[ { "id": 205642, "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-1968", "page_number": 184, "title": "RAS-1968", "content_text": "The Library\n\n179\n\nof the Hong Kong Branch of the Royal Asiatic Society up to 20th May, 1968, is copied from the catalogue. A list of the other contents of the library, including periodicals, scrolls, tape-recordings, and other materials will be compiled and published in due course. It is also intended to issue annual supplements to the list of books and periodicals.\n\nLIST OF BOOKS\n\n'ABD ALLAH IBN 'ABD AL-KADIR, Munshi.\n\nThe voyage of Abdullah; a translation from the Malay, by A. E. Coope, with notes and appendices. Singapore, Malaya Publ. House, 1949.\n\nABEL, Clarke.\n\nNarrative of a journey in the interior of China, and of a voyage to and from that country, in the years 1816 and 1817; containing an account of the most interesting transactions of Lord Amherst's embassy to the court of Pekin... London, Longman, Hurst, Rees, Orme and Brown, 1819.\n\nADAMS, Arthur.\n\nTravels of a naturalist in Japan and Manchuria. London, Hurst and Blackett, 1870.\n\nALEXEIEV, Basil M.\n\nThe Chinese gods of wealth: a lecture delivered at the School of Oriental Studies, University of London, on 26th March, 1926. [London] School of Oriental Studies, 1928.\n\nALLEY, Rewi\n\nPeking opera: an introduction through pictures by Eva Siao and text by Rewi Alley. Peking, New World P., 1957.\n\nANDERSON, Æneas.\n\nA narrative of the British embassy to China in the years 1792, 1793 and 1794... London, Debrett, 1795.\n\nARLINGTON, L. C.\n\nChinese women's coiffure. [Shanghai, China Society of Science and Arts, 1929]\n\nReprinted from the China journal, v.11, 1929, pp. 4-10, 69-76 and 119-126. Presentation copy signed by the author.", "txt_file_path": "txt/dfo323lmgvd/RAS-1968.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/66833948d", "rank": 0 }, { "id": 206810, "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": 87, "title": "RAS-1973", "content_text": "SWATOW HORIZONTAL STICK PUPPETS\n\n81\n\ndrama. This is a process which reminds of Java where the drama performed by actors Wayang Orang mimics the much earlier leather-shadow-play Wayang Kulit.\n\nHsiao Nan-ying\n\na famous hua-tan of Ch'aochow opera, who came to Hong Kong a year ago, complains that the Ch'aochow opera here is still using the stiff movements which were influenced by the shadow-puppet movements. She also tells of a typical Ch'aochow opera in which the peculiarities of the shadow-puppet-theatre are used to great effect. A movement can suddenly stop and the moment can be endlessly prolonged. For example: a boy and a girl move independently in a festival-crowd and when they by chance look at each other, they instantly fall in love and remain motionless in the position in which they caught each other's eye. And the Old Man of the Moon appears, takes imaginary strings from their eyes and binds them together. They remain like statues looking at each other until somebody cuts the imaginary strings, the spell is broken and they regain their liveliness. This technique is believed to be derived from the shadow-play.\n\nThe Wang Family\n\nThe most important puppeteer-family in Hong Kong is the family Wang who have been puppeteers for at least three generations. At the end of the Imperial era the grandfather Wang Pao-yuan was active as a puppeteer and opera-actor, and his son who accompanied him became the famous Wang Chiao-tsou, also called Wang Chiao Y. The name Chiao-tsou meaning “itinerant teacher\" was given to him, because he was a well-known itinerant teacher and opera-actor and also a puppeteer. Weary of the Sino-Japanese war he took his family to Hong Kong in 1938, together with a trunk of puppets. He immediately started to teach Ch'aochow opera and founded the Hsin-shun-hsiang puppet-troupe (The title means 'to prosper anew in Hong Kong'). His own family being very large, it was easy for him to give puppet-performances. Having for long performed himself in the leading role of hua-tan (character of a high-class beauty) he was a major force in the upsurge of Ch'aochow opera in Hong Kong in the last thirty years.\n\nWhen Wang Chiao-tsou arrived here he found three established Ch'aochow puppet-groups. Hsin-t'ien-ts'ai gave up its puppets to become an opera troupe in 1962. Lao-yuan-cheng", "txt_file_path": "txt/dfo323lmgvd/RAS-1973.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8910rj06r", "rank": 0 }, { "id": 206814, "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": 91, "title": "RAS-1973", "content_text": "FIVE ART CATALOGUES BY 19TH CENTURY KWANGTUNG ART COLLECTORS\n\nCHUANG SHEN*\n\nIntroduction: Chinese Paintings and the Compilation of Art Catalogues\n\nAlthough wall painting is the most historic form of Chinese painting, few of them survive today. With regard to other types of painting, Ku K'ai-chih's \"Admonition of Court Ladies\" (Nu-shih-chen t'u), a work executed in the fourth century Chin dynasty, is the earliest in date and exists in the form of a small handscroll. In the sixth century Sui dynasty, there appeared Chan Tzu-chien's \"Spring Outing\" (Yu-ch'un t'u), which is a large horizontal hanging scroll. During the seventh to ninth centuries T'ang dynasty, screens (both p'ing, unmovable; and chang, movable) were widely used.\n\nViewing these in terms of practicality, no matter whether the format is a horizontal handscroll, or a vertical hanging scroll, or even a folding screen, they are all paintings with a portable form. Due to this portability and their much smaller size in comparison with wall painting, there has appeared ever since the fourth century a large number of art collectors in China.\n\nAfter the T'ang and the Sung dynasties, collecting ancient paintings became very popular; and when their collections grew to be quite sizable, art collectors began to feel a need to compile catalogues. According to documentary materials that are now known to us, the earliest painting catalogue is Pei Hsiao-yuan's \"History of Imperial and Private Painting Collections in the Chen Kuan Era\" (Chên-kuan kung-ssu hua-shih). This title, apparently dating from early T'ang, indicates that there was no clear-cut distinction between imperial and private collections, both being considered together for cataloguing purposes. However, by the Sung dynasty, we find this is no longer the case.\n\n* Mr. Chuang Shen (S. C. Chuang) is BA (Taiwan) and MA (Princeton) and Lecturer in the Chinese Department of the University of Hong Kong.", "txt_file_path": "txt/dfo323lmgvd/RAS-1973.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8910rj06r", "rank": 0 }, { "id": 206817, "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": 94, "title": "RAS-1973", "content_text": "88\n\nCHUANG SHEN\n\nchuan; completed in the 16th year of the Shun Chih era, 1659); Wu Ch'i-chên's Shu-hua-chi (6 chüan; completed in the 16th year of the K'ang Hsi era, 1677); Kao Shih-ch'i's (1645-1704) Chiang-ts'un hsiao-hsia-lu (3 chuan; completed in the 32nd year of the K'ang Hsi era, 1693); and Miu Yüeh-tsao's (1682-1761) Yü-i-lu (6 chuan; completed in the 11th year of the Yung Chêng era, 1733). During the prosperous period of Ch'ing, there were Lu Shih-hua's (1714-1779) Wu-yüeh so-chien-shu-hua-lu (6 chüan; completed in the 41st year of the Chien Lung era, 1776); Chen Cho's Hsiang-kuan-chai yü-hsiang-pien (12 chüan; completed in the 47th year of the Chien Lung era, 1782). In mid Ch'ing, more works of this kind appeared, such as Pan Shih-huang's Hsü-ching-chai yün-yen-kuo-yen-lu (1 chüan; completed in the 9th year of the Tao Kuang era, 1820); Chang Ta-yung's Chih-i-chai shu-hua-lu (30 chüan; completed in the 12th year of the Tao Kuang era, 1832); Tao Liang's (1772-1857) Hung-tou-shu-kuan shu-hua-chi (8 chüan; completed in the 16th year of the Tao Kuang era, 1836); and Hu Chi-t'ang's Pi-hsiao-hsüan shu-hua-lu (2 chüan; completed in the 19th year of the Tao Kuang era, 1839). Still more were published during the late Ch'ing period. These were: Han Tai-hua's Yü-yü-t'ang shu-hua-chi (4 chüan; completed in the first year of the Hsien Fêng era, 1851); Chang Kuang-hsü's Pieh-hsia-chai shu-hua-lu (4 chüan; completed in the 4th year of the T'ung Chih era, 1865); Li Tso-hsien's Shu-hua-chien-yin (24 chüan; completed in the 10th year of the T'ung Chih era, 1871); Fang Chün-i's Mêng-yüan shu-hua-lu (24 chüan; completed in the first year of the Kuang Hsü era, 1875); Hsieh K'un's Shu-hua-so-chien-lu (3 chüan; completed in the 6th year of the Kuang Hsü era, 1880), Ko Chin-liang's Ai-jih-yin-lu shu-hua-lu (4 chüan; completed in the 7th year of the Kuang Hsü era, 1881); Lu Hsin-yüan's (1834-1894) Jang-li-kuan kuo-yen-lu (40 chüan; completed in the 18th year of the Kuang Hsü era, 1892); and Shao Sung-nien's Ku-yüan-ts'ui-lu (18 chüan; completed in the 29th year of the Kuang Hsü era, 1903).", "txt_file_path": "txt/dfo323lmgvd/RAS-1973.