[
    {
        "id": 204306,
        "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-1961",
        "page_number": 74,
        "title": "RAS-1961",
        "content_text": "Journal of the Royal Asiatic Society Hong Kong Branch\n\nRASHKB and author\n\n70\n\nVol. 1 (1961)\n\nISSN 1991-7295\n\n(P'u-hsien), and Avalokitesvara (Kuan-yin). Only certain Buddhas of the Tantric Sect, such as Cundi (Chun-t'i) and Vairocana (P'i-lu-chê-na) are mentioned as \"saints from the West\"; but even these are given Taoist-sounding titles like tao-jên. In this way, the mainly Taoist framework of the novel is preserved. This amalgamation of Buddhist and Taoist deities is highly interesting and may have influenced actual religious practice in China. The practice of worshipping Taoist gods side by side with Buddhas and Bodhisattvas seems to have started after the publication of the novel, for in earlier Taoist literature we find no Buddhist deities mentioned among Taoist gods. For instance, in the Yün-chi ch'i-ch'ien, chüan 103, we find an account of the Taoist pantheon as it was in the eleventh century, which contained no Buddhist deities or fictional gods. But after the sixteenth and seventeenth centuries, various Taoist gods mentioned in the novel came to be worshipped together with Buddhist ones. What is more, most of the temples which apparently first adopted such practice were situated in northern Kiangsu, near Hsinghua, the native district of Lu, the author of the novel. It is therefore not unreasonable to suggest that the novel influenced the composition of the Chinese pantheon and contributed to the amalgamation of Buddhist and Taoist gods in popular belief.\n\nThe amalgamation of Buddhist and Taoist gods seems to have been achieved purposely by the author of the Fêng-shên. As a concrete illustration, I propose to describe how Vaisravana (P'i-sha-mên Tien-wang), one of the Four Heavenly Kings in Buddhist belief, and his third son Nata (Na-cha or No-cha), became important characters in this novel. Vaisravana was of course an Indian god, but during the T'ang and Sung periods he became identified with the Chinese general of the T'ang dynasty, Li Ching. But stories about him were disconnected before the novel Fêng-shên Yen-i was compiled. In various prompt-books which existed before the novel, such as the Nan-yu-chi (\"Prince Hua-kuang or The Voyage to the South\") and the Hsi-yu-chi (“Pilgrimage to the West”, the prototype of the famous novel of the same name) in the Ssu-yu-chi (\"The Four Travels\"), there were already stories about this god and his son. But in the hands of the author of the Fêng-shen these fragmentary and disconnected stories were reorganized and transformed into a vivid tale which can almost stand on its own as an interesting story apart from the whole\n\n* For illustrations of some of these temples, such as the Kuang Fu Monastery in Tai-hsing, Yangchow, and the Tu Tien Temple in Hai-men, Kiangsu, see Père Henri Dore, Recherches sur les superstitions en Chine, (10 vols., Shanghai, 1913-38), Bk. 9, Pt. 2, in Vol. 6.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1961.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/vd6724704",
        "rank": 0
    },
    {
        "id": 204314,
        "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-1961",
        "page_number": 82,
        "title": "RAS-1961",
        "content_text": "Journal of the Royal Asiatic Society Hong Kong Branch\n\nRASHKB and author\n\n78\n\nVol. 1 (1961)\n\nISSN 1991-7295\n\nson of Li Ching is Hui-an () who was a disciple of Kuan Yin (Bodhisattva Avalokitesvara), while his name, Mu-ch'a (*), is not mentioned except in one verse, and not in the prose part of Ch.21. This is the name the author of the Fêng-shên Yen-i adopted. The origin of the name Mu-ch'a can be found in chüan 18, Kan-t'ung P'ien (A) of the Sung Kao-sêng Chuan (***) by Tsan-ning (), who was a follower of the Monk Sangha (@). The latter was said to be an incarnation of the Avalokitesvara of eleven faces and died in A.D. 710. Apart from Mu-ch'a, Hui-an was also one of his disciples. Therefore, in popular literature, Mu-ch'a and Hui-an are mixed up into one person and in the \"Four Travels\" Hui-an remains a disciple of Kuan Yin. It was the author of the Fêng-shên who changed the character ch'a (X) to cha (RE) in his novel so that the name could have the same second character as No-cha. In some popular editions of the \"Four Travels\" the character ch'a (X) has also been changed.