[
    {
        "id": 204401,
        "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-1962",
        "page_number": 33,
        "title": "RAS-1962",
        "content_text": "24\n\nF. S. DRAKE\n\nthe property and exemption from taxes of members of religious orders, including the Nestorians, called by the Mongols 'Yeh-li-k'o-wen' 2*\n\nThese and other scattered references to Nestorianism and to Nestorian Christians mentioned in Chinese records of the Yüan dynasty have been collected and published by Dr. Ch'ên Yüan in Yuan Yeh-li-k'o-wen k'ao 29\n\nV. THE CH'ÜAN-CHOU CROSSES\n\n29\n\nThe latest discovery of Nestorian relics in China is a remarkable one and takes us back to Ch'üan-chou once more, the great international port of Ibn Batuta and Chao Ju-kua, the Zayton of Marco Polo and Odoric, with its Buddhist monasteries and Twin Stone Pagodas, its great Mohammedan mosque, and two Franciscan houses, and as we shall now see, its many Nestorian relics.\n\nHere a local scholar, Mr. Wu Wen-liang, became interested in the many fragments of stone with foreign writing and designs that strewed the ground, 'the very pavement stones mingled with inscribed Arab tomb slabs' (Ecke and Demiéville, p.4). For some thirty years, commencing in 1928, Mr. Wu collected these inscribed stones for his private study. During the war, it appears that the city wall of Ch'üan-chou was demolished, and from it many inscribed stones came to light, which added greatly to Mr. Wu's collection. By 1957 the number had reached 160 and included those with Islamic, Nestorian, Manichee, Brahman and other inscriptions. He made rubbings and photographs of these, which he published in that year with explanatory text in Chinese: Ch'üan-chou tsung-chiao shih-k'o (\"Stones from Ch'üan-chou with Religious Inscriptions\").30\n\nIn this book he illustrates twenty-seven stones with Christian inscriptions or designs. Foremost among these are four slabs carved with Christian Crosses, of which two (Nos. 72 and 73) are the very ones illustrated by wood-cuts in Emmanuel Diaz's book on the newly discovered Nestorian Tablet, published in\n\n28 Saeki, op. cit., pp. 418 and 420.\n\n29 Chên Yüan, Shanghai, Commercial Press, 1923. See also Moule, op. cit., and T'oung Pao, Vols. XVII, XVIII, 1916-17: Cordier, 'Le Christianisme en Chine et en Asie sous les Mongous; and Vols. XII, XXI, 1914 and 1934: Pelliot, \"Chrétiens d'Asie Centrale et d'Extrême Orient\".\n\n30 Peking, K'ê-hsüeh ch'u-pan shê, 1957.\n\n30",
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        "external_url": "https://digitalrepository.lib.hku.hk/catalog/9s166f47f",
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    {
        "id": 207628,
        "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-1976",
        "page_number": 16,
        "title": "RAS-1976",
        "content_text": "PRESIDENT'S REPORT FOR 1975\n\n(Covering the period April 7, 1975-April 1, 1976)\n\nThis has been another active twelve months for your Society. I start my Report with a review of the programme and will then turn to matters concerning publications, the Art Centre, Library, Membership, and the Photographic Survey which has been one of our more recent ventures.\n\nDuring the period we have organised nine lectures, 2 excursions to places of local interest, and one tour abroad, to Burma. We have arranged two film shows, one recital and a symposium — the seventh in our series. Most events were well attended.\n\nLectures and films related to the regions of China, contemporary and traditional, Vietnam, India, Korea and Hong Kong. The year started last April with a lecture on changing patterns of merchant organization in late Ch'ing China given by Dr. Wellington K.K. Chan, a visitor from the United States, and also in that month we arranged our first excursion, to Macau, where members, guided by Dr. Leigh Wright, visited Chinese temples and toured the Museum and colonial cemetery. In May and June our focus was on Peking opera. In May, Dr. Rulan Pian, visiting professor in music at Chung Chi College, spoke on musical elements in the opera; and in June Dr. Chiao Chien explained revolutionary opera as a means for transmitting values and political ideas. The arts were further represented in June with a demonstration of Kathak dancing by a well-known expert Mr. Satyanarayana Charka; and in July and August we showed films--one on Chinese paintings and one on music. Another film dealt with the excavation of a Silla tomb of 5th century Korea.\n\nIn August Sir John Addis, formerly Ambassador to China, described a visit to Ching-te Chen; and in September a talk was given on Brahman ritual by Professor Fritz Staal. Also that month James Hayes, our editor and one of our vice-presidents who in his professional life is District Officer Tsuen Wan, led members to visit his area. The focus was on the past-historical places, the present, as well as the future of the area--development plans. Following, in October, a discussion was conducted by Drs. Graham and Elizabeth Johnson, both anthropologists working in Tsuen Wan",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1976.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/hq382988q",
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    },
    {
        "id": 207808,
        "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-1976",
        "page_number": 196,
        "title": "RAS-1976",
