[ { "id": 204437, "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": 69, "title": "RAS-1962", "content_text": "58\n\nHEROLD J. WIENS\n\nmountainous regions of south China but also across the southern borders in Burma, Laos and Vietnam.\n\nThe Yao, like the Miao, also are mountain-loving people, but appear to have originated as ethnic groups in the hill country of east-central China, in such regions as the present provinces of Anhwei, Chekiang and Kiangsu. They were here as early as Chinese records mention them, but they appear to have gradually abandoned these areas, as Han-Chinese settlement increased in density, and friction over land and other matters led the Yao to seek more isolated mountains. Since they were like the Miao in their type of fire-field or forest-burning, shifting cultivation, they inevitably came into close contact with the Miao and have many cultural features in common with the Miao. Elements of the language also appear similar. Some Chinese ethnographers have considered the Wu-ch'i Man a Yao rather than a Miao group, and others believe them to have common origins. This confusion is probably due to strong Mon Khmer influences originating from India and Southeast Asia in the earliest times.\n\n4\n\nOne of the supporting arguments for the common origin of Yao and Miao is the common cult attached to the dog and the tiger. The Yao trace their ancestry mythically to the union of a princess with a supernatural dog-hero called P'an-hu. Yao myths trace their movement southward from both the central Yangtze valley regions and from the Chekiang-Fukien mountains. Folk songs of the Yao indicate further that they crossed over the Nan-ling mountains in great numbers during the period of Huang-ch'ao's rebellion in the reign of the T'ang Emperor Hsi-Tsung (A.D. 874-889),4\n\nWhen the Miao moved into the Kweichow region in the earliest times, they probably found the Yi or Wu-man peoples already in occupation of western Kweichow. The Yi certainly preceded the Han in this part of China, and the Han Chinese have known of the Yi in their present habitats in southwest China for over 2,500 years. The peculiar manner in which the\n\n* Chiang Ying-liang, Hsi-nan pien-chiang min-tsu lun-ts'ung (A discussion of the peoples of the southwest borderlands), Canton, 1948, 74-79; see also Ling Shun-sheng and Jui Yi-fu, Hsiang-hsi Miao-tsu t'iao-cha pao-kao (Report of research on the Miao of west Hunan), Academia Sinica, Shanghai, 1947.\n\n4 Hsu Sung-shih, Yueh-chiang liu-yü jen-min (The peoples of the Yueh river drainage), Shanghai, 1939, 130-135.", "txt_file_path": "txt/dfo323lmgvd/RAS-1962.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/9s166f47f", "rank": 0 }, { "id": 205699, "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-1969", "page_number": 5, "title": "RAS-1969", "content_text": "# CONTENTS\n\n## PRESIDENT'S REPORT FOR 1968\n\n## HON. TREASURER'S REPORT FOR 1968\n\n## TRANSACTIONS OF THE BRANCH 1968\n\n## Chinese Unofficial Members of the Legislative and Executive Councils in Hong Kong up to 1941\n\n### T. C. CHENG\n\n## ARTICLES CONTRIBUTED:\n\n### Y\n\n### Militia, Market and Lineage: Chinese Resistance to the Occupation of Hong Kong's New Territories in 1899\n\n#### R. G. GROVES\n\n### Tung Kwu Island; the Type Site of Hong Kong's Older Prehistoric Culture\n\n#### W. SCHOFIELD\n\nPage 1\n\nPage 5\n\nPage 7\n\nPage 31\n\nPage 65\n\n### King Mongkut and the Kingdom of Siam\n\n#### R. BRUCE\n\n### The Linguistic and Literary Value of Ming Dynasty 'Mountain Songs'\n\n#### JOHN MCCOY\n\n### The Chinese Descent System and the Occupancy Level of Village Houses\n\n#### H. G. H. NELSON\n\n### Some Notes on Ethno-botany in the New Territories of Hong Kong\n\n#### ARMANDO DA SILVA\n\n### The Mapping of Hong Kong\n\n#### J. T. COOPER\n\nPage 82\n\nPage 101\n\nPage 113\n\nPage 124\n\nPage 131\n\n## ARTICLE REPRINTED:\n\n### The San On Map of Mgr. Volontieri\n\n#### RONALD C. Y. NG\n\nPage 141\n\n## NOTES AND QUERIES:\n\n### Bethesda and the Berliner Frauenverein Für China\n\n#### ALBRECHT PLAG\n\n### The Comet of 1532 —\n\n#### L. Carrington GOODRICH\n\n### What Inspired Sir John Bowring's Hymn?\n\n#### L. CARRINGTON GOODRICH\n\n### Books from the Victoria Library —\n\n#### H. A. RYDINGS\n\n### Early Hong Kong Libraries\n\n#### J. R. JONES\n\nPage 149\n\nPage 150\n\nPage 151\n\nPage 152\n\nPage 154\n\nPage 154\n\n### Defence Wall at Pass between Kowloon City and Kowloon Tsai —\n\n#### W. SCHOFIELD\n\n### Removal of Villages for Fung Shui Reasons. Another Example from Lantau Island, Hong Kong\n\n#### JAMES HAYES\n\n### The Occupancy Level of Village Houses in the Hong Kong Region\n\n#### JAMES HAYES\n\n### A Pair of Pottery Covered Jars found at Shek Pik, Lantau Island\n\n#### JAMES C. Y. WATT\n\n## BOOK REVIEWS\n\n### Kelly and Walsh\n\n## THE LIBRARY, 1968-69\n\n## LIST OF MEMBERS\n\n### HON. EDITOR\n\nPage 156\n\nPage 158\n\nPage 161\n\nPage 163\n\nPage 165\n\nPage 179\n\nPage 183", "txt_file_path": "txt/dfo323lmgvd/RAS-1969.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/9g553n20d", "rank": 0 }, { "id": 205801, "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-1969", "page_number": 107, "title": "RAS-1969", "content_text": "101\n\nTHE LINGUISTIC AND LITERARY VALUE OF THE MING DYNASTY ‘MOUNTAIN SONGS'\n\nJOHN MCCOY*\n\nPoetry, and the rhyming dictionaries compiled to aid the poet, have presented the linguist with the bulk of his material pertinent to the problem of reconstructing earlier forms of the Chinese language. Of course other aids have been used, such as the evidence of the fan-ch'ieh system of describing character pronunciations by dividing them into initial and final sound segments, the help provided by foreign language data, and the clues from the phonetic elements in the characters. However, the major breakthrough was made with early rhyming dictionaries. Karlgren's great contribution to the history of the Chinese language, his reconstruction of Ancient Chinese, was principally an analysis of the system set up in the Ch'ieh Yün, the Kuang Yün, and other early rhyme books. To this system he assigned phonetic values by positing forms generally consistent with modern dialect pronunciations.\n\nThe value of Karlgren's tremendous scholarship cannot be overemphasized, but note should be made that it does not tell us all we will ever want to know about antecedent forms of the present-day dialects of Chinese. Two aspects of his approach lead us to continue our search for corroborating and supplementary materials with which to increase our knowledge about early Chinese.\n\nFirst, Karlgren's Ancient Chinese must be thought of as a textual reconstruction rather than a linguistic reconstruction, and we ideally want both to fill out our picture. Secondly, for a number of reasons we can assume that the phonology expressed in the formal rhyming dictionaries diverged to some degree from the actual spoken forms of the time.\n\nThe difference between a textual reconstruction and a linguistic reconstruction is the difference between the interpretation and\n\n* Dr. McCoy's article \"The Dialects of Hong Kong Boat People: Kau Sai\" appeared in Volume 5 of the Journal. He is Associate Professor, Division of Modern Languages, Cornell University. This paper is a revised version of one read before the Association of Asian Studies at Philadelphia in March 1968.", "txt_file_path": "txt/dfo323lmgvd/RAS-1969.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/9g553n20d", "rank": 0 }, { "id": 205803, "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-1969", "page_number": 109, "title": "RAS-1969", "content_text": "MING DYNASTY 'MOUNTAIN SONGS'\n\n103\n\nwritten by the literati rhymed often by academic fiat rather than in accordance with actual dialect pronunciations and the conversational styles which we know must have been spoken at the time.\n\nThis is not entirely the case since in the verses of the classical poets we often find deviation from the patterns of the rhyming dictionaries. Still the norm held true to the accepted versions, and as time passed the accepted version remained relatively stable while the living language went through a series of sound changes. There is even reason to assume that the earliest rhyming dictionaries may have preserved archaisms or dialect pronunciations, or otherwise mixed the information in a way that would complicate Karlgren's Ancient Chinese. For example, we know from the preface to the Ch'ieh Yün that this important rhyming dictionary was the product of an informal committee composed of members who represented several regional dialects. Presumably a situation like that might lead to a levelling process and the final results might be to some extent an overall pattern of several speech forms rather than a consistent recording of a single dialect.