RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1970 https://digitalrepository.lib.hku.hk/catalog/ww72j0241 NOTES AND QUERIES 185 Not far from the main Tin Hau Temple, on rocks formerly in the sea but now built around and beyond by boat squatters' huts, is another smaller temple to the same goddess. This is known locally as the Hoi Shum Temple, or 'Temple in the Midst of the Sea'. It has interestingly decorated pillars and altar slabs, and a half-obliterated inscription shows that it was constructed in 1845, four years after the British occupation of Hong Kong Island. However, the tablet states that, like the Tam Kung Temple, (see below) there was an open air altar to Tin Hau for some time before local people subscribed for the temple building. Nowadays this temple seems neglected and little used, perhaps because it may have been patronised mostly by smaller sampan fishermen who have now been forced into land employment by economic factors. Further along the street, is Ah Kung Ngam-Grandfather's (or Ancestor's) Rocky Hill. This used to be a lonely place by the shore. In the 1901 census it had a population of 213 of whom 159 were males-probably mostly quarrymen and land-based fishermen. Here is situated the large temple to Tam Kung. This was built in 1905. At first sight this late date is rather curious, because old residents of Ah Kung Ngam state that Shau Kei Wan people venerate this god above Tin Hau and his festival is the event of the year for local residents, land and sea alike, celebrated both in Shau Kei Wan proper and round the corner in Ah Kung Ngam.* However, this is partly explained by the tablet commemorating the construction of the temple. This states that for an unstated number of years there had been an image of Tam Kung (brought over from Kowloon) but no structure. This temple contains major shrines to two other gods, Wong Tai Sin and Lung Mo, the Dragon Mother. There are models of a sailing junk and a dragon boat inside the building, the former apparently dating back to 1905, and the latter to 1961. At the far end of Ah Kung Ngam, having passed timber and boat yards on the sea front and squatter and ordinary factories of all kinds on the other side of the road we come eventually to * This is equally so at the present day. A night visit to the area at this year's festival showed opera performances on land and sea and many dinner parties in progress, whilst the amount of debris at the temple after the day's worshipping had to be seen to be believed. ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1970 https://digitalrepository.lib.hku.hk/catalog/ww72j0241 186 NOTES AND QUERIES the small pre-war Yuk Wong (or Jade King) Temple, recently reconstructed, and to some open ground now occupied by a theatrical matshed erected for the Tam Kung festival where Wai Chau and Cantonese opera will be performed for the traditional five nights and four days. This is organised by the people of Ah Kung Ngam, and a small booth on the left-hand side of the road (going in) is plastered with large sheets of orange paper on which the names of all subscribers to this free opera have been written. Up to the war of 1941 and again after the Liberation, up to 13 years ago, my local informants say that puppet plays were held here, but the greater resources of a larger population have now enabled the local people to have opera troupes instead. Both Wai Chau and Cantonese opera are performed, and I was promised the former for the day of our visit.* Among the principal organisers are an old Hoklo fisherman of 75 who has lived at Ah Kung Ngam for nearly sixty years and two middle-aged Hakka men whose families have been settled there for 3-4 generations. According to the old Hoklo fisherman who first came to Ah Kung Ngam about 1911-1912, the Yuk Wong Temple was then 'a broken house with an incense burner'. He goes on to say that it was restored pre-war by a big subscriber. Walking back from Ah Kung Ngam (and later on, in passing by bus through Shau Kei Wan) the visitor will notice the abandoned quarry sites on the hillsides. The official yearly reports of the Hong Kong Government in the later 19th century (styled Blue Books) show that the Shau Kei Wan quarries were then much more important than any elsewhere on the Island and rivalled those in Old British Kowloon. We note, for instance, that there were 72 quarries operating there in 1872, 49 in 1881, and 51 in 1891. *The subject of the Wai Chau opera was taken from the San Kuo or Romance of the Three Kingdoms, one of the most famous novels in Chinese literary history. The episode which was the subject for this particular play, entitled "An Expedition for Revenge", can be read in English between pages 597-607 of volume 1 of C. H. Brewitt-Taylor's translation of the novel in two volumes published by Kelly & Walsh, Limited, Shanghai: Hong Kong: Singapore, 1925. †The old man is right in thinking it was before his time. A list of temples in CSO No. 296/95, an old Secretariat file now kept in the Registrar General's Department, lists three trustees, all named Cheung, for the Yuk Wong temple at "A Kung Ngam". ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1983 https://digitalrepository.lib.hku.hk/catalog/j9607p61v 136 Sources on population are given in Marjorie Topley and James Hayes, "Notes on Temples and Shrines of Tai Ping Shan Street Area" in Topley (ed), op cit, pp. 123-141, at p. 124. 