RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1986 https://digitalrepository.lib.hku.hk/catalog/jq08c7063 91 lanterns affixed on the posts shone on Shek O and Tai Long Wan people. The priests and ritual representatives visited the faan-gon posts and made offerings three times a day in a procession called haang-chiu (audience procession). When I followed one of those processions in Shek O, however, I discovered that not all four of the faan-gon posts were erected at the corners of the settlement. The first faan-gon post in Shek O visited by the haang-chiu procession was between the school playground and the quarters of the cleansing unit of the Urban Services Department. One of the local members of the procession volunteered the information that the post was set up there because three years ago a fatal accident took place at the spot. Two young boys who lived in the quarters of the cleansing unit were playing there when a stone pillar fell down suddenly and killed both of them. V. The local gods The Tin Hau was represented by her wooden image at the centre of the altar. Behind the image was a piece of red paper on which the titles of ten local deities were written. With the exception of the Sea Goddess (shui sin) of the small temple at one edge of Shek O Beach, they were Baak-gung and Daai-wong earth gods of Tai Long Wan, Shek O, and Seung Wai. One of them, styled jang-paang daai-wong (earth god of the stakenets), was a reminder of the former fishing activities of the local residents. Many others had probably existed for the protection of villagers in fishing and farming. The change in land use is evident in the reply given by Mr. Wong, the local leader, when asked where the god's place was. He said, "Below the number 10 alley of the Westerners' residences of Tai Long Wan," linking the god with the change that had taken place in the locality. He gave the same description for the location of another god, the Earth god of the Banyan Tree Place. For the Seung Wai daai-wong, he explained that it was below no. 1 alley, which had become a residential area for Westerners. It used to be the villagers' settlement which was removed to Shek O for the construction of the golf club. There were also three gods whose names were not known to Mr. Wong. He believed that those were from Hok Tsui, the village which joined in ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1986 https://digitalrepository.lib.hku.hk/catalog/jq08c7063 100 CHAN WING HOI NOTES Besides "three-day jius", there are more elaborate “five day jiu” celebrations in the New Territories. The annual ritual takes place typically in Chiu Chau, Wai Chau and Hoklo settlements to make offerings to uncared-for dead spirits. 1 The oldest dated object in the Tin Hau Temple, which housed the main god of the festival, was about one hundred years old. I shall refer to this again later. 6 There could have been more than one "chairman". Probably part of the golf club, or otherwise a similar establishment. Tanaka Issei 田仲一成, Chugoku saishi engeki kenkyū 中国祭祀演劇研究 (Tokyo: Institute of Oriental Culture, University of Tokyo 1981) p. 891. 7 The Fuk-Wai-Chiu immigrants had their own gods and their operas in the Tin Hau festival. According to Tanaka, eleven or twelve gods other than Tin Hau were sacrificed to (op. cit., pp. 891-3). One of them, the Daai Wong Paak Gung of Naam Bin Chyn, is attributed by Tanaka to the Hoklo residents. Tanaka also points out that the Fuk-Wai-Chiu members of the organizing committee were alone responsible for a special part of the festival, that is, the performance of Wai Chau and Chiu Chau operas. 8 Piu-sik are usually carried on frames at a height far above that of the audience in a parade. Because of the rain during the procession this time they stood in a lorry instead. About half of the gods sacrificed to in the Tin Hau Festival, including the Fuk-Wai-Chiu deity mentioned above, were not found among the spirit tablets in the jiu festival. 10 "Picking green". In this case the two lions competed in capturing a bank note hanging near the entrance to the house. Glossary Choi Paak Lai 蔡伯勵 choi-cheng 採靑 Dai Wong (Ye) 大王(爺) ba-wong-dei 霸王地 Chiu Chau 潮洲 baai-chaam 拜懺 Baak Mou Seung 白無常 Baak-gung 伯公 Bak Dai 北帝 Bao'an 寶安 bui 杯 bin-ngaak 匾額 Chai Wan 柴灣 Chan Wa 陳華 Cheung Chau 長洲 Daai Si (Wong) 大士(王) daai-gat 大吉 diu-lau 碉樓 Dongguan 東莞 fa-laam 花籃 fa-paai 花牌 Faaigou jeungdaai ... ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1989 https://digitalrepository.lib.hku.hk/catalog/8336pm92h TABLE 1.2 Partial Genealogical Chart of the First Branch of the Dang Lineage of Kam Tin Yam Generation 16 Ching-Lok (Ching Lok Tong) Wan-Guk Wan-Gaan San-Fung Saan-Chyun So-Hin Naam-Kai Wan-Yu (Loi Shing Tong) Gwong-Yu 17 Sam-Chyun Ging-Chyun Fong Hei-Ye Gwai-Gok Lei-Yun Yun-Fan Sing-Ngok Poo-Am 19 20 21 12 Lam-Mau Jeung-Luk Fuk-Chai 23 (Gwok Yia Jou) Gwok-Yin Yu-Chung Yu-Man Yu-Ji 24 Lok-Sin Chiu-Yip Chiu-Yung Gwan-Leung Gwan-Haak Si-Daan 25 ↓ ↓ ↓ ↓ 26 Ying-Yun 27 307 ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1989 https://digitalrepository.lib.hku.hk/catalog/8336pm92h Ching Lok Ancestral Hail Faan Posts Site for fetching water Faan Posts N Mau Ging Tong) Ancestral Hail Jau & Wong Temple Site for posting the name list Paak Mou Seung Wing used as kitchen General Gods Jade Emperor & City God Faan Posts A 8 Site for offering to gods Guardian Gods Yau-Saan Daai Si Wong Gwon Yam Compartment for villages Compartment for villages C Ancestral altar 0 Puppet altar Theatre A-B-C-D Main paang Later used for opera (Map taken from Tanaka 1989) The Kam Tin Jiu Festival Ground 343 ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1989 https://digitalrepository.lib.hku.hk/catalog/8336pm92h 360 of the Lineage, or his representatives, went to Ching-Lok Ancestral Hall for Hung-Yi. Each party took with them sets of paper clothing, fruit, tea, wine, yun-bou and a gong. I was told that the two officials Jau and Wong would be invited from the temple before the first five ritual representatives went to the Ling Wan Monastery. They departed for Ling-Wan Ji on a goods vehicle. A nun was there to meet them. The nun said that in the celebrations in the past they always heard the sound of the party's gong before the ritual representative's party arrived, this time the party was so quiet that she had no warning of their approach. (She had known that the jiu was to take place, though). A brief worship was conducted by the nun at the main altar. After that the paper clothing was burnt, and the ritual representatives made offerings of incense, tea, wine and a plate of vegetarian food. Then temporary spirit tablets of paper prepared in advance by the villagers for this occasion were each inserted into a piece of Chinese carrot and put on the altar table. There were a total of seven gods, including Gwaan-Dai, Fui-Sing, Choi-Baak-Sing-Gwan and Man-Cheung. Upon the suggestion of the nun, they added a temporary tablet for Gaam-jaai, a god to oversee observation of vegetarian diet. A concluding baai-san was accompanied by the villagers' gong and the nun's “chime”. Among the gods from Ling-Wan Ji, only Gwun-Yam was invited in the form of an image. Next the party went to the Pat Heung Temple. A woman of about 70 met them and the Kam Tin men explained that they were inviting the gods to see the opera and they would be brought back afterwards. The gods were Tin-Hau, Yeung-Hau, Gwun-Yam and Wa-Gwong. The woman instructed them to make an offering and burn yun-bou before they fetched the gods, which they did. Here they took no statue of the gods. Then they went to the Yuen Kong Temple. The ritual representatives had expected the presence of a temple keeper, probably for guidance. But none was to be found. Only Yeung-Hau and Bak-Dai were fetched, although the Kam Tin men made offerings of incense to the other gods of the temple too. After this the party went back to Kam Tin. ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1989 https://digitalrepository.lib.hku.hk/catalog/8336pm92h 368 Sung, Hok-p'ang et. al. (1984), pp. 1-9. 1973 "Legends and stories of the New Territories: Kam T'in', JHKBRAS xiii, 1973, pp. 28-40. 1974 "Legends and stories of the New Territories: Kam T'in", JHKBRAS xiv, 1974, pp. 160-185. Taga, Akigoro Tanaka, Issei 1982 Chugoku Sofu no Kenkyu, vol. 2, Tokyo. 1985 Tsui, Bartholomew Watson, Rubie S. Wolf, Arthur P. (ed.) A Chiu 亞潮(?) baai 拜 baai-san Baak Mou-Seung Ú Baak-Ging Baishe Zhuan Lineage and Theatre in China. Interdependence of Festival Organization, ritual, and theatre in the lineage society of South China, Tokyo. 1989 Village Festivals in China: Backgrounds of Local Theatres. Tokyo forthcoming "Daojiao Yili ya Jishen Kiju zhijian de Guanxi”, forthcoming "Taoist Ritual Books of the New Territories". 1985 Inequality Among Brothers: Class and Kinship in South China, Cambridge University Press. 