[
    {
        "id": 204356,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
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        "document_key": "RAS-1961",
        "page_number": 124,
        "title": "RAS-1961",
        "content_text": "Journal of the Royal Asiatic Society Hong Kong Branch\n\nORASHKB and author\n\n120\n\nVol. 1 (1961)\n\nISSN 1991-7295\n\nIn the New Territories, there are at present no funeral parlours and few undertakers. As in the agricultural interior of China, practical responsibility still falls mainly on the kinsmen of the deceased. The customary burial of villagers is in two stages: initial coffin burial, and subsequent exhumation and re-interment of remains. Having encoffined the body, the relatives normally sustain the vigil directly outside the home under a temporary shelter. Burial then takes place in a traditional village area, but no monument is erected beyond a small unshaped stone at the head of the grave. After five years or more, the body is exhumed. The bones will be cleaned by the family and be placed either in a funerary urn (kam t'aàp) or in a formal masonry grave (shaan fan) shaped like a horseshoe. In the funerary urn, the bones will be arranged in a manner as if the deceased were sitting in the Buddhist lotus posture.\n\nThe siting of funerary urns and horseshoe graves is of particular importance. Relatives will go to great lengths to ensure that the jung shui of the site is propitious. In other words, they wish to ensure that the benevolent influence of the site will protect the deceased, as a member of the family, so that he in turn will look kindly upon his relatives. The site is usually high up, commanding a view of water, and on a ridge or spur which represents, for instance, a dragon, snake, shrimp or crab in its formation. Standing with one's back to a horseshoe grave, one sees a half circle within a radius of ten yards, which is normally regarded as sacrosanct. Disturbance of the ground is regarded with strong disfavour. Traditionally, the left arm of the panorama in front should consist of a long ridge (containing a \"green dragon”) and the right arm of a shorter ridge (containing a \"white tiger\"). In a horseshoe grave, the exhumed remains are buried in a jar in the centre, just in front of a stone plaque (pei shek) that records the name of the deceased, the date of his death, and other details. Important graves of recorded ancestors or founders of a clan are often flanked by a small shrine (haû tỏ) on either side and sometimes another behind, at a distance of ten to twenty feet from the main grave. The object of the shrines is to persuade the earth god to look after the grave.\n\nWhether the exhumed remains are to be placed in a funerary urn or in a horseshoe grave seems to be governed by the sex and general standing of the deceased in the clan, or even by the financial state of the relatives at the time of exhumation. The remains are normally fit for exhumation after a minimum of five years of burial, but, even so, exhumation should not strictly take place unless there has been no pregnancy amongst the deceased's close female relatives in the immediately preceding nine months. This requirement, which would tend to impose some hardship",
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    {
        "id": 205171,
        "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-1966",
        "page_number": 127,
        "title": "RAS-1966",
        "content_text": "122\n\nJAMES HAYES\n\npermitted to settle there, and stringent measures will be taken to prevent its becoming as heretofore a resort for thieves and outlaws, who are hereby warned that they will be proceeded against with severity if they attempt to conceal themselves within the above-mentioned limits **6\n\nWho were these people? Most of the inhabitants of Old Kowloon at this time were Hakkas, whereas the earlier inhabitants of the flatter and more fertile areas of the peninsula, especially round Kowloon City, not far beyond the northern boundary of British territory, were Cantonese. The major Cantonese settlements in the area south of the Kowloon hills date back to the Yuan Dynasty (1280-1368) and even before, whereas the Hakka settlers of the southern part of the Kowloon peninsula are of much more recent origin. Most of them appear to have come into the area in the first half of the 19th century, especially after 1841.\n\nSeveral factors can be said to have operated in bringing Hakkas into the area in the middle years of the 19th century. In the first place, there appears to have been a continuing movement of Hakkas early in the century, seeking to settle on new land. Then, after 1841, there was the attraction of nearby Hong Kong with its opportunities for work, and perhaps wealth. The development of Victoria, the capital city, brought a demand for granite and this was readily available in the rocky outcrops of Kowloon, from which it could conveniently be transported across the harbour to the new building sites. In 1871 there were no less than eighty-one stone quarries in Kowloon more than for the whole of Hong Kong island. Quarrying is traditionally work in which Hakkas engage: they pride themselves on their strength and ability to engage in such strenuous labour.10 Thirdly, the prolonged unrest of the Taiping Rebellion forced many individuals and even whole families to leave their homes and settle in British territory.\" One of the more picturesque settlers in Ho Man Tin Village in the 1860s was a Hakka who had allegedly been one of the Taiping generals and rejoiced in the nickname \"Seven Legged Heavenly Flying Tiger\".\n\nA contemporary observer who had spent nearly thirty years in South China described these people as follows: 12\n\nParties of tramps, called Hakkas or ‘guests' roamed over Kwangtung province squatting on vacant places along the",
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    {
        "id": 205426,
        "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-1967",
        "page_number": 188,
        "title": "RAS-1967",
