[
    {
        "id": 204314,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
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        "document_key": "RAS-1961",
        "page_number": 82,
        "title": "RAS-1961",
        "content_text": "Journal of the Royal Asiatic Society Hong Kong Branch\n\nRASHKB and author\n\n78\n\nVol. 1 (1961)\n\nISSN 1991-7295\n\nson of Li Ching is Hui-an () who was a disciple of Kuan Yin (Bodhisattva Avalokitesvara), while his name, Mu-ch'a (*), is not mentioned except in one verse, and not in the prose part of Ch.21. This is the name the author of the Fêng-shên Yen-i adopted. The origin of the name Mu-ch'a can be found in chüan 18, Kan-t'ung P'ien (A) of the Sung Kao-sêng Chuan (***) by Tsan-ning (), who was a follower of the Monk Sangha (@). The latter was said to be an incarnation of the Avalokitesvara of eleven faces and died in A.D. 710. Apart from Mu-ch'a, Hui-an was also one of his disciples. Therefore, in popular literature, Mu-ch'a and Hui-an are mixed up into one person and in the \"Four Travels\" Hui-an remains a disciple of Kuan Yin. It was the author of the Fêng-shên who changed the character ch'a (X) to cha (RE) in his novel so that the name could have the same second character as No-cha. In some popular editions of the \"Four Travels\" the character ch'a (X) has also been changed.\n\nNow, in the Tantric works, though the second and third sons of Vaisravana (Tu Chien and Nata) play rather important parts, his other sons, especially his first son, are not mentioned. I have read through a large number of sutras about Vaisravana and consulted some Buddhist scholars in Japan,1a but they could not give me any definite opinion. In Oda Tokuno's (1) Buddhist Thesaurus (#) and in the Chinese work Fu-hsüeh Ta Tz'u-tien (BAND) edited by Ting Fu-pao (TR) based upon it,19 we find that the names of P'i-sha-mên wu t’ung-tzu (£££7 Five Attendants of Vaisravana) include Tu Chien and Nata, but no origin is given. I think they may be identical with the \"Five Yakshas\" which appear under the sub-title \"Princes and Family Members\" (ERB) in Caturmaharaja (19F諸小王及眷屬)in E) in chuan 6 of the Ch'i Shih Ching (). They are, in translation, Fifty-feet (wu-chang £), Wilderness (k'uang-yeh ), Golden Mountain (chin-shan ), Long Fellow (ch'ang-shên ) and Hair of A Needle (chên-mao E). They appear (translated literally from the Sanskrit) also in the Caturmaharaja of the Shih Chi Ching (H) and in chüan 19 of the Dirghagama (£§ÂŒ) as \"Five Attending Genii of Vaisravana.”\n\n20\n\nI Dr. Henmi Baiei), Professor of Buddhist Art, Tama University (9) and others. I have also consulted the Chinese Buddhist priest Tan-hsü (1), aged 89, a disciple of the late T'i-hsien (M) of the Tien-t'ai Sect (R) and some Tantric scholars.\n\n19 The 4th ed., I Hsieh Shu Chũ (885), Shanghai, 1939.\n\n20 No. 24, The Tripitaka in Chinese, translated by Jñanagupta. cf. No. 25, Ch'i-shih Yin-pên Ching (#LFXE), chữan 6 & 7.",
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    {
        "id": 204430,
        "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": 62,
        "title": "RAS-1962",
        "content_text": "CHINESE SEALS\n\n51\n\nas Small Seal was proclaimed by the Government in place of the previous existing irregular characters which were known as Big Seal characters 大篆 or ch'ou wen 籀文,\n\nIt was during the Chin Dynasty that the term sist 鉥 was restricted to mean the Emperor's seal and official or personal seals were known as yin 印. The Chin seals are usually cut in intaglio, with cross or vertical dividing lines and a line at the margin. The size is about 1 inch square and the shape is usually square. The personal seals were more or less of the same style as the later Chou type.\n\nThe Royal Seal was said to be made of jade with eight Chinese characters cut in relief ****, with dragons carved on it as decoration. Official and personal seals were made of bronze with simple decoration.\n\nThe Han Dynasty (206 B.C.-221 A.D.) followed the short-lived Chin (221-206 B.C.). This was the golden age of seal making. During the Han Dynasty, a form of calligraphy was specially proclaimed for seal making. This is a cross between the small seal character of the Chin and the later Li 隸 character. It is regular, simple and upright, most suitable for seal making. The different types of Han seals 印 were most numerous, the chief of which were the official seals, personal seals and miscellaneous seals. The engraving may be in intaglio, relief or both in the same seal. Han seals exist to the present day in abundant numbers and their style is studied and copied up to this moment.\n\nThe decoration on Han seals was more elaborately made in that different ranks of officials possessed seals of different decoration; such as camel, horse, tortoise, tiger, leopard, bear, sheep, rabbit, lizard and etc. Even the colour of the cord signified different ranks. Personal seals might have decorations such as a tortoise or other animals.\n\nAs for the matrix of the seal, records show that Han seals were made from gold, silver, bronze or jade according to the rank of the official. Royal seals were made from jade. Personal seals might be made from precious stone, precious metal, bronze or gilt bronze. Ivory or horn of rhinoceros were also used.\n\nAfter the Han Dynasty, the art of seal making suffered a great set-back during the Sui (600 A.D.), T'ang (618-907 A.D.),",
