[
    {
        "id": 204257,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1961",
        "page_number": 25,
        "title": "RAS-1961",
        "content_text": "Journal of the Royal Asiatic Society Hong Kong Branch\n\nRASHKB and author\n\n22\n\nVol. 1 (1961)\n\nISSN 1991-7295\n\nOne of the three best songsters in the Colony is, rather surprisingly, the Rufous-backed Shrike, a common resident. It has an interesting ‘melanistic’ or black variant which can often be seen and is known locally as the Dusky Shrike. One or two races of the Brown Shrike may be frequently observed on passage. They are much smaller than the Rufous-backed Shrike and are rather dull in plumage.\n\nA beautiful summer visitor is the Black-naped Oriole, which breeds on Hong Kong Island, near Tai Po, and in Fanling. Its black and gold plumage is a brilliant sight flashing amongst the trees and its flutey whistle is distinctive.\n\nTwo kinds of drongo are summer visitors to the Colony; the Black Drongo, mainly found nesting on Stonecutters Island with a very few pairs elsewhere; and the Hair-crested Drongo, which is much more widespread although not at all common. These two can be distinguished by looking for the spangled plumage and upturned tail-feathers of the Hair-crested Drongo.\n\nThe Chinese Starling is a local summer visitor that appears to have almost died out on Hong Kong Island, where it used to be widespread. The Black-necked Starling nests locally in the northern New Territories, frequently in electric pylons. The Crested Mynah is common and widespread (the little tuft at the base of the bill gives it its name) and the Common Mynah is resident, but confined to a very small area bordering the Ping Shan marshes.\n\nConsidered by many to be the Colony's most beautiful bird, the Blue Magpie unfortunately does not have a nature matching its looks. With its striking blue, black and white plumage and extraordinarily long tail, it is a pity that it must rank with its cousin, the Common Magpie, as the Number One predator on eggs and young birds. Both magpies are residents, and quite numerous locally. The Jungle Crow may be seen all the year round on Hong Kong Island and near Tai Po, but nesting has rarely been proved. This all-black crow has a more attractive relative in the Collared Crow, nicknamed the ‘Parson Crow’ from its white collar. It also is a rare resident, but both species have their numbers augmented by winter visitors.\n\nThe backbone and mainstay of the Colony's bird population are undoubtedly the bulbuls, and the three resident species may be counted on to appear when nothing else does. The Crested Bulbul is a bird of gardens and village woods, most attractive with its spiky top-knot. The Chinese Bulbul is abundant; indeed it cannot be avoided. The Red-vented Bulbul, a rather cheerful-sounding bird, prefers the more open country, especially hillsides.\n\nThe Black-faced Laughing-thrush is a common bird throughout the Colony and its nickname of ‘Seven Sisters’ is due to its tendency to move around in a noisy family party. It has a rare",
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    },
    {
        "id": 205825,
        "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": 131,
        "title": "RAS-1969",
        "content_text": "NOTES ON ETHNO-BOTANY IN THE NEW TERRITORIES\n\n125\n\nTwo native plants are accepted as sources of preservative dye. The first is the local dwarf mangrove, called locally hung ka tung (紅花冬). The bark and leaves are stripped, dried, and pulverized, and a reddish dye extracted. Cutch, too, can also be extracted from this mangrove plant and used in the tanning of leather. The second plant is a yam, pak shue leung (白薯莨; Dioscorea rhipogonoides). Dye is extracted from the underground tuber. This yam is cultivated under the same conditions as the common yam. The common yam, Dioscorea alata, is a minor crop. It is grown as an emergency food, as it presents little or no storage problem so long as the tubers are not dug up.\n\nIn the process of applying preservative dyes, fishing nets are treated with the white of duck eggs to which some tung oil is added. The nets are then steamed in vats before use. The yolk is salted, dried in the sun, and subsequently sold as ham tan wong (鹹蛋黃).