\n\nNow, in the Tantric works, though the second and third sons of Vaisravana (Tu Chien and Nata) play rather important parts, his other sons, especially his first son, are not mentioned. I have read through a large number of sutras about Vaisravana and consulted some Buddhist scholars in Japan,1a but they could not give me any definite opinion. In Oda Tokuno's (1) Buddhist Thesaurus (#) and in the Chinese work Fu-hsüeh Ta Tz'u-tien (BAND) edited by Ting Fu-pao (TR) based upon it,19 we find that the names of P'i-sha-mên wu t’ung-tzu (£££7 Five Attendants of Vaisravana) include Tu Chien and Nata, but no origin is given. I think they may be identical with the \"Five Yakshas\" which appear under the sub-title \"Princes and Family Members\" (ERB) in Caturmaharaja (19F諸小王及眷屬)in E) in chuan 6 of the Ch'i Shih Ching (). They are, in translation, Fifty-feet (wu-chang £), Wilderness (k'uang-yeh ), Golden Mountain (chin-shan ), Long Fellow (ch'ang-shên ) and Hair of A Needle (chên-mao E). They appear (translated literally from the Sanskrit) also in the Caturmaharaja of the Shih Chi Ching (H) and in chüan 19 of the Dirghagama (£§ÂŒ) as \"Five Attending Genii of Vaisravana.”\n\n20\n\nI Dr. Henmi Baiei), Professor of Buddhist Art, Tama University (9) and others. I have also consulted the Chinese Buddhist priest Tan-hsü (1), aged 89, a disciple of the late T'i-hsien (M) of the Tien-t'ai Sect (R) and some Tantric scholars.\n\n19 The 4th ed., I Hsieh Shu Chũ (885), Shanghai, 1939.\n\n20 No. 24, The Tripitaka in Chinese, translated by Jñanagupta. cf. No. 25, Ch'i-shih Yin-pên Ching (#LFXE), chữan 6 & 7.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1961.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/vd6724704",
        "rank": 0
    },
    {
        "id": 205422,
        "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-1967",
        "page_number": 184,
        "title": "RAS-1967",
        "content_text": "BOOK REVIEWS \n\n177 \n\nBUDDHISM IN CHINA, A HISTORICAL SURVEY, Kenneth K. S. Ch'en, Princeton University Press, 1964, pp. xii, 560, £5 (U.K.) \n\nWith perfect candor, and absolutely no insinuation of disparagement, it may be said that this book with its 486 pages of text and 43 pages of bibliography is not a work of original research but a conscientiously and painstakingly written, highly informative and engagingly readable general survey of a vast subject, based on the international Buddhistic publications in Chinese, Japanese, English, French and German. The author does not propose to settle any thorny or esoteric problem or penetrate into the obscure recesses of any occult doctrine, but gives an interesting account and all its ramifications with an almost cyclopaedic richness. He tells us the whirligig of Buddhist fortunes under the various dynasties, and especially the foreign dynasties - Northern Wei, Liao, Chin and Yuan; the involvement with politics—both on the ruling side and the rebelling side; and the close relationship with the various branches of Chinese culture: art, literature and philosophy. There is a concluding chapter of 16 pages on 'The Contributions of Buddhism' which is necessarily sketchy. The glossary of Buddhistic terms and the list of Chinese Names and Titles in Chinese script—though incomplete—are helpful to the reader. \n\nAs examples of the cyclopaedic interest of this book, two items especially may be mentioned: how Maitreya was naturalized to become Mi-lo-fo, and got involved with insurrectionary societies; and how Avalokitesvara was metamorphosed from, until the 10th century, a male into from then onwards a female. \n\nThere has been a legend in which it is alleged that Chinese culture has been completely indigenous and that China has refused to accept anything from outside. Such a legend exists and is prevalent because it is fostered both by domestic nationalistic, if not chauvinistic, pride and by the lack of historical knowledge on the part of foreigners. In fact, ever since the Bronze Age, China has had cultural intercourse with foreign cultures; the unearthed bronze articles of that period testify to that. Chinese music was notably influenced by outsiders. Many current popular, and many extinct classical, musical instruments are not native; the very names betray a foreign origin. Quite a number of the Chinese classical lyric measures bear appellations which have no",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1967.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/0c488p70g",