1974 Religion and Ritual in Chinese Society, Stanford. GLOSSARY chiu-gaan chiu-dou * Chiu-Yip # chu 柱 Chuk Yuen 竹園 Chung E Chung Yeung 重陽 Chung-Saan U Bak Bin 北便 Bak Dai 北帝 bei 陂 bong 榜 Bou-Dak Chi #AM bui cha-gwo 茶果 Chan Gau 陳九 Chan 陳 chau-san + Chenghua 成化 cheun-ding T cheun-fu 巡撫 Cheung-Cheun Yun cheung-saam Chi-Naam Ching Ming U Ching-Lok Chung-Yut Я chyun 村 Daai-Si Wong ✰± Daai-Wong E daai-yan ★A daai-yau daam daam-jung da-jai 打仔 da-jiu 打醮 dan 躉 Dang 鄧 Dang Chung 鄧璁 Dao 道 da-saat Dei-Jong Wong E ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1989 https://digitalrepository.lib.hku.hk/catalog/8336pm92h deui-lyun dim-dang Wif ding-hau T`LI Dongguan 東莞 dong-ji Dung Ping Guk 東本局 faan Fa-Gung Fa-Mou (EAEN fa-paai TEMP Fau-Ng ởH Fong 兒 fong fong-jeung Fu Qing (47 fu 伏 Fu-Hip gwan-ma 郡馬 Gwok-Yin Gwong-Yu K Gwong-Yu Tong Gwun-Yam #E Gyun 銷 Ha Tsuen 厦村 Ha Che 下崟 haang 坑 ha-fu F Hak-Sa ha-yan FA Hei-Ye 起野 heui-lok Heung heung Fui-Sing !! Fung Yuk-Daan MƒU!! Gaai-Yut gaam-sang Gai-Jau # heung-on Ho fil hoi-dang EH hou 號 Hung-Fan Taam gam-taap Gam-Tin Gaozong h Gau Ga Chyun **† hung-jeuk FL Hung-Ji 孔子 Hung-Ji 洪贄 Hung-Sing # Hung-Yi 洪儀 geui-yan git-jing #7 Git-Sau gu l Guangdong MAC Guangzong 光宗 guk 榖 gung-chou Y gung-sang Gwaan-Dai BNR Gwai-Ting gwai-waan (?) Gwai-Wong E gwan 棍 Gwan-Haak 7K Gwan-Leung R jaap-fo 雜貨 Jai Baak-Fu Jan 鈞 Jan-Ting Jau M Jau-Man B jau-tung 州同 Jeung Hoi Jeung 張 Jeung-Luk A jeun-si 進士 Jiangxi 江西 Ji-Ga Tong #18 2 Jik-Gin jiu BE Page 369 ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1989 https://digitalrepository.lib.hku.hk/catalog/8336pm92h 374 which has been copied in an untitled manuscript in the possession of Mr. Dang Yu-Hing).36 Dang Kei-faan Genealogy in the Baker Collection of New Territories genealogies in the British Library. 37 The elder was Dang Wing-Sau, the head of the lineage. I do not know which generation he was in. See Taga (1982:92). 38 Translated in Sung (1974:177-179). 39 40 See table above and the genealogy in Kam Tin Historical Documents, vol. 1. Probably Dang Hei-Seui. See Sung (1974:166-168) and a genealogy of his segment included in Hugh Baker's Collection of Genealogies. 41 Patrick Hase has drawn my attention to the importance of the monastery as central to the establishment Hung-Yi's descendants in Kam Tin, just as Ling To nunnery is to the Dangs of Ha Tsuen. The monastery and the earlier temple are a major element in the fung-seui of the Pat Heung valley and Kam Tin. The rivers important to irrigation in the area all flow from the mountain on which the monastery stands. 42 41 44 I have not tried to find further information on this man in gazetteers. See Sung (1973:112-113) for the Hung Sing Temple. This was one of two stories. They were thought of as alternatives although there is no contradiction between them. I shall relate the other one later. 45 I was told that the Juk-Yun Am used to be at the present site of the Gwaan-Dai Temple of Shing Mun San Tsuen, and San-Sin Fu near Shui Mei. 46 Two items in Kam Tin Historical Documents vol. 2 were probably intended for this very grave. These were among the papers of Dang Ting-sam from the year 1873. The first was a request for donations towards the establishment of a charitable grave. The second was intended for a stone inscription. There is strong evidence that the charitable grave was established before the British came, although many present-day Dangs believe that those buried in the grave were those who died fighting against the British. The jiu festival record for 1895 included the Dei-Jong Wong of Tung-Fuk Tong among the gods to be invited, and an elder in his nineties remembered seeing gam-taap jars for bones when he was very small. He deduced that those must have been the remains of people who died before 1898, because one had to wait for many years he suggested ten — until the bones could be extracted after a first burial. 47 A bin-ngaak (horizontal inscribed board) presented to the Buddhist altar at its completion included ten names who were believed to be the share-holders of the Tong. They were three Wan-Guk jiu descendants of Shui Mei: Baak-Cheung, Daat-Hung, and Jik-Hing; three brothers Yat-Wa, Seui-Chuen, Gam-Wa and two of their nephews, and Baak-Yi, all descendants of Wan-Gaan; and a Hin-Yiu of Kam Tin Shi. 48 Plus a inscribed stone on the ground saying Naam-mo O-Mei-To-Fat, set up to offset the bad influences that caused traffic accidents near the stone. 49 Hoi-dang for a village did not always take place at an altar for the God of Earth and Grain. In the Shui Mei case it took place at the Tin-Hau Temple. 50 The elders made it clear that gu here does not mean “shares". 51 The subjects for these paper images were specified in the contract made with the craftsmen. The contract was included in the general record for the festival and was copied from the previous ones. But neither the organizers nor the contractor seem to have paid much attention to the details of the prescription. 52 The object is probably more commonly known by the name dong 'an and is more often installed over the central area of the Taoist altar rather than in the backstage room. See ================================================================================