\n\nIn summary, the first proposition is that Ancient Chinese as now reconstructed should be paired with a proto-Chinese developed by the comparative method of modern linguistics. One can look forward to the time when the necessary spoken language data will be gathered and the preliminary reconstructions of individual Chinese proto-dialects will be completed. The second proposition is that the standard rhyming dictionaries can be expected to diverge in greater or lesser degree from any standard spoken language of their time. This second point suggests to the linguist that an ideal target for research might be poetry outside the intellectual, classical tradition. In other words, we can look to folk poetry since in that genre we will more likely be dealing with colloquial rhymes having no reference to the educated patterns of the rhyming dictionaries. This type of poetry would provide rhymes which are so useful in reconstructing earlier forms of Chinese, yet it would be much less likely to present some of the problems of the more artificial rhyming dictionaries. It is a safe assumption that original folk poetry would represent the everyday speech of the area from which it comes rather than any prestige second language of the educated class.", "txt_file_path": "txt/dfo323lmgvd/RAS-1969.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/9g553n20d", "rank": 0 }, { "id": 205804, "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-1969", "page_number": 110, "title": "RAS-1969", "content_text": "104\n\nJOHN MCCOY\n\nUnfortunately, in the vast collection of Chinese literature there is comparatively little folk poetry and most of it is of recent origin. Doubtless it has existed at all periods, but except for the very early samples which became part of the classical tradition, or for the occasional single item preserved in other writings, most of it was lost. The literati generally scorned it, at least in public, and today we are able to turn up only a few collections of any significant age and these chiefly through historical accident.\n\nIn recent years the Peking government has published a collection of Ming and Ching Dynasty folk songs as part of a general policy to point attention to the artistic efforts of the proletariat. I was lucky enough to run across this material in a Hong Kong book store. Of particular interest was a book called Shan Ko or 'Mountain Songs', a collection made in the later years of the Ming Dynasty by Feng Meng-lung. These songs were recorded verbatim from the farmers and laborers in the fields near Feng's home, that is, in Wu District near Soochow. To date this group of poems represents the earliest popular collection which I have been able to find. At least it is my earliest collection showing no evidence of revision and rewriting by the collector. More such materials doubtless exist but I have not come across them yet.\n\nMountain Songs as a literary genre have probably enjoyed a long life. The oldest reference to them may be that found in the 'Song of the Lute' or P'i P'a Hsing by Po Chu-i of the Tang Dynasty. However, this may be merely a general reference to songs from the mountain areas rather than 'Mountain Songs' as a specific genre. Today the Mountain Songs flourish, particularly in South China, with new verses appearing daily. Other Peking publications have collected modern Mountain Songs and added a companion set of more acceptable lyrics with political themes. This gives us a possible spread of at least 1300 years with extant samples of a homogeneous genre going back about 300 years.\n\nThe poetic structure of the Mountain Songs won't add anything especially new to our picture of Chinese poetry. The basic verse is four lines of eight metric beats each, or multiples of eight in various combinations. This is much like the classical seven character poem where the eighth metric beat is realized as a pause at the end of each line. The major difference is that the Mountain Songs allow a considerable variation in the actual", "txt_file_path": "txt/dfo323lmgvd/RAS-1969.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/9g553n20d", "rank": 0 }, { "id": 205805, "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-1969", "page_number": 111, "title": "RAS-1969", "content_text": "MING DYNASTY 'MOUNTAIN SONGS'\n\n105\n\nnumber of syllables used to fill up this eight beat line. (Note that from this point on I am referring specifically to the Ming Dynasty collection of Mountain Songs and not to the genre as a whole.) The line may consist of as few as six characters, divided into two groups of three each with a pause on the fourth and eighth count; or it may number as many as 12 or 13 characters in various combinations of one, two, or three characters per beat. In these latter cases there are usually a number of grammatical markers and functor words which were apparently unstressed and run together rapidly without breaking the rhythmic beat. It is important to make proper identification of the unstressed syllables in order to maintain the eight count line in all these poems.\n\nLonger Mountain Songs are found in the collection which are either multiples of the four line basic verse or the basic verse with rhythmic phrases inserted, usually between lines two and three.\n\nThe rhyme scheme is typically ABCB or AABA. There is no hesitation about using the same character to rhyme with itself, and in one case I found the same character used in all three rhyming positions in one song. This may not sound so elegant as the classical poem, but at least in the particular song it was a very effective emphasis of a special point.\n\nIt is in subject matter that the Mountain Songs make the biggest break with the tradition of classical poetry. The predominant topic is that of boy-girl situations and the treatment is invariably humorous and often even bawdy. Only rarely since the Classic of Poetry 2000 years earlier is there such preoccupation with romantic love, and with the possible exception of the Tzu Yeh Ko of the Nan Pei Ch'ao Period, seldom does one find such humor in dealing with the subject. Here we get a picture of a hearty people who do not take themselves too seriously. They seem to find fun in many things and they have a gift for putting their fun into words.\n\nIn the Mountain Songs the humor is subtle more often than coarse. Although the verses may be risqué or even highly suggestive, there is none of the heavy-handed attention to pornographic detail as in Chin P'ing Mei or Jou P'u T'uan. The entire effect is carried by double entendre and pun, but the intent is obviously to make the listener laugh. The spirit is similar to", "txt_file_path": "txt/dfo323lmgvd/RAS-1969.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/9g553n20d", "rank": 0 }, { "id": 205806, "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-1969", "page_number": 112, "title": "RAS-1969", "content_text": "106\n\nJOHN MCCOY\n\nCatullus or Boccaccio, and sometimes approaches Robert Burns' Merry Muses of Caledonia without a similar need to expunge words from the Chinese text.\n\nFrom the literary point of view, one of the problems of handling the Mountain Songs, and especially any attempt to translate them, is just the question of how to handle the double meanings which are so much the key to these verses and their enjoyment. Too many footnotes would kill a translation and too little by way of explanation would probably leave a lot of the allusions lost to modern readers. Some of this is of course already lost forever because we have no way to recover all of the secondary references so familiar to the original singers of these songs. Even some of the primary references are difficult and it will take considerable research to dig all of the meaning out of some of the obscure vocabulary. But the problems of handling the grammatical markers and functors of this dialect are solvable. In spite of the fact that some of these items are written with characters not to be found in most dictionaries and obviously made up to handle the unusual Wu dialect pronunciations of the time, we are still able to reconstruct probable phonetic approximations and to propose probable meanings on the basis of our knowledge of modern dialects. It is in this special area that the linguist is in a unique position to help the student of literature.\n\nIf this sort of popular poetry attracts interest, we will necessarily need the services of the dialect specialist to solve some of the problems of interpretation. The linguist will gain a great deal from the information the Mountain Songs give him on Ming Dynasty dialects. Then the linguist will in turn enrich Chinese literature studies by opening up a neglected field.\n\nAlthough their reasons are quite different, Western scholars are beginning to agree with Peking that we have neglected popular literature too long. It seems reasonable to predict that more departments will give some room to folk songs and poetry in Chinese literature courses if the genre can be made accessible to the average reader.\n\nFrom the linguist's point of view, an analysis of the rhyme patterns of the Mountain Songs, done much on the same plan as Karlgren's Ancient Chinese, would be very useful when we are ready to work out a reconstruction of proto-Wu. I have carded", "txt_file_path": "txt/dfo323lmgvd/RAS-1969.