20 Topley, op cit, p. 139. These and other details are given in Topley, op cit, pp. 123-125 and 136-139. * See note 5 above. Whilst the Kung sor is still in existence a school building (R) on the other side of the temple has been pulled down. See the photograph p. 72, 58 in the Urban Council's 1982 publication, The Hong Kong Album. For a historical account of this area see Revd. Carl T. Smith's note on "The Five Terraces" with Li Po Lung Path, in "Programme Notes for Visits to Older Parts of Hong Kong Island (Urban Areas)," in JHKBRAS 14(1974) pp. 197-199. + + There is a possible confusion here. If the three powers of nature are intended it would be, without A. If truly 三聖公 it could refer to Yao, Shun and Yû or Yü, Chou Kung and Confucius (W.F. Mayers, The Chinese Reader's Manual, (Shanghai, American Presbyterian Mission Press, 1874) pp. 301-302.) I am grateful to liaison staff of the City District Office, Western, who obtained the information on this shrine for me in 1974. The 1841 estimate comes from the first Hong Kong census of May 1841. The remaining figures, taken from later census returns and other sources, can conveniently be found in Hayes 1983, p. 253 note 21. 10 Tung Tai Kai and its eastern adjunct Ah Kung Ngam together had four temples. There were large Tin Hau and Tam Kung temples in the Street. To its front, built on rocks in the sea and therefore known as the Hoi Sum Temple (or temple in the sea), was another smaller, older Tin Hau temple which for long has been completely hemmed in by squatter boats. On the east was the fourth of these temples, dedicated to Yuk Kung (Jade King). Tablets and other dated material inside the temples, together with other information, show that they date as far back as the 1860s, 1905, the 1890s and the 1840s respectively, at the least. See my note "Visit to Old Shau Kei Wan --- 24th May 1969" in JHKBRAS 10(1970), pp. 183-88. * Sessional Papers 1901, No. 39/1901, p. 18, Table XII. Like most of the Shau Kei Wan villages, the residents were mainly stonecutters. For the quarries see JHKBRAS 10(1970) p. 186 in the Note cited above (note 36). * Information from Mr. Walter Schofield, Hong Kong Civil Service 1911-38. * Sessional Papers 1901, No. 39/1901, p. 18, Table XII. * See Endacott's History of Hong Kong. p. 293 and Edward Szczepanik The Economic Growth of Hong Kong (London, Oxford University Press, 1958) p. 114. It will be obvious that this article could not have been written without the assistance of many people. I gratefully acknowledge their assistance here. I also wish to thank Dr. Patrick Hase, editor of this Journal, for much encouragement and good advice in its presentation. ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1998 https://digitalrepository.lib.hku.hk/catalog/1g05n0794 324 they danced they conspicuously imbibed large quantities of beer and Chinese spirit wines and were showered with water. Although some of the drink was spat out, the dancers' actions became increasingly drunken, with some entering a short-lived trance-like state. After about thirty minutes the dancing concluded with the eating of lettuce, the presentation of _lassie_ and the lighting of a string of firecrackers. The group then set off by van for other markets and fish trading establishments, with the final dance of the morning outside the "Red Market" due to be the most drunken of all. For much of our knowledge of the Dance Festival, in particular the history and legend, we are indebted to Mrs. Ana Brito, an anthropologist from the Macau Maritime Museum, who as part of her studies on the Festival had interviewed a number of the dancers the year before. Copies of her notes in English, generously supplied to us by Mrs. Brito, show that the Festival was brought to Macau some decades ago from Sek Kei District in nearby Zhongshan County. According to a version of the legend that gave rise to the Drunken Dragon Dance, a certain village had been plagued by a terrible epidemic. In despair the villagers held a procession in Buddha's honour. As the procession was winding its way through the village a dragon in the guise of an enormous serpent arose out of the river. The serpent was killed, hacked into pieces and thrown back into the river, which turned blood red. The villagers drank the water and were miraculously cured.(1)&(2) Leaving the Dragon to make its way through the Inner Harbour area we left for Coloane Village, where festivities were centred on the Tam Gong Temple on the waterfront. This was heavily decorated and had all the trappings and atmosphere of a well-attended Chinese festival. There were many worshippers, as well as beggars, and clouds of smoke from joss sticks and fireworks. We played our part with Dr Patrick Hase lighting the RAS HK string of firecrackers. Nearby a large matshed had been erected where stars from the Cantonese opera world were soon due to perform. Towards noon the Tam Gong Festival procession gathered in the Rua da Cordoaria, off the village square, and then made its way through the village to the Temple. This procession was a less spectacular affair than the Tam Gong processions held in Ah Kung Ngam Village, Shaukiwan, Hong Kong, but was equally attractive within its own ================================================================================