        "content_text": "BOOK REVIEWS\n\n181\n\nappendices. The first, Appendix A, is on the Chinese calendar, with a table of the twenty-four fortnightly periods,\n\nThe only criticism of this is the third column giving the approximate date in the Chinese calendar. This presumes New Year to fall on 20th February, the last possible day, throwing forward everything on an average by a fortnight.\n\nAppendix C, furnishing a list of the names of Fireworks, Pigeons, Popular forms of entertainment, Melons, Crickets, and Chrysanthemums is most intriguing. Valuable varieties of pigeons are the \"Toad-eyed grey,\" \"Square-edged unicorn\", and \"Wild duck of the Great Dipper\". Poets have similarly exercised their ingenuity in finding epithets for the Flower of the Ninth Moon for they include \"Purple Tiger whiskers\", \"Concubine of the Hsiao and Tsiang Rivers,\" and \"Wild Goose settling on level sand.\"\n\nIn short, Tun Li-ch'en has left us a vivid picture of life as it must have been lived in the capital for centuries before the violent impact of the western world. It was to change soon after. Within twelve years the Imperial fishpond, Wang Hai Lou, had filled up and was a snipe marsh, whilst in another decade it was walled-in as an experimental agricultural establishment. Again, the emancipation of women through the abolition of foot binding, and their escape from the purdah of the mud-walled compound killed all those forms of entertainment which could only be enjoyed in the home. The famous Shadow play, which he describes as bringing tears to women's eyes, was virtually extinct thirty years later, smothered by the cinema.\n\nTun's study of the human side of the ancient capital is an admirable supplement to the work of two foreigners who spent the best part of their lives there, namely — Arlington and Lewisohn's In search of old Peking.\n\nHong Kong, 1966,\n\nN DU BREUIL\n\nAs noted in the President's Report earlier in this volume Madame du Breuil, former Peking resident and a member of our Council, died in 1966.\n\nPRELUDE TO HONGKONG, Austin Coates. London, Routledge and Kegan Paul, 1966, pp. xi, 232. 40/-.\n\nIn view of the recent events in Macao and Hong Kong this book has a certain topical relevance. It covers the period from",
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    {
        "id": 206646,
        "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": 194,
        "title": "RAS-1972",
        "content_text": "188\n\nKEITH STEVENS\n\nthe 23rd day of the sixth lunar month. In Singapore and in Malaya the usual date is the 23rd of the seventh lunar month; but other comparatively common dates are the 6th of the third lunar month, the 18th of the fifth lunar month, the 26th of the sixth lunar month, and the 10th of the eighth lunar month.\n\nNames of his family\n\nFa Chu Kung's family name was Chang (**張**) and he was called Chang Kung (**昌公**). His two brothers are called variously:\n\na. Chang Kung (#2); red face; in Fukien temples\n\nb. Hsiau Kung(); pink face; in Fukien temples\n\na. Hung Kung (#2); pink face; in Fukien temples\n\nb. Hsiau Kung (2): white face; in Fukien temples\n\na. Chiang Chün Ye (*): red face; this last group was seen in a Cantonese temple in Seremban\n\nb. Fa Ch'ing(): white face; this last group was seen in a Cantonese temple in Seremban\n\nHis four assistants have been observed in one temple only, a Hengwa Fukien temple, and are called:\n\na. Liu 劉\n\nb. Lien 遵\n\nc. Chang 張\n\nd. ...\n\nHe has two main disciples:\n\nMa Ye: white faced; with a bell in right hand for punctuating prayers, and wearing a horse head hat.\n\nHu Ye: red faced; with a bottle in his left hand containing magic water for frightening demons, and wearing a tiger head hat.\n\nCommunity Groups worshipping Fa Chu Kung\n\nEach temple in which Fa Chu Kung has been observed has had a temple keeper, appointed by the temple committee or from whom he had purchased his franchise. The main community groups in which Fa Chu Kung is to be found are from the An Chi and Ying Ch'üen areas of Fukien province. Other community groups which have images to Fa Chu Kung are Foochow City, T'ung An and Heng Wa. He is to be seen in at least 34 temples in Singapore and",
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        "external_url": "https://digitalrepository.lib.hku.hk/catalog/gm80qf99h",
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    {
        "id": 206971,
        "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-1974",
        "page_number": 42,
        "title": "RAS-1974",
        "content_text": "36 \n\nH. J. LETHBRIDGE \n\nto organise the retail meat market in that state. This enterprise also failed, so the disillusioned Marquis, who had lost a large part of his private fortune, returned home to France in 1886. \n\nMorès' father, the Duke of Vallombrosa, advised his despondent son to take a long vacation and suggested a journey to India, a land the Duke had visited in his younger days. In November, 1887, therefore, Morès and his wife embarked at Marseilles for the journey out to Bombay. \n\nFrom Bombay Morès and his wife went by train to Calcutta, where they stayed with the Viceroy, Lord Dufferin, and where they met Prince Henry of Orléans. The Marquis and the Prince and a few friends at once organised an expedition into the interior to shoot game. Another expedition, to Nepal, was organised soon after they returned from their first chase, this time with Medora as participant. After five weeks the party returned with the skins of many wild beasts, including that of a tiger which the redoubtable Marquise had herself shot. In the spring of 1888, Morès and his wife returned to Europe. \n\nThe ship that took Morès and his wife back to France was also carrying a number of his old comrades, former Saint-Cyriens, returning from the campaign in Tonkin. Morès had long conversations with these French colonial army officers and learned much about conditions in Indo-China. On the voyage back he thus became deeply interested in the commercial prospects of this new French colonial possession. But to open up and develop the territory necessitated the construction of a railway system: Morès decided to pioneer such an enterprise. As soon as he reached Paris he hurried to see the Minister for Foreign Affairs and presented a plan for building without government aid a railway line from Hanoi to the Chinese border. He was given official permission to prospect the region of Tonkin. On 21 October 1888, as noted, Morès left Marseilles together with William Van Driesche and an engineer, M. Thorel. On 22 November 1888 he landed at Hong Kong en route for Haiphong, and the start of another adventure: the economic exploitation of the Red River basin, a scheme as grandiose as the one he had been engaged on in the Dakotas. \n\nMayréna's Odyssey in Hong Kong \n\nMayréna spent his first days in the Colony studiously cultivating members of the Roman Catholic hierarchy. He visited the",