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/9g553n20d", "rank": 0 }, { "id": 205807, "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-1969", "page_number": 113, "title": "RAS-1969", "content_text": "MING DYNASTY MOUNTAIN SONGS'\n\n107\n\nthe rhyming characters for the Feng Meng-lung collection and have made a preliminary analysis of the patterns. The rhyme scheme generally conforms with what we might anticipate on the basis of our knowledge of modern Wu dialects. (Note here that these Mountain Songs come from Wu District, a small area near Soo-chow; the term 'Wu dialects' refers to a large family of dialects spoken in a broad region around the Yangtze River delta.) The full details of the Mountain Songs' rhyme patterns will take considerably more study but briefly we have a system in which the ancient nasal finals have merged. This merger seems to have produced a distinct final, probably a nasalized vowel, after some vowel nuclei; after other vowels the nasalization has disappeared completely producing rhymes with syllables which never had nasal finals. There are very few ancient entering tone characters in rhyming position but these few rhyme freely with characters from other tone categories. When compared with such evidence as Yuen-ren Chao's Studies in the Modern Wu Dialects the Mountain Songs stand clearly in the Wu family but, not unexpectedly, they do not correspond precisely to any single dialect recorded by Chao.\n\nThere is little doubt that we could make a reliable reconstruction of the syllable finals, i.e. the rhyming part of the syllable, for Ming Dynasty Wu District dialect. However, we now run into a major problem and one which serves well to point up the value of having both textual and linguistic reconstructions when working out proto-forms. Although the syllable finals could be reconstructed from the poems, there is no reliable way to derive the syllable initial consonants merely from the evidence of the poetry. Scholars working with rhyming dictionaries do not have this problem since their texts generally set up charts distinguishing characters by initial as well as final. In the Mountain Songs, and presumably in other poetry of this type, we do not even have negative evidence for distinguishing the initials of the rhyming characters. Thus, since we do have many examples of characters rhyming with themselves, it is not safe to say that homophones of other types do not rhyme. It is therefore fruitless to attempt any separation into syllable initial categories on the premise that the rhyming characters will not have identical initial consonants.\n\nThe solution of the syllable initial problem should then be sought in the evidence afforded by a linguistic reconstruction of", "txt_file_path": "txt/dfo323lmgvd/RAS-1969.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/9g553n20d", "rank": 0 }, { "id": 205808, "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-1969", "page_number": 114, "title": "RAS-1969", "content_text": "108\n\nJOHN MCCOY\n\nproto-Wu. We could safely make a preliminary approximation now from a survey of Chao's materials, but scholars are presently working intensively on proto-Wu and soon we may be able to use their results. What we ultimately have will be an amalgamation of two bodies of data, comparative and textual, with the evidence from one source supplementing the other.\n\nTo illustrate some of the points made above I have chosen six of the Mountain Songs from the Feng Meng-lung collection. These were selected as typical in structure and language yet relatively simple to translate. I have given an English version as close as possible to the Chinese meaning. Any attempt at this stage to capture the rhythm and the double meanings in a single translation would be doomed to failure. The most I strive for here is to give the primary meaning in my translation and the secondary meanings in the subsequent notes. I know that I am missing many of the secondary meanings because they are just not the sort of thing that turns up in dictionaries; however, from time to time a native speaker is good enough to point out to me some of the puns and hidden meanings which I have missed. I hope that my version will be of help in highlighting the linguistic points under discussion and to capture some of the flavor of these poems. In the notes (M) denotes Mandarin and (S) Shanghai dialect.\n\nI.\n\n姐道我郎呀,\n\n爾若半夜來時沒要捉後門敲,\n\n只好捉我場上雞來拔子毛,\n\n假做子黄鼠郎偷雞引得角角哩叫.\n\n好教我穿子單裙出來趕野貓。\n\nThe girl says, 'My sweetheart,\n\nIf you should come at midnight, don't give a rap at the back door.\n\nIt would be better to grab a chicken in our yard and pull out some feathers.\n\nPretend you are a weasel stealing chickens and make them let out a cackle.\n\nThis will be enough to get me running out in my slip to chase away the wild cat.'", "txt_file_path": "txt/dfo323lmgvd/RAS-1969.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/9g553n20d", "rank": 0 }, { "id": 205809, "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-1969", "page_number": 115, "title": "RAS-1969", "content_text": "MING DYNASTY 'MOUNTAIN SONGS'\n\n109\n\nThis first poem begins with a common type of phrase, outside the rhythmic pattern, which identifies the speaker when special indication is needed. Some linguistic points to observe are: 1) The use of the character †, (M) tzŭ “son, child', here a verbal suffix indicating attainment of a goal or completed action. Later we will see more clearly this function as an aspect marker comparable to the Cantonese jôh *.\n\n2) Note the pun on the word 'weasel' with (M) láng chῑ 'young gentleman' substituted for the character (M) láng † 'wolf'. 3) The use of the particle (S) tē indicate an adverbial relationship in the phrase (M) chiao chiao li chῑao § hērt ·\n\n4) And finally, note how much better the cackling comes through in a southern dialect pronunciation of the phrase in note 3) above: (S) kōq kōg.\n\nII.\n\n娘兩箇並行,\n\n兩朵鮮花囉裏箇強.\n\n囡免道池裏藕嫩好,\n\n娘道沙角菱老香.\n\n\"The woman and the daughter were walking along side by side,\n\nTwo fresh flowers, which one is nicer?\n\nThe daughter says, Of the lotus roots in the pond, the tender ones are better;\n\nThe woman says, Of the lily bulbs from the sand spit, the older ones are sweeter.\n\nNote in this poem:\n\n1) The use of (M) erh meaning here 'daughter' and also functioning as a nominalizing suffix in the phrases meaning 'daughter', 'lotus', and 'lily'. There is apparently a contrast of stress for the same form in these two functions, both matching the Mandarin usage.\n\n2) The function of (M) ko both as a measure and as an attributive marker. This corresponds to the usage of a number of Chinese dialects.\n\n3) The dialect expression (S) lo-li meaning 'which one, where'.", "txt_file_path": "txt/dfo323lmgvd/RAS-1969.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/9g553n20d", "rank": 0 }, { "id": 205810, "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-1969", "page_number": 116, "title": "RAS-1969", "content_text": "110\n\nJOHN MCCOY\n\n4) The character (S) nü. I interpret this to be (M) nü 'woman' read in a slightly different way, probably equivalent to the 'changed tone' phenomenon in Cantonese. Compare here the Shanghai usage yang-nü-nü- ‘doll' contrasting with (S) nü-ning 'woman' showing two pronunciations for the element nü. Morohashi records this form in his great dictionary, Dai Kan Wa Jiten, and glosses it as a Wu dialect variant meaning simply 'woman',\n\n5) (M) shã chiao ling erh I found in the dictionaries as 'water caltrop'. Here I exercised a little poetic license on the assumption that the English name for this plant is rather obscure.\n\n約約到月上時,\n\n邦了月上子山頭弗見渠,\n\n咦沸知奴處山低月上得早\n\n咦弗知郎處山高月上得遲。\n\n'I agreed with my sweetheart to meet when the moon came up.\n\nWhy is it that the moon is on the mountain tops but I still don't see him?\n\nI wonder if it could be because in my place the hills are low and the moon rises early,\n\nOr is it because at his place the hills are high and the moon rises late?'\n\nNote in this poem:\n\n1) The character, at the beginning of the second line, which I have reconstructed as na-, I find this form in Morohashi where it is described as an alternate for the character (M) nà meaning 'that, those'. It seems to have a slightly different connotation in the Mountain Songs, more like the interrogative form of the same character in Mandarin, nă. From an analysis of the various contexts in which it appears in my texts I translate it as 'why' or 'how is it that'. 2) Note the use of the character (M) ch'u meaning 'he'. The only significant point here is that in this dialect I would expect (S) yi-, although forms related to ch'ü are found in a number of Wu dialect areas.", "txt_file_path": "txt/dfo323lmgvd/RAS-1969.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/9g553n20d", "rank": 0 }, { "id": 205811, "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-1969", "page_number": 117, "title": "RAS-1969", "content_text": "MING DYNASTY 'MOUNTAIN SONGS'\n\n111\n\n3) Note the character probably pronounced (S) yi-咦, appearing at the beginning of lines three and four. Here we are fortunate in that Feng Meng-lung gives us a gloss indicating the meaning to be equivalent to (M) yù X, but since (M) yù is used elsewhere in the Shan Ko I interpret this character to mean ‘either ...or.\n\n别人笑我無老婆,\n\n你弗得知我破飯籮淘米外頭多,\n\n好像深山裏野鷄路宿,\n\n老鴉鳥無窠到有窠。\n\n‘Others laugh at me because I have no wife.\n\nYou could not know that when I wash rice in my broken strainer much more leaks out than stays inside.\n\nIt is like the pheasant in the deep mountains who sleeps anyplace along his path,\n\nOr the crow who has no nest yet can nest anywhere.'