        "rank": 0
    },
    {
        "id": 206036,
        "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-1970",
        "page_number": 116,
        "title": "RAS-1970",
        "content_text": "A NEW LOOK AT CANTONESE EXPLETIVES\n\n[11\n\nhave a fairly clear idea of what is a word; with some doubt for forms like CAN'T and SHAN'T. Chinese is not so certain. In the written language the tendency is to regard each character as a word, though even in the classical writing some words, like ZEOE-JRYR78 are clearly disyllables, neither half occurring without the other; and this becomes more so in the Chinese Buddhist writing, whether with direct transliterations like SHEKGHAAHMROWN-REYTM79 for Sakyamuni, abbreviations like NRIPPRUUNN80 for Nirvana, SHAAHNREY81 for Śramaneya, PROWSAAT82 for Bodhisattva, translations like GWHUUNNJHAMM83 for Avalokitesvara, or part-abbreviations-part-translations like BUUT-JREOK-(or BOJREAK-)-SHAMM-GHENQ84 for the Prajñāparamita Sutra.\n\nWhere syllables are closely bound I think it better to keep \"syllable\" for each syllable and call the bound group a \"word”. As soon as we do this, we can observe a pattern of stress or ictus, just as in English and other polysyllabic languages. \"Words” as defined above may consist of single syllables, two syllables (very common), three or four syllables, but rarely more than four. And just as in English, we may distinguish a primary stress with strong ictus and a secondary which may be weak or very weak; and in three- and four-syllable “words\" a tertiary stress. With the distinction that in Cantonese a few monosyllables have null ictus (absence of stress) as a significant feature distinguishing them in meaning.\n\nThen, as in English, two or more \"words\" may be joined together to form a phrase. And the phrase has a stress-pattern of its own which can override the word pattern.\n\nApplying the modern descriptions to these superfixes in Cantonese, I distinguish four levels of stress (including null) and four kinds of junction-strong, weak, null and less-than-null, by which last I mean an obligatory break like the caesura in Latin poetry. This incidentally is a feature in the reading of seven-syllable TRONQ85 and SUNG's poetry, where it regularly occurs between the fourth and fifth syllables.\n\n77齟齬 82觀音\n\n78釋迦牟尼 83般若心經\n\n79涼怨\n\n80沙彌 84痣\n\n81菩薩 85\n\n8.菩薩",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1970.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/ww72j0241",
        "rank": 0
    },
    {
        "id": 206795,
        "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-1973",
        "page_number": 72,
        "title": "RAS-1973",
        "content_text": "66\n\nCHIU LING-YEONG\n\nThe style of I-seng was of Iranian origin, in which modeled and shaded polychrome figures seemed to stand out in relief, or even to float free from their background. His style is believed to have influenced Wu Tao-hsüan and to be traceable in the caves of Tun-huang.\n\n35\n\nFrom Chinese sources, Ta Yü-chih had three paintings extant in T'ang period, namely: (1) Liu-fan tu; (2) Wai-kuo pao-shu tu (the six foreigners); and (3) Po-lo-men tu (exotic tree from foreign country); (the Brahmara). However, according to Hsüan-ho hua-p'u, there were seven paintings of Hsiao Yu-chih's work, kept by Sung Hui-tsung, namely:\n\n1. Icon of Maitreya 彌勒佛像一;\n\n2. Buddhist icon 佛鋪圖一;\n\n3. Buddhist followers 佛從像一;\n\n4. Buddhist followers from foreign country 外國佛從像一;\n\n5. Avolokitesvara 大悲像一;\n\n6. Vidyaraja 智;\n\n7. Foreigners36;\n\nThese seven masterpieces were kept by the Emperor in the Inner Palace. Some of I-seng's paintings are still kept by collectors either in China or America, like the Dancing girl of Kucha #✯✯; A Sitting God 坐神; Buddha under the Mango Trees 吉羅林果佛; and Drunken Monk 醉僧圖.