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    {
        "id": 205004,
        "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-1965",
        "page_number": 112,
        "title": "RAS-1965",
        "content_text": "BOOK REVIEWS\n\n103\n\ncare with which the work of compilation was performed, not failure to note more errata.\n\nMr. Yu approached his work with very high standards. Instead of merely cannibalizing existing indices, as has often been done, he insisted that all entries be compiled directly from examination of the publications in question; in addition to judging each item afresh it was also possible to note complete data on page numbers and length, the seldom-offered facts on the bulk of an article here being regarded as one of the facts most useful to the scholar using an index. Moreover, the names of the 355 periodicals drawn upon in making the index are given in two lists, one in Chinese giving full information on history and editorship of the publication in question, and another briefer one in English and romanization. Professor Drake's preface reports that Mr. Yu will also write a history of Chinese scholarly periodicals, drawing on the data gathered in the course of this work of compilation. Moreover, the Harvard-Yenching Institute, which generously supported both research and publication, has been so impressed by the value of Mr. Yu's work that they have asked him to enlarge and supplement the present index by adding further periodicals not yet available in Hong Kong, and by continuing to produce biennial additions to keep this kind of indexing up to date with current publication. Hong Kong, its material and its human resources, are thus placed in the service of Chinese studies everywhere. We must be grateful, principally to Mr. Yu, but also to all those who have contributed to this achievement.\n\nPrinceton University\n\nFrederick W. MOTE\n\nLAND USE AND MINERAL DEPOSITS IN HONG KONG, SOUTHERN CHINA AND SOUTH-EAST ASIA. Edited by S. G. DAVIS. Proceedings of a meeting held in September 1961 as part of the Golden Jubilee Congress of the University of Hong Kong. Hong Kong University Press 1964. 260 pages. HK$60.\n\nThe golden jubilee of a university is, under most circumstances, an event to be proud of. The prestige of a reputable university increases of course with the advance of age. On the occasion of its golden jubilee in September 1961, the University of Hong Kong initiated six symposia. One of these was on land use",
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    {
        "id": 205580,
        "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": 122,
        "title": "RAS-1968",
        "content_text": "SUN YAT-SEN AND CHINESE HISTORY\n\n117\n\nequal it.\"20 However this might be, Sun also conceded that it had not been implemented. Sun noted too that in the halcyon days of the Chou dynasty, which he saw as the period of maturity or the Golden Age of Chinese civilization, \"the political, economic, and educational systems, literature and the arts, attained in China the same development roughly, as they have today in the modern Western countries.\"21 This period \"of great and unlimited liberty,\" was succeeded by 2,000 years of decline. But because of reforms during the Golden Age, China's despotism was reduced sufficiently so that it was never as severe as it was in the West, or so Sun claimed.22 Whatever pride or identity serving purposes such remarks may have had, they were also among those which made for Sun more practical points as well. Such a view of history served to illustrate Sun's philosophical dictum that knowledge was difficult and action easy. Thus China's historical decline had been caused by too much intellectual reflection in the centuries following the Golden Age. Therefore, it was a revolutionary call to the Chinese people for more practical action, a necessary revolutionary ingredient which was Sun's main purpose and concern.23 Such a view of history was also designed to support the not entirely unreasonable contention that China need not seek to borrow all of its modern political forms from the West, because China had certain distinctive needs for which suitable political forms should be created.24 Whether or not the political forms Sun went on to suggest were suitable or not is something else. The point here is that the nationalistic implications of Sun's use of history were strongly action-orientated, designed to mobilize people behind his revolutionary program. The identity-serving side is there, but it is a blurred image of China's past. While containing elements of the traditional self-image, it represents as many pragmatically-necessitated departures from it, and a number of misunderstandings of it as well.