        "content_text": "The Ancient Mon-Pagan, Peru & NAKORN PATHOM 181\n\nof the earliest is also one of the most unusual; the Nanpaya has beneath the spire four square pillars of stone each of which on two sides has a figure of Brahma holding lotus flowers in both hands. This is reputed to have been the residence of the captive Mon king Manuha, but this seems unlikely; it could have been his particular temple. The figure of Brahma in what was almost certainly a Buddhist temple is not impossible to explain away; the Brahma carvings face towards the central square pedestal which, originally, would have had a statue of the Buddha, possibly one looking in four directions; Brahma, a representative of Hinduism would be looking towards, and lower than, the Buddha. The temple is exceptionally faced with stone throughout, and the quality of the window pediments very fine.\n\nThe Abeyadana temple, not far away, is attributed to King Kyanzittha but an inscription determines his chief queen as the founder. It has a prominent harmika or bulge on the spire above the central core and a large seated brick Buddha in a recess in the core to the north (the whole temple is oriented to the north). The temple's great importance is in the quality of the paintings it still possesses, with Hindu gods and deities of Mahayanist Buddhism round the core and some excellent Jataka scenes with Mon inscriptions in the walls of the front projecting nave.\n\nAlmost opposite this temple is the Nagayon. It has good proportion and a very dark corridor pierced with five windows running round the central core. The quality of the paintings illustrating Jataka tales with Mon and Pali inscriptions is good.\n\nThe two Seinnyet temples are a little further south; the Ama is a square temple with four main porches, and the Nyima a solid stupa on three terraces. Lastly in this group is the Lawkanada stupa, built in 1059 by Anawratha beside the Irrawaddi, over which a magnificent view is obtained at sunset.\n\nOf the temples in the central area, nothing remains of the bulbous Bupaya stupa which fell into the river in pieces in the earthquake. The Gawdawpalin of the later period suffered severely and its tall finial is no more. In style, however, it resembles the Thatbinnyu which was built in the middle of the twelfth century. Only the eastern porch projects from the main plan, and the first floor where the main Buddha is located is reached by two narrow passage stairways built into the walls. The effect is of considerably greater height than the earlier buildings. As it is still in use it is",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1976.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/hq382988q",
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    },
    {
        "id": 207813,
        "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-1976",
        "page_number": 201,
        "title": "RAS-1976",
        "content_text": "186\n\nMICHAEL SMITHIES\n\nWith Pegu one is back to the culture of the early inhabitants of Burma, the Mons. Their original centre was around Thaton, further east than Pegu and this was certainly in existence by the 5th century AD. It was a Mon monk who had converted the Burmese King Anawrahta in the middle of the 11th century to Buddhism, and the king had requested certain relics and texts from king Manuha, who had refused. The result of the refusal was the destruction of the Mon kingdom but its cultural preeminence was recognised in the religion, architecture and art of early Pagan. After the fall of Pagan the Mons reestablished their kingdom, first at Mataram, and then, from 1369 at Pegu (Hanthawaddy or Hamsavati). They were temporarily ruled by the Burmese from 1539-1550 and again from 1551-1740; but Mon independence was due to be short-lived and the last king Binnya Dala was killed in 1747 by Alaungpaya and the Mons, like the Chams in Vietnam, then became a people without a country, though they still exist in large numbers in lower Burma near Moulmein and also in scattered villages in central Thailand.\n\nPegu is a day trip out of Rangoon, but as much as the present capital now reflects the condition of contemporary Burma, so Pegu is lost in its past. Its most famous sight is the Shwemawdaw pagoda, centred round a stupa with a broad stepped octagonal base and which is still taller than the Shwedagon in Rangoon. It is in many ways the palladium of Mon culture. Its foundation date is not known, but it was already raised in height by the Mon king Thamala in 825. In the twentieth century it suffered three severe earthquakes, and the present spire effectively dates from 1954 when restoration was completed. A number of ancient Buddha images was found when much of the stupa collapsed in the 1930 earthquake. Not very far from the Shwemawdaw is the spot where the two Hamsa birds alighted, one on the other's back, on a shallow spot in what was then the sea. The Hamsa is the symbol of the Mons and is also of course the mount of Brahma. This site is the Hinthagone, which now boasts a rather horrible modern shrine with vulgar paintings of hamsas but with a good view towards the Shwemawdaw. Hardly less vulgar is the reclining Buddha, the Shwethalyaung, reputed to be largest such image and certainly one of the ugliest. It was originally built in 994 but fell into disrepair and was restored in the 15th century. It was neglected again and became overgrown, to be rediscovered by a railway engineer at the",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1976.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/hq382988q",
