some 40-watt light bulbs, were about a dozen artisans who were putting the finishing touches to 100 or so smaller seated statues. These figures, about two feet high, were waiting to be placed into a similar number of niches in the walls around this 200-foot square hall. Other workmen were carving wood, modelling detailed bits of decoration in clay, and painting. Rood wooden scaffolding surrounded the three major figures, behind one of which I climbed. There I saw a craftsman carefully moulding clay to represent more perfectly the flowing robes of the seated guru. What struck me most was that nobody would ever see the fruits of this man's labours, but that did not seem to matter one bit. Again, thinking of my own culture, a similar amount of unrecognised effort went into the facial expression of a gargoyle high in the wall of Salisbury, or the decoration of a ceiling boss 200 feet off", "txt_file_path": "txt/dfo323lmgvd/RAS-2001.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/zg651950g", "rank": 0 } ]