[
    {
        "id": 204305,
        "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": 73,
        "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\n69\n\nChou of Shang\n\nby King Wu of Chou about 2100 B.C. However, this merely serves as the basic skeleton of the novel, to which many supernatural incidents are added. Some of these supernatural incidents in the novel are taken from the prompt-book Wu-wang Fa-Chou P'ing-hua ENT (\"King Wu's Expedition against King Chou\"), which was current in the Yüan period, about 1321-1323.\n\nHowever, the author of the Féng-shên took his material from various other sources, for he was an extraordinary character. He was at first a Confucian scholar; then, after failing nine times to pass the official examination, he became a Taoist priest. But in his last years he showed a leaning to Tantric Buddhism, and his work on the Surangama-sutra (VR) is included in the Second Collection of the Tripitaka in Chinese. Even now in Hong Kong he is regarded by Taoists as one of their patriarchs and referred to as \"Lu tsu Hsi-hsing\", or \"Patriarch Lu Hsi-hsing\", though in fact he combined the teachings of Confucianism, Taoism, and Buddhism. In his novel, he divided the Taoist gods into two categories. The benevolent ones he called Shan Chiao W, or The Promulgating Sect, led by Yüan-shih T'ien-tsun, or The Celestial Honoured Primordial, and Lao-tzu; the malevolent ones he called Chieh Chiao #, or The Intercepting Sect, led by T'ung-t'ien Chiao-chu #, or The Patriarch of All Heaven. When, in the novel, King Chou and King Wu are going to fight a decisive battle, the gods come down from heaven to take part. Naturally, the gods of the Promulgating Sect help the good King Wu, while those of the Intercepting Sect lend their aid to the wicked King Chou. All kinds of magic weapons are used, everything that the sixteenth century Chinese mind could conceive, even plague-carrying seeds (a sort of germ warfare!). The climax is reached after \"the battle of ten thousand gods\", when the leader of the Intercepting Sect is badly defeated. However, the common master of all the three leaders appears and makes peace among them. The author thereupon concludes:\n\nLike the red lotus flower, its white root, and its green leaves,\n\nThe Three Teachings are really one and the same.\n\nNow, the term \"the Three Teachings\" usually refers to Confucianism, Buddhism, and Taoism, but in the novel the usage of this term is not always clear. Sometimes it seems to refer to the Promulgating Sect, the Intercepting Sect, and common mortals. At other times, Buddhism seems included. The author has included among Taoist gods of the Promulgating Sect certain Buddhist deities such as Mañjusri (Wên-shu), Samantabhadra",
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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": 204328,
        "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": 96,
        "title": "RAS-1961",
        "content_text": "Journal of the Royal Asiatic Society Hong Kong Branch\n\nORASHKB and author\n\n92\n\nVol. 1 (1961)\n\nISSN 1991-7295\n\nfather\" was only one of revelation of supernatural powers (神通), and it was because of the imagination and the literary gifts of the author of the Fêng-shên that the story became so impressive and full of emotional appeal. The author continues:\n\nThe Immortal T'ai-I asked No-cha to follow him to the peach-garden and taught him personally how to use his \"fiery-pointed spear\" (火尖槍) which the master now bestowed on him. After that, the Immortal gave him the wind-wheel and fire-wheel which he might tread on while chanting incantations and which served him as a magic vehicle; and also a bag made of panther skin in which were the magic bracelet, the red silk gauze and a brick of gold completed his new armour. No-cha prostrated himself before his master once more, and after thanking him, held the magic spear in hand, safely mounted his wind-and-fire wheels and darted straight to the Ch'ên-t’ang Pass and challenged Li Ching, his father. (Ch.14)\n\n**\n\n** In order to prove again how the author of the Fêng-shên Yen-i adapted and utilized confused and promiscuous materials from previous works, we may list some of the arms used by No-cha with their earlier appearances in other prompt-books or plays as follows:\n\n(a) Fiery-pointed spear. In Act 4 of the anonymous play of the Yüan dynasty, Han Kao-huang Cho-tsu Ch'i Ying-pu (漢高皇祖母齊英布), the spear used by Hsiang Yu (項羽) is a \"fiery-pointed spear\".\n\n(b) Wind-wheel. The wind-wheel is originally the wheel, or circle of wind below the circle of water and metal upon which, according to Buddhist teaching, the Earth rests. It appears in many sutras including the Surangama-sutra (楞嚴經), Ch. 4. In Nan-yu-chi (南遊記) (Ch. 2 and 11) and Pei-yu-chi (北遊記) (Ch. 15) it is one of the arms of the Flowery Light (Hua Kuang or Ling Yao 華光, or San-yen Ling Yao 三眼華光). Ling Yao with a deva-eye).\n\n(c) Fire-wheel. The alatacakra, a wheel of fire produced by rapidly whirling a fire-brand. In chuan 3 of his Lêng-yen Ching Shu-chih (楞嚴經疏治) (? “The Principles of the Surangama-sutra\", in the First Series, Second Collection of the Tripitaka in Chinese, 大藏經, 1912), Lu Hsi-hsing says \"as the whirling of a fire-brand, reality does not exist\". In Nan-yu-chi (Ch. 2 and Ch. 11) and Pei-yu-chi (Ch. 15), the fire-wheel is also a weapon of Flowery Light.\n\n(d) Gold brick, The gold brick is also one of the arms of Flowery Light in Nan-yu-chi (Ch, 2 and Ch. 11) and Pei-yu-chi (Ch. 15). But both the gold brick and the fire-wheel are attributed to Flowery Light also in Yang Ching-hsien's T'ang San-tsang Hsi-t'ien Ch'ü-ching, a play of the Yüan dynasty, Scene 8. In Hsü Fu-tso's (徐復祚) T'ou-so Chi (鬧府記), Scene 19, these two weapons belong to Nata of Eight Arms (八臂那吒).\n\n(e) Magic bracelet. In Ch. 11 of the Nan-yu-chi, one of the weapons of No-cha is a \"purple-gold bracelet with raised flowers\" (紅花紫金圈) and it is the origin of the magic bracelet (ch'ien-k'un ch'üan 乾坤圈 the Bracelet of Vitreous & Resinous Electricity) in the Fêng-shên Yen-i,",