\n\nIn summary then, while it is certainly legitimate to presume the influence of nationalism on Sun Yat-sen's use of history, it is a factor requiring careful qualification. Nationalistic influences there were, but there are also problems of Sun's personal identity and his shifting appreciation of the meaning of nationalism. Beyond this was his tendency to use history as seemed required or desirable for what he considered practical political programming. Finally, and most fundamental of all, was a basic lack of interest in his-",
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    },
    {
        "id": 205609,
        "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": 151,
        "title": "RAS-1968",
        "content_text": "146\n\nNOTES AND QUERIES\n\nThe halls are all substantial buildings, somewhat simpler in style than the usual run of Chinese temples and they do not declare themselves obviously as religious institutions. Once inside, however, their religious nature is obvious from the images one sees immediately in the main downstairs shrine room where one enters.\n\nA few words are in order here on the deities worshipped by members of the sect and particularly in the vegetarian halls, for one of these deities effects the lay-out of the hall itself.\n\nWomen inmates may worship any god or goddess popular with them in a private capacity, and some have pictures and small images of such deities in their own sleeping quarters. Hsien-t'ien religion has itself incorporated, however, a number of gods and goddesses and Buddhas and Bodhisattvas into its worship. Kuan-yin is commonly found in halls of the sect and was in fact found in the halls in Ngau Chi Wan. Popular Chinese triads such as: Sakyamuni, Lao Tzu and Confucius (Buddhism, Taoism and Confucianism) are also common and appeared in the lower shrine room of the WING LOK TUNG. The sects relate various gods and Buddhas to each other by the theory of reincarnation: one god is the reincarnation of another, or of a Buddha in a different age. They are also related to each other by their cooperation in the work for Truth in a particular \"Truth\" epoch.\n\nA goddess peculiar to the sects of the religion exists, however. In this sect she is known as \"Golden Mother of the Yao Pool\" (Yao-ch'ih Chin-mu). In other sects she is known by different names: several simply call her \"Venerable Mother\" (Lao-mu), while Kuei-ken Men \"The Sect of Reverting to the Root [of Things]\" calls her \"Unbegotten Venerable Mother\" (Wu-shêng Lao-mu). Some sectarian leaders have told Marjorie Topley that they can tell when a particular sect split off from others in the religion by the term of address they use for \"Mother\". Mother is supposed to change her name every few years or so in order to prevent the unorthodox off-shoots from obtaining access to her. Any message sent to her under the incorrect name will fail to arrive. More sophisticated members say, however, that this goddess is in fact a symbolic representation of the Void: out of which the cosmos, and with it, Absolute Truth, emerged. But to most ordinary members, particularly female members, she is a goddess of great compassion and power and they sometimes identify her with Kuan-yin.",
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    {
        "id": 206984,
        "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-1974",
        "page_number": 55,
        "title": "RAS-1974",
        "content_text": "ADVENTURERS IN HONG KONG\n\nForeign Adventurers\n\n49\n\nThe word 'adventurer' derives etymologically from the French aventurier, a term applied in the fifteenth century to a gamester. Over time the word has evolved to encompass a number of social types such as the soldier of fortune, the speculator, the impostor, and a person who lives by his wits. The Grand Larousse encyclopédique states magistrally that the aventurier is a 'personne qui vit d'intrigues, et n'est pas très scrupuleuse sur les moyens de se procurer de l'argent, le pouvoir, etc.' The concept includes two important elements—the idea that an adventurer is one who freely chooses to take risks and is involved, if only faute de mieux, in some kind of imposture or degree of deceit. This latter quality is particularly attached to the role of the adventuress, for she is perceived as someone who will stick at nothing to gain her ends, including the prostitution of her body; but it must be granted that the terms ‘adventurer' and ‘adventuress' are not simply the male and female equivalents of the same thing, they are linked to social roles, each of which, the male and female, has a different content. An adventurer may be an extremely moral person, like the Marquis de Morès, but an adventuress can hardly be that.