[
    {
        "id": 205771,
        "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": 77,
        "title": "RAS-1969",
        "content_text": "TUNG KWU ISLAND\n\n71\n\nit was chipped on each edge to take a rope or rattan band, indicating later use as either a net-sinker or a hammer; perhaps both, as it seems water-worn. The material is a welded tuff, a very common rock type in Hong Kong.\n\nFrom shore below sand cliff at south end of isthmus, which had been cut through: hand hoe, found below the original centre of the sandbank, roughly chipped from a pebble of banded rhyolite, and showing slight signs of wear at the acute angles of the trapezoid formed by its outline.\n\nRounded stone of hard welded tuff, worked into shape by pecking to make a rolling-stone of the type used in the Polynesian game known as 'LAFO' in the Uvea and Tonga islands, or the game of bowls practised in the Hawaiian islands. This rolling-stone was found on the west beach about 20 yards from where the hand hoe lay, and near the sand cliff.* It appears slightly roughened at the centre of each smooth side, possibly to give a better grip. This is not the only rolling-stone found on the Colony's beaches: another in my collection comes from Castle Peak, and is close in shape and size to the specimens shown in the British and Honolulu museums.\n\n3. Found loose: exact find position not known:\n\nStone of pentagonal shape, sides unequal, with signs of hammering at the long point and on one edge. The side between the point and the worn edge has been flaked to some degree of sharpness, while the other sides are left flat. The rock resembles a fine-grained grit, and must have been imported.\n\nTwo small stones shaped like the point of a knife, one of a fine-grained shale, the other of a thin-bedded shale with lenticles of grit. The former shows edges polished and curved so as to meet at a point, now broken off. Possibly used as grave goods. Semi-circular stone of gray shale with pinkish stains, chipped on outer edge, and with inner edge hollowed out by chipping or pecking. The shape is very roughly that of the ritual jade (#), the image of the god of the North in the belief of Chou times.\n\nStone axe polisher of white muscovite-bearing sandstone, originally used for arrow straightening and polishing; four of its five used sides have been slightly worn hollow,\n\nStone adze, half-shouldered, with one side polished flat from butt to edge, and showing chipping on its edge caused by use; made from a fine-grained hard gray shale,\n\n*It can be seen in the centre of Plate 3.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1969.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/9g553n20d",
        "rank": 0
    },
    {
        "id": 206803,
        "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-1973",
        "page_number": 80,
        "title": "RAS-1973",
        "content_text": "74\n\nHELGA WERLE\n\nThe Ch'aochow Puppets in Hong Kong\n\nBeing interested in all forms of puppet-theatre, I had heard of the existence of horizontally-moved Ch'aochow stick-puppets in Hong Kong, but it took a long time to have the opportunity to actually see them performed. In the spring of 1973, the leader of the Cantonese rod-puppet troupe, Mak Shiu-tongA, invited me to watch a show near his home, at Block 9 of the Tsz Wan Shan Resettlement Estate. The Ch'aochow people of the estate celebrated the birthday of their patron saint Po-yeh-tan1 on the 27th, 28th and 29th day of the first month.* On a limited rectangular area of about 1,500 square feet there was a bamboo-shed on stilts serving as a puppet-theatre on one end (Plate I), another serving as a make-shift temple opposite to it (Plate II), with an altar on one side and an enormous paper dragon-robe on the other (Plate III).\n\nThe robe complete with boots, belt and lots of neatly folded paper money was to be burned at the end of the celebration, in order to bestow insignia of rank upon the saint in acknowledgement of his merits. The decoration of the robe varies according to the saint to whom it is dedicated. But it is noteworthy that besides the elaborate dragon in relief, pairs of phoenixes and young hornless dragons and the Eight Immortals, three pavilions with eight paper-figures are added. These figures strongly resemble the puppets which I saw later and their heads are also made of plaster. In Ch'aochow the tradition of puppetry and ceremonial figures are very closely related.\n\nThe stilts of the stage were four feet high, with a floor area of 10' x 10' (Plate I), where on the same level the musicians and the puppeteers sit and on which the puppets move (Plate IV). The puppet-stage was very small, with four chairs and a table, all with embroidered covers. The stage is created by five flaps of richly embroidered curtains called chu lien4; the middle one being short to enable the back-stage musicians to follow the performance closely. The two long side-flaps cover a puppeteer each. The decoration of the curtains complement each other to form a cosmical unity: the square middle part shows the lion with four peonies for each direction, representing the earth, the Yin. The Yang is expressed in the dragon design of the other four flaps.\n\nBehind the stage stands a small chest with three drawers—one for puppet-heads, one for headgear and one for arms or pennants\n\n* Lunar calendar.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1973.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/8910rj06r",
        "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
    }
]