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    {
        "id": 207005,
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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-1974",
        "page_number": 76,
        "title": "RAS-1974",
        "content_text": "70\n\nKEITH G. STEVENS\n\nand Kwangtung, the Southern maritime coastal boat people's stylized wooden images and the stone, porcelain and hard stone household images of the wealthy. However, it is the Fukienese style I am about to describe, although the carving styles of the Teochew and Hokkien in Singapore do not differ all that markedly (Plates 6 and 7).\n\nThe Singaporean god carvers were well versed in recognizing the mode and marks of craftsmen from the other Southern Chinese maritime provinces, particularly the handiwork of their forefathers, and each master carver has a widely recognized style of his own. One carver spent considerable time showing me the variations which principally occur in the decoration on the front face of the base of the image. A hundred years ago special artists were employed to paint this \"front face trade mark”, one of the more exquisite being a rose on a long stem adopted by a Foochow city carver of note,\n\nThe carvers did not work from plans or sketches, having a clear idea of the image in their mind; but it took all my powers of persuasion to make one of the carvers sit down and sketch the main features of as many gods as possible, as he knew them (Plate 8).\n\nWhen questioned about how specific were the individual gods' features and markings, it was soon apparent that each carver had his own ideas about head-dresses, robes, beards and also, rather surprisingly, over posture. An example was the carving of Lu F'ung P'in (Plate 7), a famous doctor, the patron of barbers and one of the Eight Immortals. There were many variations, the carvers agreed, and each carver knew he wore a flat “tile” hat, carried a fly whisk, an umbrella or a gourd and was robed in blue; and when I produced an image of him wearing green robes, they fell over themselves claiming the decorator had been either ignorant or colour blind. Having been unanimous about this, however, they promptly disagreed over the Northern Emperor (✯✯✯) whose recognition features are a snake and tortoise, bare feet, unkempt hair and a fore finger of the left hand pointing vertically at waist height. Quite a riotous scene ensued during which snippets from various books such as the Ming dynasty novel \"The Deification of the Gods\" (###), and quotes from great carvers, together with recollections of their handiworks, were voiced to prove a point.\n\nIt was quite obvious that the carvers were far from unanimous about details of the Northern Emperor figure. The tortoise could",
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    {
        "id": 207007,
        "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": 78,
        "title": "RAS-1974",
        "content_text": "72\n\nKEITH G. STEVENS\n\nThe process of carving a new god begins with the customer approaching the master carver and over tea discussing his requirements. Most customers know the deity they want and all is settled in about half an hour. The details required by the carver are the title of the deity, its size, decoration and finish. However, as would be expected, there are the awkward customers who either know better than the carver and want a regular image with unusual features, or they want a deity who is not commonly carved and therefore possibly unknown to the carver, or want particular features incorporated for their own reasons. The carver accommodates all and after a few sketches and more discussion a price is fixed. The size of images in Singapore nowadays is measured by height in inches; the standard household altar images being six or eight inches and small temple images ten or fourteen inches high. Larger images are carved approximately 3 feet, 6 feet and 8 feet high, but nowadays not all that frequently (Plate 9).\n\nA block of camphor wood of the right height is selected from stock, prayers are said over it and a charm to ward off evil spirits pasted on it (Plate 10). The title of the intended deity is written on the side and the block replaced to await its turn (Plate 11).\n\nOne carver had a special ruler (Plate 12) which he uses for \"measuring the destiny\" of the gods he carves, copied in modern plastic from the wooden one his father had made originally in Fukien province. It is not divided into either Chinese or Western numerical measurements but into sections of equal length labelled “lucky, unlucky, healthy, unhealthy, etc\". This \"secret\" ruler is stood vertically against the image block to ensure that its final height will be such that it will be able to perform the function required of it and is not of a size which will bring bad luck.\n\nOn an auspicious day before a start is made, the master carver says a silent prayer before his own household altar to Lu Pan, the Patron of Carpenters (7) for guidance and help. He sometimes learns whilst in prayer that the basic feature of the image should show him seated or standing, astride a horse or mythical animal, and with or without a weapon. He roughs out with a charcoal pencil the three-dimensional outline; then using the first tool, a small axe, he chops away to produce a rough shaped block (Plates 13 and 14). This he passes over to one of his senior employees who carves the final shape with his western chisels (14\"-1/8\") (See plate",