\n\nMany economically and medicinally useful plants double as hedge plants. Thick Pandanus growths border paths in many coastal villages and serve as barriers to keep cattle from wandering from path to field. Women and children nibble at the soft fleshy keys of the drupe which are then cast by the wayside. Village boys, too, pelt one another with the keys while playing. Perhaps these actions explain why Pandanus growths often line paths near coastal villages. Because of their toughness and pliability, Pandanus leaves can be plaited into many kinds of light durable articles and many partition walls of existing matshed huts are made of Pandanus leaves.\n\nThe prickly Opuntia and spiky Agave are also common wayside hedge plants. One species of Opuntia called locally sin yan cheung (仙人掌) meaning \"the palm of the fairy-spirit\" was at one time in the past grown for the benefit of cochineal insects (胭脂蟲) which throve on the succulent plant. According to the reports of many older villagers, in the days before the coming of cheaper and better chemical dyes, these insects were gathered from this Opuntia, roasted, and a red dye extracted from them.2 Agave, mentioned earlier, supplied the fibers for making twine and cordage.\n\nAnother common hedge plant is Jatropha curcas, called in Cantonese ma fung shue (麻楓樹) which means \"leprosy shrub”.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1969.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/9g553n20d",
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    },
    {
        "id": 207316,
        "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": 84,
        "title": "RAS-1975",
        "content_text": "76\n\nHELGA WERLE\n\nwhich has the shape of a miniature temple, has the three characters Han-lin yuan embroidered on its red curtain; it is not General T'ien who is sitting behind the ever closed curtain, but the San t'ai-tze lao-yeh\n\nthe 3 princes (Mu-ch'a, Chin-ch'a and No-ch'a).* \n\nThe birthday of the San t'ai-tze lao-yeh is celebrated yearly by this troupe with special performances in the first month of the Chinese calendar in the public housing estate Tung Tau Tsuen ✯✯, not far from the airport, where a whole community considers the San t'ai-tze as their patrons.\n\nAt this birthday celebration in 1976, between 9 and 10 p.m. a man suddenly came running to the temple facing the stage and donned the costume prepared on the table. No-ch'a is usually represented as a young boy: his hair tied in a bob over each ear, with his feet on fire-wheels. The man, a medium, is believed to be an ordinary man who might have never thought of No-ch'a. But on his birthday the god (here No-ch'a) will possess a person who will then only act as a medium. The man or sometimes a woman will get up from his bed, if he is sleeping, or from the table if he is eating, and rush to the square where the festivities are held without talking to anyone. Sometimes 3 people appear being possessed by the 3 princes. If the god in this temple has proved to be particularly efficacious (ling) then this event is expected and the respective clothes for the god are already prepared on a table specially marked with a green bamboo 3m high attached to its leg. The costume for the god is usually put into a flat round basket and a weapon is placed beside it. The medium puts on No-ch'a's costume, a yellow silk blouse and trousers and on the head he puts a band with the two hair-knots attached, shaking all the while and aided by those who have expected his arrival. When dressed the medium takes up the weapon, a solid spiky iron-ball on a chain, and wields it against his own body, beating his back and chest, perhaps to prove that he is actually possessed by the god.\n\n* Doré, Chinese Superstitions, Taipei 66, Vol. 7, p. 413 and Vol. 9, p. 111; E. T. C. Werner: Dictionary of Chinese Mythology, page 247.\n\n† Such a bamboo is also fastened to the roof of the stage or where rituals for the dead are held: it indicates the presence of spirits or marks the place to which spirits are invited to come.",
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        "external_url": "https://digitalrepository.lib.hku.hk/catalog/j0995146d",
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    },
    {
        "id": 207317,
        "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": 85,
        "title": "RAS-1975",