\n\n1) Referring to prostitutes by various names of wild birds is common in many dialects. I assume the reference also applies here.\n\n娘又乖,姐又乖,\n\n喫娘提箇石滿房篩\n\n小阿奴奴拚得馱郎上床馱下地,\n\n兩人合着一雙鞋。\n\n‘The mother is clever but the daughter is clever, too.\n\nSo when mother took some lime and sifted it all over the floor of my room.\n\nI dared to carry my lover pickaback, into bed and out,\n\nTwo people joined together wearing just one pair of shoes.'\n\n1) The character (M) ch'i吃 at the beginning of line two here functions as a passive marker much like (M) pěi 被.\n\nPage 117\n\n \nPage 117\n\nPage 117", "txt_file_path": "txt/dfo323lmgvd/RAS-1969.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/9g553n20d", "rank": 0 }, { "id": 205812, "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-1969", "page_number": 118, "title": "RAS-1969", "content_text": "112\n\nVI.\n\nJOHN MCCOY\n\n師姓齊,姐姓齊,\n\n贈嫁箇了頭也姓齊,\n\n齊家囡嫁來齊家去,\n\n半夜裏番身齊對齊。\n\n\"The groom was named Ch'i, the bride was named Ch'i,\n\nWith the dowry was a serving girl, also named Ch'i.\n\nCh'i family girls came in marriage into a Ch'i family.\n\nThrough the middle of the night it was bodies turning, Ch'i against Ch'i,'\n\n1) Here the surname (M) ch'i\n\nis an obvious pun on the 'navel'. Feng records another\n\nhomophonous word (M) ch'i version in which the surname (M) máo, also meaning 'fur, body hair', is substituted throughout for ch'i,\n\n2) of some anthropological interest is the single surname wedding which took place in this poem. Although frowned upon by Chinese tradition, this type of marriage probably occurred from time to time throughout China.\n\nBIBLIOGRAPHY\n\nChao, Yuen-ren (1928). Studies in the Modern Wu-Dialects. Tsing Hua College Research Institute Monograph No. 4. Peking.\n\nFeng, Meng-lung, compiler, Shan Ko (Mountain Songs). From the Ming-Ch'ing Min-ko Shih-tiao Tsung-shu (Collection of Ming and Ch'ing Folk Songs and Popular Lyrics), Peking (1962).\n\nKarlgren, Bernhard (1915-1926). Études sur la Phonologie Chinoise. Leiden.\n\nMartin, Samuel E. (1953). The Phonemes of Ancient Chinese', Journal of the American Oriental Society Supplement, No. 16,\n\nEditor's Note:- The Chinese text at I-VI above are photographic reproductions from the author's MS.", "txt_file_path": "txt/dfo323lmgvd/RAS-1969.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/9g553n20d", "rank": 0 }, { "id": 206602, "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": 150, "title": "RAS-1972", "content_text": "144\n\nLINDA F. SULLIVAN\n\nmust build a shelter from the natural world. Yet as he builds, he is always careful to consider the way in which nature will affect his life and is careful to bring a little bit of it into his home. Finally, there is a persistent desire to maintain the privacy of his family, and of his inner thoughts.\n\nNOTES\n\n1 George B. Cressey, China's Geographic Foundations, A Survey of the Land and Its People, (New York: McGraw-Hill Co., Inc., 1934), p. 12.\n\n2 T. R. Tregear, A Geography of China, (London: University of London Press, 1965), p. 31.\n\n3 Ibid., p. 211.\n\n4 The reasons for vertical cleavage in the loess region are as yet only hypotheses. Tregear (p. 212.) states that the most probable theory is that originally the region was covered with steppe grass which was successively buried by the loess dust storms from the Northwest and then fresh grass would grow. The decayed grass left minute vertical hollow tubes in the soil along which cleavages were formed.\n\n5 Ibid., p. 61.\n\n6 Liu Tun-chen, A General Discussion of Chinese Houses, (People's Republic of China: Architectural Engineering Publishing Company, 1957), plate No. 1-8, p. 11-16.\n\n7 Bulletin of the Society for Research in Chinese Architecture, (V, 1).\n\n* Liu, Op. cit., plate No. 56, p. 29.\n\n9 Ibid., plate No. 93, p. 42.\n\n10 Ibid., plate No. 73, p. 36.\n\n11 Ibid., plate No. 45, p. 25.\n\n12 Ibid., plate No. 44, p. 25.\n\n13 Ibid., plate No. 69, p. 35.\n\n14 Ibid., plate No. 71, p. 36.\n\n15 Colin Penn, \"Chinese Vernacular Architecture,\" Royal Institute of British Architects, October, 1965.\n\n16 Ibid.\n\n17 Hsieh T'ing-yu and Kuo Ch'ang-ch'eng, The Hakka Chinese Origin and Folk Songs, (San Francisco: Jade Mountain Press, 1969).\n\nTheir\n\n18 Chinese Architecture: A Simple History, Volume 1, The Old Architecture of China: A Simple History, (China Industrial Publishing Company, 1963).\n\n19 Ibid., plate No. 105, p. 45.\n\n20 Ibid., plate No. 118, p. 48ff.\n\n21 Ibid., plate No. 119 & 120, p. 48ff.\n\n22 Maurice Freedman, Chinese Lineage and Society: Fukien and Kwang-tung, (New York: Humanities Press, Inc., 1966), p. 1.\n\nJaco\n\n23 Wong Chung Hong, \"Walled and Moated A Hong Kong Village,\" Arts of Asia, Vol. No. 4, July-August 1971, p. 22.\n\n24 Ibid., p. 26.\n\n25 Ibid.\n\nPage 150\n\nPage 151", "txt_file_path": "txt/dfo323lmgvd/RAS-1972.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/gm80qf99h", "rank": 0 }, { "id": 206603, "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": 151, "title": "RAS-1972", "content_text": "TRADITIONAL CHINESE REGIONAL ARCHITECTURE\n\nBIBLIOGRAPHY\n\n145\n\nBulletin of the Society for Research in Chinese Architecture. V, 1.\n\nChinese Architecture: A Simple History. Volume 1: The Old Architecture of China: A Simple History. China Industrial Publishing Company, 1963.\n\nBoyd, Andrew. Chinese Architecture and Town Planning (1500 B.C. · A.D. 1911). London, 1962.\n\nCressey, George Babcock. China's Geographic Foundations: A Survey of the Land and Its People, New York: McGraw-Hill Book Company, Inc., 1934.\n\nFreedman, Maurice. Chinese Lineage and Society: Fukien and Kwangtung. New York: Humanities Press, Inc., 1966.\n\nGutkind, E. A. Revolution of Environment. London: Broadway House, 1946.\n\nHsieh, Ting-yu and Kuo, Ch'ang-ch'eng. The Hakka Chinese-Their Origin and Folk Songs. San Francisco: Jade Mountain Press, 1969.\n\nKulp, Daniel H. Country Life in South China: The Society of Familism. Volume 1: Phenix Village, Kwangtung, China, New York: 1925,\n\nLiu Tun-chen. A General Discussion of Chinese Houses. (PAREMM). People's Republic of China: Architectural Engineering Publishing Company, 1957.\n\nPenn, Colin. \"Chinese Vernacular Architecture.\" Royal Institute of British Architects. October, 1965.\n\nSkinner, William. \"Chinese Domestic Architecture.\" Review of Liu Tun-chen, A Short Study of the Chinese House. Royal Institute of British Architects. November, 1957.\n\nSmith, Arthur H. Village Life in China: A Study in Sociology. Fleming H. Revell, Co., 1899.\n\nTa Chen, Emigrant Communities in South China: A Study of Overseas Migration and Its Influence on Standards of Living and Social Change. New York: 1940.\n\nTregear, T. R. A Geography of China. London: University of London Press, 1965.\n\nWong Chung Hong. \"Walled and Moated-A Hong Kong Village.\" Arts of Asia. Vol. I, No. 4, July-August 1971.\n\nWu, Nelson I. Chinese and Indian Architecture. New York: George Braziller, 1967.", "txt_file_path": "txt/dfo323lmgvd/RAS-1972.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/gm80qf99h", "rank": 0 }, { "id": 207710, "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-1976", "page_number": 98, "title": "RAS-1976", "content_text": "\"PATTERNED BANDS\" IN THE N.T. OF HONG KONG\n\n83\n\nto the edge and the tassels allowed to fall free at each side, swinging at either side of the wearer's face. In Yuen Long, the band is not worn this way but instead a longer band (145 CM) is used to tie the hat under the wearer's chin.\n\nA patterned band approximately 85 CM long, with relatively small tassels, is often used to hold the rectangular headcloth worn by Hakka women both indoors and outdoors when a hat is not worn. The band is doubled over the top of the headcloth and fastened at the back of the neck below the woman's bun, thus serving as an ornament and to hold the headcloth in place.\n\nIn addition, a band approximately 75 CM long may be used to fasten the small apron (1) across the back. To attach the band, buttons are sewed to the ends of the bands near the tassels, and these are buttoned through loops in the apron. The bib of the apron is commonly fastened around the neck with a silver chain on which old Hong Kong silver five-cent pieces serve as buttons. These aprons are worn by Hakka women both on special occasions and for everyday use.\n\nIn Tsuen Wan, at least, the bands traditionally served other purposes as well. Women said that they had to weave great numbers of them before their marriages, because of the role they played in the ceremonies, and for a week or so beforehand they stopped all other work and stayed indoors to weave. The bride was expected to give them as gifts to all the older women relatives who came to attend the festivities. Patterned bands were also used to tie back the mosquito nets on the marriage bed, and were tied around the foot-washing basin which is an important dowry item and fertility symbol. One was used as the bride's trouser string, and one was even given as a gift to the little boy whose job it was to kick open the sedan chair door upon the bride's arrival. When a son had been born, a very long red patterned band was hung over the lantern which was raised in the ancestral hall at the hoi tang (H) ceremony, symbolizing the birth of a son into the lineage.4\n\nTechnique of Manufacture\n\nThe weaving of patterned bands was the only textile art form produced, in recent years at least, by Tsuen Wan women. Their only other artistic outlet was the singing of \"mountain songs\" (山歌*) while working together in groups, and the spontaneous singing", "txt_file_path": "txt/dfo323lmgvd/RAS-1976.