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    {
        "id": 207136,
        "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": 207,
        "title": "RAS-1974",
        "content_text": "NOTES AND QUERIES\n\n201\n\nLU PAN―The God of Carpenters. President of the Celestial Ministry of Public Works. Family name Kung-shu, personal names Pan and I-chih. Born at Yen-chou Fu, Shantung, the ancient feudal kingdom of Lu, whence his name Lu-Pan, i.e. Pan of Lu. His father was Kung-shu Hsien, his mother being of the Wu family. He was born in 506 B.C. As a youth he practised and became skilled in all kinds of metal, stone and wood work. At 40 years of age he retired to live the life of a hermit on Li Shan, Mount Li, in Shantung, and was initiated into miracle-working, being able to rise into the air and ride on the clouds. In the reign of Yung Lo (A.D. 1403-25) of the Ming dynasty he received the title of Grand Master, Sustainer of the Empire. Artisans who pray to him have their requests granted immediately.\n\nC\n\nAnother biography gives his name as Kung-shu Tzu, adds that he was called Pan and describes him as a clever man of Lu. Some say he was the son of Mu, duke of Lu. He carved wooden magpies which could float in the air for three days, and constructed a wooden coachman which drove an automobile, as well as engines of war for battering down the walls of cities.\n\nStill another account of his life states that Lu Pan belonged to Tung-huang Hsien, Kansu. He made a wooden kite, on which his father could fly long distances in the air. When he flew to Wu-hui, Kiangsu, the people mistook him for a devil and killed him. Angered at this, Pan constructed an Immortal in wood which, on pointing its finger in the direction of the town, caused a drought which lasted three years. When the inhabitants ascertained the cause, they sent him presents to appease him and he cut off the image's hand, whereupon copious rain fell in Wu.\n\n44\n\n+\n\nThese differences can only be reconciled by concluding that Lu Pan and Kung-shu Tzu were two different persons, the one having lived in Shantung in the time of the Six Kingdoms (3rd cent. B.C.), and the other in Kansu after the time of the Emperor Ming-ti (A.D. 58-76) of the Han dynasty, when Buddhism was officially recognised in China. At the present day, Lu Pan is worshipped, without regard to the question whether the name belongs to one man or to two. Temples dedicated to Lu Pan are still maintained. He is especially worshipped (on the thirteenth day of the fifth and on the twenty-first day of the seventh",
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    {
        "id": 207320,
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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-1975",
        "page_number": 88,
        "title": "RAS-1975",
        "content_text": "80\n\nHELGA WERLE\n\nThe girl comes out of hiding, and the fortune-teller takes her to safety.\n\nSU LIU-NIANG (SIXTH DAUGHTER SU) *** Drama in 10 acts, lasting about 3.4 hours.\n\nDramatis personae: Su family: Uncle, the eldest of the Su clan Mr. Su and Mrs. Su, their daughter, Liu-niang (6th young lady),* her maid, T'ao-hua, 1 girl-servant and 2 man-servants\n\nAct I\n\nyoung master Yang young master Kuo\n\nand his wet-nurse cousin of Liu-niang\n\nTao-hua the maid comes to the river returning from Hsi-lu\n\nwith a parasol, gay silk trousers and jacket, her hair in two knots one over each ear garlanded with flowers, the temple hair hanging down in two long strands which are adorned with coloured silk-strings. She calls the ferryman [old man-servant type with white beard], who arrives rowing with an oar. There are no other stage props. The movement of the boat is all indicated by mime.\n\nT'ao-hua hides behind the parasol fooling the ferryman and suddenly surprises him by showing her face. Then she pretends to be afraid to jump on the ferry, so the old man tries hard to bring the boat closer. With a wicked smile she jumps on the boat with all her strength, causing it almost to turn over. They perform a beautiful dance to balance the boat and she pretends to be terribly frightened.\n\nThey then start chatting and T'ao-hua proposes to sing a couplet each, composing it as they go along. But which of them first says things that are wrong or cannot rhyme has lost. The old man starts, \"In the first month all flowers bloom...\". T'ao-hua carries on, \"In the 2nd month the cotton tree blooms\" and so on.\n\n*The names of sons and daughters of important families (those with high doors) in these operas are called, for example, Su Liu-niang, meaning the sixth daughter of the Su family. The parents Su have only one daughter, but she is still called the sixth daughter because she is the sixth girl born in this generation to all the brothers of Mr. Su. The same is the case for Wu-niang meaning 5th daughter, called such although she is the only child of her parents. Ch'en San is the third (son) of the Ch'en clan. The term 'niang' is an address for a young lady, whereas the word 'chieh' 'sister' is used for a girl of humble birth.",
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    },
    {
        "id": 208744,
        "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-1979",
        "page_number": 201,
        "title": "RAS-1979",