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8910rj06r", "rank": 0 }, { "id": 206818, "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": 95, "title": "RAS-1973", "content_text": "FIVE ART CATALOGUES\n\n89\n\nIn a word, during the thousand years between the Sung and the Ch'ing dynasties, documentary records of calligraphies and paintings of past dynasties were never compiled by following editing principles other than these two: either joint or separate. Among the above listed Ch'ing art catalogues, five of them conformed with the separate principle, while eighteen others followed the joint principle. Thus from the ratio of 1:3.6 shown between the two groups, it is clear that although these two editing principles both made their appearance in the Sung dynasty, by the Ch'ing period, catalogues that conformed with the joint principle by far out-numbered those that followed the separate principle.\n\nThe Kwangtung Art Catalogues\n\nII\n\nThe compilation of the catalogues for the five Kwangtung collections is, in fact, closely related to the above-mentioned editing principles: either joint or separate. For example, in his Fêng-man-lou shu-hua-lu (4 chuan, completed around the 20th year of the Tao Kuang era, 1840) Yeh Mêng-lung (1775-1832) adopted the principle of separating records of calligraphy and painting of past dynasties into two independent sections. However, in the other four catalogues, i.e., Wu Yung-kuang's (1773-1843) Hsin-ch'ou hsiao-hsia-chi (5 chuan, completed in the 21st year of the Tao Kuang era, 1841); Pan Chêng-wei's (1791-1850) T'ing-fan-lou shu-hua-chi (5 chuan, completed in the 23rd year of the Tao Kuang era, 1843) and supplement (2 chuan, completed around the 29th year of the Tao Kuang era, 1849); Liang T'ing-nan's (1796-1861) T'ing-hua-t'ing shu-hua-pa (4 chuan, completed in the 5th year of the Hsien Fêng era, 1855); and Kung Kuang-tao's (1832-1880) Yüeh-hsüeh-lou shu-hua-lu (5 chuan, completed in the 11th year of the Hsien Fêng era, 1861), the compilers all followed the principle of combining the records of calligraphy and painting together in one chronicle.\n\nThus, among the five art catalogues, only one was edited in accordance with the separate principle, and the other four all adhered to the joint principle. This ratio of 1:4 seems to be quite close to the 1:3.6 ratio shown between catalogues respectively edited by", "txt_file_path": "txt/dfo323lmgvd/RAS-1973.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8910rj06r", "rank": 0 }, { "id": 206823, "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": 100, "title": "RAS-1973", "content_text": "94\n\nCHUANG SHEN\n\nIt should be noted here that the Shih-ku-t'ang hua-k’ao was completed in the 21st year of the K'ang Hsi era, and Kao Shih-ch'ï's Chiang-ts'un hsiao-hsia-lu, in the 32nd year of the K'ang Hsi era. Thus there were eleven years in between. As early as the 21st year of the K'ang Hsi era, Pien Yung-yü had already begun to record the measurements of painting, use the regular script to transcribe the seal text, and squares and rectangles to represent the original shape of the seals. Therefore, the Chiang-ts'un hsiao-hsia-lu was not as Wu Yung-kuang stated \"the first catalogue that recorded the measurements of scrolls and paintings\". Furthermore, neither did the method of \"enclosing seal text transcribed in the regular script by lines\" to record seals that appeared on paintings, as had been extolled by Wu Yung-kuang as the \"best\" method, originate from Kao Shih-ch'i. Kao was only one of those early art catalogue compilers who followed Pien's systems. However, in regard to these two compilers' writings, owing to the fact that no matter on the subject of the classics or literature, Kao by far out-numbered Pien in quantity. His reputation as a connoisseur was also far higher than Pien's. It was probably because of these reasons that Wu Yung-kuang only noticed Kao's Chiang-ts'un hsiao-hsia-lu and overlooked Pien's Shih-ku-t'ang hua-k'ao. Consequently Wu's editing methods adopted in his Hsin-ch'ou hsiao-hsia-chi followed exactly those of Chiang-ts'un-hsiao-hsia-lu. Undoubtedly, the editing methods adopted by Wu were the most perfect ones in the compilation of art catalogues. However, the fact that he was only aware of Kao Shih-ch'i and not Pien Yung-yü seems to show that he had put a wrong emphasis on the first and last, which is something regrettable.\n\nA catalogue that was completed earlier than the Hsin-ch'ou hsiao-hsia-chi was: Yeh Meng-lung's Fêng-man-lou shu-hua-lu. Unfortunately, Yeh Mêng-lung did not give any introductory note to explain his editing system. Therefore it is not known whether his inclusion of the five essential elements i.e. measurements, material, format, seals and colophons was under the influence of Pien Yung-yü or Kao Shih-ch'i. However, since Yeh and Wu were not only good friends, but also later became relatives1, it is possible that when compiling his Fêng-man-lou shu-hua-lu, Yeh Mêng-lung was somehow influenced by Wu Yung-kuang. Thus like Wu Yung-kuang, Yeh's adoption of the five essential elements was probably under the influence of Kao Shih-ch'i and not directly from Pien Yung-yü.", "txt_file_path": "txt/dfo323lmgvd/RAS-1973.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8910rj06r", "rank": 0 }, { "id": 206825, "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": 102, "title": "RAS-1973", "content_text": "96\n\nCHUANG SHEN\n\nThus, instead of saying that the compilation method of the T'ing-fan-lou shu-hua-chi was an imitation of the system used in Wu Yung-kuang's art catalogue, rather, it would be more appropriate to say that Pan compiled it according to his own ideas,\n\nThirdly, if this assumption is reasonably correct, then the fact that Pan, in the preface of his T'ing-fan-lou shu-hua-chi regarded Kao Shih-ch'i's Chiang-ts'un hsiao-hsia-lu as one of the representative art catalogues in the Ch'ing dynasty was due to his high esteem for Kao's work, which incidentally was a view shared by Wu Yung-kuang. Moreover, it is possible that he came under Wu's influence while undertaking the collating work for the Hsin-ch'ou hsiao-hsia-chi, thus regarded Kao Shih-ch'i's work of special importance.\n\nFourthly, Pan Chêng-wei considered Sun Ch'êng-chê's Kêng-tzu hsiao-hsia-chi and Kao Shih-ch'i's Chiang-ts'un hsiao-hsia-lu as the most representative art catalogues compiled in early Ch'ing. This point of view is worth our notice. It should be noted that though Sun's catalogue was completed in the 16th year of the Shun Chih era (1659), it was being collated only less than a century after its publication, by Ho Cho2 (1661-1722), a well-known scholar of the Chiang Nan district21 and active in the K'ang Hsi era. Moreover, in the Chien Lung period, distinguished scholars like Lu Wên-ch'aoAx 3 (1717-1795), Pao T'ing-po3* ty (1728-1814) and Yu Chi (1738-1823) at one time or other wrote prefaces and colophons for this catalogue3, and in particular, Pao T'ing-po even included it in his Chih-pu-chü-chai ts'ung-shu1 * F & *** in order to publicize it. Not long afterward, it was well appraised by the Ssu-k'u-ch'uan-shu tsung-mu t'i-yao★ATAIRE, an official catalogue completed in the 48th year of the Chien Lung era. Thus, it can be seen that during the 124 years between the 16th year of the Shun Chih era and the 48th year of the Chien Lung era, in regard to the connoisseurship of painting and calligraphy, no matter whether it was in Chiang Nan or in the capital, and regardless of whether privately or officially, there was no one who did not consider Sun Ch'êng-chê's Kêng-tzŭ hsiao-hsia-chi as an important work for reference,\n\nHowever, the situation was not quite the same in Kwangtung. Probably up to the Chien Lung era, no Kwangtung scholar had ever noticed the Kêng-tzŭ hsiao-hsia-chi. Even Wu Yung-kuang and Yeh Mêng-lung, relatives who both served for a long time in the", "txt_file_path": "txt/dfo323lmgvd/RAS-1973.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8910rj06r", "rank": 0 }, { "id": 206826, "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": 103, "title": "RAS-1973", "content_text": "FIVE ART CATALOGUES \n\n97\n\ncapital during the Chia Ch'ing and Tao Kuang eras, did not seem to be aware of the significance of the Kêng-tzu hsiao-hsia-chi. This was why when quoting a representative work among the art catalogues completed in the Ch'ing dynasty, Wu Yung-kuang only commended Kao Shih-ch'i's Chiang-ts'un hsiao-hsia-lu, and completely ignored Sun Ch'êng-chê's Kêng-tzu hsiao-hsia-chi. Finally it was only when Pan Chêng-wei wrote the preface for his own T'ing-fan-lou shu-hua-chi in the 23rd year of the Tao Kuang era (1843) that for the first time Sun and Kao's works were given equal attention. In other words, whilst Sun's Kêng-tzu hsiao-hsia-chi had already aroused attention among the scholars of Chiang Nan only half a century after its publication, it had to wait 184 years after its publication to be brought to the notice of Kwangtung art collectors. If Wu Yung-kuang's introduction of Kao Shih-ch'i's Chiang-ts'un hsiao-hsia-lu to Kwangtung can be regarded as some kind of contribution to the art collectors in his native place, then Pan Chêng-wei's recommendation of Sun Ch'êng-chê's Kêng-tzu hsiao-hsia-chi should in the same way be said to be one of his contributions to the Kwangtung art collectors. It was probably because of Pan's high recommendation of the Kêng-tzu hsiao-hsia-chi that this book later attracted the attention of two other Kwangtung art collectors. Therefore, although in the Chia Ch'ing and Tao Kuang eras, the earlier Kwangtung art collectors Wu Yung-kuang and Yeh Mêng-lung were not fully aware of the significance of the Kêng-tzu hsiao-hsia-chi, it seems that in the Hsien Fêng era, however, the later Kwangtung art collectors Liang Ting-nan and Kung Kuang-tao began to show a certain degree of respect for Sun's catalogue. Evidence for this can be obtained in the compilation system adopted in the art catalogues compiled by Liang and Kung.