        "rank": 0
    },
    {
        "id": 208338,
        "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-1978",
        "page_number": 62,
        "title": "RAS-1978",
        "content_text": "46\n\nKEITII STEVENS\n\nMu. The whole is best known as a Taoist Heaven (*). The temple at its peak bears the title of Fan Ch'ih Kung (£) \"The Palace of the Essence of Brahma\". The slip of paper in Tou Mu's back relates that Huang Wen-yuan, a sincere believer, born on the 27th day, 11th moon of the Year i wei (about December, 1835), residing south of Lu Ling City, Chi An Prefecture, Kiangsi Province, together with the whole of his family, on a lucky day of the 9th moon, of the Year keng wu during the Tung Ch'ih reign (about October, 1870), prayed before Tou Mu stating, \"I respectfully implore Most Reverend Tou Mu, a heavenly Goddess of Sacred Virtue, having the immense brilliance of T'ien Hou, generosity, the magic powers of suppressing demons and spirits, and the ability to produce amulets and prescriptions for saving people with serious afflictions, to effectively respond to my earnest prayers and wishes, and wield her supernatural powers to protect all the members of my family and to increase not only the number of children but also all kinds of happiness and prosperity\".\n\nOf the score or so images, only three deities are categorically identifiable, Kuan Ti, Kuan Yin, and Chao Kung-ming, the deities of loyalty, mercy and wealth respectively. Two of the images seem to be local Earth Gods (+) (Plate 8). They are of a style very commonly seen but with what are probably provincial characteristics. They are seated old men, clutching a fly whisk by the end of its handle allowing the handle itself to rest along the forearm and the whiskers to hang from about the elbow. They have a \"shoe\" of gold in their left hand, long white beards, white eyebrows and white hair under a green floppy form of skull cap with their hair drawn up into a bun through a hole in the top of it. They are wearing long robes bound by a red belt tied in a bow at the front, and black shoes. A female carved in the same pose, holding a fly whisk in the same manner, and dressed in a floral robe but without the “shoe\" of gold, has unbound feet, and hair, without a cap, drawn into two short pigtails. She may perhaps, be the consort of the Earth God.\n\nA final image, unidentified, has a spectacular face (Plate 9). He is an unidentified monk, seated cross-legged on a bench and with the ends of his robes hanging beneath him concealing the bench. He holds a fly whisk in his right hand in the same manner as the Earth God and in his left hand he holds a rosary. He has the face of an elderly man but with the characteristics more frequently",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1978.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/8g84t8593",
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    },
    {
        "id": 210631,
        "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-1985",
        "page_number": 238,
        "title": "RAS-1985",
        "content_text": "219\n\nmanuscripts of the same period - Tang Dynasty, though not on Christianity. One roll, being part of a translation of a “Bible” of Buddhism by the famous Chinese monk Hsuan Tsang, was written in Chinese; the other in Indian, Tibetan or Sanskrit language on unknown matters. They were found in the same stone room in Tun-Hwang as the \"Gloria in Excelsis Deo\". I got them last year in Sian. In view of the fact that all manuscripts in Tun-Hwang have gone abroad, I know these two rolls of written language, though incomplete, are valuable.\n\nHave you collections of such objects? please let me know and I will send you what I have.\n\nYours faithfully,\n\nS. T. HAN\n\nIn 1933 Mr. Nixon showed the two fragments to the well-known scholar Wang Hsien-tang who was then Head of the Shantung Provincial Library. As a result Mr. Wang wrote to Mr. Nixon the following letter:\n\nCopy\n\nTo: Mr. F. A. Nixon\n\nPostal Commissioner, Tsinan, Shantung.\n\n\"This is a Scripture truly written by men of the Tang Dynasty; with regard to the Tibetan or Brahma Scriptures, as no study of them has been made by me, I am not in a position to give evidence.\"\n\nWang Hsien-tang,\n\nChief of the Shantung Provincial Library, Tsinan, 1933.\n\nAlso in 1933 Mr. Nixon showed the fragments to Professor F. S. Drake who was then on the staff of Cheeloo University, Tsinan, Shantung, and Professor Drake identified the text in Chinese characters.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1985.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/gt54s866x",
        "rank": 0
    },
    {
        "id": 214235,
        "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": 93,
        "title": "RAS-1998",