\n\nThe Yu-chihs were also masters of mural-paintings. Some of their works can still be found in temples and pagodas in China. In the Sung period, their works were classified as shen-p'in (divine category). I-seng also introduced the 'iron-wire' line to China—the Western technique of using a line of unvarying thickness to outline figures.37 I-seng, according to Chang Yen-yüan, had brought new light to Chinese painting and made more paths for painters of the later generations to develop.\n\nCh'in Ming-ho\n\nAt th...\n\nIn the field of medical science in T'ang China, Professor Lo Hsiang-lin inclines to believe that Persians had made tremendous contributions, especially in surgical operations. In A.D. 683, a Persian known as Ch'in Ming-ho, performed a neurosurgical",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1973.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/8910rj06r",
        "rank": 0
    },
    {
        "id": 206894,
        "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-1973",
        "page_number": 171,
        "title": "RAS-1973",
        "content_text": "NOTES AND QUERIES\n\n165\n\nments which were capable of delicate romance and noisy battle music.\n\nA tour through the large compound of the National Museum gave a perspective of the best examples of Thai art from the Dvaravati to the Ratanakosin periods. The latest discoveries of pots from Ban Chieng, thought to date from approximately 5,000 BC, were on display. In a museum as packed with treasures as this is hard to select any one piece as particularly outstanding; certainly the magnificent Avalokitesvara from Chaiya and some of the early Khmer pieces were much appreciated. The museum has the added advantage of containing the buildings of the former palace of the second king, which themselves are attractive and include the chapel of Buddhaisawan with its large lacquer cupboards and fine frescoes. The lavish carving of the royal funeral carriages, the rajarot, was also noted.\n\nThe group visited Suan Pakkard Palace in Bangkok, the home of H.R.H. Princess Chumpot of Nagara Svarga, whose large collection of antiques, including some fine Ban Chieng and Sukhothai pieces, is elegantly and informally arranged in adjoining traditional Thai houses modernised for contemporary living. The grounds also contain the only lacquer pavilion to survive the Ayuthia period; with its fine decoration it has been restored to its former grandeur. After visiting the palace the members of the tour were entertained to lunch by Her Royal Highness.\n\nPitsanuloke was used as a base for the visit to the Sukhothai area. In that city Wat Mahathat with its exceptional polished bronze statue of the Sukhothai period, Phra Buddha Chinarat, was seen. At Sukhothai itself some time was spent in the vast area of Wat Mahathat, strewn with ruined chedi, chapels and ante-chapels, where there is a number of stucco Buddha statues recently restored. The well-preserved Khmer style temple Wat Si Sawai, with its three symmetrical prang and double enclosure of brick and laterite was in its severity in marked contrast with the ebullience of Wat Mahathat. The ruins of Wat Trapan Ngoen and Wat Sra Si and their moats were noted, the massive walled Wat Si Chum was visited, with its vast and contemplative Buddha open to the sky surrounded by high walls with a hidden staircase in their mass, up which the adventurous climbed. The site of the ancient celadon kilns, Tao Turiang, was seen and Wat Saphan Hin, at the end of a long stone path up a hill from which it gets its name, offered a fine view over",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1973.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/8910rj06r",
        "rank": 0
    },
    {
        "id": 208731,
        "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-1979",
        "page_number": 188,
        "title": "RAS-1979",