        "content_text": "174\n\nJULIAN F. PAS\n\n44\n\nAnother incorrectness is found on p. 273:\n\n... at the level of the town, the cult of the local people and the cult of the Confucian officialdom merged imperceptibly into one and the same figure that of the City God.\" This is a quite questionable statement: in many towns the City God temple is not the main deity of the community at all: Matsu is an example, Kuan-yin another one. I admit that officialdom made great efforts to positively control the community cults and promoted the City God temples, but I'd rather like to see examples of townships where his cult has become the main focus of worship. Moreover, City Gods do not seem to have arisen from so-called \"hungry ghosts\" but are rather deified men of great merit. The genesis of these gods does not fit in with the author's theory of deity formation.\n\nIn the latter part of Chapter 7, the author discusses cult leadership. There are several forms or patterns (i) the rotating pattern: all the heads of households in turn become \"stove-master\". (I'd prefer to call him 'incense-master', since in the Chinese term lu-chu the word lu means 'stove' in some contexts, but here it means incensor or incense container); (ii) election by divination (casting the divining blocks), usually for a limited term; (iii) appointment of a committee and chairman and often of a temple manager. Here the author is not clear as to how the appointments are made. If committees appoint chairmen and managers, by whom are the committees appointed? Very often larger temples elect wealthy local businessmen or politicians to their committee, and even in smaller temples local leaders often serve on the temple committee. Wealthy and influential personalities are hoped to guarantee the good luck of a temple in more than one way.\n\nIt is now time to recapitulate the main themes of the whole book: to point out its merits and its shortcomings. First of all, the book starts off with some kind of ambiguity concerning what the author's real objective is. On p. 1 he announces his intention as \"to develop a new analytical model to account for certain features of belief and behavior in Taiwanese temple cults, and to provide a classificatory framework for temple types in urban Taiwan\"; in particular he wishes to examine certain aspects of \"community religion\". What those \"certain aspects\" entail is not clear, but an indication is given when author says that his \"major goal is to classify temples”, (p. 4). On the other hand, he also seems to aim at revealing \"the systematic nature of the folk beliefs\" (p. 4), which",
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    {
        "id": 208761,
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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": 218,
        "title": "RAS-1979",
        "content_text": "RELIGIOUS LIFE IN PRESENT-DAY TAIWAN\n\n191\n\n10 See M. Saso, The Teachings of Master Chuang. New Haven and London: Yale University Press, 1978.\n\n11 Journal of Buddhist Culture, Fo-Chiao wen-hua hsüeh-pao,*** published by the Institute for the Study of Buddhist Culture since 1972. Articles are in Chinese or English.\n\n12 Journal of Taoist Culture, Tao-chiao wen-hua,Maxit published by the Taoist Culture Journal Association since 1976. Articles are in Chinese.\n\n13 Examples are: Fo-kuang hsüeh-pao,1*£* published by the Buddhist monastery on Fo-kuang mountain near Kaohsiung, since 1975 or 1976; Boahedrum, Pw-ti-shu,### Taichung: Hui-châ, & Torch Wisdom, Taipei; Hal Ming-tao, published in Tounan (Yünlin district).\n\nof\n\n14 See E. Ahern, The Cult of the Dead in a Chinese Village, Stanford: Stanford University Press, 1973.\n\n15 See L. G. Thompson, \"Notes on Religious Trends in Taiwan\", Mon. Ser., vol. 23 (1964), 319-350.\n\n16 See A. P. Cohen, \"Fiscal Remarks on some Folk Religion Temples in Taiwan\", Mon. Ser., vol. 32 (1976), 85-158.\n\n17 See Liu Chih-wan, Taipei-shih Sung-shan ch'i-an chien-chiao chi-tien (Great Propitiatory Rites of Petition for Bene-ficence at Sungshan, Taipei, Taiwan), Taipei: Academia Sinica, Institute of Ethnology, (monographs no. 14), 1967, Liu Chih-wan, Chung-kuo min-chien hsin-yang lun-chi (Essays on Chinese Folk Belief and Folk Cults), Taipei: Academia Sinica, Institute of Ethnology (monographs no. 22), 1974.\n\nM. Saso, Taoism or the Rite of Cosmic Renewal, Washington State University Press, 1972.\n\n18 See St. Harrell, \"Modes of Belief in Chinese Folk Religion\", in JSSR, vol. 16 (1977), 55-65.\n\n19 See D. Jordan, Gods, Ghosts and Ancestors. Folk Religion in a Taiwanese Village, University of California Press, 1972, G. Seaman, Temple Organization in a Chinese Village (Asian Folklore and Social Life Monographs, vol. 101), Taipei: Chinese Association for Folklore, 1978,\n\n20 See D. Overmyer, \"The Saying of Master Lu\", Unpublished paper, given at the joint panel of the CASA and the CSSR on Chinese Religion at the Conference of the Learned Societies in Saskatoon, May, 1979.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1979.txt",
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    {
        "id": 209027,
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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",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1980",
        "page_number": 189,
        "title": "RAS-1980",