        "content_text": "NOTES ON CHIUCHOW OPERA\n\n77\n\nBy that time the audience who were watching the opera* becomes aware of the medium, who is now rushing through the audience on to the stage, where the performance stops and the actors retreat. A table is placed on the stage, the medium stands behind the table facing the audience, shaking in trance, beating himself with the spiky iron ball. A dozen men surround him, one spraying water from a bucket in all directions, one throwing rice around, several beating gongs. They take away his weapon and give the medium some water to drink from a bowl, they hand him a sword which he brandishes into all directions of heaven. He then opens his mouth, sticks out his tongue with the tip downward, and holding the sword vertically pointing upward he inflicts small cut-wounds to the middle of his tongue. Stacks of yellow paper in various sizes are already prepared on the table, and he bends down and chops the paper with his bleeding tongue, whilst the helpers take away the marked ones to distribute them to the crowd. When the medium's tongue stops bleeding he again drinks water from the bowl, brandishes the sword and cuts his tongue and repeats this whole process several times, shaking all the while, and the deafening gongs never stop being beaten. He finally beats himself once more with the iron ball and blood streaks appear on the back of his costume. Then he is rushed back to the temple where he repeats once more the scene, as on stage. After that he takes off his costume and returns quietly home. They suppose that he is unaware of what he has been doing, and that the wounds of his lacerated tongue and back will have healed by the next morning.\n\nThe members of the opera-troupe who play the military roles, handling knives and swords also venerate Kuan-ti, the god of war on his birthday on the 13th day of the 5th month.\n\nIn recent years, the Chiuchow opera in Hong Kong has received a great boost when Hsiao Nan-ying, a top Chiuchow actress, came to Hong Kong and started to perform in 1974. She has re-trained the actors of the Sang Ngai opera troupe and has written some libretti for them in the style of the reformed traditional plays, a movement which was created under Mei Lan-fang's influence. She produced the libretti, directed the performance, played the leading role...\n\n* From the stage a roof extends to shelter the audience, it rests on pillars and the 3 sides are open. As in church (in Europe and formerly in Protestant mission churches in China) the sexes are divided, women on the left and men on the right. There is a fenced passage-way through the middle up to the stairs leading to the stage.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1975.txt",
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    },
    {
        "id": 209124,
        "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-1981",
        "page_number": 27,
        "title": "RAS-1981",
        "content_text": "FOLK MEDICINE IN BORNEO DIAGNOSIS AND CURE\n\n13\n\nEffectively a man is concerned only with this world and its inhabitants, and under the adat the relations between men and other beings are subject to careful regulation. Every being has its own proper place, its home, if you like; and any other creature who trespasses on his territory commits an offence against the proper order of things, the adat; and trouble follows. The proper place of a man, as I said earlier, is his village, which, when it was a longhouse fortress, was a purely human and manufactured artefact. But in order to live at all a man has to go out of it and cultivate rice and sago. These areas of cultivation are, as it were, partly domesticated and are a semi-human domain. But men share that cultivated territory with other beings - animals, and plants and spirits - and a man is in greater danger there than he is in his village of trespassing on the rights of other creatures, thus bringing about trouble - especially accidents and sickness to himself.\n\nBeyond the semi-human, cultivated zone is the high forest into which men must go to hunt, to fish, and to gather fruit, resins, and other things necessary to life. But a man goes into the forest at his own risk. He shares its use with other beings who probably have greater rights to be there than he has, and he must exercise great caution while he is in it. He often comes back suffering from accidents and illness. To be safe in a tropical swamp jungle needs knowledge, vigilance, and immense luck.