        "content_text": "CHINESE RELIGION REDISCUSSED\n\n161\n\npresent day Taiwan, I may point out the cult of the Golden Mother of the Jade Pool and the cult of Kuan Ti focussing on divinatory writing and the publication of morality books.\n\nHaving discussed the great variety of temples according to the first criterium: religious affiliation, the other two criteria mentioned (nature of deities enshrined, and ownership) do not need much attention, since they have already been co-discussed. However, the second criterium needs some elaboration: distinction of temples according to the nature of the deities enshrined. In a few cases there can be no mistaken identity although this criterion by itself is insufficient to determine the temple type. The clearest cases are when the Buddhist Holy Ones are the main objects of worship; Buddhas Sakyamuni, Amitabha or Amita, the Buddha of Healing (rather than 'Medical Buddha' as Baity calls him on p. 126), bodhisattvas Kuan-yin (Avalokitesvara), P'u-hsien (Samantabhadra), Maitreya, Wen-shu (Manjusri), to name the principal ones. In most instances these temples are essentially Buddhist. However, one has to be very careful: the mutual absorption of cult objects by various religions has often blurred the origins; in many Matsu temples (community temples of the folk religion) there is a secondary shrine behind the central hall, in which Kuan-yin is enthroned on the central altar. However, the iconography has been changed: this Kuan-yin does not have the appearance of traditional Buddhist sculpture but appears as another deity of the folk religion. Therefore such temples are still essentially folk religious temples, and the dissonant appearance of Kuan-yin should not deceive the observer.\n\nThe same principal applies to the cult of Ti-tsang (Ksitigarbha). Although originally a bodhisattva, his cult has become so popular that he has been absorbed into the folk religion: his image can be found in many community temples throughout Taiwan, mostly on a secondary altar in the central hall. But once again he has lost the typically Buddhist iconographic appearance.\n\nWhat is the difference between Taoist and popular deities? The most distinctively Taoist Holy Ones are those one does not often see in the temples: their images, painted on scrolls, are in the possession of Taoist priests and brought to the temples or temporary roadside shrines by them for special occasions: such as rituals for the dead or the great chiao festival. Besides those there",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1979.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/2801w5938",
        "rank": 0
    },
    {
        "id": 214233,
        "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-1998",
        "page_number": 91,
        "title": "RAS-1998",
        "content_text": "54\n\nfirms that the majority of deities in these two temples are Deva. The categorization of the Twenty-eight Immortals as Deva was arrived at by comparing the Sanskrit identities of the twenty-eight images and the list of the Twenty Deva provided by Soothill. The minor variation in inclusion and omission between the Twenty Deva listed by Soothill, the Twenty-two Deva in the Ta Pei Ssu and the Twenty-five in the Pi-yun Ssu cannot be explained.\n\nIn some temples the Deva have been equated with the Asuras. This is incorrect as the Asuras are those who are not only not Deva but are, according to some writings, the greatest enemies of the Deva and, in others, it is written that the Asuras are anti-gods and not, as claimed so often in English, demons.\n\nIt would not have been possible to identify any one of the images of the Deva without its Sinicised Sanskrit title on the tablet before it apart, that is, from the three fundamentally Chinese deities with their Chinese titles included within the Deva groups, Wei T'o and the four T'ien Wang Guardians.\n\nImages within the Two Temples in the Western Hills\n\nWithin the main hall of both temples, apart from the images of the Deva lining the side walls, stands the popular and well-known Buddhist bodhisattva, the Goddess of Mercy, Kuan Yin adapted from images brought from India where he [a male deity at that time] was the Brahmanist deity Avalokitesvara. In the Ta Pei Ssu she is alone whereas in the Pi-yun Ssu she is sitting crossed-legged and is flanked by two pairs of secondary bodhisattva. The first pair is Wen Shu and P'u-Hsien, whose Sanskrit titles are Manjusri and Samatabhadra respectively. They were two of the twelve divine Buddhist teachers. They in turn are flanked by another pair of bodhisattvas, Ti-tsang Wang, the Saviour of the Underworld and Ta-shih Chih. The latter is one of the members of the retinue of Amitabha [O-mi-t'u Fu] known in Sanskrit as Kshitigarbha and Mahasthama respectively. Mahasthama is believed to be the deified Maudgalyayana, the right hand disciple of the Buddha, Gautama.\n\nIn the Pi-yun Ssu, the bodhisattva Saviour of the Underworld, Ti-tsang Wang, is depicted in his modern standard form, sitting side-",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1998.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/1g05n0794",
