[ { "id": 204562, "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-1963", "page_number": 43, "title": "RAS-1963", "content_text": "38 \n\nL. CARRINGTON GOODRICH \n\nTibet, Paris, 1940, p. 161.) Actually from the last named (see p. 129, n. 5) and from other sources (such as S. Lévi, Le Népal, II, Paris, 1905, p. 148), we learn that writing was just then being introduced to Tibet. This is a far cry from China's experience of two millennia of writing (before A.D. 600), and the great urge for multiple copies of texts on the part of all sections of the literate community. \n\nThe first known example of wood-block printing came from Japan during the years 764-770. This is explained by the constant coming and going of Japanese students to T’ang China, and some scholars and Buddhist priests from the mainland to Japan. We learn, for example, of one Chinese scholar becoming head of the new University at Nara in 735, and of one Japanese who, after 19 years in the Chinese capital, returned to Nara, and in 735 became tutor to the empress Shotoku. It was she who ordered the production of one million three storey stupas, in each of which were to be placed six charms. (Only last spring I saw at Horyuji # 96 of these reliquaries, together with six copies of the printed dharani.) \n\nThe first recorded notice in China is dated 835. It tells of a memorial to the throne suggesting an edict forbidding the printing of calendars from wood-blocks. After this the notices and dated materials recently discovered multiply. I list some of these: \n\n1. Under the date of 839 Ennin mentions seeing one thousand copies of the Nirvana Sutra at Mount Wu-t'ai § J. This is so large a figure one may well wonder if they were printed. 2. It has been suggested that the Vinaya was first printed before 845. We know that the wood-blocks were burned in a fire at Ching-ai ssu in Loyang. So the poet Ssu-k’ung T'u (837-908) proposed the preparation of a fresh edition. \n\n3. Fan Shu, who flourished during the years 860-874, is authority for the statement that Ho-kan Chi T✯ who was active in Kiangsi ⇓ in 846-851, printed several thousand copies of a book concerned with alchemy. \n\n5 \n\n4. A beautiful copy of the Diamond Sutra &♬Į✯, printed 868 (it is 174 feet long and 10 inches wide) on white buff paper, was discovered in 1907 at Tunhuang and is now in the British Museum.", "txt_file_path": "txt/dfo323lmgvd/RAS-1963.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/4m90m091v", "rank": 0 }, { "id": 206634, "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": 182, "title": "RAS-1972", "content_text": "176\n\nKEITH STEVENS\n\ncyclical characters of the year.\" Hodous appears either to be confusing T'ai Sui and Kou Mang, or to be giving T'ai Sui yet another alias.\n\nIn T'aip'ing in Malaya two images of mud bulls are to be seen standing on a pile of paper hell money on the altar beside T'ai Sui. The reason for their inclusion on the altar was not known by the temple keeper nor by the devotees who said that they had always been in that position as far back as anyone could recall. (See Plate 15).\n\nThe Rev. Wm Milne4 in Ningpo in the mid 1840s noted \"the festival of the Beating in of Spring\" when on the first day of spring the Chief Magistrate of the city beat the \"god of spring\", a multi-coloured paper ox, which was then torn to pieces by the crowd, for luck. Milne claimed to have seen this same ceremony elsewhere in Central China, and said that in some districts the bull is made of mud. “The colouring varies as laid down in the Peking annual book of ceremonies. The variations in colours such as red horns, black tail and feet, white body, blue head and neck are regarded as prognosticating the portents of the coming year. The amount of black signifies sickness, blue winds, white rain and floods, red fire and yellow the fruits of the earth. There are also a number of smaller mud oxen mainly sold for household good fortune.”\n\nThe Rev. Milne also reported that “the \"god of spring\" was seen in the shape of a youthful human image, the son of an early Emperor. He too is attired in a fashion prophetic of the fortune of the coming year: bareheaded predicted cold weather, and white robe augurs a dry year etc.\" This youthful image is almost certainly T'ai Sui. In all temples where he was observed in the \"scroll or bell-holding\" two-armed version, his image was seen very frequently to be balanced on wads, sometimes very high wads, of hell money. This is the paper money purchased from temple keepers to be burnt by devotees for the use of deceased members of the family in the Underworld. This custom is usually only to be seen in temples under wealth gods, but in the case of T'ai Sui, the wads are offerings to T'ai Sui for protection and not for transmission by burning to deceased relatives. Shyrock in his Temples of Anking says hell money is burnt for use by ancestors and is never presented to Gods. It would appear to be otherwise in Central and South China.