        "content_text": "NOTES AND QUERIES\n\nANOTHER (MISSING?) LIBRARY\n\n157\n\nIn 1935, after two years' travel and study in China, Gerald Yorke's book China Changes was published by Jonathan Cape of London. In Chapter Eight, entitled \"In Search of a Hermitage\", the following extract (p. 159) refers to a library at, it would appear from the final paragraph, \"the temple of the Mountain Cave (Tung Yuan) above Lanchi.\" This is county in Chekiang Province.\n\n\"In the meantime Li [Li Yuen-tzu, his companion, interpreter and friend, to whom the book is dedicated] had heard of a temple in the hills behind the town. It was not easy to find, and at first sight proved disappointing; for a family of peasants were in charge. But a draper's assistant, whose master had failed, was staying there to study. I had stumbled on a library presented by a scholar (Chao Ke-lao) in the first quarter of the sixteenth century. A tablet in his handwriting still bears witness to the gift. The books are in their original bindings and as fresh as if printed yesterday. Several appear to be of great age. This is hardly surprising, as the Tripitaka, the Bible of Chinese Buddhism in over one thousand volumes (the San Ts'ang), was first struck off wood blocks in the nine hundred and seventy-second year of Our Lord.\n\nThe draper's assistant knew his way about and picked out for me volumes with exquisite woodcuts as frontispieces. Unfortunately, he never distinguished between the dynasty in which a book had been written or translated, and the century in which it had been printed. I longed for a bibliophile to enlighten me. Over two thousand books printed before the year 1500 survive in as clean a condition as anyone could wish. Before taking them from their cases, sticks of incense and candles are lit by the peasant in charge. It gave me a real thrill to find such a treasure so respected in the hills. The veneration in which learning is held in China has no counterpart in the West.\n\nThere were too many people living at the temple of the Mountain Cave (Tung Yuan) above Lanchi. I decided to return to the Ch'ientang gorges, where the temple of the Master of the Water Rushes (Lu Su Chen Kung) had attracted me with its name.\"\n\nDoes anyone know if this library still exists?\n\nHong Kong. January, 1981.\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": 211611,
        "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": 26,
        "title": "RAS-1989",
        "content_text": "IN THE STEPS OF LU PAN:\n\nREMINISCENCES OF BUILDING IN HONG KONG\n\nDAN WATERS\n\nLu's architectural precepts hold good forever;\n\nHis methods of computation will endure a thousand years.\n\nTranslation of inscription at Lu Pan Temple, above Kennedy Town, Hong Kong Island.\n\nParts of Hong Kong give the impression of being one gigantic building site, and a visiting schoolboy, on being asked what he thought of the Territory, replied, \"It will be nice when it's finished!\"\n\nThere have, of course, been recessions, and those brought about by the 1967 Disturbances in the Colony, and the world shortage of oil in the mid-1970s, spring to mind. Yet all employed in the construction industry in Hong Kong, with its unrivalled prosperity which provides a barometer of the economy, have a great deal to thank Lu Pan, master builder and patron saint of the industry, for.\n\nHe was born in 606 BC, and was a leading technical innovator in the era of Confucius (551-479 BC). Besides being credited with creating the handtools that revolutionised carpentry, such as the saw, the plane and the chisel, he also invented, among other things, a kite which took him up to the sky. Homage is paid to this early \"Leonardo Da Vinci\" on the 13th day of the Sixth Moon, his birthday, when banquets are held.\n\nThe author first attended a Lu Pan dinner, hosted by the Hong Kong Building Contractors' Association, in 1955. This was held at the old Kwong Chow restaurant in Western. It was the close of the period when Western was the entertainment district of the Territory. Large gatherings could be hosted at the Kwong Chow and the Kam Ling, each of which were capable of providing 100 tables (a circular Chinese table normally seats 12 or so persons). In the late 1950s a few Sing Song girls, the Chinese equivalent of the Japanese Geisha, were still active.\n\nThe writer attended the Lu Pan dinners from 1955 to 1975 (except",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h",
        "rank": 0
    },
    {
        "id": 212122,
        "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": 64,
        "title": "RAS-1990",
        "content_text": "41\n\nKong: Oxford Univ. Press, 1983), 156-160 & 163-164, on the Jiao festivals celebrated between 1964 and 1972 in Ma Tau Wai, Nga Tsin Wai, Tung Chung and Tai O.\n\nN Mathias, John R.G., Study of the Jiao: a Taoist Ritual in Kam Tin in the Hong Kong New Territories (unpublished D.Phil. thesis, Oxford University, 1977-78).\n\n#I Kani, Hiroaki, \"Hồn Kôn Chugokujin no shukyo shiso no ichidan nitsuite\" Shigaku 40, no. 2 & 3 (1967).\n\n22\n\nObuchi, Ninji, “Hon Kon no tokyo girei\" |Daoist ritual in Hong Kong] in Ikeda Sueri Hakase Koki Kinen Toyo Gaku Ronshu (Tokyo, 1980), 753-769.\n\n27 Yoshihara, Katsuo. \"Shukyo\" [Religion] in Kani Hiroaki (ed.) Motto Shiritai Hon Kon (Tokyo: Kobundo, 1984), 184-191.\n\n11\n\nSee note 37.\n\n14\n\nI have been told that Dr. Faure had a manuscript on the Jiao festival sent to a publisher in Hong Kong. However, due to whatever reasons, it has not yet been published. See also Hayes, 164, about Faure's book on Jiao festivals.