\n\nNow let us examine the editing system set down in Liang Ting-nan's T'êng-hua-t'ing shu-hua-pa and Kung Kuang-tao's Yüeh-hsüeh-lou shu-hua-lu. In the former there is a preface written in the 5th year of the Hsien Fêng era (1855) by Liang T'ing-nan himself, the last part of which reads,\n\nThis time when I came again to the province, I lived in seclusion ... I decided to keep this part after making a revision. As to this edition, I would not dare to compare it with the two works compiled by Sun and Kao respectively. Moreover, in the matter of the editing system, my book differs from theirs on many points.", "txt_file_path": "txt/dfo323lmgvd/RAS-1973.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8910rj06r", "rank": 0 }, { "id": 206833, "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": 110, "title": "RAS-1973", "content_text": "104\n\nCHUANG SHEN\n\nlogue seems to be smaller than that found in Pan's catalogue. All in all, the lack of record of paintings and calligraphies listed in the table of contents in the text of a catalogue is the second type of deficiency in compilation found in the art catalogues of the Kwang-tung collectors.\n\nB. Carelessness in Proof-reading\n\nThe deficiency in proof-reading is the second type of deficiency in the art catalogue of the Kwangtung collectors. We may begin by examining Wu Yung-kuang's Hsin-ch'ou hsiao-hsia-chi. The carelessness in the proof-reading of this catalogue can be seen in the two following examples. In the 51st year of the K'ang Hsi era (1712), Wu Shêng completed the 20 chüan of his famous catalogue Ta-kuan-lu. It is not known whether Wu Yung-kuang had read Wu Shêng's Ta-kuan-lu with care or not; however, after acquiring Ni Tsan's Yu-po-t'an-hua-t'u, he had made use of the entry of this painting in Ta-kuan-lu to collate with the inscriptions attached to the painting. Moreover, he mentioned the name of Wu Tzu-min?\n+ in his own colophon. Therefore, having known the literary name of Wu Shêng as Tzũ-min, Wu Yung-kuang could hardly be ignorant of Wu Shêng. Yet in his Hsin-ch'ou hsiao-hsia-chi, he was so careless as to record Wu Shêng's name wrongly. In chüan 5 of his catalogue, after entering Ch'iu Ying's Yü-tung hsien-yüan-tu玉洞仙源 he added,\n\nWang Shêng's12 Ta-kuan-lu has also recorded Shih-fu'sTX Yu-tung hsien-yüan-t'u1\n\n12\n+\n\nIn chüan 4 of Hsin-ch'ou hsiao-hsia-chi, Wu Yung-kuang had already mentioned that the compiler of Ta-kuan-lu was Wu Tzŭ-min11, yet in chüan 5 of the same book, he recorded the compiler of Ta-kuan-lu as Wang Shêng12. It is thus apparent that the mistake of calling Wu Shêng as Wang Shêng could not be due to Wu Yung-kuang's ignorance. Rather, it resulted from a mistake in his own handwriting, or from a mistake made while cutting the blocks for painting. Moreover, according to Ku Fu's P'ing-sheng chuang-kuan13 there was a calligrapher by the name of Wang Shêng active in the Southern Sung period. Thus, if the reader of Hsin-ch'ou hsiao-hsia-chi has complete faith in Wu Yung-kuang, would it not be very likely for the compiler of Ta-kuan-lu to be taken as a Sung figure of the mid 13th century instead of a Ch’ing figure of the mid 17th century?", "txt_file_path": "txt/dfo323lmgvd/RAS-1973.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8910rj06r", "rank": 0 }, { "id": 206835, "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": 112, "title": "RAS-1973", "content_text": "106\n\nCHUANG SHEN\n\nBesides, in the table of contents of chüan 4 of T’êng-hua-t'ing shu-hua-pa, the 126th item is recorded as a landscape executed by Fang Hsün-yüan. Although there were quite a large number of artists in the Ch'ing dynasty, there was no one whose surname was Fang19. However, during the period between the Yung Chêng era and the beginning of the Chien Lung era, there was an artist by the name of Fang Shih-shu ✯±✯ (1692-1751) who was a native of An Hui and yet lived in Yang Chou. The literary name of Fang Shih-shu is Hsün-yüan20 #✡. Since in T'êng-hua-t'ing shu-hua-pa, it was Liang T'ing-nan's practice to designate all artists by their literary names and not their real names, therefore this unidentifiable Fang Hsün-yüan is very likely a name mistaken for Fang Hsün-yüan. If this assumption is correct, then Liang T'ing-nan had not only recorded incorrectly the literary name of this An Hui artist, but also mistaken his real name. Such an inexcusable mistake is again due to carelessness in proof-reading.\n\nC. Chronological Mistakes\n\nI have not thoroughly investigated the number of chronological mistakes in the art catalogues of the Kwangtung collectors. However, this kind of error can at least be discovered in Wu Yung-kuang's Hsin-ch'ou hsiao-hsia-chi. It should be noted here that Wu Yung-kuang had left two most important documentary records. One was the Li-tai ming-jen nien-p'u in 10 chuan, compiled in the 23rd year of the Tao Kuang era (1843) which was the year of his death. The other was Hsin-ch'ou hsiao-hsia-chi in 5 chuan, which, though printed a little earlier than the Li-tai ming-jen nien-p'u (in the 21st year of the Tao Kuang era, 1841), was in fact completed two years before his death. In other words, the two most important works of Wu Yung-kuang were both completed during the last three years of his life. Unfortunately, there are certain mistakes in both works. As early as ten years ago, the chronological mistakes in the Li-tai ming-jen nien-p'u have already been pointed out by experts21. It is also regrettable that in his Hsin-ch'ou hsiao-hsia-chi, he had committed some other curious chronological mistakes. On page 4 of chüan 4, there is recorded Wu Yung-kuang's own colophon inscribed on Ch'ien Hsüan's Li-hua-chüan #4, which reads,", "txt_file_path": "txt/dfo323lmgvd/RAS-1973.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8910rj06r", "rank": 0 }, { "id": 206836, "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": 113, "title": "RAS-1973", "content_text": "FIVE ART CATALOGUES\n\n107\n\nI was able to have a look at this scroll while I was in the capital in the year ping-shu. Now this scroll and the scroll of correspondence written by monk Fa-ch'ang are both in the collection of Ch'in-shan, minister of the Board of Agriculture 琴山農部. Wu Yung-kuang wrote this on the 9th day of the 12th month in the year chia-shu of the Tao Kuang era.\n\nIt should be noted that ping-shu was the 6th year of the Tao Kuang era (1826). After this year, there was no chia-shu in the Tao Kuang era. The years that have some connections with chia-shu are chia-wu (1834), mu-shu (1838) and chia-ch'en (1844). However Wu Yung-kuang died in the year before chia-ch'en. Therefore, the year chia-ch'en should undoubtedly be left out of consideration. What is more, even the combination of stems and branches of the years chia-wu and mu-shu are different from that given in Wu's own colophon. In all probability, it seems that the date \"chia-shu of the Tao Kuang era\" recorded in the colophon inscribed in Ch'ien Hsüan's Li-hua-chüan should be a slip of the pen for either the year chia-wu (14th year of the Tao Kuang era) or mu-shu (18th year of the Tao Kuang era), in the former of which, Wu was 62 years old, while in the latter, he would already be 66. In a word, the 14th year of the Tao Kuang era was the beginning of the last decade of Wu Yung-kuang's life. No matter whether the date when he put down by mistake the year chia-shu is chia-wu or mu-shu, by that time, he must have begun to show signs of old age. Otherwise in his Hsin-ch'ou hsiao-hsia-chi, he would hardly commit a mistake as to remember incorrectly the date of happenings that he himself had experienced. If, however, this catalogue had been carefully checked through before it was published, then such kind of chronological mistake could very likely be entirely avoided. Yet the fact that neither chia-wu nor mu-shu, but instead chia-shu of the Tao Kuang era had been printed in the Hsin-ch'ou hsiao-hsia-chi shows clearly that in the process of proof-reading, Wu Yung-kuang was indeed most careless.\n\nNOTES\n\n1 At the beginning of Yeh Mêng-lung's *** Fêng-man-lou shu-hua-lu, **** it is stated that Yeh Ying-ch'i ***, son of Yeh Mêng-lung, was one of the collators of that catalogue. On checking Wu Yung-kuang's autobiography (Tzü-ting nien-p'u), the following information is", "txt_file_path": "txt/dfo323lmgvd/RAS-1973.