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        "external_url": "https://digitalrepository.lib.hku.hk/catalog/x633mp077",
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    {
        "id": 206999,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
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        "document_key": "RAS-1974",
        "page_number": 70,
        "title": "RAS-1974",
        "content_text": "64\n\nCAROLE MORGAN\n\nParafilaria Multipapillosa, in which the parasite buries itself under the skin causing blisters which ooze blood on bursting.45) After two unsuccessful campaigns Li Kuang-li finally sent a number of Ferghana horses back to the capital in 101 B.C.; the Emperor hoped that their arrival would coincide with the beginning of an auspicious Age of the Dragon for his people.46\n\nHunting Dogs\n\nThat dogs were associated with hunting from very early times may be deduced from the fact that most words for hunting such as lie (lie) the usual term for hunting, shou (*) a winter hunt and huo (*) a bird hunt were all written with the radical for dog.47\n\nThat a good hunting dog was expensive is illustrated by a story from the Lu Shih Ch'un Chiu (L.S.C.C. 24.6) An eager hunter, dissatisfied with the performance of his dog, could not afford to replace it because the cost of a new one would have ruined his family.\n\nIt is difficult to determine which breeds of dogs were actually known in ancient China. The greyhound, a very old kind of dog, is shown on some Han stone reliefs and a small statuette of a snub-nosed mastiff, its tail curled over its back was unearthed from a Han tomb.43 This dog is believed to be in the lineage of the Tibetan wolf (Canis Niger) which also bred the Roman molossus, the Saint Bernard, the Newfoundland, the bulldog and the miniature breeds of China such as the pug so popular in T'ang times.49\n\nThere is obviously very little graphic material available from pre-Han times. The earliest hunting scene known to date is found on a Chou bronze the so-called “100 animal “dou” (‡a)” showing a hunter and his dog surrounded by various wild animals. But because none of the animals are drawn to scale (the dog is the same size as a neighbouring rhinoceros) and the smallness of the drawing conditioned by the smallness of the vessel (24 cms) it is impossible to determine the dog's breed.50\n\nAnother, somewhat later Chou bronze, also depicts a hunting scene. Here we see four dogs, but again, for reasons stated above, they offer no conclusive proof as to breed.\n\nIf we turn now to linguistic evidence we see that the Shuo Wen gives a long list of names for different dogs but the definition of these names tells us almost nothing about the animals themselves.",
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    {
        "id": 208149,
        "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-1977",
        "page_number": 188,
        "title": "RAS-1977",
        "content_text": "172\n\nNOTES AND QUERIES\n\nAll remarkable mountains are supposed by the Chinese to have some spiritual influence over the affairs of mortals. The rough, barren, mountainous country I have described, has given birth to many superstitions and legends. Some of the huge stones on the hillsides are supposed to represent the tiger, the dragon, and the phoenix. The stones on some hills are said to have locomotive powers, and to pursue any adventurous traveller who attempts to mount their sides: other stones are said, when touched, to have the power of producing pains in the stomach and others to emit white vapours from their surface; of more interest are the caves which are found in some of the mountains (JHKBRAS 7(1967): 110).\n\n12. Krone writes of our own Castle Peak:\n\nThe mountain is reckoned one of the eight wonders of the Canton Province. Some of its large granite boulders are said by the priests to represent various mythological monsters; and several springs well up near the top, which are also esteemed supernatural wonders by the Chinese. The mountain is often visited by students and literati, and its wonders and beauties have been celebrated by them in many verses. The legends connected with the mountain seem not to be very clearly understood. (JHKBRAS 7(1967): 109).\n\n13. In the case of the more famous mountains of the Kwangtung province alone, mythology, legend and history have endowed them with fame over hundreds and even thousands of years. This is due in part to the constant visits of famous poets whose poems are so widely read over the generations that they alone are sufficient to make them sacred and immortal.* Yet our own lesser mountains seem to have had at least one such visitor. In the history of the T'ang family of Kam Tin we read of the famous Sung poet and painter PO Yu-sim, ‘Legends have attributed to him magical powers, and he is supposed to have appeared and disappeared in all the \n\nIn the introduction to his Anthology of Chinese Literature, Vol. 2 (New York, Grove Press Inc., 1972) Cyril Birch writes 'Scholar-officials were subject to a life of movement, and no one could travel very far without lighting on a place celebrated in the verse or prose of an earlier visitor. It might be a hilltop temple or a lakeside pavilion, a mountain pass or an ancient battlefield, a city gate or a particularly awesome cliff. (p. xxvi).",
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        "external_url": "https://digitalrepository.lib.hku.hk/catalog/np198x23n",
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    },
    {
        "id": 208955,
        "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-1980",
        "page_number": 117,
        "title": "RAS-1980",