\n\nPsychologically, adventurers may be positioned on various points of a continuum, ranging from the atavistic adventurer (the adventurer per se or sui generis) at the one end, to the run-of-the-mill soldier of fortune,54 hardly distinguishable from any other professional, at the other. Mayréna exemplifies the first species; a poseur, liar, gambler, swindler, and crook; his morals were those of the barnyard, though he was often extremely brave. The aristocratic and patriotic Morès, devoted husband and father, a devout Catholic of impeccable private morality, was more a soldier of fortune, as were many of his Spanish forefathers in Sardinia; he was a gentleman who simply enjoyed danger, challenge, movement; he was exhilarated by life in exotic climes. Thus Mayréna and Morès represent two extremes of a class of adventurers, a social category equivalent to that of bandits, feminists, sportsmen, terrorists.55\n\nThe golden age of the European adventurer spanned the hundred years from Waterloo to the First World War. It is true that adventurers of all types flourished before that period—condottierri, landsknechten, conquistidores, filibusters, freebooters, buccaneers, explorers, imposters, swindlers and tricksters—but the hundred years of",
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    {
        "id": 207991,
        "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-1977",
        "page_number": 30,
        "title": "RAS-1977",
        "content_text": "14\n\nLEIGH WRIGHT\n\nAt the height of Brunei's \"golden age\" the earliest contacts with Europeans occurred. The best records of the early contacts are found in the account of Antonio Pigafetta, the chronicler of Magellan's circumnavigation voyage. In 1521 Magellan's fleet visited Brunei. I quote at some length a description of Brunei under Sultan Bulkiah.4\n\nWhen we reached the city, we had to wait two hours in the prau, until there had arrived two elephants, caparisoned in silk-cloth, and twelve men, each furnished with a porcelain vase, covered with silk, to receive and to cover our presents. We mounted the elephants, the twelve men going before, carrying the presents. The present for the king consisted of a vest velvet in the Turkish fashion, a chair of purple velvet, five yards of red broad-cloth, one cap (beretoo), a gilded goblet, a glass vase with a lid, three quires of paper, and gilded inkstand. We brought for the queen three yards of yellow broad-cloth, a pair of silver-embroidered shoes, and a silver case filled with pins. We thus proceeded to the house of the governor, who gave us a supper of many dishes. Here we slept for the night on mattresses stuffed with cotton (Bambagic), and cased with silk. Next day, we were left at our leisure until twelve o'clock when we proceeded to the king's palace. We were mounted, as before, on elephants, the men bearing the gifts going before us. From the governor's house to the palace the streets were full of people armed with swords, lances and targets: the king had so ordered it. Still mounted on the elephants we entered the court of the palace. We then dismounted, ascended a stair, accompanied by the governor and some chiefs, and entered a great hall full of courtiers, whom we shall call barons of the realm (Baroni del regno). Here we were seated on carpets, the presents being placed near to us.\n\nAt the end of the great hall, but raised above it, there was one of less extent hung with silken cloth, in which were two curtains, on raising which, there appeared two windows, which lighted the hall. Here, as a guard to the king, there were 300 men with naked rapiers (stochi nudi) in hand resting on their thighs, at the further end of this smaller hall, there was a great window with a brocade curtain before it, on raising which, we saw the king seated at a table masticating betel, and a little boy,\n\nPage 30\n\nPage 31",
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    {
        "id": 209167,
        "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-1981",
        "page_number": 70,
        "title": "RAS-1981",