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8910rj06r", "rank": 0 }, { "id": 206837, "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": 114, "title": "RAS-1973", "content_text": "108\n\nCHUANG SHEN\n\nobtained under the entry of the 8th year in the Tao Kuang era (1828), \"In the third month, my daughter named Hsi married Yeh Ying-ch'i\". In chuan 2 of Wu Yung-kuang's Hsin-ch'ou hsiao-hsia chi, there is an entry about Mi Yu-jen's Yün-shan tê-l-t'u #4#★#, which according to Kung Kuang-tao's LAM Yüeh-hsüeh-lou shu-hua-lu *****, should bear a square seal, the text of which reads, \"Nan-hai nu-shih Yeh Wu Hsiao-ho hsieh-yün-lou shu-hua-chih-yin” ✯✯✯±‡*+*Z*#‡‡<¢ \"seal of calligraphies and paintings in the Hsieh-yün-lou collection of Madam Yeh Wu Hsiao-ho, native of Nan-hai”. Ho-wu is one of the style names of Wu Yung-kuang, and so he gave his daughter Wu Hsi the style name of Hsiao-ho. Furthermore, above Hsiao-ho's surname, it is added her husband's surname (Yeh). Thus it is evident that the Yün-shan tê-t-t'u was one of the items in her dowry when she was married off to Yeh Ying-ch'i. However, in the opening part of chuan 3 in Wu Yung-kuang's Shih-yün-san-jen fen-t'l-shih-hsuan, it is stated that one of the collators was his son-in-law, whose name, however, was recorded as Yeh Ying-hsin #44.\n\n2 At the end of his Kêng-tzŭ hsiao-hsia-chi chiao-wên ✯TMIERZ - \"Collatery Note of the Kêng-tzŭ hsiao-hsia-chi\" Ho Cho put down the date of \"K'ang Hsi kuei-ssu\" which is equivalent to the 52nd year of the K'ang Hsi era (1713). Ho's collatery note can be found in Ku-hsüeh-hui-k'an **✰★, vol. II, No. V, published by Kuo-ts'ui hsüeh-pao shê @##★#, 1923, and reprinted by Li Hsing Book Co. ★1⁄2, Taiwan. (The collatery note is found in pp. 2585-2601 of this reprint.)\n\n3 Pao T'ing-po's colophon, which is attached to the Kêng-tzŭ hsiao-hsia-chi, was completed in the 20th year of the Chien Lung era ✯✯ (1755). Yu Chi's colophon and Lu Wên-ch'ao's preface were both written in the 26th year of the Chien Lung era (1761).\n\n4 There are altogether 18 collections in Chih-pu-tsu-chai ts'ung-shu ÞILIIT. The fourth collection includes only Sun Ch'êng-chê's Hsien-chê-hsüan-tieh-k'ao §**** (which is now attached to the end of Kêng-tzŭ hsiao-hsia-chi. However, it is included in the occasional publication of the Chih-pu-tsu-chai. Nowadays, an edition that was published separately in the 26th year of the Chien Lung era (1761) is available.\n\n5 See Ssŭ-k'u-ch'üan-shu tsung-mu ti-yao **** chuan 113. Only the last sentence in this discussion is quoted here, since it already suffices to reflect the whole situation by this, \"Though the man can be slighted, his writing is however something that we cannot pass over slightly.\"\n\n6 A hand-written copy of the T'ing-fan-lou shu-hua-chi and its supplement is found in the collection of the Feng Ping-shan library, University of Hong Kong.\n\n7 The Feng Ping-shan library in the University of Hong Kong has in its collection a wood block printed version of the T'ing-fan-lou shu-hua-chi in 5 chuan and its supplement in 2 chuan, the beginning section of both of which are missing. Therefore, the date and place when this catalogue was printed is now known.\n\n* The type printed version of the T'ing-fan-lou shu-hua-chi and its supplement is available in Mei-shu ts'ung-shu *#*# vol. IV, part VII. This catalogue was first printed by the Kuo-ts'ui hsüeh-shê # in the 3rd year of the Hsuan Tung era ✯ (1911). The second edition came out in 1928. The copy used in this paper is the fourth edition published by Shen-chou kuo-kuang shê **B£* in 1947.", "txt_file_path": "txt/dfo323lmgvd/RAS-1973.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8910rj06r", "rank": 0 }, { "id": 206838, "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": 115, "title": "RAS-1973", "content_text": "FIVE ART CATALOGUES\n\n109\n\n9 In chuan 4 of Hsin-ch'ou hsiao-hsia-chi pp. 22b-33a, after entering Ni Tsan's Yu-po-t'an-hua-t'u and inscriptions and recording the three colophons written by Tung Ch'i-ch'ang and emperor Chien Lung, Wu Yung-kuang's own colophon follows, beginning thus,\n\nThis painting agrees with the one recorded in Wu's Ta-kuan-lu\n\n4. It was after this painting had been dispersed from Chiêng Chi-pa's collection that Wu Tzu-min came across it. Soon it was acquired by the imperial household.....\n\nIn saying that \"this painting agrees with the one recorded in Wu's Ta-kuan-lu”, it is apparent that Wu Yung-kuang must have used Wu Sheng's Ta-kuan-lu in order to make a comparison between the inscriptions recorded in this catalogue and those appeared on the painting.\n\n10 See Hsin-chou hsiao-hsia-chi chuan 5, p. 54b.\n\n11 See Hsin-ch'ou hsiao-hsia-chi chuan 4, p. 23a.\n\n12 Ibid chuan 5, p. 54b.\n\n13 See Ping-sheng chuang-kuan chuan 3, p. 20; published in Shanghai, 1962.\n\n14 See Hsin-ch'ou hsiao-hsia-chi chuan 4, p. 39a.\n\n15 Refer to footnote 10.\n\n16 An Ch'i's description of Yü-tung hsien-yüan-t'u can be found in Mo-ylian hui-kuan chuan 3. However he recorded it as Tao-yuan hsien-ching-t'u, which is somewhat different from that recorded by Wu Yung-kuang.\n\n17 See Pien Yung-yu's Shih-ku-t'ang hua-k'ao chuan 37. The edition used here is a photo copy of this catalogue in the collection of Mr. Chiang's Mi-chün-lou, made by Ying-yin chien-ku shu-she of the Cheng Chung Book Co., Taiwan in 1958, p. 4966. (The Chêng Chung Book Co. shows its ignorance in combining two pages of the original book into one page, and instead of following the original page number, gives each page a new number).\n\n18 The titles of these three scrolls of painting can be found in T'êng-hua-t'ing shu-hua-pa chuan 1, which are: Pai-l'ou an-ch'un tu p. 35b; Hua-kuo-r'u, p. 36a; Lan-hua-t'u, p. 36b.\n\n19 Among the documents that were completed in the Ch'ing dynasty and mainly dealt with biographies or names of the Ch'ing painters, the following are, in general, regarded as the most important:\n\n(1) Chang Kêng's Kuo-ch'ao-hua-chêng-lu in 3 chuan, supplement in 2 chuan. According to his own preface, this book was completed in the 13th year of the Yung Chêng era (1734).\n\n(2) P'êng Yün-ts'an's (1780-1840) Hun-shih hui-chüan\n\n史棠傳 in 70 chuan and appendix in 2 chuan.\n\n(3) Fêng Chin's Li-tai hua-chia hsing-shih pien-lan in 7 chuan, published in the 6th year of the Tao Kuang era (1826).\n\n(4) Lu Chün's Sung Yüan i-lai hua-jen hsing-shih-lu in 37 chuan. The preface written by Tang Chin-ch'ao is dated in the 10th year of the Tao Kuang era (1830).", "txt_file_path": "txt/dfo323lmgvd/RAS-1973.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8910rj06r", "rank": 0 }, { "id": 207581, "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-1975", "page_number": 349, "title": "RAS-1975", "content_text": "340\n\nBOOK REVIEWS\n\nChinese bronze is again by Prof. S. Umehara and was separately published in Kyoto in 1961.\n\n2 The Senoku Seisho is sub-divided according to nature of bronzes, into two parts. The first part dealing with ritual vessels is by Prof. K. Hamada while the next part, devoted to Chinese bronze mirrors, is edited by Prof. Yoshito Harada.\n\n3 In addition to these catalogues about the Sumitomo collection, in 1951 Prof. S. Umehara has also edited Kakkaku Kikkin Senshu (Selected specimens of the Chinese Bronze collection in the Hakkaku Art Museum), an illustrated and descriptive catalogue on Chinese bronzes housed in a private museum possessed and financed by Mr. Jihei Kano in Kobe.\n\n4 For instance, among his various studies on ancient Chinese bronzes, there are three catalogues. The first, \"Bronzes in the Hellström Collection\", is in the Bulletin of Museum of Far Eastern Antiquities (hereafter abbreviated as BMFEA) (1948, Stockholm), No. 20, while the second, \"A catalogue of the Chinese Bronzes in the Alfred F. Pillsbury Collection\" was published in Minneapolis in 1951. The third, \"Bronzes in the Wessen Collection”, is in BMFEA, (1958, Stockholm), No. 30.\n\n5 For instance, his Fruhe chinesische Bronzen aus der Sammlung Trautmann (1939, Peking).\n\n6 For instance, the Chinese Bronzes from the Buckingham Collection, (1946, Chicago), jointly edited by M. C. Chen and Charles F. Kelley.\n\n7 Alfred Salmony (1890-1958): Archaic Chinese Jades from the Edward and Louis B. Sonnenschein Collection (1952, Chicago).\n\n8 W. Perceval Yetts (1878-1957): The Georg Eumorfopoulos Collection: Catalogue of the Chinese and Corean Bronze, Sculpture, Jade, Jewellery, and Miscellaneous objects (1929-32, London).\n\n9 Howard Hansford: The Seligman Collection of Oriental Art, Vol. I, (1957, London).\n\n10 Yoshito Yonezawa: Painting of the Ming Dynasty, (1956, Tokyo).\n\n11 Osvald Siren: Chinese painting, Vol. VII, (1958, London).\n\n12 Victoria Contag: Chinese Masters of the 17th Century (1969, London).