\n\nBefore one can understand the trouble which comes from breaking the adat and what that means to a Melanau, we need to know a little about the way in which he thinks a human being is put together. All humans, the Melanau say, are made up of four separate elements: (i) the body; (ii) the soul, which is thought to be a vaporous replica of the body, and which eventually goes to the land of the dead; (iii) the emotions; and (iv) a principle of life that distinguishes animate from inanimate things. For a man to be alive and healthy these four elements must be joined and undisturbed. But the body, in particular, is subject to accidents and illness; and a proper balance of its elements depends partly on a proper balance of hot and cold. The body can easily be disturbed by excessive eating, by exposure to rain and storms, and by an imbalance of hot and cold things. After childbirth, for instance, a woman is particularly subject to cold; and for forty-four days after the birth she must lie by a fire kept alight day and night and eat and drink hot and spicy food. Most illness, however, is attributed to a breach of the adat or an attack by a spirit or even witchcraft. At the onset of an attack by a spirit, or when something else upsets the",
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        "external_url": "https://digitalrepository.lib.hku.hk/catalog/ff36bt18m",
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    },
    {
        "id": 214242,
        "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": 100,
        "title": "RAS-1998",
        "content_text": "63\n\nthe golden bowl being his unique characteristic.\n\nMahesvara, Mahadevi or Siva, known in Chinese as Mo-hsi-shou-lo T'ien 摩醯首羅天\n\nMahesvara is one of the numerous titles borne by one of the best known of the Indian deities, Siva. He has come to be regarded as the Supreme Being though he more generally represents the more malignant forces and destruction, all part of the cycle of creation and destruction. He is married to either Uma Mahesvara [also known as Parvati], by whom he had a son named Skanda [see 21 below], or to Kali, who is also Durga. The latter is known as Hariti [and in Chinese Kuei-tzu Mu: see 6 below] whose image is also one of the twenty-eight Devi. Hariti has one face, six arms and a necklace of skulls\".\n\nImages of Siva stand in both the Ta Pei Ssu and the Pi-yun Ssu. In the Ta Pei Ssu he is portrayed as a typical northern Chinese deity dressed in multi-coloured robes and a tall Buddhist crown, but with six arms and an ageless Chinese face of indeterminate sex. He looks like and could easily be confused with other multi-arm Buddhist deities as he has no unique characteristic. In the Pi-yun Ssu he is naked apart from a skirt in colourfully decorated cloth down to his knees. He has four arms and a smaller head on top of his normal head. He has red spiky hair on both heads and fangs rising out of the lower jaw of his normal head.\n\nSoothill described Siva as having eight arms, three eyes and riding a large white bull, holding a handful of snakes and a small drum, and can be represented as the phallic symbol.\n\n4] Maritci [Maritchi or Marici] known in Chinese as Chun-t'i P'u-sa\n\nThe Tantric [Lamaist] bodhisattva, Chun-t'i, is the Buddhist form of the Hindu personification of light and an offspring of Brahma, Cundi or Candi. She is often confused with the Tantric many-armed Kuan Yin and the Taoist stellar deity, Tou-mu Hsing-chün. Two separate deities also are referred to by Chinese devotees as Chun-t'i; these are as",
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    },
    {
        "id": 214250,
        "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": 108,
        "title": "RAS-1998",
        "content_text": "one of the Twenty Deva. Sagara Naga, the Dragon King of Rain.\n\n71\n\nIn Chinese he is the Dragon King. His image has only been noted in one of our two temples in the Western Hills, the Pi-yun Ssu where he is portrayed as a standing, black-skinned official in multi-coloured robes and a pill-box cap with a small sunburst on the front. He has large round eyes and a black beard and is holding a tablet in both hands clasped before his chest. His image is also present in the cave/tunnel under the Taiwanese temple where he is known as Sha Lo Wang 沙洛王 and is portrayed as a middle-aged Chinese, standing,\n\ndressed in gilded armour and small Taoist crown. He is holding an unsheathed sword in his right hand and a small snake-like dragon in his left.