Online Resources

The research project was launched to conduct the first dedicated study of the 677 seals in the collection of the Flagstaff House Museum of Tea Ware (MT), donated by the K.S. Lo Foundation. The focus lies on the seal carving and Guangdong and Hong Kong seal carvers, in order to enhance the understanding of the seal collection's importance for the development of seal carving in this region. This one-year project is carried out in two phases from May 2017 through to May 2018 to undertake a comprehensive study of the seals and their seal carvers and to build an inclusive database of the collection for research, publishing and curatorial purposes.

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To accompany the exhibition, this education pamplet focuses on the theme of 'Qin and Han Heritage in Hong Kong'. It highlights daily lifes in Lingnan and the integration and coexistence of Central Plains and Southern cultures.

Through approximately 120 sets of exhibits from Guangdong Museum, the exhibition illustrates the practical usage, subject matters and artistic features of Chaozhou woodcarving, while giving the audience a taste of the customs and humanistic spirit of Chaoshan region. The exhibition also features other works of woodcarving under various topics and introduces the customs and traditions of the Chaoshan community in Hong Kong.

Showcasing over 700 items of archaeological finds from the most significant sites in Guangdong, Hong Kong and Macao, the exhibition explores the historical and cultural developments of the three places spanning from the Palaeolithic period to the Ming dynasty and introduces the major archaeological achievements, the technological advancements in archaeological excavations and the progress of promoting public archaeology in the three places over the decades. To accompany the exhibition, this worksheet examines the patterns on pottery, bronze artefacts, and relevant insights into archaeology.

An introduction to the Lingnan Art Studio and the life and personal experiences of Professor Chao Shao-an. (approx 13 min)

An introduction to traditional Cantonese opera through clips of five performances: Seven Petitions, Making a Scene at the Green Bamboo Temple, Luk Long Reprimands His Son, The Imperial Emperor of Heaven Holds Court and Ping Gui Leaves the Cave Dwelling. (approx 15 min)

Through short videos introducing intangible cultural heritage (ICH) items such as poon choi, cheongsam making, the unicorn dance, and paper crafting technique, these audiovisual resources will help the public discover the treasures of Hong Kong.

Based on the book The Disappearing Famous Dishes, this video series explores social life in modern Guangzhou through its food culture.
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The 'Gongtong Wenhua Jiayuan' Series integrated media project, which selected a number of outstanding cultural programmes and transformed them into a series of short videos, while some of these videos are even specially adapted for Hong Kong audience with Cantonese dubbing.
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A total of 47 episodes of guided teaching materials in Cantonese opera are available at “Barwo Channel: Cantonese Online Classes”. The contents in the 47 episodes were diversified, with each episode focusing different elements of Cantonese opera such as singing, acting, recitation and acrobatics, makeup, costumes, etc. As the best guide for introductory Cantonese opera, the Barwo Channel: Cantonese Online Classes is surely the best choice for people who are interested in knowing more about Cantonese opera. As the Venue Partner of the Chinese Artist Association of Hong Kong, the Administration Office of the Yau Ma Tei Theatre selectively uploaded 8 episodes to the LCSD Edutainment Channel.

Local temples in Hong Kong, despite serving as religious sites where worshippers make offerings to deities, are open to everyone regardless of religious belief. All visitors are welcome to pay homage, seek divine blessings, and engage in celebrations of divine birthdays and rituals to share with deities the joy of these ceremonies.
Temple keepers, known as sizhu (司祝) or miaozhu (廟祝), do not lead large-scale, collective rituals, such as celebrations of divine birthdays. Instead, they invite external ‘hearth-dwelling’ (huoju 火居) Daoist masters from the School of Orthodox Unity or adepts of Daoist altars from the School of Complete Perfection to officiate such ceremonies. Similarly, the Jiao Festival rituals held in villages in the New Territories are entrusted to these Daoist practitioners and conducted in accordance with Daoist ritual protocols. This lecture focuses on divine birthday celebrations and ritual practices in local Hong Kong temples, exploring the ritual traditions and protocols these ceremonies follow, and the roles that Daoist rituals play in temple beliefs.
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Festivals are an integral part of our lives. Starting from life experience, this lecture attempts to explain what the speaker has seen and heard in the process of moving from armchair to the field since 1975, and at the same time discuss issues and thoughts arising from long-term participant observation and cross-regional comparison.
The Jiao in Hong Kong is not only an important religious festival. For different regional communities, this is an important ritual tool for defining the community's geographical and population boundaries and establishing ethnic identity. However, from the perspective of long-term follow-up observation, the rituals, content, and interpretation of the local communities' Jiao festival are constantly adjusted due to changes in the macro-environment and micro-ecology. Therefore, the speaker attempts to use this opportunity to reorganize his half a century field experience from the process of observation and thinking, on the one hand, he will reminisce about the nostalgic past, and on the other hand, he will provide the audience with an insight into the long-term dynamic religious festival landscape of the regional communities in Hong Kong.
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Literary gathering for Spring Purification (Xiuxi) on the Double Third Festival (i.e., the third day of the third lunar month) has been deep-rooted in Hong Kong literary circles. The Kam Shan Literary Society, led by scholar-merchants Chen Boqi, Liang Yaoming, Liang Qizheng, He Zhuping, and Pan Xinan (a.k.a. Pun Sun-on), organized such literary gatherings for two decades, during 1972 to 1991, consecutively. They brought together literati in Hong Kong for drinking, composing poems, making paintings and calligraphy, as well as playing music and chess. These literary gatherings were held in Nam Tin Chuk Temple in Tsuen Wan, Yan Lo on Kam Shan of Taipo, Wun Chuen Sin Kwoon in Fanling, etc., contributing greatly to the development of Hong Kong classical poetry, paintings, and calligraphy.
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In the late Qing period of China, Hong Kong and Macau shared the doubly unique position in the Lingnan region. Both ports were the initial contact zones for the young Cantonese generation in the region to be exposed to foreign languages and western learning; both were the origins and nexus of exchange for the bourgeoning print culture, which was represented by the surge of new types of publications, such as bilingual dictionaries, language textbooks, newspapers and magazines. From this historical backdrop emerged a generation of Cantonese bilingual literati, who would in turn impact the diversifying linguistic landscape, print culture and educational environment in the region. The lecture unfolds a varied set of accessible and interesting primary sources recently found in digital archives in Hong Kong, China and the U.S., to engage the public audience in re-living the learning, working and expatriate experience of these late-Qing Cantonese bilinguals who made their very first steps in Hong Kong and Macau. The lecture will focalise two of such characters – Yung Wing (1828–1912), and Kwong Ki Chiu (1836 –1891), whose lives were deeply connected by the Chinese Education Mission to the U.S., and whose paths will shed lights on the historical moments when Lingnan literati reaches the World.
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The Cantonese poems in the Xixiao ji by Liao Entao (1865–1954; style name Fengshu) are in strict poetic metre and formal tone patterns, while the Cantonese vocabularies used are rather lively and witty. These poems, thus, are catchy and memorable among Cantonese readers. In fact, the Xixiao ji does not belong to a new genre, but it stems from Cantonese literature with a long-standing history. This lecture introduces some pieces from the Xixiao ji, as well as explores the origin and evolution of Cantonese literature.
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Provided by Guangzhou Museum
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Provided by Guangzhou Museum
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