        "content_text": "FUNG SHUI: ILLUSTRATED BY KAT HING WAI, N.T.\n\n85\n\nThe basic premise of geomancy is the location of ch'i, the cosmic breath, of the site in question. This ch'i is dispersed by wind and carried by watercourse; too much of each or both will drive the site's good influences away, and too little movement will cause stagnation of the influences. An ideal site should be south-facing and constitute the following topographical features: The hills should have the formation of an armchair; those in the rear should fence off evil spirits brought in by the cold bitter northerly wind, those on the left and right should flank it like embracing arms, and the front should be opened or unobstructed such that view, airiness, and sunlight can be brought in by the yang spirit. These features are represented by the four numinous animals: the azure dragon on the left, the white tiger on the right, the red bird in the front, and the black tortoise in the back. Thus, the point where the two forces meet, and in a proportion of three to two of the azure dragon and the white tiger in elevation, is the perfect location for burial and building. As to water, a site with confluence of streams brings good influences; conversely, branching does the opposite. \"Sharp bends are bad since they make straight arrow-like lines, meander being the natural path of good influence...\" However, favourable and auspicious sites are not always readily available, and less desirable ones are remediable by means of tree planting, or building a fung-shui pagoda at proper places, or removing contours and watercourses according to geomantic principles. As fung-shui can bring good influences to people if dwellings are properly placed, so can it cause ill fate if they are placed otherwise. According to a geomantic professor I interviewed in Hong Kong, inauspicious fung-shui can induce illness or even death in the family if, for example, windows or doors or kitchen stoves are mislocated. The same fatality may occur if a beam of a house is erected directly over one's head in a sleeping area. Or a house is in a baleful location if it is situated at the crossroad of a Y-junction. My investigations concur with the Yang Dwelling Classics, which says in the opening paragraph: “All dwellings should not be at the mouth of a thoroughfare, or in a monastery (Buddhist temple grounds), nor come near to a shrine, nor be where plants and trees do not grow (to screen and protect), nor in an old battleground ... nor at the gate or opening of a large wall, nor opposite a prison gate.\"12 In Maurice Freedman's research\n\nyang",
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        "external_url": "https://digitalrepository.lib.hku.hk/catalog/kh04md207",
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    {
        "id": 209871,
        "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-1983",
        "page_number": 130,
        "title": "RAS-1983",
        "content_text": "108\n\nand more than half of them still live within two miles of these ancient sites, which speak of hundreds of years of settlement and progress, before the Han emperors conquered the coast with a fleet and army.\n\nLeaving aside the islands close to Hong Kong, which have little of interest, we next pass the Potoi group off Cape d'Aguilar (named after a Major-General who commanded the troops in Hong Kong in its early years). All are of granitic rocks seamed with dykes of dark green stone which decay more rapidly than the granite and so often form valleys, caves and hollows. All but Potoi itself are barren and deserted, except for the light on Waglan (Wang Lan \"Barrier Fence\"). About nine years ago, the Chinese second officer of a ship distinguished himself by steering straight on to the island, where the ship not unnaturally stopped. There was no discoverable reason for this exploit; it was not bad weather, though dark it was about 2 a.m. and the light showed clearly. A similar but more excusable disaster occurred in 1916 on the east end of the Lema's eight miles to the south on Tam Kon Shan (“Carrying Pole Mountain\"), when the Chiyo Maru, which was a big trans-Pacific liner, ran aground. I believe few or no lives were lost.\n\nnets.\n\nPotoi has a small but good harbour, very popular with boat people, and with a handsome temple. There are a few shops, and its economic centre is Stanley. The beach is used for drying. Once in 1930 an ingenious fellow tried to monopolize the beach by applying for a matshed site right in the middle of it. I saw the place, saw through his game, and turned him down. Up in the hills are three tiny hamlets, living on the scanty crops their fields produce, and probably selling to the boat people as well; their names mean \"Long Stone Ridge\", \"Cow Lake\", and \"Mountain Hut\" 27.\n\nTo the north, at the entrance to Junk Bay, known in Chinese as \"General's Haven\" (Tseung Kwan O), is an island called Fat or Fu Tau Chau (“Buddha's or Tiger's Head Island\"). It was the site of one of the \"Blockade of Hong Kong\" customs stations; the station is in ruins, although the island has a few inhabitants.",
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    {
        "id": 209961,
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        "document_key": "RAS-1983",
        "page_number": 220,
        "title": "RAS-1983",
        "content_text": "198\n\nphotographs and sketches of China campaigns and a tiger's hood head-dress worn by a Boxer in 1900.\n\n—\n\nUp over the Border, in Edinburgh Castle, there is an item of loot from the Second China War: two panels taken from the Temple of Heaven by Ensign C.K.C. Rooke. The note says simplistically that the causes of this war were \"very similar to those that caused the First China War, namely maltreatment of Europeans\".\n\nThe two large panels each bear three smaller panels and they seem to show scenes from court or gentry life. I am sure they would be of interest to scholars who could probably date them easily and perhaps, at the same time, suggest a more appropriate wording for the note.\n\nWhile in Scotland I visited the museum of the Black Watch, in Perth and, although there is little of China interest, they do have the only picture that I have seen of Sir George Murray - the man after whom Murray Barracks was named. He was Colonel of the Black Watch and the portrait is dated 1825. Murray, a former Quartermaster General under Wellington, never visited Hong Kong but his name also lives on in Murray Road and Murray Building. He and General D'Aguilar's father were good friends and when General D'Aguilar started out in the army it helped to have friends in high places. When D'Aguilar was involved in the building of the new barracks at Hong Kong in the mid-1840s he remembered his father's friend and in gratitude for his assistance to his career named his new construction after him.\n\nHamilton, near Glasgow, is the home of the Cameronians. This regiment was heavily involved in the First China War and was later garrisoned at Hong Kong. There is a Chinese vase which came home with the regiment and a very good series of large drawings of a later campaign.\n\nBack over the Border in England, my next stop was Carlisle, the home of the successors to the old 55th, which was, like the Cameronians, very prominent in the early history of Hong Kong and the first campaign in China. There is quite a cache of interesting items in the Border Regiment museum in the impressive and ancient castle.",
