[
    {
        "id": 211959,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1989",
        "page_number": 374,
        "title": "RAS-1989",
        "content_text": "349\n\ncommon to them. Most of them took place at one small space which I shall refer to as the ritual site. In most of the rituals, the ritual site was the Taoist altar in the main hall. Wherever a rite took place, the focus was one or more tables decorated with red embroidery, and covered with offerings of candle-sticks, incense, tea, wine, and sweets and food. In many cases the images of the gods to whom the rite was addressed were placed on the table. In most of the rites that took place at the Taoist altar, a distinction could be made between an \"inner table\" for the three Pure Ones and an \"outer table\" for the general gods of heaven. The priests put on their different Taoist robes and hats, which, in the main rites, distinguish the high priest from the others, and performed a series of actions to the accompaniment of music, which was played on cymbal, gong, dong-jiu and sona, and in the cases of scripture chanting and a few other rites which consist mainly of chanting, the \"wooden fish\" and \"chime\".\n\nThe other common objects used in the rites included manuals, charms, charm water, a bushel measure, knife, seal, and the faan flags for the Emperors of the Five Directions. To pay their respects to the gods, in many rites the priests held a chiu-gaan tablet before the breast as officials did when received in audience by the Emperor, or held a small incense burner with handles. At certain stages of the rites, typically when reporting their Taoist title and invoking the gods, the priest instructed the ritual representatives to kneel. The bushel measure was on the ritual table during most of the major rites. It contained, besides the faan flags, the sword and seal which represented the power of the Heavenly Master, Zhang Tianshi. With these two symbols of authority the head priest performed his magic steps to purify the ritual area, often using charm water as well. Besides the charms used with water for purification, there were charms for summoning different spirits in the Taoist cosmology.\n\n62\n\nOne of the ritual objects which appeared several times in the series of Taoist rites was the Memorial, which existed in three different forms for different purposes.\n\nIn all its versions the Memorial contained a general statement about the ritual, and a list of all the participants in the ritual, i.e. all the villagers. One version was bound in the form of a book and was usually carried by the no. 1 ritual representative in a paper \"pavilion\". This Memorial was read in summary during the first stage of most rites, and in full in a few major rites. Used in most of the major rites were Memorials in the form of scrolls, which were at the end of the rites sent off to the different sections of the supernatural",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h",
        "rank": 0
    },
    {
        "id": 215120,
        "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": 216,
        "title": "RAS-2000",
        "content_text": "173\n\ncharacteristics. Plopper in his Chinese Religion seen Through the Proverb : Shanghai : 1935 claimed that Lao Lang was also the patron of prostitutes.\n\nMeng Fu Langjun f. otherwise known as Langjun Ye, NB\n\nwhose\n\n{1\n\n24\n\n0\n\nimage has been noted in Lukang in western Taiwan, is the patron of the southern school of woodwinds.\n\nHe is known by this title which describes his position once he fled to the West from Chang'an ahead of the pursuing rebel forces.\n\nThis lengthy legend basically tells of the emperor's challenge to Zhang Tianshi to use his magic to stop the noise of heavenly music which, unbeknownst to Zhang was being performed by 360 musicians concealed in a cellar. Zhang stopped the music by killing the lot in one swoop with his magic. The emperor, horrified at what he had done, had them all deified as Plague Gods.\n\nZhi Nú is the Weaving Girl in the legend of the Weaving Girl and the Cowherd.\n\nMesny Wm. Mesny's Chinese Miscellany: Shanghai : 1899\n\nRichard T : The Secret Sects of China : The Chinese Inland Mission Handbook : 1896\n\nChaozhou is a city in eastern Guangdong province where their minority language is spoken.\n\nChuanzhou is a city in southern Fujian province and emigrants from both Chuanzhou and Chaozhou have settled in both Taiwan and South-east Asia.\n\n\"The discrepancies in dates is due to the varying versions provided by temple\n\n12\n\nattendants.\n\nA similar claim was made in Central China where the rain and crop deity, Doutian Yuanshuai BÆ, was believed to be an incarnation of Zhang Xun who, it was said, had intervened to assist the imperial forces during the Taiping wars ca. 1855 and had been awarded the title of Zhangwei\n\n13 Goodrich, A. S. : The Peking Temple of the Eastern Peak : Monumenta Serica : Nagoya : 1964",
        "txt_file_path": "txt/dfo323lmgvd/RAS-2000.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/nk328168n",
        "rank": 0
    }
]