\n\n13 The date of Hsuan-ho hua-p'u is not known. But a general date, 1120, the second year of the Hsuan-ho era during the reign of the Emperor Hui-tsung of the Northern Sung Dynasty, associated with its preface, is normally considered to be the date of completion of its compilation. Regarding its authorship, it has been previously suggested by scholars in the Ch'ing Dynasty, such as Wang Wan, as having been edited by Emperor Hui-tsung himself, and by Chou Chung-fu as being by Tsai Ti, and by Pien Yung-yu as being by Hu Kuan. But according to Yu Shao-sung, a 20th-century specialist on the historiography of Chinese art, none of these old identifications are reliable. Instead, a possible editor of this imperial catalogue is perhaps an anonymous eunuch of the Northern Sung palace. For detailed discussion see his Shu-hua shu-lu chieh ti (hereafter abbreviated SHSLCT), \"A Collection of Summary of content and Studies of Titles of Books on Chinese calligraphy and painting\", (1931, Peking).\n\n14 Although it carries a preface by the author, this book is undated. In general, as Yu Shao-sung has suggested (SHSLCT Chuan 12, p. 9), Hsu Hsin must have lived in the transitional period of Ming and Ch'ing but the book itself is written in early Ch'ing.\n\n15 See Yen-Tzu chun-chiu, Nei pien, 10th chapter of the Tsa-hsia section. This book is generally regarded as a work of the 6th century B.C.", "txt_file_path": "txt/dfo323lmgvd/RAS-1975.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/j0995146d", "rank": 0 }, { "id": 207582, "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-1975", "page_number": 350, "title": "RAS-1975", "content_text": "BOOK REVIEWS\n\n341\n\n16 This mountain is clearly marked in the map (pl. CXIV of Vol. II) of the book review. In addition, according to Chun kuo ku-chin ti-ming ta tzu-tien \"Dictionary of Ancient and Present Place Names in China\", edited by Tsang Li-ho and others (1933, 2nd edition, Shanghai), p. 135, Mt. Tien-chu is at the northwest of Chien-shan in the present western An-hui Province.\n\n17 In Tung Shih-heng's Li-tai chiang-yu hsing-shih i-lan-t'u (1914, Shanghai), Map 3 (Chan-kuo ch'i-hsung-t'u A Map of the Seven Strong States during the Warring States period); again in Watari Yanai's Toyo Tokushi Chizu (1934, 3rd edition, Tokyo), Map 3; also in Albert Herrmann's A Historical Atlas of China (1966, 2nd edition, Chicago), Map 8 (The Contending States), the Huai River area is always marked as part of the territory of the State of Ch'u.\n\n18 This is to be seen in Fujiwara Sosui's Chokuoku shoho rokutai dai-jiten, Dictionary about Six Different scripts of Chinese calligraphy, (1960, Tokyo), pp. 615-616.\n\n19 See Chin Shu, History of the Chin Dynasty (1974, Peking punctuated edition), Chüan 40, (in Book V), p. 1366.\n\n20 Ibid., p. 1359.\n\n21 For the latest findings of scholars of this small circle, see Ho Ch'i-min: \"Chu-lin ch'i-hsien yen-chiu\" \"A study of the Seven Talents of the Bamboo Grove\", 1966, Taiwan.\n\n22 Po-hsüeh hung-tz'u. This examination, initiated in 731, the 19th year of the K'ai-yüan era during Emperor Hsüan-tsung's reign in the Tang Dynasty was during the Ch'ing Dynasty confined to some limited candidates primarily recommended by the Education Department in each province.\n\n23 For sound scholarship on the economic importance of Yang-chou during the Ch'ing Dynasty, see Prof. Ho Ping-ti: \"The Salt Merchants of Yang-chou: A Study of commercial capitalism in Eighteenth century China\", in the Harvard Journal of Asiatic Studies (1954, Cambridge), Vol. 17, pp. 130-168.\n\n24 Tsang Li-ho and others, op. cit., p. 923.\n\n25 The edition that the reviewer used is the Yüeh-ya-t'ang ts'ung-shu edition, first wood-blocked in Canton in 1850.\n\n26 The Chinese title reads: \"44415447\".\n焦山看月分得辇字\n\n27 In Chiao-shan chi it is to be found in p. 1b-p. 2a, while in Fan-hsieh shan-fang chi, (1937, Shanghai), hsü-chi (a supplementary collection), chüan 7, pp. 359-360 (In the Kuo-hsüeh chi-pen ts'ung-shu edition).\n\n28 The Chinese title reads: \"9493A7”.\n同作分得月字“\n\n29 In Chiao-shan chi it is to be found in p. 9a-9b, while in Fan-hsieh shan-fang chi it is in hsü-chi, chüan 7, p. 360.\n\n30 In Ma Yueh-kuan's own Sha-ho i-lao hsiao-kao (also the Yüeh-ya-t'ang ts'ung-shu edition), it is to be found in chüan III, p. 17a-17b.\n\n31 The Chinese title reads: \"宿佛日淨慈\". It is to be found in Fan-hsieh shan-fang chi, chüan 7, p. 134.\n倪龍瘢痕\n\n32 The Chinese title reads: “晚起 撖上人導行黃萬峯下 倪龍瘢泉 尋龍”. It is in Fan-hsieh shan-fang chi, chüan 7, p. 134.\n\n33 The Chinese title of this poem reads: \"...\". It is to be found in Fan-hsieh shan-fang chi, chüan 7, p. 135.", "txt_file_path": "txt/dfo323lmgvd/RAS-1975.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/j0995146d", "rank": 0 }, { "id": 207583, "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-1975", "page_number": 351, "title": "RAS-1975", "content_text": "342\n\nBOOK REVIEWS\n\n34 This observation is mainly based on the fact that the first poem from his own collection is entitled \"Chin shou-men has shown me a rubbing of the inscription taken from the bronze bells being made for the Ching-lung Monastery during the Tang Dynasty.”\n\n毒門见示所裁唐景龍觀錘髭拓本 In Li E's Fan-hsieh SFC, chuan 1, p. 1 under this poem, the date of its completion is recorded by the combined used of the Chinese cyclical characters: chia-mu which according to Li E's chronology, is to be identified as 1714 (the 53rd year of the Kang-hsi era).\n\n35 Ever since 1963, the Kwang-tung ying-jen chuan, “A Biographical study of the seal-carvers in Kwang-tung\", edited by Ma Kuo-chuan, has continuously appeared in the -lin section of Hong Kong's Ta Kung Pao Daily News. His study about Chang Hsiang-ming in particular, appeared in Ta Kung Pao, December 19, 1965. In October 1974 this biographical information was edited and published by the Nan Tung Company in Hong Kong, still entitled Kwang-tung ying-jen chuan. The portion concerning Chang Hsiang-ning is to be seen in this book edition p. 98.\n\n36 This is based on Takikawa Shiteru's colophon being inscribed on Hsiao Yün-ts'ung's painting entitled Li Sao T’u. A full reproduction of this painting has been printed in 1924 in Tokyo by Seigei Omura as one item of his edited Zubon Sosho. In addition, Takikawa's colophon was also quoted by Professor Akiyama Mitsuo in his Sho Sekiboku to Shuzan Koryo zu which appeared as the last article, being collected in the same author's Nihon bijusisu ronko (1943, Tokyo), pp. 413-414.\n\n37 According to Tzu Hai (1967, Taiwan edition), Appendix V (A conversion chart British, Japanese and Metric Lengths), each Japanese feet equals 0.3030 metre. Thus, 40 Japanese feet equal 12.12 metre. On the other hand, since the Drenowaltz handscroll measures 1302 cm; namely, 13.02 metre, the lengths of this painting, now in Switzerland, and the Li Sao Tu, once in Japan, are certainly very close.\n\n38 See Hu I: \"Hsiao Yun-ts'ung Nien-p'u” “A Biographical study of Hsiao Yün-ts'ung on A Yearly Basis”, in Mei-shu Yen-chiu (1960, Shanghai), No. 1.\n\n39 For these literary men who were gifted artists as well as members of the Fu She Association, these were, in addition to Hsiao Yün-ts'ung, many others, such as Li Sui-chlu from Kwangtung province, Wan Shou-ch'i (1603-1652), Wu Wei-yeh (1609-1671), Chi Pao-chia (middle 17th century) and Mao Hsiang (1611-1693) from the Kiangsu province, Fang I-chih (1611-1671) from the An-hui province, and Yang Wen-ts’ung (1597-1645) from the Kwei-chou province. These were all example-figures of such a type.\n\n40 Hsiao Yün-ts'ung name is listed in Fu She Hsin-Shih Lu \"Records of Members of the Fu-she Association\" first volume, p. 7a. This rare book is now owned by the Institute of History and Philology, Academia Sinica at Nankang, Taiwan.\n\n41 Hsieh Kuo-chen: \"Nan-ming shih-luch\" “A Brief History of the Southern Ming Period\" (1957, Shanghai), pp. 12-13.\n\n42 S. W. Stephen: Chinese Art, 2 vols. (1904-06, London).\n\n43 Ch'eng Wei: “A primary study on the Origin and Development of Ancient Bird-and-flower paintings\" in Wen-wo (1963, Peking), No. 10, p. 22-29. This article probably serves as the only research on the history of Chinese painting by using one single painting collection as its basis. Yet unlike the work done by Professor Li", "txt_file_path": "txt/dfo323lmgvd/RAS-1975.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/j0995146d", "rank": 0 }, { "id": 208462, "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": 186, "title": "RAS-1978", "content_text": "170\n\nC. MARTIN WILBUR\n\nof the Chinese terms the writer obtained the help of Dr. Robert R. Gailey and Mr. Ma Yü-fen (4), both of Peiping. Dates and prices have been included when they were given.\n\nI. THE SUBJECT IN GENERAL (LA)\n\nChou Ch'eng (MB); Summary of Local Government in Shansi (縣政概要). Shanghai, Hsien Tai Book Store (現代書局). $1.40.\n\nCh'en Han-sheng (£); The Relation of Rural Products to Feudalistic Society (農村生產關係與封建社會). Shanghai, National Central Research Bureau (國立中央研究院). $0.30.\n\nChou Ku-ch'eng (&); New Theories Regarding Rural Social Organization (農村社會組織的新論). Shanghai, Far Eastern Book Company (遠東圖書公司).