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        "id": 210235,
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        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
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        "document_key": "RAS-1984",
        "page_number": 206,
        "title": "RAS-1984",
        "content_text": "185\n\n1900 h., at high tide, the wooden planks of the gate are removed and water from the estuary allowed to enter, when the water level is close to the maximum the gate is closed. At about 0100 h. next day, when the tide is falling, the gate is opened again, water flows out and the produce is trapped in a net secured across the sluice. Only a small proportion of the water is allowed to run out, and it is replaced on the next high tide.\n\nBy contrast, the fish harvest requires a large difference between high and low tide, and more than 90% of the water is run out. Consequently, large areas of the muddy bottom are exposed and the water is restricted to a pool in the vicinity of the gateway with shallow channels running back toward the landward end of the kei wai: Plates 10-14 show the situation. Actual collection of produce is done in several ways: (i) by trapping fish, shrimps etc. in a net secured across the sluice; (ii) by floating a sampan on the pool in the vicinity of the gateway and having the operator throw a large hand net and haul in the produce; prior to this procedure temporary netting fences are erected to prevent the animals from escaping along the shallow channels mentioned above; (iii) eels are collected by probing with a stout multi-pronged fork into the mud around the pool; (iv) oysters may be harvested if they are large enough. A list of the main economic produce is as follows:\n\nFish\n\nJapanese sea-perch (Lateolabrax japonicus)\n\nBlind sea-bass (Lates calcarifer)\n\nYellow-fin sea bream (Mylio latus)\n\nBlack sea bream (Mylio macrocephalus)\n\nTiger fish (Terapon sp.)\n\nArgus fish (Scatophagus argus)\n\nStriped mullet (Mugil cephalus)\n\nTilapia (Sarotherodon mossambicus)\n\nEel (Anguilla japonica)\n\nEel (Muraenesox sp.)\n\nShrimps\n\nMetapenaeus monoceros\n\nPenaeus penicillatus\n\nPenaeus orientalis\n\nPenaeus monodon\n\nPandalus sp.\n\nCrab\n\nSerrated crab (Scylla serrata)\n\nOyster\n\n(Crassostrea gigas)\n\nIn addition, the red seaweed Ceramium sp. grows extensively in",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1984.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/5h73wh572",
        "rank": 0
    },
    {
        "id": 212251,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1990",
        "page_number": 193,
        "title": "RAS-1990",
        "content_text": "170\n\nburning of the temporary theatre, and the sudden deaths of the troupe or community members, were believed to be the outcome of either a violation of the taboo, or a bad performance of the ritual. Besides such disasters, harm of a moderate degree can also occur. This might include the sickness of troupe employees, the loss of an actor's voice, the forgetting of one's part and the commitment of some impossible mistakes during a performance. It has also been a custom that local people should stay away from the performance hall or hide themselves at home before the completion of the White Tiger ritual.\n\nWithin the Cantonese operatic troupes which perform in modern Hong Kong, the taboo of shutting one's mouth and keeping quiet is still strictly observed by the two actors, three percussionists and two to three backstage workers who happen to be assigned by the troupe owner to participate in the preparation and performance of the ritual. Such troupe members often avoid laughing and talking from the moment they arrive at the theatre until the ritual is held, even in areas other than the stage. The two actors always stay away from their friends and colleagues and do not talk to each other. Other employees of the troupe try to hide themselves in the dressing compartments of the backstage, or leave the stage area.\n\nAnother tradition connected with the White Tiger ritual concerns the entrance and exit space located between the backdrop and the back wing curtain on both sides of the frontstage. These two areas are called fu dou mun (the tiger's gate of passage) and are referred to as the Tiger Gates in the present paper. It is uncertain whether the White Tiger ritual is related to the Tiger Gates but another taboo requires the employees to enter the frontstage area through the gate at stage left and leave through the one on the other side before the completion of the White Tiger ritual.\n\nAs pointed out by Barbara E. Ward in her paper \"Not Merely Players: Drama, Art and Ritual in Traditional China\", to avoid the breaking of the taboo by outsiders who do not know it, troupe members do not welcome any visits onstage before the ritual is held. However, the present writer has observed that some backstage workers of a younger age often fail to follow the taboos. Some of them said that they did not believe in these taboos and dismissed them as old-fashioned superstitions.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1990.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/d79206299",
        "rank": 0
    },
    {
        "id": 212255,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1990",
        "page_number": 197,
        "title": "RAS-1990",
