RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1996 https://digitalrepository.lib.hku.hk/catalog/3n209j641 100 personalities were the same. In an enumeration of patriarchs of their magic the Yao manuals from Liannan do name Xu Jiangyang (i.e. Xu Xun) just before a Zhang Zhao Lang (probably referring to Zhang Zhao Er Lang) and a Zhao San Lang (probably Zhao Hou San Lang). Comparing the position of Xu Xun in this account with the Cantonese DJYL which alleged the Zhang Zhao Er Lang and Zhao Hou San Lang were disciples of Lü Shan Jiu Lang, one may surmise that Lü Shan Jiu Lang is none other than Xu Xun. 36 We notice three different styles of names in this genealogy of the magic of sorcerers related by Bai. The first group had titles ending with wang "King", the second titles beginning with what looks like the name of a mountain followed by a number and the word lang, and the third beginning with a surname and ending in a pattern similar to the second. The first two characters in the titles of the third group seem at first reading two surnames which leads one to guess they refer to more than one person (3 in the case of Zhao Hou San (3) Lang and 2 in the case of Zhang Zhao Er (2) Lang). Of the gods of the second group the format of their title bears close resemblance to the names of some gods found since at least the Southern Dynasties. It was this third format that we have seen above appearing as ritual names of some class of persons initiated by traditions of magic found among the Yao, the She and the Hakka. The Southern Song passage has a note under Lu Shan saying that it was a mountain in Luzhou or what is Liaoning province in Northeastern China. A work of anecdotal literature of the Jin period, by Yuan Haowen (1190-1257), did mention a Lu Shan Gong temple or Lu Shan temple in Guangning, near Lu Shan in the present Liaoning province, which was certainly in honor of the god of the Lü Shan. The temple was said to be very daunting. It housed ugly and fearful images, so much so that people who entered during day time were frightened. The name of the other two mountains can be found in many different parts of China, making it difficult to determine their locations. In the case of Heng Shan, the one referred to in the name of the god may be related to the one in the story of Sishan Zhang Daidi". But a popular novel from Fujian in late Qing dynasty, featuring as its central figure Chen Jinggu, allegedly the disciple of Lu Shan Fazu, quoting what it claims to be a saying known in Fujian at its time, suggested that the place is in Fujian province itself. I believe that Lu Shan could have been somewhere in ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1996 https://digitalrepository.lib.hku.hk/catalog/3n209j641 120 24 Н Tou To Wang, Changsha Wang and various Muowang "demons" I have not consulted Shuton Yoshio eds. Yao Documents (Tokyo Kodansha 1975) For example the Buddhist concept of Liu Dao, and the Asura was summoned by the Devil King to fight the Buddha in the Dunhuang narrative literature Buo Muo Branwen, in Dunhuang Brannen, in Tarper Shipe Shuju reprint, 1980, p 347 But in a passage of the Hua Yan Jin quoted by Hong MA,, op cut P. 1680, the King of Asura was among those summoned by the Bodhisattva to come to the rescue of those in turmoil But Muowang "Demon Kings' also featured in canonical Daoism in which They have been conquered by the Daoist gods and can be summoned by Daoist for protection Even then the Jade Emperor's native place, according to the same document, was "Puo Xi" which could have been Persia too See Jiang op eit for Qujiang, and Hu Qiwang et al Bancun Yang, Minzu Chubanshe, 1983, for Guangxi Province "See Lagerwey for the present situation "The SJYLSSDC as we see now, a Qing reprint of the Ming book, has a passage that says Chen went to Lu Shan to study magic. But the next four characters do not make sense The crucial characters will give the master's name as Jiu Lang and can be found in reprints in a more recent series A Ming version reprint of the same book, under the title of Sanpao Yuanliu Shengdi Faozu Shoushen Dachuan, in the series Zhongguo Mijian Xinvang Zijido Hunbuan, Taiwan, 1989, gets most of the characters right. Compare also Shi Shen, a Qing manuscript also reprinted in the same series that quotes a Zheng Shou Shen ji, the passage is otherwise identical with SJYLSSDC "See for example Lagerwey, perhaps Liu Zhiwan also. Note the latter being account of practice of the Zhang Fazu sect, which seemed not to involve the Lu Shan Jiu Lang at all Th Interesting information is found in John Lagerwey was not mentioned, instead "John Keupers", "A Description of the Fa-ch'ang Ritual as Practiced by the Lu Shan Taoists of Northern Taiwan", in Saso and Chappell eds Buddhist and Taoist Studies 1. Hawaii University of Hawaii, 1977, p 83 This article on the Lu Shan San Nai sect shows, without saying so, that the confusion has multiplied as the priest has mistaken the pair Lu Shan Jiu Lang and Wang Tu Mu for Dong Wang Gong and Xi Wang Mu, two prominent gods in canonical Daoism, and by two steps of substitution (Xu Xun = Lu Shan Jiu Lang, Dong Wang Gong = Lu Shan Jiu Lang) identified Dong Wang Gong with Xu Xun - See for example the San Jiao Shou Shen Da Chuan Min Du Wai Ji by den He Qiu, reprinted 1987 by Fujian Renmin Chubanshe Yuan Hao-wen, Yi Jian Zhi, Reprint Beijing Zhonghua Shuju, 1988 14 ALL Op eit pp 1181, 1429 + ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-2000 https://digitalrepository.lib.hku.hk/catalog/nk328168n 116 which tends to bewilder foreigners is the lone deity representing Taisui on one altar and