        "rank": 0
    },
    {
        "id": 214243,
        "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-1998",
        "page_number": 101,
        "title": "RAS-1998",
        "content_text": "64\n\nMaritchi [or Marici Deva], [a Sanskrit term for the Indian mythological form of Parbati, the wife of Siva]; and Ma-yeh, the mother of Sakyamuni, The Buddha, the whole being confused by devotees who tend to describe them all as Chun-t'i, with the legends of Maritchi and Cundi producing an inextricably involved and perplexing picture.\n\nImages of Marici are present in both the Ta Pei Ssu and the Pi-yun Ssu and in both temples he, rather than she, is portrayed as a standing Buddhist deity with eight arms and with three faces. The face facing forward is of a benign human with hooded eyes commonly seen on Tibetan images. He has a third eye in the centre of his forehead. The other two are faces of a pig and of a human. He is dressed in colourful robes and a five-leaf Buddhist crown, and is barefoot.\n\nThe association between Chun-t'i and Kuan Yin goes back to the original relationship in Buddhism of Chun-t’i with the bodhisattva Avalokitesvara who promised to save mankind and bring them to deliverance before they, the two bodhisattvas, Chun-t'i and Avalokitesvara themselves entered Nirvana. Marici has the face and eight arms of Chun-t'i, and is one of the six manifestations of Avalokitesvara who is concerned especially with humans, rather than the deities and demons. Chun-t'i in the form of Avalokitesvara is a male deity, though Tantric sects, giving her an entirely different role left her feminine.\n\nLegends about Chun-t'i usually include stories of her valour in battle. According to the Ming novel The Deification of the Gods [Feng-shen Yen-i], from which many of the beliefs of folk religion devotees have evolved, Chun-t’i was summoned to Heaven during the legendary period of Chinese history when the heroes and Immortals were emerged, in order to acquire the necessary skills to take on K'ung Hsüan, one of the contestants for the dynastic throne. This was because she had attained the required degree of perfection on Earth. She found herself whisked aloft in a rainbow, and having acquired the skills necessary she reappeared in a cloud of fire with twenty-four heads and eighteen arms and, throwing a silken cord around her adversary's throat, she turned K'ung Hsüan into a one-eyed peacock on which she rode off to the Western Heavens.\n\nImages of Chun-t'i show her with four or nine pairs of arms, each",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1998.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/1g05n0794",
        "rank": 0
    },
    {
        "id": 214244,
        "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-1998",
        "page_number": 102,
        "title": "RAS-1998",
        "content_text": "65\n\nhand holding a precious object including a rosary, cudgel, jar, spear, pagoda, golden arrow, halberd, or bell, etc. and it is therefore not surprising that the images of Chun-t'i on the altars of both Buddhist and folk religion temples portray her with eight or eighteen arms and hands, the main two hands being held palms pressed together before the chest in prayer. The uppermost hands hold discs of the Sun and Moon respectively and the remainder, individually, hold various attributes including a seal of office, a sword, shield and fly switch. She is variously represented with three heads though predominantly she is depicted with one head with three faces one of which is that of a sow. Chun-t'i again often has a third eye in the centre of her forehead, usually a Taoist form but attributed to her Indian origin as a metamorphosed caste mark. She is generally portrayed sitting on a lotus throne in the same posture adopted by the Buddha and, in one of her poses, also by Kuan Yin P’u-sa. According to Werner the legend explaining the third face being that of a sow and the creatures supporting the lotus also being pigs relates how one of the abbesses of the Semding monastery in Tibet in whom the goddess Chun-t'i was believed to be successively incarnated, had an excrescence resembling a sow's ear at the back of her head.