\n\nCh'u Shih-chen (RM); Questions and Answers about Government in Districts, Villages and Hamlets (區村自治問答). Shanghai, San Min Company (三民公司).\n\nFeng Kuo-chen (*); The A.B.C. of Village Government (村治常識). Shanghai, Ching Yun Book Company (景雲書局).\n\nFeng Ho-fa (*); Principles of Rural Sociology (農村社會學大綱). Shanghai, Li Ming Book Store (黎明書局). $2.20.\n\nHo Ping-hsien (MMK); Problems of Local Self-Government (地方自治問題). Shanghai, Hsien Tai Book Store (現代書局). $0.40.\n\nHsing Chen-chi (#✯✯); Principles of Village Government in Shansi (山西村政綱要). Shansi Rural Government Bureau (山西村政處).\n\nJen Hsi-lu (****); Laws for Self-Government in Village Confederations (聯村自治法). Peiping, Li Ta Book Store (立大書局), 1931.\n\nKu Fu (#); Rural Sociology (農村社會學). Shanghai, The Commercial Press (上海商務印書館), 1928.\n\nLang Ching-hsiao (***); Theory and Practice of the Pao-chia System for Maintaining Public Order (保甲制維持治安之理論與實際). Shanghai, Ta Tung Book Store (大同書局). $0.20.\n\nLectures on Local Self-government (地方自治講義). Shanghai, T'ai Tung Book Store (上海泰東書局).\n\nLiang Shu-ming (***); The Most Recent Expressions of Concern for National Salvation as Revealed in the Chinese Peoples' Enterprises for Saving the Country (中國民族自救運動之最近動向). Peiping, Rural Government Monthly Publication Bureau (鄉村建設月刊社), 1932. $1.20.\n\nThe New Era of Village Local Self-Government (鄉村自治的新時代). Peiping, Fu Wen Chai Book Dealers (輔文齋書莊). $1.00.\n\nNiu Jen-yen (BMT); A Complete Book of Local Self-Government (地方自治全書). Shanghai, Kung Min Book Store (公民書局), 1930. 4 vols. $5.00.", "txt_file_path": "txt/dfo323lmgvd/RAS-1978.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8g84t8593", "rank": 0 }, { "id": 208463, "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": 187, "title": "RAS-1978", "content_text": "VILLAGE GOVERNMENT IN CHINA, 1933\n\n171\n\nPractical Application of the Theories of Village Government (**). Peiping, Fu Wen Chai Book Dealers (EMG). 實施 $0.80.\n\nShansi Village Government Series (††*). Shansi Rural Government Bureau (4&H¤Å).\n\nShao Yuan-ch'ung (***); Plans for Local Government During the Period of Political Tutelage (*********). Shanghai, Min Chih Book Store (E4A§). $0.10.\n\nSun Hung-ych (***); Local Self-Government During the Period of Tutelage (‡$45 107 § 1). Shanghai, Kuang Yi Book Store (上海廣益書局), 1929.\n\nTs'ai Ping-chang (*); New Village Government (#1). Shanghai, Yu Yi Book Store (EAA#5).\n\nWang Tao (1); Historical Development of the Chinese System of Local Government (+E***£<*). Peiping, Board of Internal Affairs (46*A**), 1918.\n\nWang Tsung-p'ei (1##); Chinese Rural Assemblies (+@<\"%#\"). Shanghai, Li Ming Book Store (±***$6). $1.40.\n\nWhat Village Elders Should Know (#±NM). Peiping, Ching Chao Yin Kung Shu (北京,京兆尹公署), 1925.\n\nYang K'ai-tao (M); Policies of Village Governments (*#**). Shanghai, The World Book Company (L**H), 1930, $0.60. Rural Sociology (£#*#*). Shanghai, The World Book Company (###5), 1930. $0.60.\n\nVillage Leadership (★ #† 41). Shanghai, The World Book Company (#5), 1930. $0.60.\n\nVillage Organization (AH). Shanghai, The World Book Company (*****), 1930. $0.60.\n\nVillage Self-Government (B). Shanghai, The World Book Company (****), 1930. $0.60.\n\nYin Chung-ts'ai (*#*); General Discussions on Village Government (†† *****). Hunan, Sha Ni Chih Book Store (V£%#4). $2.50.\n\nLectures on the Study of Village Government (#*#A). Shanghai, Ta Chung Book Store (#5). $1.80.\n\nThe Study of Village Government (###). Shanghai, Ta Chung Book Store (£*£†#5).\n\nII. LAWS (**)\n\nHu Hsing-chih (#42); Most Recent Laws for District, Village and Hamlet Local Self-Government (A*#*). Shanghai, Hsin Hsueh Hui Shê (1*****).\n\nLaws and Privileges of Village Government (###). Central Rural Government Research Bureau (★★#*#✯).\n\nLaws for Local Self-Government Now in Force in the Republic of China (P*AMÚGE* •**^ [*1]). Shanghai, The Commercial Press (*$$Y$*), 1922.", "txt_file_path": "txt/dfo323lmgvd/RAS-1978.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8g84t8593", "rank": 0 }, { "id": 209497, "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-1982", "page_number": 154, "title": "RAS-1982", "content_text": "132 \n\nH. J. LETHBRIDGE \n\nLondon, on November 19-20, 1928. Miao's counsel (J. C. Jackson) withdrew from the case when Miao insisted on addressing the Court himself, but was allowed, should any question of law arise, to make a statement later as amicus curiae. Miao argued his case before the Court for over four hours and called three new witnesses who deposed that other Orientals had been seen near the scene of the crime on the day it took place. The Court, remarking that special indulgence had been shown to the applicant as he was a foreigner, dismissed the appeal. Dr. Miao Chung-yi was hanged at Manchester's Strangeways Gaol on December 6, 1928. Ironically, on that day his wife's body was shipped back to Hong Kong for re-burial in the Chinese Christian Cemetery, Hong Kong. No one has seriously disputed that Miao killed his wife, but the reason why he did so has baffled Sir Travers Humphreys and a number of other commentators. \n\nSir Travers Humphreys (1867-1956) was a product of late Victorian England, the era of British Imperialism. He was sixty-one when he presided over Miao's trial and eighty-six when he wrote an account in A Book of Trials (1953), a volume of legal reminiscence. Miao's story is to be found therein under the somewhat dramatic heading \"The Chinese Murder\". Travers Humphreys declares that \"The interesting feature of Miao's case is, perhaps, the fact that, in the absence of any direct proof against him, the circumstantial evidence was overwhelming, while the suggested motive for the crime, though proved to some extent, seemed to many people absolutely inadequate\". He comments, later on, that the trial was \"quite the most puzzling I have ever come across, on the question, why did he do it?\" and concludes, \"I am satisfied that Miao murdered his wife and was rightly hanged, but I was and still am unable to answer to my own satisfaction the question, 'Why did he do it?'\" \n\n37 \n\nIt seems that Travers Humphreys' perplexity owed much to the fact that the accused was a Chinese, whose mind therefore must be extraordinarily difficult to fathom. (Even a noted sinologist like Dyer Ball had argued that Chinese do everything in reverse, or eccentrically, compared with Europeans). This is further suggested by the quatrain containing the line \"The Heathen Chinese is peculiar\", which heads Travers Humphreys' chapter on the trial. Mrs. Miao, as we already know, was", "txt_file_path": "txt/dfo323lmgvd/RAS-1982.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/mk61z420p", "rank": 0 }, { "id": 212508, "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-1991", "page_number": 62, "title": "RAS-1991", "content_text": "42\n\ncorrespondence with Ruan Yuan, if such items are extant.\n\nThis paper is not a prosopographic study of a generation of mid-Qing scholars, but I need to involve all of them in order to come to certain conclusions about one of them.\n\nPatronage of scholarship and learning during the mid-Qing\n\nProviding scholars who did not have government offices or private income with a means of livelihood while pursuing their research and writing was not a practice unique to China, nor was it a new phenomenon of the mid-Qing era. Often, the individuals offering this support had been motivated by political considerations. Lynn Struve of Indiana University and Kent Guy of the University of Washington have recorded in English the result of their studies on early Qing patronage of scholarship and learning. Struve has found that the Kangxi Emperor commissioned major literary projects from roughly the 1680s through the 1710s, including the Ming Shi (Ming History), to legitimize the Qing rule by making use of scholars who were not officials. This tradition was followed by the Qianlong Emperor in such monumental compilation tasks as the Si ku chuan shu (Complete Library in Four Branches of Literature).\n\n5\n\nLiterary works were produced under the patronage of individual scholar-officials as well. The Xu Brothers of the Kangxi era, who had several as chief editors of several imperially commissioned compilations, maintained a retinue of scholars. The most celebrated mid-Qing officials who were patrons of scholars were the Zhu Brothers. They gave scholars jobs on their personal staff, or in academic institutions, or an allowance while working on literary projects they sponsored. Zhu Yun (1729-1781), who was remembered for having suggested to the Qianlong Emperor the idea of the Si Ku Chuan Shu, and his younger brother, Zhu Gui (1731-1807), personal tutor to the Jiaqing Emperor, for instance, had on their staff at one time or another such scholars as Zhang Xuecheng (1738-1801), Shao Jinhan (1743-1809), Hong Liangji (1746-1809) and Ruan Yuan. Guy observed that\n\nAlthough Chu's was the first group of this type of scholarly patronage to coalesce, such circles became a fairly common feature of the era's intellectual life. Among the most important successors of Chu's circle in this regard were the", "txt_file_path": "txt/dfo323lmgvd/RAS-1991.