        "content_text": "56\n\nYin in the other temple, the Pi-yun Ssu, depicts her with only two arms sitting cross-legged on a recumbent blue lion. Her assistants are an unnamed dark-faced elderly minister who appears to be South Asian, standing holding a tablet before his chest and dressed in a long blue robe. Her other attendant is the Red Youth, Hung Hai-eh, standing on her left hand with his hands held together before his chest, and dressed in a red robe over green trousers with a flowing scarf-like halo.\n\nTaking the three groups, the twenty Deva listed in Soothill, and the two groups in the Ta Pei Ssu and the Pi-yun Ssu, we have twenty deities common to all three.\n\nThese are:\n\nBrahma, Indra, Pancika, Sarasvati, Laksmi, Skanda [Wei T'o], Prthivi, Hariti, Marici, Surya, Candra, Siva, Yamaraja, Bodhidhruma, Guyapati, Kinnara and the four T'ien-wang guardians Vaisravana, Dhrtarastra, Virudhaka and Virupaksa.\n\nIn the Ta Pei Ssu we also have five additional Deva not present in the Pi-yun Ssu, the Asura, Vimalakirti, Nanda Upananda and Mahoraga. A further two Deva images are seen only in the Pi-yun Ssu. These are Lei Kung and Sagara.\n\nTaking each of the deities in turn, we shall examine their background and in particular their Brahmanist [or Vedic] origins, their role in the Chinese pantheon and any ambiguities or contradictions we encounter. The important three Brahmanist deities are known in Sanskrit as the Trimurti:\n\nthe creator\n\nBrahma\n\nthe preserver\n\nVishnu\n\nthe destroyer\n\nSiva\n\nBrahma and Siva are indeed included in the two temples whilst Vishnu is not3. Though a major Hindu deity today Vishnu was not so during the Vedic era of the second millennium BC. His particular task",
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        "external_url": "https://digitalrepository.lib.hku.hk/catalog/1g05n0794",
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    },
    {
        "id": 214236,
        "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": 94,
        "title": "RAS-1998",
        "content_text": "57\n\nis the conservation or preservation of the divine order in the world. Despite being a major deity and having many incarnations, of which Rama is but one, he is not included within the 28 Deva seen in the Ta Pei Ssu. However, his wife Laksmi is included. Another Vedic deity not included in the groups of Devas in the Western Hills is Krishna probably because he is the eighth avatar of Vishnu.\n\nPopular Buddhist figures which, at first thought, we might have expected to see listed among the Deva would, however, not be eligible because they were purely Buddhist without a Brahmanist or Vedic origin, and were Indians who lived and died during the lifetime of the Buddha himself. These include, amongst others, Kasyapa, Ananda and Lochana.\n\nAlthough Ming iconography portrayed Indra and Brahma on many altars as Chinese figures; the question remains why are they, and in particular in these two temples in the Western Hills why are so many Vedic deities, portrayed as Chinese?\n\nTales of the Ta Pei Ssu\n\nAn off-beat description of the Ta Pei Ssu in 1884 describes its picturesque location and whilst not referring to the deities, least of all the Deva, it does provide two colourful vignettes. The first gave the reason for the main entrance to the temple being blocked. It was a punishment for the priests who had permitted a suicide to take place within the temple confines. One of the monks so the story went had greatly insulted a coolie and he, instead of attacking his persecutor, had “with the perverseness of your true Chinaman” had taken vengeance on him by committing suicide. The second told of the usual practice of the era when foreigners rented temples in the cool of the hills for the summer. Having read various bits of graffiti the 'Student-Interpreter' claimed that the temple must have been a favourite resort of members of the Russian Mission between 1828 and 1840.\n\nA Third Temple containing a Group of Deities with Sinicised Sanskrit Names\n\nYet another group of deities with sinicised Sanskrit names can be",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1998.txt",
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    },
    {
        "id": 214237,
        "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": 95,
        "title": "RAS-1998",
        "content_text": "58\n\nseen in a comparatively modern temple near Taipei. A lengthy tunnel connects the main part of the Kuan Tu temple complex, to the North-west of Taipei, with the front entrance overlooking the Tamshui River. Some twenty-eight images stand in glass-fronted niches carved into the rock down the sides of the tunnel. These large individual images are of the Early Buddhas, the Ku Fo; the Buddhas of pre-history, the Buddhas who came before Sakyamuni, The Buddha. They have no altars and as there is an altar dedicated to the Thousand-arm and Thousand-Eye Kuan Yin P'u-sa at the river end of the tunnel they are not offered incense individually.\n\nSeveral aspects of the hagiography of the images in the cave/tunnel are intriguing. First of all, those holding weapons have them in their left hand. They are mostly dressed in gilded armour, and finally, their titles in Chinese, though Sinicised Sanskrit, have proved impossible to translate into the original Sanskrit and are therefore unidentified. Several of these unidentified deities have been depicted in Taiwanese religious literature but without any explanation apart from being listed under a general title of Supportive Incantations to Buddha, Ta Pei Chou Fo 大悲咒佛.\n\nThe following Vedic deities who have been noted in one or both of the temples in the Western Hills would seem not to be present in the cave/tunnel:\n\nMarici, Pancika, Hariti, Pippala [Bodhidruma], Laksmi, Prthivi, Surya, Candra, Vimalakirti, Nanda Upananda and Skanda/Veda.\n\nOf the scores of books, both the popular illustrated and monastic academic, produced over the last half century in Taiwan describing the Buddhas, bodhisattvas and the hundreds of minor deities of Buddhism, one at least has listed what they have called The Celestial Guardians Division. This list includes not only the Four Diamond Kings, the T'ien Wang, [Vaisravana, Dhrtarastra, Virudhaka and Virupaksa] but nine of the Deva seen in the Western Hills. These are Indra [Sakra-devanam], Brahma [Maha-Brahman], Marici, Laksmi [Sri-maha-devi], Sarasvati, Yamaraja, Guhyapati, Skanda [Wei T'o] and Gandharva.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1998.txt",