        "content_text": "56\n\nHUBERT SEIWART\n\nand modern Chinese culture. They present, to a certain degree, a religious interpretation of modernization in Taiwan. But if we examine the above mentioned elements, we find that virtually none of them is really new. They are all patterns which are well known from Chinese intellectual history. I shall just give a few examples:\n\nThe devaluation of the present time as a period of moral decline can be traced back as far as Confucius. In the earliest Confucian writings we can also find the theme of the return of the Golden Age of Yao and Shun.\n\nThe concept of the Great Harmony, Ta T'ung, also originated in antiquity, it is elaborated in the Li Chi. Probably somewhat later, during the Han dynasty, the idea was formulated that the emergence of the new ideal world would be preceded by a period of destruction, as can be seen in the T'ai-p'ing Ching. Finally Buddhism added to these elements the theory of the declining dharma and the expectation of the future Buddha Maitreya. Maitreya is still of utmost importance in the eschatological teachings of I-kuan Tao.\n\nThe rejection of foreign influence is also a familiar topic. As we know, Buddhism has long been the target of anti-foreign propaganda. During the Six Dynasties Buddhism was held responsible for all the deficiencies of the time.\n\nFinally, we should observe that I-kuan Tao as well as most of the other popular cults combine elements of Buddhism, Confucianism and Taoism, and promote the idea of san chiao he i, \"the three teachings form a unity\". This explicit syncretism goes back at least to the Sung dynasty.\n\nThese remarks suffice to show that the reactions of these popular religious movements to the social changes resulting from modernization are by no means new. The symbolization of the tensions caused by cultural contact and modernization draws heavily upon the traditional symbol repository. Not only are the traditional symbols relied on, but also their content: The values by which modern society is measured derive mainly from the traditional moral teachings. It would therefore not be untrue to say that the religious responses to modernization as we have analyzed them so far can be characterized as traditionalism and conservatism.\n\nNevertheless, it would be misleading to regard movements like I-kuan Tao as mere survivals of a past historical period. For, as we shall see presently, besides the traditional elements there are also",
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    {
        "id": 209982,
        "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-1983",
        "page_number": 241,
        "title": "RAS-1983",
        "content_text": "219\n\nIt was beautiful out there, amid real pine-woods. Near the bungalow was a small monastery and the monks in their wisdom did not allow any wood-cutting on their property. The bungalow was clean and well kept by the caretaker. Chun was his name so far as I remember, a sinister-looking rogue with a squint, who rarely smiled. Perhaps it was the loneliness which made him morose and surly. He had no wife, at least, not officially, and the pay was so small that he could barely live on it, for it was expected that he would make a good deal of extra money from visitors. He brightened up when I ordered supper and told him I was staying for the night.\n\nThere were two big rooms, plainly but comfortably furnished, and the kitchen and scullery were outside. A number of good books were on the shelves and I found a lot of old visitors' books, some dating back to the early 'eighties. I had no idea the bungalow was so old, and I became so immersed in the books that I forgot everything else, until Chun came in with the supper.\n\nIt was October and getting chilly at night, so I told him to get a fire going in the big round stove, as I wanted to have a long, cosy browse afterwards.\n\nChun was becoming quite amiable, and started a long story in pidgin about a bewitched boar, a big fearsome brute, which no one could kill. I knew how superstitious the Chinese were and took the whole story with a pinch of salt, until he took out one of the visitors' books and showed me an account of a shoot written by a Mr. Currie, an old-timer no longer in the port. Chun must have memorised the place for he knew no written English, and it was clear that Mr. Currie—or \"Cullee\", as he called him—was Chun's great hero, and when Currie roamed the hills after pig that was the Golden Age for Chun. He got more and more excited: \"That time, Master, plenty man come shootee shootee pig. Every week four five piecee man come. My catchee plenty cumsha (tips). My velly solly Mista Cullee have go homeside.\"\n\nAfter he had cleared away the supper things I settled down with the visitors' book. There were some excellent accounts of pig-shoots by Currie and his companions, ranging over several years, and with all the usual ups and downs, failures and successes. It was clear that they were written by a man who loved the sport.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1983.txt",
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    {