images of his sixty forms on another. This appears to be due to a policy decision by the temple committee which decided that in addition to a lone Taisui, the whole group of sixty would be more appropriate and rather than replace the lone image they added the sixty on another altar. In other temples the Taisui group is represented merely by sixty almost identical heads affixed to individual wooden blocks that are covered in red paper or swathed in red ribbon. The range of images is quite wide with, for example, in a temple on Hong Kong island one of the sixty is an aged man with a long white beard. His image has as its neighbour a standing youth with one arm raised holding an axe. The only image of the sixty which would seem to have a unique and extraordinary characteristic is the primary one of the sixty, Jiazi. It consists of two small arms in addition to his normal pair which emerge, one from each eye-socket, and stretch a short distance in front of his face with the forearms turned upwards at their elbows and the hands poised as if about to grasp something. Although his unique feature is to be seen in sketches in several 19th century western books, such as DuBose in 1885, his image depicted with his extraordinary feature has only been noticed on altars in three temples. All three are popular religion temples where all sixty images are arrayed along the walls of their side hall. In Pudong, across the river from Shanghai, he is portrayed as an ordinary male sitting on a bench, dressed in gilded robes, holding a small lion cub in his right hand. He has a black beard and eyebrows and with his unique feature. The Jiazi Taisui in the Taisui Hall in the temple at Song Shan in Taipei is wearing a blue outer robe decorated with gilded Daoist signs, and two large red roundels on his knees bearing the character Fu, for good fortune. He is holding two peaches in his left hand symbolising longevity, rather than a lion cub. An almost identical image is the initial Taisui of the set of sixty in the Taisui hall of the third temple, the Taipei Fazhu Gong Temple. However, this time the tiny arms and hands emerging from the eye sockets are much smaller than elsewhere. Nonetheless, the two sets in these Taipei temples have only been installed within the last decade and both sets appear to have been ordered from and carved on the mainland, possibly near Shanghai. These unique Taisui are obviously blind having these miniature arms and hands taking up their eye sockets, and temple custodians have no idea what these miniature arms signify. However, DuBose writing in ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-2000 https://digitalrepository.lib.hku.hk/catalog/nk328168n 152 52 All sixty of the Taisui on their altar in the Fazhu Gong Temple Taipei. The two major deities, unconnected with Taisui, are Chunti Pusa top centre and Guan Yin Pusa bottom row centre. The inclusion of images of Chunti and Guan Yin has been noted in several temples but only in Taiwan. Page 195 Page 196 ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-2001 https://digitalrepository.lib.hku.hk/catalog/zg651950g 46 muddy plats, eventually reached the first "gun-house," as the crumbling fort was known to the Chinese. Finally, the passengers reached the Custom House and on to whatever accommodation they had reserved or could find in this very primitive European backwater. Chinese immigrants from Hainan, along with those from Fujian, Guangxi, and Guangdong, flocked down to the foreign colonies of south-east Asia. Though integrated into the greater Han Chinese population of Singapore and Penang, as well as within towns and cities in North Borneo, Java, and Sumatra, even today Hainanese have remained in one or two linguistic pockets, such as is to be found in the area of Rengam and Kluang in southern Malaysia. Only a few of all the Chinese temples visited in South-east Asia have been categorically identified as exclusively founded by Hainanese immigrants. Others, predominantly Hokkien, have a Hainanese altar stuck away in one corner, erected by the few local Hainanese, though two temples stood out, both in southern Malaysia, in which the images of the deities were predominantly uniquely Hainanese, though the temple custodians, the devotees, and the other images were all Hokkien. The picture gained from Hainanese staff and devotees in temples containing uniquely Hainanese images revealed the following minimum of temples being predominantly, if not entirely, Hainanese - six in Singapore, two in Penang, one in Kuala Lumpur, one in Seremban, and two in or near Kluang in southern Malaysia; on Sumatra, one in Medan and two in Palembang; on Java, one in Jakarta, one in Cirebon, and one in Semarang. There are several in Ha Tien in southern Cambodia and others scattered across southern Thailand. The strangest of all was the lone, small Hainanese temple on Bali. Hainanese temple altars bear the usual accoutrements and have the same layout as altars in other Chinese communities, though, to generalise, with less clutter, particularly on altars in Hainanese Huiguan [community club houses]. Major China-wide deities, such as Guan Yin, Guan Gong, Hua Guang, City Gods, Earth Gods, and the Wealth Gods, are the same as in every Chinese community. There are also a number of predominantly Cantonese, Chaozhou, and even Minnan deities in many of the Hainanese temples both in Hainan and in South-east Asia, adopted from other immigrant ethnic groups, including Jinhua Niangniang, Caibo Xingjun, Fazhu Gong, Qi Tian Da Sheng, Longwei. ================================================================================