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    },
    {
        "id": 214240,
        "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": 98,
        "title": "RAS-1998",
        "content_text": "61\n\nAppendix A\n\nDETAILS OF THE DEITIES WITH SINICISED SANSKRIT NAMES\n\nWHOSE IMAGES APPEAR IN THE GROUPS IN THE TWO TEMPLES IN THE WESTERN HILLS OF PEKING\n\nAND THE ONE IN NORTHERN TAIWAN\n\n1] Brahma [Mahabrahman] usually known in Chinese as Fan T'ien 梵天\n\nBrahma is the ancient Vedic creator and the Soul of the Universe, an impersonal being, chief of the Hindu gods and celestial spirits and the first in the Hindu trinity. He is usually paired with Indra [see Ti Shih below] though married to Sarasvati. It is believed that the Vedas sprang from Brahma's head.\n\nHe is known in China by several titles including Ta Fan T'ien-shen and Fan Wang as well as Ta Fan T'ien Wang. In India his image varies from place to place but frequently he is portrayed with four arms and four faces or heads. Over the centuries his worship slowly declined in favour of Vishnu and Shiva.\n\nHis image has been noted in a number of folk religion temples in China where he is considered to be one of the forms of the Jade Emperor. In several Buddhist monasteries he has been noted as one of the two attendants flanking Sakyamuni Buddha, the other attendant being Indra.\n\nIn a number of temples in southern China he has been represented as a bearded middle-aged man, standing, wearing long flowing robes, and either the standard Hanlin-style Chinese literati cap or the tiny Taoist crown. He can also be portrayed carrying a stylised incense-stick holder which looks very similar to the long-stemmed tobacco pipe. In some temples in central China he was depicted riding a swan.\n\nIn the Ta Pei Ssu in the Western Hills he is portrayed as an imperial minister, standing with a tablet held in both hands before his chest and dressed in a colourfully decorated robe and Ming decorated leather.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1998.txt",
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    },
    {
        "id": 214241,
        "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",
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        "document_key": "RAS-1998",
        "page_number": 99,
        "title": "RAS-1998",
        "content_text": "62\n\nbonnet. He has a Chinese face, white moustache and beard and rather hooded eyes.\n\nHowever, in the Pi-yun Ssu, also in the Western Hills, his modern image depicts him in what appears to be a sarong held up by a long blue bow, and with a bare chest. His shoulders are covered with a decorated blue robe down to his knees, parted revealing his bare chest, and an unusual bonnet which appears to have a pair of short wings extending out beyond his ears. He has a squat nose, large mouth and is holding his right hand making a mystic sign at chest height. His left hand grips an incense-stick holder at waist height. He looks marginally less Chinese than the other images but does not look Indian.\n\nPaired with Indra, he stands in prime position at the head of one of the two rows of fourteen Deva.\n\n2] Indra, known in Chinese as Ti Shih and Yin-t'o-lo\n\nHe is the greatest of the Vedic deities with the dual function of weather and war god, known also as Sakra Devanam. He has been adopted by Buddhists as representative of secular powers, protector of the religious body but inferior to any Buddhist saint. He is said to have taken an oath to defend Buddhism during a former incarnation and was reborn as the King of the Yakshas.\n\nAlthough some Chinese Buddhists identify Indra as the Taoist supreme deity, the Jade Emperor, Brahma is much more commonly accepted as a form of the Jade Emperor.\n\nHis image is present in both the Ta Pei Ssu and in the Pi-yun Ssu, and in both he is completely Chinese with no hint whatsoever of foreign origins. He is standing, an ancient minister, dressed in colourful decorated Chinese robes and imperial bonnet, with pink flesh, a black moustache and goatee, and with both hands held together before his chest, fingers pointing upward.\n\nIn Hong Kong he has been paired with Brahma on altars and is portrayed carrying a golden bowl somewhat similar to an incense pot. He is depicted in a form and dress virtually identical with that of Brahma,",
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    },
    {
        "id": 214242,
        "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": 100,
        "title": "RAS-1998",