        "id": 211782,
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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-1989",
        "page_number": 197,
        "title": "RAS-1989",
        "content_text": "172\n\nstationed in Shanghai during the 1860s were nearly always open air ones. But sometimes a theatrical company co-operated with one of the bands, like the Amateur Burlesque Company on June 29, 1864. Otherwise, performances took place on the Bund, or Embankment, along the river, which was the favourite promenade of the foreigners as well as the most prestigious section of the Settlement. Records have come down to us of concerts by the French 101st regiment in March 1861 (“By permission of Colonel Pouget [who was the commanding officer of the regiment JH] we are authorised to state that the band of the 101st regiment will perform every Sunday and Thursday (weather permitting) before the headquarters of General De Montauban at Messrs Rémi, Schmidt & Co. [this was in the French Concession JH] between the hours of 3 and 4”*. Further concerts by the Rhenish Band and the band of the 67th regiment in June and July 1864 provided entertainment which “the residents evidently appreciated (...) large numbers (...) congregating during the performances”.67\n\nProfessional musicians\n\nFrom time to time professional musical artists visited Shanghai, and, as with the travelling dramatic companies, 1864 and 1865 were a golden age for the public. In the first decades of the twentieth century Shanghai was honoured with recitals by, to name just a few, Feodor Chaliapine, John MacCormack, Fritz Kreisler and Amelita Galli-Curci, but during the fifties and sixties it was only the lesser gods that came to the city. In fact, hardly any one of the artists in this period can be traced in contemporary reference works. This does not mean, of course, that they could not have been capable musicians able to provide enjoyment during an evening. That such was not always the case, though, has already been shown by the criticism drawn by the performance of Prof. Shonbrun, which led the Herald to state that \"in this remote place we have so few opportunities of hearing really good music that we hunger for it and can ill brook disappointment\".68 But then there were Messrs Desvachez and Grossi whose concert in February 1865 had \"called for favourable comment at the hands of our music critic\".69\n\nYet, bearing in mind the conditions of travel in the 19th century, it is amazing enough that European musicians were at all willing to undertake an Asian tour with only very uncertain financial prospects.\n\n\"The first public concert (properly so called) that has ever been given",
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    {
        "id": 212721,
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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",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1992",
        "page_number": 30,
        "title": "RAS-1992",
        "content_text": "'Union'. There was no indication that either Mesny or Kahler realized the implication behind the extraordinary ugliness of the emperor nor that the print had anti-Manchu secret society connotations.\n\nThe only time Mesny refers to photography was when Pickerell, his friend in Hankow in about 1864/5 who knew something of the rudiments of the art, 'then very imperfectly understood,' added Mesny, had produced some very good negatives and positives on glass of his Chinese employers. This spread Pickerell's fame and brought him lots of business. The colodion gave out and none was to be obtained at any price. Mesny tells us in his Miscellany that he knew how to make it and produced some which served the purpose until a supply could be obtained from Hong Kong. This yet again highlights the enigma of how did Mesny keep abreast with European and American business and scientific advances whilst in remote parts of China, and how did he, at the age of 22 or 23, in the heart of China, having left Jersey some ten years earlier, know anything about photography and in particular the constituents of colodion and how to make it?\n\nThe illustrations provided by the Jersey Post Office on the commemorative stamps are interesting illustrations of how the present day artist imagined Mesny and his surroundings. They should therefore be regarded as fanciful representations rather than accurate depictions. Mesny, for example, at no time appears to have worn the square badge of the civil official as portrayed in the illustration with Governor Chang. Again, he was never a 'Mandarin first class', he was a 'military official second class.' Finally, at no stage did he ever refer to himself at 'the River Gate.' Every walled town down the Yangtze would have had one but Mesny, himself, never mentioned the term and again, to our knowledge, was not on the Yangtze in 1874.\n\nNOTES\n\nThe Manchu dynasty was actually descended from the Jürchen, the so-called Golden Horde. The Manchus in China were neither Mongol nor even, strictly speaking, autochthonous Manchus but Jürchen conquerors from Manchuria\n\n1 Balleine G R: A Biographical Dictionary of Jersey Staples Press: London\n\nReady O: Life and Sport in China London. 1904\n\nPage 30\n\nPage 31",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1992.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/qf85tx75x",