\n\n4 Milne, W. C., Life in China (London, Routledge, 1857).", "txt_file_path": "txt/dfo323lmgvd/RAS-1972.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/gm80qf99h", "rank": 0 }, { "id": 206665, "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": 213, "title": "RAS-1972", "content_text": "NOTES AND QUERIES\n\n“LETTING GO THE WOODEN GOOSE”\n\n207\n\nLI Mau-ying (*), posthumous name Man-kan (††), an official of the Sung dynasty who graduated chin-shih in 1226, was given an estate on Lantau, one of the larger islands of the Hong Kong region.* His rights continued through succeeding dynasties but were mostly extinguished at the land settlement that accompanied the lease of the New Territories to Britain at the end of the 19th century. A curious story is linked with the Li's ownership of their Lantau estates, indicating that this grant of land may have been given in a novel fashion. According to a villager of Sha Lo Wan, Lantau Island (1913-1962) who had an interest in local tales, the emperor was so pleased with Li that he told him to put a wooden duck on the sea and that he could have whichever land it touched.\n\nThere is an echo of this in Cecil Clementi's minute to the Colonial Secretary of 16th June 1904 in a file about the Tang clan's claim to Tsing Yi Island (CSO1903/8551).† Without there being any apparent reason or preparation for making such a statement—probably because a whole section was omitted by the copier—one paragraph suddenly states 'For the method of \"letting go the wooden goose\" see minute of this date in N.T. 7466/03'. This file is unfortunately no longer in existence.\n\nCan any reader explain this 'system' of deciding upon which land to include in a grant?\n\nHong Kong, 1972.\n\nJAMES HAYES\n\nPROGRAMME NOTES FOR THE VISIT TO POKFULAM, HONG KONG ISLAND, 29TH JULY, 1972‡\n\nToday's visit is to a part of Hong Kong island that has not been subject to the same amount of change as other districts. Even today\n\n* For the Li family see Lo Hsiang-lin, Hong Kong and its External Communications before 1842, Hong Kong, Institute of Chinese Culture, 1963 (this is a part-translation of the Chinese version published in 1959), p. 73 and plate 20 and his article \"This Sung Wang T'ai and the Location of the Travelling Courts by the Sea Shore in the Last Days of the Sung\" in Journal of Oriental Studies, Vol. III, No. 2 (1958) at p. 212 (English text) and note 29 (Chinese text), with Plate XI.\n\n† Located in the Public Records Office of Hong Kong.\n\n‡ Printed here for the convenience of members who were unable to join the party on this occasion.", "txt_file_path": "txt/dfo323lmgvd/RAS-1972.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/gm80qf99h", "rank": 0 }, { "id": 207311, "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": 79, "title": "RAS-1975", "content_text": "NOTES ON CHIUCHOW OPERA (MA)\n\nHELGA WERLE\n\nMs. Helga Werle, whose article on Chiuchow (in Mandarin Chao-chou) puppets appeared in the 1973 Journal, describes two typical plays of the Chiuchow opera, and gives background information about this particular regional theatre of China. Ed.\n\nIn urbanized Hong Kong today one can see a performance of Chiuchow Opera at City Hall or Lee theatre two or three times a year, but the traditional purpose of this opera is the shen-kung hsi—a performance to celebrate the birthday of a deity. Many areas of Hong Kong have their organized Chiuchow communities centred upon the temple of a certain deity.\n\nThe Chiuchows have innumerable deities, often completely different from the Cantonese. Some of those worshipped in Hong Kong with temples erected in their names are:\n\nLi-shan lao-mu\nT'ai-i chen-ren\nLi lao-ch'un 李老君\nCh'i t'in ta-sheng\nSan-shan kuo-wang\nSan t'ai-tze lao-yeh\nMu-ch'a Chin-ch'a and No-ch'a called the three princes \"san t'ai-tze\", the three sons of Li Ching 李靖\nHan Chung-kung\n\nTo ensure the prosperity of each temple community the birthday of its deity must be properly celebrated. The most outstanding members of the community are chosen to form the prestigious festival committee, which has the duty to collect the necessary amount of money (between 50 and 100,000 HK$) to organize a worthy celebration. And what could rejoice a god's heart more than the luxury of a series of opera performances? After the dates are decided with the consent of the deity involved a large space is booked with a Government office (usually a public playground),\n\nPlates 5-12 at rear of the volume illustrate this article.", "txt_file_path": "txt/dfo323lmgvd/RAS-1975.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/j0995146d", "rank": 0 }, { "id": 211660, "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": 75, "title": "RAS-1989", "content_text": "50\n\neach bearing a different surname. Depending upon which source you accept the maximum number of individual surnamed Pestilence Wang Yeh would appear to be a mere 106 or 132 out of the 360.