        "content_text": "174\n\nmost important part is to fix a piece of ritualistic red sash to the black hat which is to be worn by the Deity of Fortune. Often a pair of gem fu TE (golden flower), which are made of thin metallic foil and used for decorating a deity's shrine, is placed on both sides of the hat, and sometimes the pair of \"wings\" on the hat are turned upright to imitate the hat worn by the deity Zung Kwae who is well known for his exorcistic power. In either case, the hat's peculiar features illustrate that the one who wears it is a deity and not a mortal. Once the hat is ready, troupe members should hide themselves and follow the taboo in an absolute manner.\n\nAfter putting on the appropriate costume, the actor who plays the Deity of Fortune paints his face black with only some white spots, and puts on the mock black beard. Another actor who plays the White Tiger dresses in the tiger costume, and gets the mask but does not put it on until he has to enter the stage. The actors then quietly offer incense at the shrine of the deity Wa Gwong #, who is the major patron of the Cantonese operatic profession. Often incense, fruit and meat are also offered at the shrines of the other patron deities of the numbers of the troupe, which are also placed on the same altar alongside the shrine of Wa Gwong. When the chosen time is approaching, the two actors wait behind the Tiger Gate at stage right. One of the backstage workers hands over the wooden staff to the actor who plays the Deity of Fortune. A string of firecrackers has already been tied to the end of the staff. Holding a joss candle, the worker stands close to the Deity of Fortune and is ready to light the firecrackers when the time comes.\n\nThe Performance of the White Tiger Ritual\n\nThe complete White Tiger ritual is described below and the key episodes are highlighted.\n\n1. With the lighting of the firecrackers and the playing of the gong, cymbals, drum and woodblocks, the Deity of Fortune holds the wooden staff upright, enters the stage from stage right, runs straight across the stage, enters the backstage, runs through the corridor at backstage right behind the backdrop and immediately re-appears onstage.\n\n2. After making a posture, known as zat ga loeng soeng (扎架亮相)",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1990.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/d79206299",
        "rank": 0
    },
    {
        "id": 212256,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1990",
        "page_number": 198,
        "title": "RAS-1990",
        "content_text": "175\n\n3.\n\n4.\n\n(to make a posture and show one's face), the actor goes through a series of stylised stage movements known as tiu dai ga (literally \"to dance the grand posture\") which is often used in Cantonese opera at battle scenes when a general appears onstage.\n\n5.\n\nWith another series of gestures and stage movements in a style similar to mime, the Deity of Fortune goes indoors, falls asleep, wakes up and discovers that his tiger has gone. The Deity goes out and searches for the tiger but cannot find it. He then climbs up and stands on the top of the wooden table, symbolizing that the Deity is now on the top of a mountain and waits for the tiger to appear. One of the backstage workers often hides under the table to keep the structure steady and firm.\n\n6.\n\nThe White Tiger actor enters the stage from stage right. Sometimes an actor might choose to enter with his back turned towards the audience (if there are any) so that the White Tiger's magical power would not hurt them.\n\nThe White Tiger crawls towards the piece of pork, grabs it and puts it through the mouth of the tiger mask. To symbolize the consumption of the pork, the actor throws it beneath the edge of the stage.\n\nThe Deity of Fortune jumps down from the table and fights with the White Tiger. After some struggle, the Deity surmounts the tiger and sits on its back. A backstage worker then goes onstage and hands a chain to the Deity who then fits it to the tiger's mouth.\n\n7. After the capture of the White Tiger, the Deity of Fortune holds the ends of the chain in his left hand and raises the wooden staff upright with his right hand. In order not to harm the troupe members backstage, the two actors keep facing the audience. With a backstage worker pulling its tail, the White Tiger and Deity of Fortune step backward towards the Tiger Gate at stage left. Upon their arrival at the gate, one of the workers helps the two actors to remove the mask, hat and beard; another worker assists in the cleaning of the painted face with a thin pile of joss papers. Sometimes a towel is used instead. Interviews with some experienced actors reveal that the tradition prescribes that the",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1990.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/d79206299",
        "rank": 0
    },
    {
        "id": 212257,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1990",
        "page_number": 199,
        "title": "RAS-1990",
        "content_text": "176\n\n8.\n\ntwo actors resume their normal human identity at the conclusion of the ritual before they can step into the backstage.\n\nAt this moment, troupe members who stay onstage cry out loudly to signal the removal of the taboo which prohibits the opening of mouths. Joss papers are then burned as offerings to the spirits and deities. The whole White Tiger ritual lasts approximately from about three to five minutes.\n\nConclusion\n\nAs pointed out by both Tanaka Issei and Barbara E. Ward, there is an inseparable relationship between Chinese opera and religious rituals. The Offering to the White Tiger aptly illustrates how the performing conventions of Chinese opera are incorporated into the staging of an exorcistic act. On the other hand, as many scholars believe that Chinese opera grew out of religious roots, we might also say that the former adopted the conventions of the latter for dramatic expression.\n\nWhat is discussed in the present article relates to the White Tiger ritual and describes only some of the taboos and religious practices which are preserved in the tradition of Cantonese opera. As the present writer has pointed out in his other articles, other taboos and religious practices require troupe members to pay respect to the local deities upon their arrival at the place where they are hired to perform. Troupe members should also offer incense to the shrines of the profession's patron deities backstage, and place joss sticks at the edge of the frontstage to appease the spirits, ghosts and deities which will then protect them from falling off the stage. On the second day of the performance series, before the evening's play starts, joss papers should be burnt, as an offering to troupe members who have died. Moreover, as in many other Chinese regional operatic genres, whenever a troupe first arrives at a performing hall, even if it does not contain a \"new stage,\" the principal comic role actor has to write the Chinese characters dai ger (big fortune) on the wooden or bamboo pillar closest to the Tiger Gate at stage right, with a brush and using a type of red pigment made from a combination of oil and cinnabar, before the other actors can start their make-up. Such a ritual is known as hoi ber (to open a brush'').\n\nA traditional taboo prescribes that the strokes in the radicle hau ...",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1990.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/d79206299",