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/k356gt84j", "rank": 0 }, { "id": 212510, "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-1991", "page_number": 64, "title": "RAS-1991", "content_text": "44\n\n19\n\nRuan Yuan as a \"bridge for classical learning\" between the Han Learning scholars of Jiang Fan's Guo chao Han xue shi cheng ji (Han Learning scholars of the Qing dynasty) and the later work of Chen Li (1810-1882), Dong xu du shu ji (Chen Li's notes on the classics in which he argued against the viewpoint of the earlier classicists that Han period scholars had ignored metaphysical study.) Qian pointed out that \"recent scholarship has neglected the significance of this transitional period, thereby underestimating the significance of Ruan Yuan's contributions to the development of classical learning of the mid-Qing era.\"10 This finding was echoed by He You Shen# of the University of Hong Kong, who observed that Chen Li's thinking had been influenced by Ruan Yuan.\n\nAfter becoming a fellow of Xue Hai Tang, Chen Li went to visit Ruan Yuan in Yangzhou in 1841, and again three years later. These two visits influenced the direction of Chen's later thoughts tremendously.\"\n\nOther scholars have stressed the importance of Ruan Yuan's patronage activities. Liang Chi Chao wrote that \"Ruan Yuan of Yi-zheng served in the provinces for several decades. Everywhere he promoted learning. He exerted tremendous influence on other scholars of the era in Zhejiang, Guangdong, and Yunnan.”12 Xiao Yi Shan- stated that \"Ruan Yuan's contributions to learning were not confined to his own writing. He established institutions to give other scholars an opportunity to research and to publish. He was extremely influential on other scholars of the era. His scholarly achievements far surpassed those of his contemporaries, such as Wang Chang, Bi Yuan and Zhu Jun.\"'13 Hu Shi went further by analyzing the secret of Ruan Yuan's success.\n\nRuan Yuan's special talents rested in his ability to collect the leading scholars of the day, and have them work together to compile such major works as Jing ji zhuan gu, Shi san jing jiao kan ji, Chou ren zhuan, and others. He also published works of other scholars, among them Ling Ting kan, Jiao Xun, Wang Zhong, Liu Tai gong. His Huang Qing jing jie, 1,400 juan, represented the first conclusive study of classics by scholars of the Qing dynasty.14", "txt_file_path": "txt/dfo323lmgvd/RAS-1991.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/k356gt84j", "rank": 0 }, { "id": 212519, "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-1991", "page_number": 73, "title": "RAS-1991", "content_text": "53\n\nJiang Fan (1761-1831) was one of the scholars from Yangzhou who followed Ruan Yuan all their lives. After losing his fortune and library in a drought that devastated Yangzhou 1785-86, he worked for a number of major officials on their personal staff, including Grand Secretary Wang Jie (1725-1805) and Ruan Yuan. At the recommendation of Ruan Yuan, who was then Director of Grain Transport, Jiang was appointed to the Lizheng Academy as Director in 1813. He followed Ruan Yuan to Canton as tutor to Ruan Fu (b. 1802), who, alone among Ruan Yuan's children, had entertained any pretension as a classical scholar. While at Canton, Jiang edited the Guangdong tongzhi 1819-1822 under Ruan Yuan's aegis. Ruan Yuan published Jiang's major work, Hanxue shicheng ji.\n\nJiao Xun (1763-1820) was another scholar from the Yangzhou area. He was considered to be a major force of the mid-Qing era in Classics, history, astronomy, mathematics, phonetics, etymology, and geography. He was a close personal friend of Ruan Yuan and worked as Ruan's personal secretary in the early days of Ruan Yuan's official career. A record of anti-piracy campaigns in Zhejiang 1799-1809 was compiled by Jiao and printed as Yingzhou shu ji. Jiao also worked on Chouren zhuan. He was recorded to have been paid 1,000 taels to compile the Yangzhou fu zhi [Local gazetteer of Yangzhou]. With this money, he was able to purchase land and build a house. His own works, mostly printed by Ruan Yuan, included Bei hu xiao zhi [Local history of Bei hu, a community north of Yangzhou], Li tang xue suan ji (Jiao Xun's mathematical studies), and Diao gu lou ji [Studies from Diao gu lou], comprising three major treatises on the Classics.\n\nHung Yixuan (1770-1815) was an example of those scholars whose personality and inclination had made it difficult for them to fit into the trials and tribulations of official life. One of three brothers all known for their intellectual achievements, which embraced astronomy, history, the Classics, and geography, Hung first came to the attention of Ruan Yuan in Hangzhou in 1796 or 1797. As Governor-General at Canton, Ruan Yuan rescued Hung from office by appointing him to his personal staff to work with Feng Dengfu on epigraphical notes they were compiling on Zhejiang.\n\nLing Tingkan (1757-1809) had made his home in Yangzhou, where he had become a close friend of Ruan Yuan. A jinshi of 1790, Ling had", "txt_file_path": "txt/dfo323lmgvd/RAS-1991.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/k356gt84j", "rank": 0 }, { "id": 212528, "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-1991", "page_number": 82, "title": "RAS-1991", "content_text": "62\n\nYun nan tong zhi gao\n雲南通志稿\n\n選平樂府重建聖廟碑記\nXuan Ping lo fu chong jian sheng miao bei ji\n\nTa xin shuo 塔性說\n\nSan jia shi bu yi 三家詩補遺\n\nWen xuan lou shu cang shu ji\n文選樓書藏書記\n\nBa zhuan yin guan ke zhu ji 八轉吟館刻記\n\nBu bi tu shi 布幣圖識\n\nA4\n\nRuan shi Chi gu zhai Han tong yin te\n阮氏積古齋漢銅印得\n\nWen xuan lou cang bei\n文選樓藏碑\n\nRuan wen da gong zhi shi hou jia shu\n阮文達公致仕後家書\n\nHan shi jing can zi 漢石經藏碑\n\nLang huan xian guan shi\n\nRuan wen da gong zhi shi hou jia shu\n阮文達公致仕後家書\n\nLun yu lun ren lun 論語論仁論\n\nMeng zi lun ren lun\n\nNOTES\n\nArthur F Wright, \"Values, Roles, and Personalities” in Confucian Personalities, edited by Arthur F Wright and Denis Twitchett (Stanford 1962), 11\n\nIbid., 4\n\nSee Appendix 1 chronology of Ruan Yuan's government appointments and Appendix 2. Ruan Yuan's major works and compilations\n\n4\n\nLyn Struve, \"The Hsu Brothers and Semi-official Patronage of Scholars in the K'ang-hsi Period\", Harvard Journal of Asiatic Studies 42-231-266 (1982). R Kent Guy, The Emperor's Four Treasuries. Scholars and the State in the Late Ch'ien-lung Era, Harvard, 1987 Guy has inscribed \"We await Ruan Yuan\" on the front piece of my copy of his work\n\nStruve, 231\n\nThe three Xu Brothers were Xu Qian xue (1631-1694), Xue Bing yi (1633-1711), and Xu Yuan wen (1634-1691) Other officials who were patrons of scholars included Ye Fang ai (1629-1682), Song De yi (1622-1687), and Yu Guo zhu (d ca 1688), Struve, 232-239\n\n7 Guy, 52 Guy had neglected to include the group Ruan Yuan had organized at the Gu Jing Jing she in Hangzhou earlier. A number of scholars from this group had followed Ruan throughout his official life from the late 1790s to the late 1830s for over 40 years I have opted to keep the Wade-Giles transliteration of the Guy original\n\n8 Wang Jun-yi, “Kang Qian sheng shi yu Qian Jia xue pai — jian lun Qian Jia xue pai di liu pai ji chi ping jia\" 清代乾嘉學派的流派及其評價 Qing shu yen jiu 4 342-366 (Beijing, 1986). Unless otherwise indicated, all translations into English in this paper are made by me\n\n9 Qian Mu, Zhong guo jin san bai nian xue shu shi [A history of Chinese learning during the past 300 years], (Taipei edition, 1976), 478", "txt_file_path": "txt/dfo323lmgvd/RAS-1991.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/k356gt84j", "rank": 0 }, { "id": 212543, "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-1991", "page_number": 97, "title": "RAS-1991", "content_text": "77\n\nincoming events did take the role of initiating a new trend in China.\n\nChina's domestic policy reassessments were mainly motivated by political considerations and were generally centred on political and theoretical matters. Accordingly, art and literature were less affected than policies by these reassessments. Nonetheless, the bearing of these reassessments on art and literature were enormous.\n\nIn 1977-1978 there appeared a literary genre called “scar literature” (“wounded literature”), under which a number of stories, plays and poems were published or staged. Among these works were \"Class Teacher\" (\"Ban zhuren”) and “Scar” (“Shanghen”), after which the genre was named. The themes of the works under this genre were almost exclusively focused on the wrongs done in the Cultural Revolution. The open, and sometimes forceful condemnations of past policies were pretty much the same as the practices in earlier campaigns to criticize Liu Shaoqi and Lin Biao, but the content showed that writers tried to analyse history from their own perspective. After the Third Plenum in December 1978, at which Deng Xiaoping called upon the intellectuals to “emancipate their minds” and to break into previously forbidden zones, more works under this genre were published.