\n\n15] Asura known in Chinese as Ah-hsü-lo\n\nThe Asura in the Lotus Sutra are one of the Eight Classes of super-natural beings - Asura originally meant a spirit or even a god - and are regarded as demons who fight against the forces of Indra. There is an image of an Asura in the group in the Ta Pei Ssu but not in the Pi-yun Ssu, nor in the cave/tunnel in the Taiwanese temple. In the Ta Pei Ssu he is a demonic human with four arms, three eyes and a further head superimposed upon his normal head. He has fiery red spiky hair, red moustache and beard, large round eyes and rings one in each ear. He is stripped to the waist and is white skinned, has bare legs and feet and is wearing a highly decorated colourful skirt.\n\n16] Vimalakirti known in Chinese as Wei-mo Chu-shih\n\nVimalakirti was a disciple of Sakyamuni at Vaisali who the Buddha is said to have instructed, and who later recorded it as the Sutra of Vimalakirti. The realm of Vimalakirti is a realm of profound joy.\n\nAn image of Vimalakirti is in the group in the Ta Pei Ssu but not in the Pi-yun Ssu, nor in the cave/tunnel in the Taiwanese temple. He is standing, dressed in a green robe decorated with gilded roundels and border, and a scarf round his head holding his hair in a loose knot protruding up and through it. He has grey hair, beard, moustache and eyebrows. There are no unique characteristics.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1998.txt",
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    },
    {
        "id": 214251,
        "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": 109,
        "title": "RAS-1998",
        "content_text": "72\n\n17] Kinnara known in Chinese as Chin-na-lo The heavenly musicians\n\nListed as one of the twenty Deva in Soothill, and also one of the Eight Classes of supernatural beings in the Lotus Sutra. They are a group who, in Java for example, are portrayed as half-bird and half-human, and known in their plural as Kinnari. They are also one of the twelve spirits connected with the cult of Yao-shih Fo, the Buddhist Master of Healing. Another version claims that they are the musicians of Kuvera, with bodies of humans and heads of horses. In yet another version they dwell in the tall trees which grow on Gandhamadana, Incense Mountain.\n\nThere are images of a Kinnara in both the Ta Pei Ssu and in the Pi-yun Ssu. In the former he is portrayed as a military figure, standing in armour and helmet and with a scarf swirling round the back of his head and down across his arms. His hands are clasped before his chest and his face, pink and friendly, has a short black beard and mutton-chop moustache. In the Pi-yun Ssu the image has a similar friendly face but this time he is wearing robes and cap of an official and not those of a soldier.\n\n18] Mahoraga known in Chinese as Mo-hu-lo\n\nMahoraga is one of the twelve spirits connected with the cult of Yao-shih Fo, the Master of Healing and the Buddha of Medicine. He is one of the twelve guardian spirits each of whom is associated with one of the twelve hours of the day. The twelve include Vajra, Indra and Kinnara.\n\nAn image of the Mahoraga has only been seen in the Ta Pei Ssu and not in the Pi-yun Ssu. He is portrayed as an extremely ugly, ferocious inhuman demon with black skin. Dressed merely in a decorated and multi-coloured skirt he is standing and has a swirling scarf behind his head and a snake held in his right hand. He has spiky hair on either side of his head protruding like small snakes, and his large protruding jaw and upper lip and his sloping forehead make his face almost animal. The hair on the head is pulled up into a high point, with two ear-pressing tufts one on either side. His eyebrows are like white flames, and his",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1998.txt",
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    },
    {
        "id": 214252,
        "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": 110,
        "title": "RAS-1998",