        "rank": 0
    },
    {
        "id": 214239,
        "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": 97,
        "title": "RAS-1998",
        "content_text": "60\n\nconcrete images of Thai Buddhas, the [Chinese] Jade Emperor and Siva with the tiger. Temple staff of the three religions attend to their own altars and help devotees as and when required.\n\nThe most widespread Buddhist images seen throughout China which are obviously not Chinese deities are the four major guardians in the entrance hall to Buddhist establishments, the Defenders of the Faith. These and other similar minor guardian deities are former gods of Indian folklore and include the giant guardian deities known in Chinese as Wu-shih, such as those whose images stand outside the main hall of the Jinci in Taiyuan. A further two are the traditional guardians of Buddhist temple gates dating from at least the 8th century. The one [facing the gate] on the right hand is opened-mouthed and coloured vermilion, whilst the guardian on the left has a closed-mouth and is the colour of charcoal. Both are made of stucco. In China they are known as the two generals Heng and Ha, the Blower and the Snorter. In legend they fought with secret weapons; one blew a deadly yellow gas from his mouth with a ha! and the second snorted a white beam of light from each nostril with a heng! which vaporised his enemies. They can also be seen guarding the entrances to Japanese Buddhist temples where they are known as Kongo Rikishi. All of these guardians are undeniably foreign in form in comparison with the gilded images of the standard Buddhas which are now not even considered by Chinese devotees to be anything but Chinese.\n\nWe know who the Deva are, when they were placed in their present temples, both in Taiwan and the Western Hills, but not why. From our various sources it would seem that these Sinicised Indian deities are celestial protectors. We can guess that the concept was imported at a comparatively late stage but who, individually, sponsored them and had the images made is now lost in time. It is interesting to note that present day monks in the Western Hills have little idea of their origins and were apparently completely disinterested in the subject.\n\nIn the cave-tunnel in the comparatively modern temple in Taiwan, however, the images were, to the religious specialists there, simply Buddhas of Yore, the principal ones who preceded Sakyamuni.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1998.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/1g05n0794",
        "rank": 0
    },
    {
        "id": 214468,
        "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": 326,
        "title": "RAS-1998",
        "content_text": "294\n\nMr Read is therefore of opinion that as the two bronze guns are practically identical, and as the iron ones are of more interest as ordnance than from the ethnographical point of view, the three objects forming the first consignment might be more appropriately deposited at the Tower.\n\nHe has consulted Major Gallwey who agrees to this disposal of the guns, but he (Mr Read) would propose to write to Sir Ralph Moor to explain what has been done.\n\nFrom the above we see that the four cannon were offered by Sir Ralph Moor, at that time Commissioner and Consul-General of the Niger Coast Protectorate, to the British Museum in 1899, and that Charles H. Read (then Keeper of the Department of British and Mediaeval Antiquities and Ethnography) in consultation with Lord Dillion (then Keeper of the Armouries of the Tower of London) proposed to keep one of the cannon for the ethnographical collection of the British Museum, and to pass the other three cannons to the Tower of London.\n\nIn the Central Archives of the British Museum, in the \"Report of Donations\" (of the cited department) there is a register of Charles H. Read dated 9 June 1899 stating that Sir Ralph Moor, K.C.M.G., H.M. Commissioner for the Niger Coast Protectorate, donated to the Museum a bronze gun and a modern bronze plaque. It reads as follows.\n\nA bronze gun with the arms of Portugal probably made in Benin, and a bronze plaque, a specimen of modern Benin casting.\n\n(The accession numbers of the two objects, by which they are identified today, are respectively 1899, 6-10, 1 and 1899, 6-10, 2.)\n\nThe two documents from which I quote above have been located for me by Christopher Date, Assistant Museum Archivist, at the Central Archives of the British Museum. To Mr Date I heartily extend my thanks.\n\nAt my request Mr Date has also located for me what I believe is the only published reference to the British Museum cannon before 1995.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1998.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/1g05n0794",
        "rank": 0
    },
    {
        "id": 214469,
        "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": 327,
        "title": "RAS-1998",
        "content_text": "295\n\nIf is found in the Annual Report containing an account or statement of objects added to the British Museum in 1899, and other Particulars \"Ordered, by The House of Commons, to be Printed, 5 March 1900\", at p.77. This publication is of very scarce circulation. The entry reads as follows.\n\nBronze cannon with the arms of Portugal and modern cast bronze plaque from Benin city; given by Sir Ralph Moor, K.C.M.G., H.M. Commissioner and Consul-General, Niger Coast Protectorate.\n\nChristopher Date, through help of colleagues in the Department of Medieval and Later Antiquities, has also kindly supplied to me a number of photocopies of letters, to and from Sir Ralph Moor, on various matters, found in the departmental archives. To Mr Date and his colleagues again I extend my thanks. One of these letters is a copy sent to Sir Ralph by Charles H. Read on the cannon. I quote the part referring to the cannons, roughly the first half of the letter. It is dated 13 June 1899.