        "content_text": "63\n\nthe golden bowl being his unique characteristic.\n\nMahesvara, Mahadevi or Siva, known in Chinese as Mo-hsi-shou-lo T'ien 摩醯首羅天\n\nMahesvara is one of the numerous titles borne by one of the best known of the Indian deities, Siva. He has come to be regarded as the Supreme Being though he more generally represents the more malignant forces and destruction, all part of the cycle of creation and destruction. He is married to either Uma Mahesvara [also known as Parvati], by whom he had a son named Skanda [see 21 below], or to Kali, who is also Durga. The latter is known as Hariti [and in Chinese Kuei-tzu Mu: see 6 below] whose image is also one of the twenty-eight Devi. Hariti has one face, six arms and a necklace of skulls\".\n\nImages of Siva stand in both the Ta Pei Ssu and the Pi-yun Ssu. In the Ta Pei Ssu he is portrayed as a typical northern Chinese deity dressed in multi-coloured robes and a tall Buddhist crown, but with six arms and an ageless Chinese face of indeterminate sex. He looks like and could easily be confused with other multi-arm Buddhist deities as he has no unique characteristic. In the Pi-yun Ssu he is naked apart from a skirt in colourfully decorated cloth down to his knees. He has four arms and a smaller head on top of his normal head. He has red spiky hair on both heads and fangs rising out of the lower jaw of his normal head.\n\nSoothill described Siva as having eight arms, three eyes and riding a large white bull, holding a handful of snakes and a small drum, and can be represented as the phallic symbol.\n\n4] Maritci [Maritchi or Marici] known in Chinese as Chun-t'i P'u-sa\n\nThe Tantric [Lamaist] bodhisattva, Chun-t'i, is the Buddhist form of the Hindu personification of light and an offspring of Brahma, Cundi or Candi. She is often confused with the Tantric many-armed Kuan Yin and the Taoist stellar deity, Tou-mu Hsing-chün. Two separate deities also are referred to by Chinese devotees as Chun-t'i; these are as",
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    {
        "id": 214247,
        "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": 105,
        "title": "RAS-1998",
        "content_text": "68\n\nSarasvati is the sister of Yama and wife of Brahma and Manjusri [depending on the legend], and sometimes assumes the form of a swan or peacock. Chinese texts however, describe her as male. She is portrayed in India as having two arms and a lute or with four or eight arms.\n\n9] Laksmi known in Chinese as Chi-hsiang T'ien-nü or 落吃澀弭. She is the Hindu goddess of beauty, pleasure and wealth, that is, fortune, and of good auspices. She was the wife of Vishnu in several of his incarnations, including that of Vishnu's incarnation as Rama when she was known as Sita. In some cults she is also one of the personifications of Sri Devi, as is Prthivi [see 10 below]. She is usually depicted with two arms though in some places she has four.\n\nThe active power of creative energy portrayed by female deities has been personified as the goddess Sri Devi. She has manifested herself in many different forms including male and non-human. She has a number of names one of which is Laksmi.\n\nAn image of Laksmi is present in both the Pi-yun Ssu and the Ta Pei Ssu. In both temples she is standing dressed in highly colourful, decorated robes and crown, with no unique characteristics.\n\n10] Prthivi known in Chinese as Chien-lao-ti-shen or 提毗. He is the Earth-devi, the god of the soil, ground, etc. and also one of the four with thunderbolts in the Vajradhati group. In some cults in India Prthivi is known as Bhu Devi, one of the personifications of Sri Devi.\n\nImages of Prthivi are present in both the Ta Pei Ssu and the Pi-yun Ssu. In the Ta Pei Ssu his image portrays him as a typical northern Chinese image of a youthful minister. He is remarkably feminine in his facial features, and is dressed in a colourful highly decorated robe and crown without any unique characteristics. He is much the same in the Pi-yun Ssu though here he is carrying a small symbolic club between\n\nPage 105\nPage 106",
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    {
        "id": 214268,
        "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": 126,
        "title": "RAS-1998",
        "content_text": "89\n\nAppendix B\n\nTHE DEVA WITHIN THE BODHISATTVA HALL IN THE PI-YUN SSU PEKING'S WESTERN HILLS\n\nThe Chinese titles of these the Deva within the Bodhisattva Hall in the Pi-yun Ssu are as follows together with their standard Sanskrit name:\n\nFan T'ien\nBrahma\n[Mahabrahman]\n\nTi-shih\nIndra\n[Sakra Devaran]\n\nT'o-wen Tien-wang\nVaisravana\n(Guardian of the North)\n\nCh'ih-kuo T'ien-wang\nDhrtarastra\n(Guardian of the East)\n\nTseng-ch'ang T'ien-wang\nVirudhaka\n(Guardian of the South)\n\nKuang-mu T'ien-wang\nVirupaksa\n(Guardian of the West)\n\n) the Four\n) Guardians\n) of the\n) Entrance\n) to\n) Buddhist\n) Temples**\n\nMi-chi Chin-kang\nGuhyapati\nAnother Diamond King Guardian\n\nMo-hsi-shou-lo\nSiva\n[Mahesvara]\n\nPan-chih Ta-ching\nPancika\n\nPien-ts'ai T'ien\nSarasvati\n\nChi-hsiang T'ien-nü\nLaksmi\n\nWei-t'o\nSkanda or Viharapala\n\nChien-lao-ti-shen\nPrthivi\n\nP'u-t'i Shu-shen\nBodhidruma or Pippala\n\nKuei-tzu Mu\nHariti",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1998.txt",
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    },
    {
        "id": 214270,
        "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": 128,
        "title": "RAS-1998",