\n\n36 I was probably the only researcher who participated in the 1980 Kau Lau Wan Jiao festival when I was first introduced by the late Prof. B.E. Ward and Dr. S.H. Wang to the Jiao festival celebrated by the fishing village. In October the same year, Dr. Faure and I attended the Jiao festival at Pak Kong, Sai Kung. In November, the late Dr. Lu Bin-chuan of the Music Department of CUHK, Dr. Lu's student Mr. Chan Wing-Hoi and I attended the Jiao festival in Fanling. Dr. Faure, Prof. Ward and Prof. Tanaka also came. The Jiao festival of Fanling and that of other areas are mentioned here and there in Faure's 1986 book. In December 1980 students of CUHK under the guidance of Dr. Faure, Dr. Wang and Prof. Ward started an ethnographical research on the Jiao festival in Ho Chung, Sai Kung. A detailed report of daily rituals was written by Lee Lai-mui and Cheng Shui Kwan, two CUHK students majoring in History and minoring in Anthropology. The report was sent to interested scholars. Unfortunately it has never been published. Two students of the CUHK at that time should perhaps be mentioned here: Chan Wing-hoi, who specializes in music and computer, was employed by the History Museum of Hong Kong to study the Kam Tin Jiao festival in 1985, a report of which was published in the Journal of the Hong Kong Branch of the Royal Asiatic Society, Vol. 29 (1989). Chan's master's thesis on folk music in Hong Kong also includes a chapter on the ritual music played by the Taoists at the Jiao festival. Chan also has an ethnography on the 1986 Shek O Jiao festival published in the Journal of the Hong Kong Branch of the Royal Asiatic Society Vol. 26 (1986), 78-101. The master's thesis of Leung Chor-on, now Ph.D. candidate of Cambridge University, submitted to the Anthropology Department of the CUHK gives a good account of the ritual symbols of the festival. Chan, Leung and I held a seminar on Jiao festivals on Dec. 11, 1988 for the \"Research Circle of the Regional Society of Southern China\" focusing on musical, ritual and social aspects of the festival.\n\n27 Locally published works besides those by Faure and my own are:\n\n-\n\n(a) Chamberlain, Jonathan, \"Introduction” in Chamberlain J. and Iam Lambot The Bun Festival of Cheung Chau (Hong Kong: Studio Publication, 1990). This is largely a collection of photos. Chamberlain's introduction is very descriptive but no sources are quoted.\n\n(b) Chan Wing-hoi, “Observations at the Jiu [Jiao] festival of Shek O and Tai Long Wan, 1986\" Journal of the Hong Kong Branch of the Royal Asiatic Society Vol. 26 (1986), 78-101. Chan recorded meticulously what he was told and observed about the 'settlement', the 'participants', the \"ritual site\", the \"local gods\" and the \"events\".\n\n(c) Xiao, Kuo-jian (Anthony K.K. Siu), Xianggang Xiandai Shehui [Pre-modern society of Hong Kong] (Hong Kong: Chung Wah, 1990), 86-97. Xiao attempts to illustrate three reasons why the communities in Hong Kong celebrate the Jiao. The first reason is to plead for fortune, to pay sacrifices to the gods, to drive away evils and to prevent\n\n4",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1990.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/d79206299",
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    },
    {
        "id": 213789,
        "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": 141,
        "title": "RAS-1996",
        "content_text": "112\n\nThe sessions for the maintenance of the ancestors' army are \"Issuance of Pai [token of authority] to Recruit Soldiers”, \"Recruitment of Soldiers”, and “Distribution of Army Provision\". The three were part of the Anlong rite I witnessed at Cheng Lan Shue, although the offering of a raw pig was not part of that occasion during which the villagers were to take vegetarian food only.\n\nThe Decline of Magic, the Rise of Literati Influence?\n\nThis Lu Shan-related tradition of ordination had persisted for about ten centuries among the Hakka in the apparent absence of an \"orthodox\" Daoist tradition. This is despite the fact that Chen Nan, the founding master of the Southern School of Daoism in Southern Song, is from Buoluo of Huizhou, a county where some Hakka live. Moreover, many Hakka settlements are in the proximity of the famous Daoist mountain of Luofu Shan. On the Buddhist side, we know about some Hakka ancestors who befriended monks (e.g., the one in the genealogy of the Lins of Lam Tsuen). The genealogy of the Chens of Luk Keng also mentioned an ancestor who had the type of ordination name we discussed and was to become the founding patriarch of a Buddhist establishment, using another, Buddhist ordination name. Another example, again in a family with ordination names since an early ancestor who lived in Song times, is provided by the Wens of Xingning county. An 8th generation ancestor, who does not have an ordination name, made donations to a Buddhist nunnery, yet all his sons had the same type of ordination names.\n\nA story in a work of anecdotal literature of the Yuan dynasty, of a Buddhist monk from Nanxiong Prefecture, where there were some Hakka settlements since early days, suggests that those enlightened in \"respectable\" religions may feel powerless in their home village. The monk, who returned having attained a high level of enlightenment in Buddhism, had to eat non-vegetarian food so as not to contradict his mother. When he tried to wash away the food from his intestines afterwards he was scolded by an old woman of the neighborhood, using the name by which he was known when small. Eventually, he had to leave the village for a Buddhist monastery in another prefecture. The story tells how, long after the death of this monk, the coming of people from his home place is",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1996.txt",
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    },
    {
        "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",
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    },
    {