\n\nIn northern and central China in Tantric Buddhist temples, the Lamaist goddess Maritci, portrayed in a chariot drawn by seven pigs is identified as Chun-t'i; in the south however, where Tantric Buddhism hardly penetrated, images identified as Chun-t'i are said by priests, should devotees enquire, to be the Brahmanic cult of Maritci. However, in Tibetan and Mongol [Tantric] Buddhism Tou-mu is a common deity with her three eyes and many arms; she is considered to be an incarnation of Avalokitesvara, the bodhisattva known throughout China as Kuan Yin and this doubtless explains the confusion with Kuan Yin in central and southern China. She has been identified as Tou-mu Yuan-chün, the main deity in the T'ai Sui Hall in the Jade Emperor temple in Tainan, where she is flanked by two Tantric aides, Ch'ieh-ch'ih and Yao Ya.\n\nIn her Taoist form she is portrayed seated on a lotus, again of Indian origin, which in a number of temples rests on the back of a tortoise which in turn rests on three or seven pigs. Most likely this is no more than a reflection of the tale in the Feng-shen Yen-i in which one of the disciples of Tou-mu, Shui-huo Tung-tzu, who changed into a tortoise, bore off Tou-mu to the Western Heavens.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1998.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/1g05n0794",
        "rank": 0
    },
    {
        "id": 214550,
        "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-1998",
        "page_number": 408,
        "title": "RAS-1998",
        "content_text": "377\n\ntranslated into Italian, then into French. It was the undated French version that we saw. It had been written, possibly in Macau, on the instructions of the Pope and described the persecution of priests. There was also a massive hand-written \"Tartare-Mantchou French dictionary” 1st edition, Paris 1789, in 3 volumes. Another interesting book was \"Dr Fryer's Travels: A new account of East India and Persia in eight letters, being nine years travels\" by John Fryer MD (Cantab) and Fellow of the Royal Society, published in 1898.\n\nThe more linguistically accomplished of our members interpreted these works for the benefit of all and there was much erudite discussion. This was the Society at its best and we could have spent many more hours, even days, delving into this fascinating collection. [Illustration Two].\n\nOn Saturday afternoon we drove out to Fa Hai (Sea of Dharma) Temple, in the distant western suburbs at the southern foot of Cuiwei Mountain. The temple was begun in 1439 during the Ming Dynasty (1368-1644) with funds raised by Li Tong, a favourite eunuch of the Emperor. It was completed in 1443 and named by Emperor Ying Zhong. The most outstanding features are the frescoes, which completely fill the walls of the main, Mahavira, hall. These reflect a relatively pure Buddhism without Taoist depiction. They are of Buddhas, Avalokiteshvara (Kuan Yin) and the three other bodhisattvas, devas, wonderful animals, auspicious clouds, flowers and realistic landscapes. There are five Buddhas on either side with the 10 Buddhas together representing the full power of Buddhism, and possibly also the idea of east and west. The colours are subtle and not too faded (although the viewing of a colour-enhanced video prior to touring the Temple helped our appreciation). In the temple grounds are unusual pine trees with silver-white bark; ancient trees, said to resemble dragons, and a bell engraved in Chinese characters expressing Sanskrit teachings. The auspicious clouds inside were matched outside, for misty rain added to the atmosphere of the temple, set in the mountainside woods.\n\nOn Easter Sunday we were up very early to go to the oldest Christian church in Beijing - the Cathedral of Immaculate Conception of Blessed Mary, on Qianmen Avenue. This is also known as Nan t'ang, or South Church. The Emperor bestowed on Matteo Ricci the lands and funds to build the church near the then Calendrical Bureau inside",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1998.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/1g05n0794",