        "content_text": "91\n\nAppendix C\n\nTHE TWENTY-SEVEN SO-CALLED DEVA WHOSE IMAGES STAND IN THE TA PEI TIEN, ONE OF THE BA DA CHU [THE EIGHT GREAT SITES] IN PEKING'S WESTERN HILLS\n\nAsura\n\nCandra\n\nDhrtarastra\n\nGandharva\n\nGuhyapati raja\n\nHariti\n\nKinnara\n\nKsitigarbha\n\nLaksmi devi\n\nMaha Isvara\n\nMahabrahman - Brahma\n\nMarici\n\nNanda Upar Nanda\n\nPancika\n\nPippala",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1998.txt",
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    },
    {
        "id": 214272,
        "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": 130,
        "title": "RAS-1998",
        "content_text": "93\n\nAppendix D\n\nTHE TWENTY-EIGHT BUDDHAS OF YORE\n\nTwenty-eight images of the Early Buddhas, the Ku Fo; the Buddhas of pre-history, the Buddhas who came before Sakyamuni, The Buddha, are to be seen in the Kuan Tu temple complex, to the north-west of Taipei. These 28 'Old Buddhas' are:\n\nTa Fan T'ien Wang 大梵天王\n\n[Maha Brahman - Brahma]\n\nP'i-p'o Chia-lo Wang 毘婆迦羅王\n\n[Vipasyin: the first of the Seven Buddhas of antiquity]\n\nKan-ta-p'o Wang 乾達婆王\n\n[Gandharva: the gods of fragrance and music: the musicians of Indra]\n\nTi-shih T'ien 帝釋天\n\n[Indra]\n\nTa Pien-ts'ai 大辯才\n\n[Sarasvati]\n\nMa-hsi-shou-lo 摩醯首羅\n\n[Siva: Mahesvara]\n\nTa Hai Lung Wang 大海龍王\n\n[Sagara - Lung Wang]\n\nChien-na-lo Wang 監那羅王\n\n[Kinnara]\n\nWu Pu Ching 五部凈\n\nChin-p'i-lo Wang 金毘羅王\n\n[Yama - as protector of the 1000 arm Kuan Yin]\n\n[Kumbhira - a Yaksha king, who was converted and became a guardian of Buddhism]",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1998.txt",
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    },
    {
        "id": 214275,
        "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": 133,
        "title": "RAS-1998",
        "content_text": "96\n\nAppendix E\n\nTHE LIST OF TWENTY DEVA\n\n十天\n\n+*\n\nIN SOOTHILL'S DICTIONARY OF CHINESE\n\nBUDDHIST TERMS\n\n  \n    Maha Brahman\n    - Brahma\n  \n  \n    Sakra devanam\n    - Indra\n  \n  \n    Vaisravana\n    \n  \n  \n    Dhrtarastra\n    \n  \n  \n    Virudhaka\n    \n  \n  \n    The Four Diamond Kings - Temple Guardians\n    of the Four Directions\n  \n  \n    Virupaksa\n    \n  \n  \n    Guhyapati\n    \n  \n  \n    Mahesvara\n    \n  \n  \n    Pancika\n    \n  \n  \n    Sarasvati\n    \n  \n  \n    Laksmi\n    \n  \n  \n    Skanda\n    \n  \n  \n    Prthivi\n    \n  \n  \n    Bodhidruma or Bodhivrksa\n    \n  \n  \n    Hariti\n    \n  \n  \n    Marici\n    \n  \n  \n    Surya\n    \n  \n  \n    Candra\n    \n  \n  \n    Sagara\n    \n  \n  \n    Yama-raja",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1998.txt",
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    },
    {
        "id": 214276,
        "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",
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        "document_key": "RAS-1998",
        "page_number": 134,
        "title": "RAS-1998",
        "content_text": "97\n\nNOTES\n\nMacGowan J : Men and Manners of Modern China: T Fisher Unwin: London 1912\n\n2 Werner in his Dictionary of Chinese Mythology gives the Eight Classes of Dragon Kings as follows:\n\n3 Deva naga, Yaksha, Gandharva, Asuras, Garudas, Vinnaras, Mahonagas and Rakshas Soothill in his Dictionary of Chinese Buddhist Terms lists the Eight Classes of Supernatural Beings as follows: Deva, Naga, Yaksha, Gandharva, Asura, Garuda, Kinnara and Mahoraga.\n\nMajor well known Brahmanist deities not included in the groups of Deva in the Western Hills of Peking include Hanuman, Parbati and Ganesh.\n\n* A Student Interpreter: Where Chineses Drive : English Student Life in Peking Wm Allen & Co : London: 1885\n\n6 As with a number of titles the romanised spelling varies depending upon the form used and, as examples, we have Siva and Shiva, Pancika and Panchika. He is the esoteric cult Deva, a masculine form of the wife of Siva. He is the tutelary god of Mongolian Lama Buddhism, and is also said to be an incarnation of Vairocana for the purpose of destroying demons.\n\n7 Werner, ETC: A Dictionary of Chinese Mythology:\n\n8\n\n9 x stands for an illegible character. Although images iconographically look like the standard Buddhist image of the Temple Guardian, Wei T'o, they have been identified as being one of three Vedic deities. Lessing in his Yung-Ho-Kung [Stockholm 1942] and the Taiwanese guide to The Guan Yin Hall of the Ta Pei Ssu both identify Wei T'o's origin as Skanda whilst Soothill claims that he is Viharapala.\n\n10 Occasionally Yüeh T'ian-wang, that is the 12th century hero Yüeh Fei, takes the place of Li Yüan-shuai.\n\n\"Chin-se are the Five Primary Colours permutated in various ways to represent various ideas; also, a five coloured emblematic cord, a Brahman sign worn on",
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    {
        "id": 214281,
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        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
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        "document_key": "RAS-1998",
        "page_number": 139,
        "title": "RAS-1998",
        "content_text": "102\n\nDevas in the Deva Hall of the Pi-yun Ssu\n\nright to left: Brahma, Vaisravana, Virudhaka, Surya, Hariti, Prthivi and Laksmi",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1998.txt",
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    {
        "id": 214899,
        "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-1999",