\n\nThe two bronze and two iron cannon that you have been good to send have duly arrived, and Major Gallwey has called here about them, though I unfortunately missed him. I do not know whether you saw all the guns before they came: but they really form two pairs, those of bronze being quite the same in size and general character while the iron ones have differences which are of interest as ordnance, but less from my point of view. I consulted my friend Lord Dillon, who is one of our Trustees, and also Keeper of the Tower Armoury, and he thought that the bronze guns and one of the iron ones were made in Benin, while one iron gun was made in Europe and ...ted. (4) The interest of the pieces being thus chiefly from the point of view of ordnance. I asked Major Gallwey if he thought you would mind some of the guns going to the Tower, in place of remaining here, and he authorized me to do this. Thus you will receive from here only an acknowledgment for one gun and the tablet.\n\nBy letter of Sir Ralph Moor to Charles H. Read dated 29 July 1899",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1998.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/1g05n0794",
        "rank": 0
    },
    {
        "id": 215079,
        "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": 175,
        "title": "RAS-2000",
        "content_text": "132\n\nThe cycle of years consists of sixty possible combinations of pairs of characters, a system used since remote antiquity. A second system used reign periods similar to that used in England until fairly recent times. In the sixty-year cycle, the Chinese have used individual characters, the ten stems [tiangan] and the twelve branches (dizhi), paired to provide sixty combinations; thus, the first of the stems, Jia, and the first of the branches, Zi, together form a combination for the first year of the sixty, Jia Zi, and each successive year has another pair designating it for the whole sexagenary cycle when the combination begins again.24 The 'branches' were originally used to designate successive days; however, since the Han, they have been used in combinations for successive years.\n\nAlso within that sixty-year repetitive cycle, each individual year, with the five sequences of twelve years, was known, not only by the combination of stem and branch but also, for simplicity, by the animal of the year. Thus, the year 2000 is the Gengchen year as well as being the year of the Dragon. 1988 was and 2012 will also be the year of the Dragon, but neither will be Gengchen years, as this only comes round once every sixty years. For example, the year 2000 was Gengchen, as was sixty years earlier in 1940 and will be again in 2060.\n\nThe Chinese years are also referred to cyclically by one of the twelve named animals. Thus, we have the years of the Rat, Ox, Tiger, Hare, etc., the change taking effect from the Lunar New Year, which can fall any time between late January and the middle of February on the Gregorian calendar.\n\nAlthough the months were divided into two fifteen-day periods, markers for rituals, these periods had no particular relevance to the lives of the common man. What did have marked relevance for the majority of the population was the artificial division of the month into three ten-day periods, used mainly to mark rest days. However, as the seven-day week of the Judeo-Christians does not follow the natural laws by which events and phenomena operate, so it was an alien concept to the majority of Chinese until 1911, when the western Gregorian calendar was introduced by the Republic.\n\nChinese used sun dials and water clocks from an early date, the latter dependent upon a constant and steady flow through control",
        "txt_file_path": "txt/dfo323lmgvd/RAS-2000.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/nk328168n",
        "rank": 0
    },
    {
        "id": 216322,
        "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-2003",
        "page_number": 81,
        "title": "RAS-2003",
        "content_text": "30 \n\non the China coast, first occupied intermittently in 1517 and then from 1557 continuously under payment of a ground rent until 1849, when the Portuguese threw off Chinese control not long after the Opium War.2 Its picturesque title was \"City of the Name of God in China\". \n\nE \n\nIn the 1830s, the entire Portuguese population, including slaves, was not above 5,000; whilst the Chinese of Macau were calculated to exceed 30,000.3 Macau had a senate, a bishop, thirteen churches, three monasteries and a convent. A visiting Protestant wrote, \"...you are every moment reminded you are in a papal town: the bells ring often every day, processions with crucifixes and lighted candles go and come, and priests with black frocks and cocked hats are seen in the streets'.5 \n\nMacau owed its rise solely to trade. Despite its minute size, it was an important part of the Portuguese seaborne empire. It had thrived on the Japan trade, lost after the Japanese rulers turned against Christianity and the overseas trade, which brought its priests into their country; had beaten off Dutch attempts to capture the place in the 1620s; and due to its pivotal role in Eastern trade with South-east Asia and the West, was able to flourish in succeeding centuries. \n\nWith the growth of world trade in the 17th and 18th centuries, Macau became the place to which, by Chinese decree, all foreign merchant ships trading with China through Canton had to report for clearance, and pay for the pilot and permit needed to enter the Canton River. Vessels could then proceed upstream to the Whampoa anchorage where they had to wait to take on their cargoes. Their departure was authorized by a licence, known picturesquely as the Grand Chop. (Plate 2). It is well-known how the foreign merchants conducting business in Canton could only reside there for half the year, and how they had to return thereafter to join their wives and families in Macau. \n\nMacau to Canton \n\nThe Delta is broad, the shores on each side out of sight save for distant mountains, but two-thirds of the way from Macau, we enter the narrow approaches to the Pearl River at the Bocca Tigris or Bogue (\"Tiger's Door\" or \"Gate\"). The change is almost abrupt, and made the more dramatic by the island in mid-stream which blocks the passage into the River. To left, right and centre there were forts. That on the",
        "txt_file_path": "txt/dfo323lmgvd/RAS-2003.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/2v242g390",
        "rank": 0
    }
]