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/hq382988q", "rank": 0 }, { "id": 207717, "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-1976", "page_number": 105, "title": "RAS-1976", "content_text": "90\n\nELIZABETH L. JOHNSON\n\nloom does not appear to have been part of the inventory of Han Chinese material culture, this leads one to speculate that the Hakka may have learned the technique through contact with pre-Han people in the hill areas of Kwangtung where they settled. This is, at least, one possible explanation for their use of this technique.\n\nNOTES\n\n1 The research reported here was done in Kwan Mun Hau Village, Tsuen Wan, during 1975-76, following my dissertation research which was done in the same village in 1968-70. The work was supported by the Joint Centre on Modern East Asia, at York University in Toronto.\n\n2 Recent research reports on Tsuen Wan include:\n\nGraham E. Johnson, \"Leaders and Leadership in an Expanding New Territories Town\", The China Quarterly, March 1977, pp. 109-125. Elizabeth L. Johnson, \"Women and Childbearing in Kwan Mun Hau Village\", in Women in Chinese Society, Margery Wolf and Roxane Witke, eds., Stanford, Stanford University Press, 1975.\n\nAn exhibit of patterned bands, and Szechwan peasant embroideries, was held at the University of British Columbia Museum of Anthropology from April 15-June 15 of this year, with the title \"Chinese Peasant Textile Arts: Kwangtung and Szechwan Provinces\". The exhibit was prepared by the students of Anthropology 431.\n\n3 I wish to express my gratitude to my informants in Kwan Mun Hau Village, who not only introduced me to the subject of patterned bands but were also very patient in supplying me with information about them. I should also like to thank my very able research assistant, Jennifer Woon Chi-yee.\n\n4 Dr. James Hayes has raised the interesting question of whether the bands used on these occasions would be woven in the colour and style of the wife's or the husband's village or would always be red (a lucky colour). Unfortunately I cannot answer this question without further research.\n\n5 Some of the mountain songs were learned while others were sung in a kind of spontaneous repartee between two groups, often of men and women. The form of the wedding and funeral songs was learned, but the content varied according to the feelings which the individual singer wished to express.\n\n6 See: James Hayes, \"Itinerant Hakka Weavers\", Journal of the Royal Asiatic Society, Hong Kong Branch. Vol. 8, 1968, pp. 162-165. Aijmer, in his article \"Expansion and Extension in Hakka Society” (Journal of the Royal Asiatic Society, Hong Kong Branch, Vol. 7, 1967, pp. 42-79 (p.48)) mentions home weaving of fabrics, but this was apparently not done in Tsuen Wan, at least in recent memory.\n\n7 For a general study of this phenomenon, see Aijmer, op. cit.\n\n8 G. W. Skinner states that this was also true of Szechwan peasant embroideries. G. William Skinner, \"Marketing and Social Structure in Rural China, Part I\" The Journal of Asian Studies, vol. xxiv, no. 1, November 1964, pp. 3-44 (p.40)\n\nPage 105\n\nPage 106", "txt_file_path": "txt/dfo323lmgvd/RAS-1976.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/hq382988q", "rank": 0 }, { "id": 207719, "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-1976", "page_number": 107, "title": "RAS-1976", "content_text": "A HAWAIIAN KING VISITS HONG KONG, 1881\n\nEditor\n\nTIN-YUKE CHAR*\n\nJournal of Royal Asiatic Society, Hong Kong Branch\n\nSir:\n\nI am submitting a manuscript for publication in your Journal on King Kalakaua of Hawaii and his visit to Hong Kong in 1881. It gives a clear explanation why Hong Kong was chosen as the principal embarkation port for the Chinese labor recruitment to Hawaii. The strict administration of British regulations on emigration, the designation of an honorary Hawaiian consul in Hong Kong, and the reasonable contract between employer and employee signed in Hawaii, as documented in an appendix, all give a better understanding of the good treatment of our Chinese immigrants to Hawaii compared with the abuses in Peru and Cuba.\n\nThe first reigning monarch to make a trip around the world was King David Kalakaua of the Kingdom of Hawaii. The year was 1881. King Kalakaua, born November 16, 1836, reigned for twenty-three years (1874-1891) until his death in San Francisco on January 20, 1891.† He had already had his first experience travelling abroad in November 1874 when he called on President Ulysses S. Grant in Washington and addressed the United States Congress in fluent English. As a result of this visit, the Hawaiian government was\n\n* Mr. Char was born in Hawaii in 1905 and has had a colorful life combining business and education. A graduate of McKinley High School in Honolulu, he received his B.A. degree from Yenching University in Peking and his M.A. from the University of Hawaii, and pursued graduate studies at Columbia University. He then taught, both in Hawaii and in China. In 1938, Mr. Char and his family returned to Hawaii as refugees from the Japanese military invasion of Canton. He spent the next thirty years in the insurance business. In 1952, he became the first person in Hawaii to gain the national professional designation of CPCU (Chartered Property and Casualty Underwriter) in the field of insurance. Always active in community affairs, Mr. Char served on the boards of the Chinese Chamber of Commerce, the Hawaii Congress of Parents and Teachers, the Nuuanu YMCA, and the Board of Underwriters of Hawaii (insurance), among others, and is currently a member of a number of historical societies, including the Hawaii Chinese History Center. Upon retirement in 1969 as president of the Continental Insurance Agency of Hawaii, Mr. Char spent a year on the campus of Chung Chi College, a division of the Chinese University of Hong Kong, as a volunteer in student counseling and placement service. Since then, he has devoted his time to historical research and writing.\n\nMr. Char is also the author of The Hakka Chinese: Their Origin and Folk Songs and Chinese Proverbs, both published by the Jade Mountain Press of San Francisco in 1969, and The Char Family Genealogy Book, privately published in Honolulu in 1970.\n\n† See Plate 15.", "txt_file_path": "txt/dfo323lmgvd/RAS-1976.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/hq382988q", "rank": 0 }, { "id": 208277, "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-1978", "page_number": 1, "title": "RAS-1978", "content_text": "180\n\nDAVID FAURE\n\nearthgods, and the decennial ta-tsius (festivals to thank the gods and feed the ghosts). Besides these festivals, births, weddings, and deaths, also called for celebration.47\n\nMany of these festivals are still celebrated, but some of the rituals which used to mark them are no longer practised. In the Mid-Autumn Festival, for instance, it used to be common practice for women and young people to sit outside their houses at night and repeat certain lines until one of them went into a trance.48 After mid-night, on the Tsat Tse Festival, villagers gathered water, which could be preserved in a jar and used as medicine throughout the year.49 Temple celebrations were hardly as well endowed before World War II as they are today. In the place of the operas that are presented to the gods nowadays, there used to be puppet shows only except at Sai Kung Market, which alone could afford opera pre-war.50 Feasts were essential to all celebrations. At temple festivals, each worshipping group held its own feast; at grave worship ceremonies, lineage members ate together at the graves, and for all other festivals, each family celebrated on its own. Feasts at weddings and funerals were open to all villagers from all of the villages in the same neighbourhood alliance.51\n\nCelebrations were meant to be colourful. They fulfilled the need for entertainment in village life at a time when other forms of popular entertainment were unknown as well as expressing deeply ingrained religious beliefs.\n\nThe musical culture\n\nSinging was an important ingredient of village life. At weddings, brides sang for \"several days and nights\" to express their sorrow at having been \"forced\" into marriage. At funerals, women relatives keened to express their grief, and to recount their relationship with the deceased. \"Mountain songs\" were sung between young men and young women. In some villages, the singing of these \"mountain songs\" was institutionalized, so that it was understood that Sha Kok Mei, for instance, would sing \"against\" Pak Kong in an annual \"mountain song\" contest. Punti, Hakka, and the boat people, all had their own songs. In addition, there were professionals, who came into the villages to sing for money. Quite a few villagers still remember the little clappers these singers carried.52", "txt_file_path": "txt/dfo323lmgvd/RAS-1978.