        "id": 213985,
        "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": 54,
        "title": "RAS-1997",
        "content_text": "20 years ago during the pre-historical period when the universe was created out of the 'great chaos'. Yau, a mythological character, is believed to have taught his people how to build crude bridges and construct huts.4 The latter were sometimes erected as 'nest-like' shelters in trees to afford better protection against wild animals. He built such a structure for his own mother. This, so some claim, marked the beginning of framed timber structures which led, naturally, to the erection of scaffolding. Yau Chao Shi's birthday is celebrated on the 19th day of the first Moon,\n\nDuring the Era of the Spring and Autumn Annals, about 500 years before Christ, a master builder, all-round craftsman and inventor, Lu Pan, who today remains the patron god of all workers in the building industry, is said to have brought into use more 'scientific methods' of scaffolding.7 Lu Pan was one of the first mortals to be raised to the level of a deity.\n\nOsmond Tiffany Junior, traveller and author, wrote during Hong Kong's first decade (the 1840s) as a British Colony:\n\n... before a house is commenced a staging of bamboo is erected and covered with matting. As the building rises the bamboo poles are run up story by story, the matting elevated, and the whole house completely protected from the glare of day until the last nail is driven.*\n\nAlthough one sometimes comes across a similar practice in Hong Kong today, when the substructure or a site is protected from the weather, with high-rise buildings such a shelter as Tiffany describes above is not generally practicable. Such a practice is, however, sometimes employed in Britain using steel scaffolding covered with tilts.\n\nToday, seemingly flimsy, 'low-technology' bamboo scaffolding in Hong Kong, together with the agility and traditional skills of scaffolders, contrast markedly with the modern technology of multi-storey buildings. This invariably earns admiration in Hong Kong from both tourists and locals alike. Bamboo scaffolders have been aptly likened to spiders weaving their webs. Bamboo scaffolding may be considered as primitive without being old-fashioned, time-saving without being insecure, and economical without being impracticable.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1997.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/wp98g7579",
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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",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/wp98g7579",
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    },
    {
        "id": 213995,
        "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": 64,
        "title": "RAS-1997",
        "content_text": "30 \n\non the 18th day of the Ninth Moon. \n\nBamboo scaffolders seldom use a rule. They set the spacing of the bamboo members by their eye, without the use of blueprints or plans. To do this, so many believe, they are assisted by Wah Kwong's third eye. Scaffolders, however, will usually submit a sketch to a client if they are going to erect, say, a matshed to house opera performances. \n\nIn the past, incense, fruit and pork were offered up to both Wah Kwong and Lu Pan on an altar at the time of starting work (hoi kung) on a building project. Such rituals are frequently still carried out today. When the author asked the mature scaffolder mentioned earlier, who said scaffolders had three masters, whether he would be going to the Lu Pan Temple in Kennedy Town on the Sage's birthday (the 13th day of the Sixth Moon), which was due to be held the following day, he replied that he would not. But his employer would be going. The old scaffolder said, however, that he would be attending a dinner to honour Lu Pan, when everyone would pay their respects. The author recalls attending these annual dinners, from 1955 to 1972, on a regular basis.37 \n\nConclusions \n\n36 \n\nSome people prophesied, in the 1950s, that the end had come for scaffolding and that western style metal scaffolding would take over. Although there has been a move in that direction metal has by no means taken over. In fact, the switch to metal scaffolding has been faster in places like China and Singapore than in Hong Kong. Bamboo is light and flexible and has many advantages, especially for smaller jobs. These include 'Cantilevering out', from high up on a building, to erect, say, a signboard. \n\nIn addition to the trade having its ups and downs, and being on the slow decline, bamboo is significantly cheaper. At mid-1997 prices single-layer bamboo scaffolding costs about HK$20 per square metre, double-layer bamboo scaffolding HK$36 per square metre and metal scaffolding HK$80 per square metre. Such figures are given only as a rough comparison. Prices vary, to some degree, depending on the job in question. For example, especially with metal scaffolding, the taller the scaffold the more expensive it will be.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1997.txt",
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    },
    {
        "id": 215156,
        "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": 252,
        "title": "RAS-2000",