        "rank": 0
    },
    {
        "id": 213623,
        "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-1995",
        "page_number": 219,
        "title": "RAS-1995",
        "content_text": "192\n\nAnother claim suggests that Ch'iu was the adviser to the Yuan emperor Shih Tsu [better known as the Great Kublai Khan] though as Ch'iu is said to have died in AD 1227 this would be impossible; yet another claim which is again fanciful, Ch'iu is said to have been the author of the dramatic version of the \"Journey to the West\" the well-known story in which Monkey [Ch'i-t'ien Ta-sheng] aids a famous monk to carry Buddhist scriptures to China from India.\n\nHis mausoleum was in the influential Taoist White Cloud Monastery, the Sect centre, in Peking. Temple records in the Pai-t'a Dagoba in the Pei Hai in Peking noted that he died at the age of 80 in AD 1227.\n\nHis image is to be seen on two altars in Hong Kong, both in Taoist monasteries where he is portrayed as a seated Taoist figure dressed in robes, blue in one monastery and golden in the other, with a black beard. He is wearing the tiny Taoist crown and holds a fly switch in his right hand. He has no unique identifying characteristics, though in private images he is often depicted with his blue robes decorated with pa-kua signs. His image, in both monasteries, is on a secondary altar in a main hall dedicated to Wang Ch'ung-yang, with Lu Tung-pin being the sole deity in the other secondary altar. These three Immortals are known collectively as the Three Generations, with Lü the eldest, Wang the second generation and Ch'iu the third generation and the junior.\n\nHis great weakness, which he had to overcome, was his impatience. He was renowned for his propensity to butt in and offer his opinion, often after reaching conclusions prematurely.\n\nIn Peking, his image in the Tan-chi Kung depicted him as a young man without eyebrows or whiskers and with a whey-coloured face. In Singapore, his old gilded image stands on an altar in an old temple in Telok Blangah where he shares a shrine on an altar with Lu Tung-pin, one of the Eight Immortals, with the other shrine occupied by images of Ho Hsien-ku, another of the Eight Immortals, and Sun Fu-jen, an unidentified matron.\n\nCh'iu was deified by the Yuan dynasty emperor Shih Tsu [Kublai Khan, ca AD 1260] as: Ch'ang-ch'un Yen-tao Chu-chiao Chen-jen (MIÈ3⁄4Ç^). Later, at the time of Yuan Wu Tsung [ca. AD 1308],",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1995.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/95941j25g",
        "rank": 0
    },
    {
        "id": 213796,
        "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-1996",
        "page_number": 148,
        "title": "RAS-1996",
        "content_text": "119\n\nprestige since the Tang dynasty. I shall return to this point later\n\nGenealogies that are available now are the result of many updates and only then prefaces can be dated. Some of those in the collection of Luo, op. cit. contain a preface dated 1269 (p. 363), another a preface dated 1406 (p. 48), another was first compiled during the same period (p. 67). As the prefaces do not usually dwell on the many different names of ancestors, we cannot expect prefaces to indicate ordination names as such. The earliest dated preface in the collection to mention ordination names was written in 1780. It drew attention to early ancestors whose achievements as officials are not known but are immortals in the celestial count, referred to by their religious names. It would be useful to examine unabridged genealogies to find mention of ordination names in early prefaces.\n\n1. Check the Golden Lotus for ordination of a male child. Ordination in a funeral seems to appear in the famous Qing novel, the Red Chamber.\n\nNJ\n\nHu Bo'an's *Zhonghua Chuanguo Lingji*, reprinted 1990, Zhengzhou: Zhongzhou Guji Chubanshe, *shang bian*, j. 1, p. 82 describes a practice in Tianjin province of Buddhist ordination; the child will later become a layman again in a rite to be carried out at the age of 12.\n\n21 Qu Dajun, *Beijing: Zhonghua*, 1985, pp. 302–303. The passage is repeated by Yihe Dong Biji, written around the 18th century (the author Li Diaoyuan obtained his Jinshi degree during the Qianlong period, 1736-1795). If the passage in *Guangdong Xinyu* was copied from some earlier book, the original would not have been written before 1569, when Yong'an was first established as a separate county.