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8g84t8593", "rank": 0 }, { "id": 211927, "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": 342, "title": "RAS-1989", "content_text": "317\n\nGaai jou was still studying when his brothers had already built for themselves many big houses. When he got married he got his share of his father's estate, which amounted to more than one thousand daam of rent rice. Oral tradition has it that Sou-Lau Yun was used as a yamen during Dang Kyun-Hin's time when Dang Sin, a provincial official, came to investigate bandits in the county.\n\nThis segment dominated nineteenth century lineage and community life in many ways. They have at least ten spirit tablets in the Mau-Ging Tong ancestral hall, and Chung-Shaan and Yu-Gaai were among the five men whose descendants got extra portions of ritual pork in the ancestral worship at the same tong in recognition of their contributions. I have already mentioned that a letter dated 1941 from the head of the clan and others referred to Yu-Gaai's contribution in managing the property of Naam-Kai jou. The only piece of property had been a broken house in the county town which gave an income of 20 yun. Yu-Gaai sold that house and lent the proceeds at interest. In this way he expanded the property to farm land holding that gave a rental income of more than 200 sek of rice. Dang Kyun-Hin and his third son Ming-Lyun donated an incense burner to the Hung-Sing Temple in Shui Tau in 1821. Chung-Saan (alias Ming-Hok) donated another religious article in 1829 and a grandson of his donated an incense burner to the same temple in 1900.\n\nDang Ting-Sam (known to his descendants as Chi-Naam), a son of Dang Ming-Lyun and a grandson of Dang Kyun-Hin, was an important figure in lineage affairs as well as county politics. He was a sau-choi, and his descendants explained that he was prevented by the death of relatives from taking the examinations for the higher degrees. One story tells how Chi-Naam revealed upon his death that he was the reincarnation of the Mountain God of Tai Mo Shan, which probably explains why he was so clever. Another anecdote is concerned with Chi-Naam's influence. When he married a lady named Ho from Sham Chun to his son, the procession carried banners saying \"keep silent and stand aside” (suk-jing wui-bei) and sounding gongs. Some trouble-makers asked who this was. They were told that it was Chi-Naam of Kam Tin. The would-be trouble-makers were scared and went away.\n\nA descendant of one of Ting-sam's cousins knew the exact title of his degree. In this version Ting-sam was a laam-sang, but never attempted higher examinations. His classmates (rung-hok) always wondered why. He spent most of his time enjoying himself at home. When he ran out", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 213264, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1994", "page_number": 86, "title": "RAS-1994", "content_text": "66\n\nBanks, Hongs and Government House\n\nMany old established western hongs have long come to terms with the 'breath of the dragon'. As one senior Standard Chartered Bank staff member phrased it (partly with tongue in cheek perhaps?): 'Some Europeans are more concerned about fung shui than the Chinese. Besides, paying attention to it is good for business.'\n\nThe British Standard Chartered is the oldest foreign bank in Hong Kong (its forerunner, the Chartered Bank of India, Australia and China, was established in Hong Kong in 1859). Management was advised that for its new building, completed in 1990, one main door was not enough to 'catch all the good fortune and allow money to flow in'. An additional entrance, facing northeast, was included in the plan, 'to capture \"luck\" from Central District and from the harbour and business from the Hong Kong Banking Corporation next door'. The main entrance is very important. It is subjected to more foot traffic than any other part of a building. Its door should be well-hinged, upright and in scale with the building as a whole.\n\nSimilarly, the decor of Chartered Bank's interior includes a number of features synonymous with prosperity in Chinese culture. The stained-glass windows in the entrance hall portray a bus with registration number 28 (homonyms in Cantonese also meaning 'easy to prosper'). A red (a lucky colour) tram car has the number 88 (signifying 'doubly prosperous') and steps have been constructed in flights of eight. Lucky numbers are popular in Chinese communities around the world.\n\nSimilarly it is good if one's grave, or niche in a columbarium where one's ashes are deposited, has a fortuitous number. In Europe numbers carry different meanings. Seven (among Chinese, this number is often associated with how many dishes mourners partake of at a funeral wake) is sometimes considered lucky, while 13 is deemed unlucky. Consequently, a 13th floor is sometimes omitted in a building.\n\nAs is common in many commercial premises in Hong Kong, running water is good because water signifies money. While having a water feature may not mean much in a bank in York or New York, such beliefs do imply a great deal to many customers in Hong Kong. Yet, surprisingly, few appeared to have been too upset when the fountain at the 'Landmark', in Central District, was done away with.", "txt_file_path": "txt/dfo323lmgvd/RAS-1994.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/zk522640g", "rank": 0 }, { "id": 213793, "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": 145, "title": "RAS-1996", "content_text": "116\n\nIn the case of the New Territories, he observes that it was to a large extent introduced from outside and was in this process filtered downwards from the richer to the poorer villages over four centuries.\" According to Faure, such a pattern can be found in other parts of China, for example, a study of Anhui province shows that contemporary opinions before the Ming merely saw lineages as 'living together generation after generation', while Ming opinions show that from the sixteenth century onwards, ancestral halls became much more common, that written genealogies of the format advocated by Song dynasty proponents became more popular, and that the ancestral rites that the neo-Confucians considered fitting for the common people came to be accepted practice.\"\n\nOne is tempted to postulate that the worship conducted by lay descendants, of ancestors as ideally imperial degree holders / officials, was a practice adopted in the period when new ordination names ceased to be included in Hakka genealogies, and the new practice replaced the worship of ancestors as ideally immortals/ magicians, sometimes conducted by religious experts.\n\nThe same period may have seen other changes in village culture as the result of the adoption of what for convenience's sake can be called \"Confucian\" attitudes which probably come together with the new style of ancestral worship associated with claims of descent from official/scholars. Although a thorough test would take a separate article, this hypothesis helps to explain the mystery of the Mountain Songs often associated with the Hakka. It is a well-received idea deriving mainly from study of the texts of such songs and folklore studies under the influence of anti-Confucianism that, violating the \"Confucian ethic\", pre- and extra-marital love affairs are common among the Hakka. But as I have pointed out, among the indigenous Hakka people of the New Territories Mountain Songs were far less commonly sung than one would expect. My general impression is that Mountain Songs were more popular among the Hakka worker immigrant to the British colony than among indigenous Hakka villagers. Information about Mountain Songs in the village Luk Keng indicates that the lineage leaders who upheld a version of Confucian morality did manage to stop their womenfolk...", "txt_file_path": "txt/dfo323lmgvd/RAS-1996.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/3n209j641", "rank": 0 }, { "id": 213794, "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": 146, "title": "RAS-1996", "content_text": "117\n\nfrom singing Mountain Songs, at least within the vicinity of the village. I lived in the village for about 10 years before 1974. A neighbour in the village in her 30s in the 1960s did sing them for fun at home from a book compiled by a modern author and brought from a bookstore. According to an older woman in the same village, born around 1910, those songs were exchanged mainly among female villagers while working outside the village. They did not sing them within the village, because otherwise a village leader would scold them. My recent interviews in the village show that this leader is a member of the lineage segment that produced some degree holders not so many generations before, and his other contribution to the lineage was the compilation of a genealogy that incorporates information from genealogies from other counties that trace to the same ancestors. Unfortunately, unlike ordination names which are recorded in genealogies, spirit tablets, and grave stone inscriptions, Mountain Songs do not leave much dateable information, and it is improbable that much evidence can be found bearing on the status of Mountain Songs among the Hakka before the 17th Century.