\n\nThe impact of political reassessment in the post-Mao era was strong though, the first reassessment affected the development of art and literature only marginally. With the pulling down of the Xidan \"Democracy Wall\" and the arrest of Wei Jingsheng, an activist in the demonstrations who advocated adoption of a Western system of democracy, there appeared a tendency to limit the scope of literary and artistic activities. In June 1979, an article \"Praise and Shame\" was published arguing that any writer who criticizes the dark side of socialism is shameful. This article ignited a nationwide criticism of “ultra-leftist tendencies in literary and artistic creation.” In the following few months, major newspapers and journals published articles to refute this stand, dubbing its supporters the \"whatever\" faction.\n\nThis development made high culture a victim of political campaigns.\n\n16\n\nThough \"scar literature\" was unaffected by the campaign started in the spring of 1979, it had become out-of-sale by the autumn of that year as the mood of the nation turned more to the present and the future rather than concentrating on the past. So this literary genre was replaced by a more controversial genre, \"exposure literature\", in which social", "txt_file_path": "txt/dfo323lmgvd/RAS-1991.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/k356gt84j", "rank": 0 }, { "id": 215061, "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-2000", "page_number": 157, "title": "RAS-2000", "content_text": "114 \n\nIn imperial China the mandarins, i.e. the official class,1 as well as Daoists honoured Taisui at the beginning of Spring. This was an element of the official religion, with Taisui being an early deity who appears to have been first offered official sacrifices during the Yuan [Mongol] dynasty. The cult of Taisui, referred to as far back as the Han dynasty, was linked with the planet Jupiter2 which during its twelve year orbit of the Sun moves through the 28 Constellations.\n\nThe Ministry of Time in the spirit world is ruled over by the President, Yin Jiao, a deified hero, - also known as Marshal Yin, though more frequently and popularly referred to as Taisui, reflecting his canonisation by Jiang Ziya in the popular historico-novel The Deification of the Gods [Fengshen Yanyi]. It was only after his popularisation in The Deification of the Gods that Taisui was identified with Yin Jiao. In the novel Taisui is portrayed as both a good human and a very ugly demonic deity with a face described as blue as indigo and with long protruding fangs. He is also referred to in another well-known novel of the same era, the Journey to the West [Xiyou Ji] where again he is described as blue-faced and with fangs.\n\nThe Composition of the Ministry\n\nThe Deification of the Gods3 lists the composition of the Ministry of Time. Apart from the President, identified as Yin Jiao, the others do not seem to appear by these names anywhere other than in The Deification of the Gods.\n\nYin Jiao 殷郊\nPresident\n\nMembers: Wen Liang\n溫良\n\nChiao Kun\n喬坤\n\nHan Dulong\n韓毒龍\n\nXue E'hu\n薛惡虎\n\nFang Bi\n方弼\n\nThe Day Duty Spirit\n\nThe Night Duty Spirit\n\nThe Spirit who stores up Blessedness\n\nThe Spirit who Shoulders Misfortunes\n\nThe Spirit who Shows the Way", "txt_file_path": "txt/dfo323lmgvd/RAS-2000.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/nk328168n", "rank": 0 }, { "id": 215319, "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-2001", "page_number": 96, "title": "RAS-2001", "content_text": "44\n\ncolonised by ethnic Han Chinese. It was occupied during the reign of Han Wu Di, a century or more before the Christian era, albeit for centuries merely in pockets around the seaboard with the non-Han ethnic groups, mostly Li and Miao, having been pushed back into the hinterland, the central mountainous area,\n\nBeing the southern limit of China the island of Hainan is semi-tropical with early settlers from the Chinese mainland tending to be involuntary settlers, not necessarily outlaws or banished political exiles but colonists despatched by the government who intermarried with the aboriginal Li. Ethnically the Han Chinese stock, referred to as Hainanese for Hoilam in Hainanese], came largely from the province of Fujian, speaking Qiongwen [commonly called Hainanese] a sub-group of Minnan3, though there are also many Cantonese and Hakka Han Chinese within the population and even pockets of pure Cantonese or Hakka Chinese. The result of the hotchpotch of immigration over the centuries is referred to as a whole as Hainanese, and their culture and social mores reflect elements from all of their original ethnic groups. Hainanese people, as would be expected, cannot be differentiated by foreigners from other Han Chinese. However, the Cantonese, the Chaozhou and Fujian Han Chinese are never slow to point a finger at the Hainanese who they claim to be clannish, insular and very suspicious people. Many go as far as to claim that they are slow, dim-witted and gullible, Certainly, they are different though to a non-Chinese the difference is not immediately apparent. My experience is that they are not only friendly but extremely welcoming to foreigners, and especially diligent as house-servants.\n\nHot and remote, it was pioneer frontier territory - far from the capital and major cities, used during dynastic times as a penal colony or at least a refuge for political exile for Chinese officials, a backward area with agriculture and fisheries as the only form of subsistence. The first official was exiled there during the Han, about the time of Christ, though the peak periods of such exiles were during the Song and Ming dynasties, with some like Hai Rui, Su Dongbo and Cao Yu, being renowned throughout China. Fortuitously their presence on the island accelerated the development of cultural life, and when joined by their families and entourages, they left their mark on the culture of Hainan,\n\nAlthough there are guide and travel books about most areas of", "txt_file_path": "txt/dfo323lmgvd/RAS-2001.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/zg651950g", "rank": 0 }, { "id": 216023, "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": 322, "title": "RAS-2002", "content_text": "256\n\nMountain, a former small island now joined to the mainland by alluvium, referred to by Victorian travellers as a 'pyramidal rock'. This used to stand out in the Yangzi a mile or so upstream from the city of Zhenjiang, hence their use of its name generically for the city. There is a further island, Jiao Shan Scorched Island, an islet some mile or so downstream from the city with its own ancient temple, Dinghui Si concealed within its tree-covered slopes. It too has its own memorials from the era of the Six Dynasties - two or three ancient cypress trees, whose storm-riven and almost barkless trunks were in the 1920s still held together by iron bands. According to Allom, Silver Island [Mountain], the name formerly given by foreigners to Jiao Shan, is to the westward of Zhenjiang, within sight of the Gold Island [Mountain] [see illustration]. Legend has it that Jin Shan, Gold Mountain takes its name from the time during the Tang dynasty when a certain Bei Totuo was digging into the hill and found a pot of gold; this has long been denied by Buddhists who believe that the name of the hill has a Buddhist symbolic meaning. Although the British Concession was originally laid out with intervening ground between it and the old walled city it did not take many years for the new native city to encroach and reach the Concession boundary. This meant that foreigners wishing to leave the Concession had to battle their way through the main street of the new native city, facing filthy and disease-ridden beggars, open drains and past open spaces which were used as public conveniences, constantly patronised by squatting men.\n\nCaptain Cunynghame, serving with the British force sailing up the Yangzi and about to mount an assault on Zhenjiang, arrived off the city on the 18th of July 1842. The force had been proceeding with great care as it was the first opportunity that western warships had had to penetrate as far inland up the Great River. He described his first sighting of Golden Island as 'the most beautiful little fairy isle imaginable, covered with temples, whose gilt-topped pagodas shone brilliantly in the evening sun'. A week or so later, once the city had been stormed and he was able to walk through it and wrote that \"the walled portion of the town was reckoned about four miles in circumference. The suburbs, extending a long distance to the west, probably occupied an equal extent of ground. The former space was chiefly occupied by streets containing shops, with an occasional blank space of wall within which were the houses of the most wealthy inhabitants. A very large portion, however, was occupied by gardens", "txt_file_path": "txt/dfo323lmgvd/RAS-2002.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/mp4901278", "rank": 0 } ]