        "content_text": "212\n\nA Brief History of Technical Education in Hong Kong\n\nBut, retracing our steps, in the 1870s up to 100 boys, in addition to learning the Chinese language, were taught carpentry, shoemaking and printing by Roman Catholic brothers at the Reformatory at West Point.\n\nOf course the original way of learning a trade was by an apprentice following a master craftsman from whom a lad picked up 'tricks of the trade'. These were seldom written down or made known to those outside the fraternity. A Chinese apprenticeship implied being almost a slave to one's master. In early years it meant being the master's cook, servant, laundryman and general dogsbody.\n\nIn addition to paying respects and burning joss sticks to patron deities (such as Lu Pan for the building trades), in the first year or two a boy did little more than watch a master craftsman ply his craft as well as 'fetch and carry'. If the lad disobeyed he was scolded or beaten. Life was never intended to be easy.\n\nBut returning to institutional training. The first prize-giving ceremony at the Li Shing Scientific and Industrial College was held in 1905. Over 70 students had enrolled but by examination time, with a high dropout rate, only 35 remained.\n\nSome things never change. The founders of that college considered the objectives were to raise China from her 'low industrial condition' and to educate her sons in modern science and industry, and to train them to use their hands as well as their brains.\n\n\"We hope to train independent workers and not mere 'hands' to be always under the direction of foreigners.'\n\nFine sounding words indeed at a time when the aim of most schools in the Colony was to train clerks and typists.\n\nDuring the Governorship of Sir Matthew Nathan (1904-1907), the Government started to show some interest in elementary technical education. This culminated in the founding of the then, so called, Technical Institute, in 1907. It was completely different to the technical institutes that we have in Hong Kong",
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        "external_url": "https://digitalrepository.lib.hku.hk/catalog/nk328168n",
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    {
        "id": 215992,
        "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-2002",
        "page_number": 291,
        "title": "RAS-2002",
        "content_text": "225\n\nA recently prepared description of the area from local sources can be seen, along with fuller descriptions of this famous mountain and its history, in Bóluóxiàn zhì (The Gazette of Bóluó District) (Bóluó: Guangdong Provincial Cultural History Research Library, 1988), pp. 69-79, 325-329.\n\n16. These are drawn from Legge's notes in \"Journal of a Missionary Tour\" and materials from 19th century gazettes (fangzhi) from the Nanbai district of western Guangdong province.\n\nA description of the refurbishing and building up of the temple complex dedicated to Master Kong in Poklo, initiated in the seventh year of the Kangxi emperor (1668) is rehearsed in Bóluóxiàn zhì, pp. 315-316. In the third year of the Qiánlóng reign (1738) yellow tiles were added to the roof reflecting imperial honour and a decorative sign was added to the main temple, honouring Master Kong as one yǔ Tiān Dì gēn (“a Partner with Heaven and Earth\"), a phrase from the Zhongyong which Legge translated \"[Confucius] may with Heaven and Earth form a ternion\" (Ch. 22, CC1, p. 416). Three other similarly adulatory signs were added in the fourth year of the Jiaqing emperor (1800), during the Dàoguāng reign (1821-1850), and the second year of the Tongzhi reign (1863).\n\n17. See Chinese Classics, Volume 1 (CC1), prolegomena, pp. 112-127. The following footnote (p. 113) provides the necessary details for understanding the layout and furnishing of the \"temples (diàn) of Confucius\". [Transliterations replace characters in the original text, which can be looked up in the attached glossary. Here I use standard Pinyin for the sake of easier identification.]\n\nThe principal hall, called Dàchéng diàn, or 'Hall of the Great and Complete One,' is that in which is his own statue or the tablet of his spirit, having on each side of it, within a screen, the statues, or tablets, of his 'four Assessors.' On the east and west, along the walls of the same apartment, are the two xù, the places of the shí'èr zhé, or 'twelve Wise Ones,' those of his disciples, who, next to the 'Assessors,' are counted worthy of honour. Outside this apartment, and running in a line with the two xù, but along the external wall of the sacred inclosure, are the two wǔ, or side-galleries, which I have sometimes called the ranges of the outer court. In each there are sixty-four tablets of the disciples and other worthies, ... Behind this principal hall is the Chong shèng cídiàn, sacred to Confucius's ancestors, whose tables are in the centre, fronting the south, like that of Confucius....\n\nFrom a rubbing of a stele portraying the arrangement of the sacred tablets in the Beijing temple dedicated to Master Kong, it is seen that the \"four Assessors” are (from left to right when facing the Sage) Mèngzǐ (“Mencius,” c. 372 B.C. - c. 289 B.C.), Zēngzǐ (noted for his filial piety, 505 B.C. - 436 B.C.), Yánhuí (noted for his humane virtue, the Master's favourite student, 521 B.C. - 490 B.C.), and Zǐsī (a grandson of the Sage who edited and/or wrote the Zhongyóng, one of the four books Legge first called it the Doctrine of the Mean, but later gave it the more preferable title, the State of Equilibrium and Harmony (see CC1, p. 383).\n\n18. See Legge's descriptions of these ceremonies and some of their prayers to the Sage in CC1, prolegomena, pp. 91-93.\n\n19. According to the journal record, Legge and Ch'ea had preached in the grounds of the Confucian temple at Lung Ch'un on May 15, 1861.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-2002.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/mp4901278",
        "rank": 0
    }
]