\n\n1\n\n1\n\nE\n\nNOTES\n\nOne may speculate that such widespread ordination may be related to their claim of exemption from corvee levy. But for ordinations to be used to back a claim for such exemption, they probably have to be either Daoist or Buddhist, and I do not think the ordination names of the Yau or of the Hakka could be accepted as Daoist by the imperial Chinese governments.\n\nLuo Xianglin, Kejia Yanjiu Daolun, vol. 1, Hong Kong: Zhongguo Xueshe, 1965.\n\nFor example, the first ancestor of the House of Kam Tin and nearby villages of the New Territories to come to the region is a Hon Wu Lang. The ancestor of the Pengs of Fanling, N.T., who came with his father to the region is a Peng Fa Guang. Both names match the style of ordination names found among the Hakka, and some of their descendants' villages are the only ones in the N.T. which hold the rite of Hongtou, which relates closely to the Hakka sang tradition. See David Faure, The Structure of Chinese Rural Society, Hong Kong: Oxford University Press, 1986, for the two lineages and the rite of Hongtou, and a Chicken Song ritual.\n\nAlthough some examples of the non-numeric character could be interpreted as forming a numeric expression with the character that followed, e.g., \"nian\" could mean twenty, they were probably not intended as such. As I shall elaborate later, some of those characters seen thus used in the Hakka genealogies are also found among the She minorities of Fujian to indicate generation.", "txt_file_path": "txt/dfo323lmgvd/RAS-1996.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/3n209j641", "rank": 0 }, { "id": 213803, "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": 155, "title": "RAS-1996", "content_text": "126\n\n47\n\nform of incense ashes rather than tablets suggests that the ancestor halls did not use tablets to represent ancestors individually. It is also found in the Yingsheng (\"Reception of the Holy\") dedicated to the main honoured gods during the Jiao festivals, and the Yingshen Guiwei (\"Escorting gods to their places\") during the Hongchao festival of Fanling, both conducted by Cantonese Daoist priests in the New Territories. An elder of Kam Tin compared the Yingsheng ritual with the ancestral hall ritual found in the Qingle ancestral hall of Kam Tin, to which I shall refer below. I am not sure if a cloth “bridge” is used in this ancestral hall ceremony.\n\nOp cit pp 142-144. In a recent visit to Cheng Tau, a woman in her 60s referred to the ancestral hall as a-gong ha (\"the Place of Ancestors\"), which seems to have been the more usual expression for ancestral halls among the Hakka. Compare the expression with Bak-gong ha ('the Place of the Bak-gong earth god'). It is interesting that the title of this category of earth god, whose territory is more limited than the dawang, shares the expression for \"elder brother of grandfather\".\n\nibid p. 224 » 10\n\n174\n\nibid p 160\n\nDiscussion of this aspect of ancestral worship is summarized in C Fred Blake, Ethnic Groups and Social Change in a Chinese Market Town, The University Press of Hawaii, 1981, pp 92-93, 115 n 1, 116 n 2. A possible example is the case of Wo Hang, N. T. where an ancestral hall of the second fang houses the spirit tablets of the first and second generation. See Allen John Lueck, Lun Chun, Land is to live: A study of the concept of isu in a Hakka Chinese village, New Territories, Hong Kong, unpublished PhD dissertation, Department of Anthropology, University of Chicago, 1985, p 273.\n\nCompare H G H Nelson, \"Ancestor Worship and Burial Practices\", in Arthur P. Wolf ed., Religion and Ritual in Chinese Society, Stanford University Press, 1974, pp. 263-267, on the shen-ting which fulfilled the functions of domestic altars for the households in each area” in a Cantonese village in the New Territories. He observes that the shenting \"occupy a place half way between [tang ancestral halls] and domestic altars”.\n\nVol under Donga jie (\"Winter festival\")\n\nTON Op cit. pp 147-148\n\nOp cit. p 12\n\nOp cit. p 176\n\n100\n\nIt is interesting to note the distribution and context of Mountain Songs. It is interesting to note that Mountain Songs were sung only by the male villagers (in some festivals with women hired from other villages) in the Cantonese villages whose dialect is known to others as daaih ga wo (\"big family language\"), and which correspond to the area of the five big clans. In some of the other Cantonese villages, e.g. in Shatin and Saikung, Mountain Songs were sung by the women on the eve before a wedding at the bride's home. Mountain Songs, and related pre-marital courtship, was more popular among some female Cantonese villagers in the Kowloon area who cut grasses for sale as fuel. The livelihood of these women, like that of the Hakka immigrants, depended more on the city. I know much less", "txt_file_path": "txt/dfo323lmgvd/RAS-1996.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/3n209j641", "rank": 0 }, { "id": 213804, "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": 156, "title": "RAS-1996", "content_text": "about the background of these villages.\n\n107\n\nNiu Lang. Kepa Shange\n\n127\n\n|ck\n\nA distinction must be made before Mountain Songs and ballads; the latter is of a totally different nature but could have been labelled 'Hakka Mountain Songs'\n\nI See Faure op cit, Chapter 8, on the relationship between village leadership and the \"gentry\"\n\nIn retrospect, my study of folk songs, especially Mountain Songs, fails to consider how their popularity relates to the strength of the hieratic tradition in the village", "txt_file_path": "txt/dfo323lmgvd/RAS-1996.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/3n209j641", "rank": 0 }, { "id": 214642, "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-1999", "page_number": 57, "title": "RAS-1999", "content_text": "21\n\nDespite the busy nature of these paths over the mountains to Sha Tin, they could be dangerous. Sha Tin village elders remember that tigers were to be found in the woods below Lion Rock in the late nineteenth century during every breeding season. The path to Tai Wai was less heavily used than that over Sha Tin Pass, and tigers sometimes closed it. The Tai Wai and Tin Sam villagers, when there were tigers on the mountain, would gather at dawn at the Che Kung Temple, where they would worship the deity and seek his protection (the wild places on the Sha Tin side of the mountain were under his protection, as those on the Kowloon side were under the protection of the Nga Tsin Wai Tin Hau), and then go over the mountain to their market at Kowloon City in a group, with men armed with spears at front and back, and with others blowing conch shells and banging gongs to frighten the tigers off (these conch shells and gongs were kept in the temple for the purpose).\n\nOne young lady of Tai Wai in Sha Tin, about 1906, crossing the mountains to market on her own, was suddenly menaced by a tiger that came out of the undergrowth near the path. She scrambled onto the roof of a bamboo rain-shelter which stood there, but the tiger leapt after her. His weight caused the shelter to collapse, and girl, tiger, and hut all fell to the ground together. The weight of the tiger caused the bamboos to shatter, and many stuck the tiger like so many small spears. The tiger was so enraged at this that he started to attack the ruins of the hut, roaring and flinging himself at the sticks of bamboo, thus allowing the girl to crawl off, unharmed, and so to run home down the mountain, with a story she was still telling in the year of her death more than 60 years later: this story was told me by the son of the lady concerned.\n\nThe slopes of Lion Rock were, as noted above, under the protection and control of Che Kung on the Sha Tin side, but under the protection of the Nga Tsin Wai Tin Hau on the other. Many cautious travellers would come into the village to worship before setting out over the slopes of the mountain. Again, this brought business and prosperity to the village.\n\nNga Tsin Wai and the League of Seven\n\nNga Tsin Wai is the head village of an inter-village union called the Kowloon Tsat Yeuk (七約), or Tsat Po (七堡), the \"Kowloon", "txt_file_path": "txt/dfo323lmgvd/RAS-1999.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/s178b887x", "rank": 0 }, { "id": 214672, "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-1999", "page_number": 87, "title": "RAS-1999", "content_text": "51\n\nLife was not, however, all hard work, sickness, and brawls. The farming year was full of slack periods when there was time for entertainment and pleasure. The ritual year gave the villagers a framework for their leisure activities: each major festival was marked with a feast - even the poorest of families would have fat pork and rich eels on feast days. Nga Tsin Wai was, according to the Sha Tin village elders, famous for making \"Cha Kwo\", the traditional sticky village cakes, and these would usually be in evidence at festivals. The New Year, Tin Hau's Birthday, and the Winter Solstice Festival were the main festivals celebrated in Nga Tsin Wai, together with the Spring (Ching Ming) and Autumn (Chun Yeung) Grave Festivals, where fat pork would be distributed by the Ancestral Trusts to those who attended the worship at the graves.