        "rank": 0
    },
    {
        "id": 215999,
        "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-2002",
        "page_number": 298,
        "title": "RAS-2002",
        "content_text": "232\n\nthe former found in CWM/South China/Personal/Legge/Box 5). There is no written record of Ho's sermons, but one could search certain passages of his commentaries to the Gospels of Matthew and Mark for suggestions.\n\n62. Both the cults of Guanyin and Guandi (or Guangōng) have been very popular in different periods of Chinese history, the former originally a Buddhist bodhisatva and the latter originally a military general made famous in the early Weijin period novel, Three Kingdoms, and later honoured as a warrior spirit. Devotion toward them both is still a regular feature of traditional Chinese practices. For initial information, see articles and cross references on Guanyin [Kuan-yin] and Guandi [Kuan-ti] in Jonathan Z. Smith, ed., The HarperCollins Dictionary of Religion (San Francisco: HarperCollins Pub., 1995), p. 647, and a fuller article involving the origins and reverence shown to Guanyin in Raoul Birnbaum, \"Avaloketsvara,\" Mircea Eliade, ed. The Encyclopaedia of Religion (Chicago: MacMillan Pub. Co., 1987), Vol. 2, pp. 11-14. See broader discussions about the influence of the cult of Guanyin in the past and present in John E. C. Blofeld, Bodhisatva of Compassion: The Mystical Tradition of Kuan Yin (Boston: Shambhal, 1988), Wen Guangxi, Guānshìyīn pusà běnjī yinyuán (The Causes of the Various Expedient Manifestations of the Bodhisattva Guānyin) (Hong Kong: Library of the Tripitaka Temple, 1986), Tay C. Y. (M. Zhèng Sēngyǐ), Guānyīn: Bàngè yǎzhōu de xìnyǎng (Guanyin: A Faith [Expressed throughout] Half of Asia) (Taipei: Hui Chu Pub., 1993). Recent studies on Guandi include Hong Shuling, Guangōng mínjiān zàoxíng zhī yánjiù: yǐ Guāngōng chuánshuō wèi zhōngxīn de kǎochá (Studies of the Models Of Guāngōng Found among the People: Investigations taking the Traditional Stories about Guāngōng as the Central Focus) (Taipei: Taiwan National University Pub. Co., 1995).\n\n63. \"Sabbath culture\" is a technical term I developed in Striving for \"The Whole Duty of Man\" in order to describe the Chinese Christian form of life which had been adopted and transformed from Scottish Dissenter precedents. It involved resting from all normal work on the Christian Sabbath, devoting oneself to church worship in Christian community for part of the day, and doing works of charity and witness at other times, whether with family, church friends, or by oneself.\n\n64. In his \"Reminiscences\" Legge tells how Ch'ea at first found the German missionaries being treated meanly by a group of local people, and so he rushed up to the crowd, yelling at them not to disturb them but to listen, because \"they are servants of the Most High God\". See Reminiscences, p. 15.\n\n65. See EMMC/MM 24 (February 1860), pp. 39-40.\n\n66. Days before Ch'ea's murder the two men were together again in a boat, and Legge noted how Ch'ea made it his personal goal to speak to each of the crew members about spiritual matters. His evangelistic approach was thorough and consistent, positively impressing Legge especially during the time when his own reappearance in Poklo was taken as a self-conscious risk (as will be described below). The very same zeal, however, was evaluated in very different terms by Ch'ea's enemies, See Legge, Ch'ea Kin Kwáng, typed manuscript, p. 6.\n\n67. When in the presence of the mandarin Wang, Legge and Chalmers spoke Cantonese, and this was assumably translated into either Mandarin or guanhua by Ch'ea (a more literary form of the Mandarin used among the Chinese gentry)",
        "txt_file_path": "txt/dfo323lmgvd/RAS-2002.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/mp4901278",
        "rank": 0
    }
]