        "page_number": 314,
        "title": "RAS-1999",
        "content_text": "288\n\nfront onto one street and back on to the street behind, thus, in a way linking two streets. All the houses are built of durable timber in a refined two-storey style. The front portion often serves as a boutique and the area behind is generally used as storage space. The interior living space has split levels with an inner courtyard open to the sky and a veranda linking several living quarters. One of the most remarkable features of these old homes is the diversity of their architecture. This varies greatly from one house to another in terms of space distribution, sculptural art, decoration and inner courtyard gardens. Space is utilized to the utmost. Walking in the streets of this beautiful and charming ancient town, a living vestige of the past, one can observe the influence of the architecture, sculpture and decorative Chinese and Japanese styles and the skills of the Vietnamese architects who have absorbed various influences and created something similar, yet somehow uniquely different.\n\nOur sixth day was spent in My Son Valley, 43 miles southwest of Danang. My Son was chosen as a religious sanctuary from the fourth century onwards. Many temples and towers were built here. Most were dedicated to kings and Brahman divinities, including the god Shiva who was considered the creator, founder and defender of the Champa Kingdom and the Cham royal dynasties.\n\nMore than 70 architectural works of different styles and eras once stood in this ancient valley but today less than 20 remain. Tragically, My Son fell within a “free-fire zone” during the American War and was almost completely destroyed by bombs. The French did the present restoration work. The Cham towers were ingeniously constructed of dried bricks stuck together with resin from the cau day tree. Once the tower was completed it was encircled by fires, which were kept well stoked for several days. The intense heat fired the whole structure completely melting and sealing the bricks and resin together to form a structure well able to withstand the combined onslaught of time and the elements - but unfortunately not 20th century bombs.\n\nOur tour ended in My Son and the next morning we left Danang for Hanoi and flew back to Hong Kong. I returned to Hong Kong with many emotions about Vietnam. It was once a tribal neighbour of China and the Chinese influence there was strong. I felt much affinity with the place and its people when I saw the tombs and I tried to interpret",
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    {
        "id": 216316,
        "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-2003",
        "page_number": 75,
        "title": "RAS-2003",
        "content_text": "24\n\nas seated, holding a long-stemmed lotus flower with a small temple perched on the blossom, and has a third eye in the centre of his forehead. Wei Tuo Pusa is represented by a golden statue in which he poses wearing armor and holding a drawn sword. Wei Tuo is the protector of all Buddhist temples.\n\nOn the other side of the Tian Wang Dian is the third courtyard, on the far side of which is the Hall of the Great Hero (Da Xiong Bao Dian). This hall's origins date to an 1878-1879 reconstruction, when it was rebuilt to replace an earlier structure destroyed during the Taiping rebels' attacks on Shanghai in 1860-1862. The hall was closed for a massive reconstruction and renovation in November 2002, but had been reopened by January 2004. The interior is now nothing less than spectacular. Three large Buddhas (San Fo) are placed in the centre. Sakyamuni Buddha stands in the centre, flanked on the left by the bodhisattva Samantabhadra (Pu Xian) seated on an elephant, and on the right by the bodhisattva Manjusri (Wen Shu) seated on a blue lion. Overhead the hall's ceiling is pierced by a massive wooden dome that spirals upward, looking much like the wooden domes (Zao Jing) often found over traditional Peking Opera stages (Xiju Wutai). Behind the San Fo facing out the rear exit is a large Guanyin statue in front of a floor-to-ceiling landscaped rockery covered with smaller figurines depicting the Buddhist heaven and hell. Along the side walls stand 36 quite expressive human statues of the Buddhist saints, 18 on each side of the hall. This is an unusual number, which seems to include 16 Arhats (Luohan) and 20 Devas (Zhu Tian), and an assortment that includes such non-Buddhist figures from Chinese tradition as Confucius (Kong Fu Zi), the War God (Guan Di), the God of Literature (Wen Chang), and the Kitchen God; Hindu gods such as Brahma, Indra, and Yama (Yen Lo); as well as Buddhist deities such as the Four Heavenly Kings (Si Tian Wang) and the bodhisattva Wei Tuo as well. The hall also houses one of Longhua's three bronze bells, this one dating from 1586.\n\nOn the other side of the Da Xiong Bao Dian is a fourth courtyard. On the far side of this fourth courtyard is the Hall of the Three Gods (San Sheng Dian). This hall is dominated by enormous floor-to-ceiling golden statues of three Buddhas (San Fo) who appear side by side in an unusual standing position with golden flames rising up behind them. In the centre is Amitabha Buddha (O Mi Tuo Fo), to your left is the bodhisattva Da Shi Zhi, and on your right is the bodhisattva Guan Shi Yin.\n\nPage 75\n\nPage 76",
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