[
    {
        "id": 210294,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1984",
        "page_number": 265,
        "title": "RAS-1984",
        "content_text": "244\n\nCHOI CHI CHEUNG\n\nSpring of 1662 the General gave him land in Uji to build the Temple. See “Fu Chin Hsien Chih Shu Lieh” (B) vol. 12, p. 14 (no date).\n\n24 See a copy of the contract for a house in the underworld in the Appendix to this article.\n\n25\n\n26\n\nKulp, D.H., Country Life in South China, pp. 145-148. The Figure-maker of the Kyoto Chinese Ghost Festival is, however, a Japanese.\n\n27 Several Japanese worked in the Kitchen, and two took care of the incense inside the Tao Ch'ang and other odd jobs like carrying things to burn etc.\n\n28 See the document printed in the Appendix from the introduction to the Pang.\n\n29\n\n30\n\nPlate 29. For the tablet in the \"Ancestral Hall\" see the drawing in the Appendix to this article. For the Ming-che see Plate 30.\n\n31 Plate 31.\n\n32\n\n33\n\nAs shown, for instance in DK-NR. Plate 32.\n\n34 See letter printed in the Appendix.\n\n35 Personal interview, Oct. 13, 1982.\n\n36 According to Li, in 1878, 357 Chinese lived in Kobe, 223 of them from Kwangtong and Kwangsi (Liang Kwang); 84 from Kiangsu, Chekiang, and Anhuai (Sankiang); and 50 from Hokkien. See Li Ta-shen, Shen-hu Ta-ban di Hau-chiao, May 15, 1943 (in the collection of the History Museum of the Kobe Chinese). Refer also to So Shi-sai, Fuku Sei no Pooru Unn, p. 12 ff. (unpublished thesis).\n\n37 Kobe Chinese News, Sept. 10, 1977. Kansai Chinese News, Aug. 25, 1978; Sept. 25, 1979; Sept. 1, 1981; Oct. 1, 1982. Until 1978, it was reported that the worshippers were mainly Hokkienese. But, from 1979 it was changed to \"Chinese worshippers from various places of Japan”.\n\n38\n\nOn the one hand, the festival adopted elements that belong to the Japanese, such as: the interpretation of the ritual of Lantern Floating, the Japanese being the mediators, and Japanese was the medium for interdialect group communication. On the other hand, if compared with the Ghost Festival in Uji, Kyoto, the latter is a purely Hokkienese festival. The organizers were Hokkienese, and so were the worshippers. Moreover, the Hokkienese themselves, not the Japanese priests performed the Reporting ritual at the Kyoto festival; there, Hokkienese, not Japanese, was the language for communication. Because of the primary identification or origins, the festival in Kyoto serves more social functions that do not appear in the Kobe festival, e.g. entan (to talk and arrange for marriage). The Ghost Festival in Kyoto is thus one of the 3 main yearly gatherings of the Hokkienese in Japan.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1984.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/5h73wh572",
        "rank": 0
    },
    {
        "id": 212552,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1991",
        "page_number": 106,
        "title": "RAS-1991",
        "content_text": "86\n\nLike the visit of the Philadelphia Orchestra in 1973, the significance of the BSO's tour lay more in political consequences than in artistic accomplishment. Though the quality of the BSO's first Beijing concert was controversial to some Americans, due to some flaws in performance, all of its four concerts in China were fully attended and two of the three in Beijing were transmitted by China Central Television (CCTV). The media, musicians, music critics and journalists all offered praise. The atmosphere around the BSO's visit was so warm that the U.S. ambassador claimed the event pushed U.S.-China relations 20 years ahead.\n\nWhat made the BSO's trip different from that of the Philadelphia Orchestra in 1973 was that, though overshadowed by political significance, this tour did bring a chance for Chinese artists to exchange artistically with their American guests, due to the improvement in China's political and cultural environments. By 1979, many artists in China had returned to their former posts. Artistic activities were normalized to a significant extent. Artistically, the BSO's visit generated several concrete results: the Central Philharmonic Orchestra performed with the BSO under the baton of Seiji Ozawa; two of China's most prominent musicians, Liu Dehai and Liu Shikun, toured the United States along with the BSO when it went home in March 1979 and performed with the BSO in the United States; in December, Seiji Ozawa came to China again and conducted the CPO. This event was thus successful both politically and artistically.\n\nThe impetus of Sino-American cultural exchanges resulting from the BSO's tour to China was reinforced in August 1979 when Vice President Mondale visited China and signed the first implementing accord under the cultural agreement. In his visit, Mondale praised Deng Xiaoping's visit to the United States in January for resparking the friendship of the American towards the Chinese people. This atmosphere of Sino-American cultural intimacy created by top political leaders received a new impulse in 1980 when the two governments exchanged high-level cultural delegations. In July, Chinese Vice Minister of Culture Liu Fuzhi visited the United States and the USICA director John E. Reinhardt returned his visit in October. In the latter's visit to China, both parties expressed hopes for more high-level exchanges, and confirmed the policy, agreed upon in Liu's earlier visit to the United States, to encourage and support private sector activities in cultural exchanges.\n\nTraditionally, China's cultural relations with Western countries have",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1991.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/k356gt84j",
        "rank": 0
    },
    {
        "id": 215346,
        "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": 123,
        "title": "RAS-2001",
        "content_text": "71\n\nobvious to any Chinese with an ounce of nous. Two years later he wrote a play, Hai Rui Dismissed, purporting to be about Hai Rui. This was seen as a covert attack on Mao Zedong's purge of Marshal Peng Dehuai who had openly blamed Mao for the 1959 famine. The purge of the Peking hierarchy led by Yao Wenyuan, a Communist political writer in 1965 [who was later one of the Gang of Four], is usually seen as the overture to the Cultural Revolution in China, Hai Rui being used as a symbol for Peng Dehuai, Mao's fallen rival.\n\nIn a Hainanese community temple dedicated to the Jade Emperor near Bukit Mertajam in northern Malaysia two images flanked the main deity, on his left hand his Fourth Daughter and on his right Luo Yanhua, about whom nothing more is known other than she is claimed to be a unique Hainanese deity. Her image has not been seen or recorded anywhere else, hand, and aide to the Fourth Daughter.\n\nAlthough Lishan Laomu is primarily a Chaozhou local folk religion cult goddess she is also worshipped widely in Hainanese temples where she is regarded as a Hainanese cult. Lishan Laomu is her more popular title rather than Lishan Shengmu, though considering the ambiguities in legend, title and the initial character, it is open to question whether we might have more than one deity here. Three different characters for Li, all homophones, have been noted. The first means black, the second pear, and the third black horse. The first is the more popular version in central Malaysia and Hong Kong. The second appears to be the character preferred by the Hainanese, and the third has only been encountered in Taiwanese temples. She was referred to in a Saigon Hainanese temple as either Yimei Niangniang 懿美娘娘 or Yide Niangniang 懿德娘娘.\n\nAn elderly lady temple keeper in Kowloon approached the deity and \"introduced\" me to Lishan Shengmu as ‘a foreigner who wished to disperse the mists of his ignorance.' She told me that Miss Fan, a Daoist nun, had been summoned by Tian Hou to Heaven to be trained to become an Immortal and is now a caring spirit known as Lishan Shengmu, the Saintly Mother [or Matron] Lishan.\n\nIn an interesting but typical misconception an odd title of a deity was noted in a temple in Lincoln Road in Singapore where the custodian who claimed to be Hainanese also claimed that all the deities were",
        "txt_file_path": "txt/dfo323lmgvd/RAS-2001.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/zg651950g",
        "rank": 0
    }
]