        "content_text": "73\n\nlarge, wide, gaping mouth has but four small teeth showing, these being normal human-size incisors top and bottom. Finally, he has three small white skulls across his forehead held in place by a pink band.\n\n19] Gandharva known in Chinese as Kan-t'a-p'o\n\nThe Gandharva are one of the eight classes of supernatural beings referred to in the Lotus Sutra. They are Indra's musicians and also in the retinue of Dhrtarastra [they are the same as or similar to the Kinnaras]. They do not eat meat nor drink wine but feed on incense and fragrance.\n\nAn image of the Gandharva is in the Ta Pei Ssu but not in the Pi-yun Ssu. His image portrays him standing, dressed in multi-coloured robes over armour, a helmet over black spiky hair, and is clean shaven. His face is semi-demonic, with large protruding eyes. He has no unique characteristics.\n\n20] Nanda Upananda known in Chinese as Nan-t'o Pa-nan-t'o 跋難陀\n\nLittle seems to be known about Nanda Upananda apart from being a protector of Magadha [near Bihar]. His image has only been seen in the Ta Pei Ssu and not in the Pi-yun Ssu. It depicts him as an elderly man but with a semi-demonic face. He has round eyes, small ugly protrusions on his cheeks, a gaping mouth and fang-like eye-teeth, no moustache but a short pointed beard, and is wearing decorated robes and cap. His hands are held together as if holding a tablet [which may well be missing].\n\n21] Skanda, Viharapala or Veda' known in Chinese as Wei T'o #BE\n\nWei T'o, a Hindu deity, the Deva Protector of the Dharma, guards the sanctuary of virtually all Chinese Buddhist temples. He stands with his back to the main entrance in the inner temple hall facing the main altar and back-to-back with the Laughing Buddha of the Future, Mi-lo Fo, who greets visitors with his smiling welcome. Wei T'o is also to be seen guarding many a folk religion temple, though only very rarely does he appear on a household altar. Because of the prayers offered to",
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    },
    {
        "id": 214267,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
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        "document_key": "RAS-1998",
        "page_number": 125,
        "title": "RAS-1998",
        "content_text": "88\n\nHis neck and, uniquely, he has a pair of wings. Normally he is dressed only in a loin cloth or trousers down to just below his knees, and his skin is entirely blue or green. Occasionally, in place of the hammer and chisel he carries a gourd, and in a number of images he is depicted standing on a pair of drums.\n\nHis origins go far back, possibly to animist beginnings, though from the iconographical detail, half-man half-bird, his cult has been strongly influenced by the Garuda, the Hindu mythical being, the eagle who was Vishnu's steed, a concept brought to China by Buddhism. In earlier pictures and images he was portrayed more as a human with a cock's head and feet and with bat's wings. It was only later that he became more like the Garuda which several foreign writers of the 19th century certainly identified from his iconographical detail.\n\nLei Shen in the temple in the Western Hills is dark skinned, dressed in colourful robes over armour and with black spiky hair. He has no unique characteristics and is therefore unlikely to be accepted as the Thunder God by the majority of Chinese.",
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    {
        "id": 214563,
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        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
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        "document_key": "RAS-1998",
        "page_number": 421,
        "title": "RAS-1998",
        "content_text": "11.\n\n12.\n\n390\n\nWife of Sergt. Galpin, 98th Regt.\n\nWife of Brevet Captain Dunbar\n\n13.\n\nSikh's grave (Inscription in Arabic) [sic]\n\n14.\n\nEnsign Duell 55th Regt*.\n\n15.\n\nPrivate Spiby 55th Regt.\n\n16.\n\n6 Seamen H.M.S. \"Cambrian\".\n\n17.\n\nPrivate Chiltern 98th Regt.\n\n18.\n\nWife of Sergeant (obliterated)\n\n19.\n\nC.W. Moore, Naval Cadet H.M.S. \"Wolf\".\n\n20.\n\nAlex Fraser 98th Regt.\n\n21.\n\nPrivate Brooke, 98th Regt.\n\n22.\n\nCharles Manning 98th Regt.\n\n23.\n\nWife of Ino Smith 98th Regt.\n\n24.\n\nWife of Sergeant (obliterated) 98th Regt.\n\n25.\n\nTwo Privates 98th Regt.\n\n26.\n\nSergeant Slattery 98th Regt.\n\n27.\n\nM. Holmes, seaman H.M.S. \"Wolf\".\n\n28.\n\n29.\n\nR. Butler, Asst Surgeon H.M.S. \"Arab”.\n\nI. Kelly of Band 98th Regt.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1998.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/1g05n0794",
        "rank": 0
    }
]