\n\nThere are at least five or six different legends describing the origins of these spirits which vary enormously both in general and in detail with the most popular story heard repeatedly in Taiwan and South-East Asia being of 360 musicians deified by an emperor of China. Cautionary stories about the threat to the populace from the 360 Plague Gods were common throughout China but other than in Fukienese communities they were not referred to as Wang Yeh. In some versions the spirits of the musicians spread out all over China and in our major legend five particular spirits, deemed special protectors of the area, ended up in the Changchou and Ch'uanchou area of Fukien.\n\nThe different legends, in general, claimed that the group of Pestilence Wang Yeh were 'scholars killed by Ch'in Shih Huang Ti, the unifier of China in 210 BC, who ordered the burning of books and the burial of Confucian scholars'; 'T’ang dynasty literati who died as a result of the folly of the emperor T'ang Ming Huang (685-762AD)'; 'The 360 Ming literati who refused to serve the usurping foreign dynasty, the Ch'ing and hanged themselves, (mid-seventeenth century AD)'; 'The five scholars who killed themselves to save villagers from an infected well'; or, finally, are 'spirits of the man-in-the-street who died of plague and became Plague gods'.\n\nA few temple keepers claim that the Pestilence Wang Yeh are subordinate to the Lord of Mount T'ai and of the Underworld (T’aishan Ta Ti 泰山大帝).\n\nThe following are a number of the legends in greater detail. The first relates that during the reign of T'ang T'ai Tsung (627-649 AD) five scholars who had been unsuccessful at the imperial civil service examinations had stayed on in the capital living on what they could earn playing music. The emperor summoned them to the palace to play for him and had at the same time the Taoist 'pope' Chang T'ien Shih (Chang the Heavenly Master) in audience. The emperor wishing to test the 'pope's' magical powers ordered the musicians to play in the cellar whilst he told the ‘pope' that there were five demons in the basement. The 'pope' using his secret arts killed all five. The emperor was both appalled and ashamed of what he had caused and deified all five.\n\nPage 75\n\nPage 76", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 214197, "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": 55, "title": "RAS-1998", "content_text": "18\n\npeople believe, and there appears to be truth in this (with greater use being made of the Chinese language since the Handover), that Hong Kong as a city-state is becoming more Chinese. Although this can affect the development of Hong Kong humour it is expected to be more than offset by globalisation and the world-wide effects of radio, television, the Internet and information technology.\n\nThe late Lin Yutang postulated that a Chinese believes, while getting in a few puffs while standing in front of a no-smoking sign, that the world is a stage where drama and high comedy abound. Life is a huge farce and one must not take matters too seriously, whether they be government reforms or funerals (Lin, 1936:65). The latter have a certain amount of 'gaiety' about them. Sending a person on his or her last journey to confront the final mystery of life should, it is believed, be expensive. The Chinese consider only Europeans (Lin insists) take funerals seriously and try to make them solemn affairs. What is wrong at a funeral in getting a few words across to a pal, about horse racing or morning walks, when you have not seen him for a long time? The man who takes life too seriously and obeys all the rules (according to Lin), and keeps off the grass when nobody is looking, appears ridiculous. In addition Chinese humour often takes a tolerant view of vice and evil. Instead of condemning them outright why not make fun of them? Lin Yutang believed humour could transcend cynicism and be used for other and better purposes than reconciling oneself to one's down-trodden position.\n\nAccording to Lin Yutang (1936:64), first-class humour is to be found in the Confucian Analects. \"After all, Confucius is quoted as having said, because Tsai Yu napped during the day:\n\nRotten wood cannot be carved nor a wall of dried dung trowelled. How would I rebuke him?\n\nA saying like that is always good for a chuckle.\n\nMuch humour is to be found in Ming dynasty novels, in Hong Kong's New Territories' folk songs (largely forgotten except among the elderly), and in the poetry of the drunkard, Li Po (alias Li T'ai-po), who lived in the eighth century. He made much of the solace and lib-", "txt_file_path": "txt/dfo323lmgvd/RAS-1998.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/1g05n0794", "rank": 0 } ]