\n\nDuring the summer, and particularly at the Dragon Boat Festival, the village had the habit of inviting strolling singers to come and stay in the village for a few days or a week, to sing through their repertoire of \"Dragon Boat Songs\". These were long sung novels, and the villagers would sit outside the village gate in the evening listening to the singer for hours.\n\nThe villagers of Nga Tsin Wai were famous for singing themselves (the Tai Wai villagers in Sha Tin were jealous of the Nga Tsin Wai skills). The villagers sang Shan Ko, “Mountain Songs\". These were sung man to woman, verse by verse, and often included innuendo and suggestive comment: they were often called \"Teasing Songs\" as a result. Nga Tsin Wai villagers would often hold impromptu contests with youngsters from Tai Wai when they met at the pass which separated the lands of the two villages (the villagers say that is why the songs are called \"Mountain Songs\"). The Sha Tin elders also remember that more formal contests were also held - an annual one at Ma Tau Wai drew contestants from all of East Kowloon and Sha Tin: it was held at the Mid Autumn Festival. Contestants would be drawn, man and woman, and they would sing to each other; the one that ran out of things to say being declared the loser. The audience was mostly youngsters, and a few interested elders - they would sit around the contest area on the ground, vocal in their comments. The village elders say these contests could last for a couple of weeks if enough contestants appeared. The last contest was held just after the War. This was a Punti practice. The elders of the Hakka village of Ngau Chi Wan rather...", "txt_file_path": "txt/dfo323lmgvd/RAS-1999.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/s178b887x", "rank": 0 }, { "id": 214673, "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-1999", "page_number": 88, "title": "RAS-1999", "content_text": "52\n\nlooked down its nose at these contests, since contestants would pass a hat round, and Ngau Chi Wan thought this was \"just like begging\". The Hakka villages certainly sang Mountain Songs themselves (Ngau Chi Wan was quite well known for them), but they did not hold formal contests. Sha Po also competed in these contests, as well as Nga Tsin Wai. Mountain Songs were always composed \"in the head\": it was felt to be rather improper to write them down, as spoiling the spontaneity of the form. Because of this, women were as good at singing these songs as men - probably better (certainly better, according to the villagers). Women who were particularly good at singing Mountain Songs improved their marriageability, as they had demonstrated their intelligence and self-confidence, which were qualities admired by the villagers in this period. Probably some of the Wais and Chois who married into Nga Tsin Wai were drawn to their husband's families' attention by their skill at singing these songs.\n\nRecent History of the Area\n\nThe prosperity of Nga Tsin Wai, which was so marked in 1902, slowly dissipated thereafter. From 1912 onwards the village has suffered one disaster after another, until it faded from the early 1940s into today's seedy and run-down condition.\n\nThe first disaster came in and after 1912, with the opening of the first phase of the new motor road around the New Territories. Both the road and the Railway (opened in 1910) ran along the western side of the Kowloon Peninsula, far away from Kowloon City. Within a year or two the Railway took almost all the traffic from the eastern New Territories away from Kowloon City. Villagers stopped carrying their goods over the mountain passes to Kowloon City, but instead carried them by rail to Yaumatei. The Sha Tin villagers had always traditionally shopped at Kowloon City; now they often went to Yaumatei. The shops in Kowloon City lost half their business: the Market went into a major depression. At the same time, the vegetable buyers for the City found that it was easier and cheaper to buy vegetables by the truckload from Yuen Long than by the sampan-load from Kowloon City. In Yuen Long there were many large farms which could sell in bulk: in the Nga Tsin Wai area the farmers were all small-scale, the buyers from the City had to buy from intermediate wholesalers in the Kowloon City Market, which raised the costs when compared with buying in Yuen Long. If in", "txt_file_path": "txt/dfo323lmgvd/RAS-1999.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/s178b887x", "rank": 0 }, { "id": 215166, "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": 262, "title": "RAS-2000", "content_text": "A Brief History of Technical Education in Hong Kong\n\nwhen the new Technical Institute was opened. Although we had wire netting screens to protect the Technical College windows in the 1950s, demolition teams still managed to break a few panes of our glass after they had beaten gongs as warnings and blasted away at 12 noon every weekday.\n\nIt was great getting back to my old stamping ground at MHTI, in 1970. I have always considered the four years I spent setting up and serving as Principal of the Morrison Hill Institute as one of the most satisfying periods of my career. I had splendid staff. Nevertheless, equipment was far more basic then than that used today. TIs were a new venture for Hong Kong. For us, it seemed, at times, almost a spiritual search for the mountain top.\n\nBut moving on. In the latter part of the 1960s, it had become obvious that one technical institute was not going to be sufficient to serve Hong Kong's industry which, before China started opening up in December 1978, was largely fairly basic manufacturing. As a result, the Technical Institute Committee, of the Industrial Training Advisory Committee (ITAC) (on which I sat), endorsed our proposals that five TIs were required with a further three coming on stream later, making a total of eight.\n\nAlthough many were dissatisfied with the pace of development, with Kwun Tong and Kwai Chung Institutes as proposed by the Education Department only coming into being in 1975, the Government Public Works Department wanted to delay the completion of the new buildings. The then new Governor, the late Sir Murray MacLehose, held a meeting in Government House in early 1972. He soon let it be known ‘..... there would be two more technical institutes by 1975'.\n\nAnd there were. Lord MacLehose, as he later became, was a man of action.\n\nCarrying on from there, the Haking Wong and the Lee Wai Lee Institutes came on stream in 1977 and 1979 respectively, although the latter was not entirely completed until 1980. Extensions were made to these institutes at later", "txt_file_path": "txt/dfo323lmgvd/RAS-2000.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/nk328168n", "rank": 0 }, { "id": 215430, "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": 207, "title": "RAS-2001", "content_text": "156\n\nPopular Jesuit devotional manuals of the times prove useful. A good example is a 1617 book of poetry that was quickly disseminated after its author's death. The Officium parvum Immaculata Conceptionis, or Small Office, by the Spanish Jesuit St. Alfonso Rodriguez intersperses a brilliant cluster of Marian symbols amongst its prayers. Besides the Fountain, the Spotless Mirror, the Enclosed Garden and the Cypress, the Small Office also sings the praises of the Palm tree, the New Star of Jacob, the Eastern Door of the Temple of Jerusalem, the Port of Shipwrecks and others. Thus, the closed door underneath the decorative pyramid topped by a globe seen on the farthest right-hand bay of the façade can be equated to Rodriguez's porta orientalis of the Temple of Jerusalem, taken from Ezekiel, which remained ever closed after the Lord Yahweh had passed through it.\n\nOther carved symbols can be deciphered with other contemporary texts. For instance, one of the three left bay reliefs carved on the base of the third storey shows the seven-branched candlestick of the Jewish Tabernacle. Here it is reasonable to infer that this is a literary conceit typical of much of sixteenth century Mannerist literature in Europe. Thus, through allusion Mary's immaculate earthly body has been likened to a tabernacle and related to the Eucharistic mystery. This is because Mary carried the baby Jesus in her womb in the same way that the consecrated host is housed in a tabernacle, a cryptic simile known from Counter-Reformation religious literature.”\n\nSuch an interpretation is further confirmed by the reliefs decorating the section of the base of the third storey below the two adjoining bays, as well as the left volute. They show a stylised vine and a small monstrance amid branches with berries.\n\nThese reliefs correspond to the flowering plants that adorn the mirror on the right. Like the flowered pedestals of the columns, these plants seem to be more decorative than symbolic, depicting specimens of Chinese or Japanese flora in which Far Eastern artists have been encouraged to integrate more traditional painterly images with images of Western origin. As is the case with the gargoyles in the form of Chinese lions, they attest to the significant role played by Chinese and Japanese artists in the design and execution of the decoration of the church.", "txt_file_path": "txt/dfo323lmgvd/RAS-2001.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/zg651950g", "rank": 0 } ]