\n\n\"The Third Gazetteer of Yong'an, j. 1, p. 207 in the reprint by Chengwen Chubanshe, 1974.\n\nThe Changle County Gazetteer, j. 4, p. 247 in a reprint in the 70s (2) in Taiwan. According to the *Gongguo Difang Zhi Zonghe Mulu* ('Comprehensive Catalogue of Chinese Gazetteers'), the earliest version, of circa 586 and circa 663 respectively, still exist.\n\n21 The passage does mention that the area has Yao and Liao minorities, but the sentence about the sorcerers seems to refer to Han villagers. See Hu, op. cit., *shang bian*, j. 8, p. 50.\n\n24 Op. cit., j. 1, pp. 8b-9a.\n\n1\n\nJl,\n\n* Michel Strickmann, in 'The Longest Taoist Scripture', in *History of Religions*, 1978, p. 349, suggests that the appearance of the name Satan here attests to the influence of Manichaeism in Southeastern China. The Satan was worshipped by some circles of agnostics, according to the entry in Mircea Eliade, ed., *The Encyclopedia of Religion*, New York: Macmillan, 1987.\n\n26 Interpreted as King of Skanda by Strickmann, op. cit.\n\n27 In some cases written as Mei Shan, Mei Shan, Lu Shan, or Lu Shan.\n\n* Li and Huang, ed., *Liannan Bapai Yanjiu Ziliao*, published by Guangdong Sheng Shehui Kexueyuan in the 1980s. See, for example, p. 554 and p. 564 for King of Asura, p. 433 for",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1996.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/3n209j641",
        "rank": 0
    },
    {
        "id": 214316,
        "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": 174,
        "title": "RAS-1998",
        "content_text": "138 \n\nLegends surrounding the birth, life and death of Xu Sun are numerous, complicated and tangled stories. Just before his birth his mother is said to have dreamed that a golden phoenix dropped a pearl from its beak into her hand. A popular story claims that he was born either in Henan province or at Nanchang in Jiangxi, ca AD 240 where he lived out his life as a saintly doctor. Xu Sun passed the imperial examinations, became a prefect of a district and distinguished himself by his benevolence. According to some versions, his popularity was due to his power and ability to heal diseases using secret preparations. Others claim that he was an official who, having served in Sichuan province, died in about AD 293 or AD 374 when still only in his fifties. In another version, a typical mythological finale to a virtuous and extraordinary life, he died at the great age of 134 and was borne off to Heaven 'together with his wives, children, dogs, chickens and beasts'. \n\nMembers of the Daoist Jingming sect claim that he was the founder of the cult with its centre at the temple dedicated to him in Nanchang city. This no longer exists; however, a temple dedicated to him in the small town of Xi Shan [Western Hill] some twenty miles south-west of Nanchang, is the present cult centre. A large notice before his altar in the temple informs devotees that he lived during the Eastern Jin [317-420 AD] and during a twenty year struggle managed to solve the problem of annual flooding in the province and that he should be revered mainly for his success in water conservancy in northern Jiangxi, particularly around the Boyang Lake. The notice also claims that he lived for 136 years. \n\nHis cult centre in Xi Shan is now a bustling temple complex with two main halls and some four lesser halls set in large grounds. The two large main halls, side by side, are dedicated one to Xu and the other to the Jade Emperor. The inside walls of the hall dedicated to Xu are lined with some twenty or so anonymous minor perfected lords whilst the Jade Emperor's hall is lined by sixteen guardian generals, again unnamed. The Jade Emperor is flanked by four major Daoist deities, the philosopher Lao Zi; the founder of the Heavenly Master sect Zhang Daoling; the doctor of the Eight Immortals Lü Dongbin and the Northern Emperor, Zhen Wu. The main altar in Xu's hall bears two images of Xu, one tall gilded statue of Xu standing, and a smaller, portable image of him sitting swathed in red robes. Neither has any unique characteristic and he is depicted with a black beard, pink face and holding a tablet in both hands before his chest. He is attended by two youthful attendants.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1998.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/1g05n0794",
        "rank": 0
    },
    {
        "id": 214584,
        "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": 442,
        "title": "RAS-1998",
        "content_text": "411\n\nTHE GOLDEN NEEDLE\n\nTHE BIOGRAPHY OF FREDERICK STEWART\n\nDE83-1389)\n\nby Gillian Bickley\n\nBOOK REVIEW\n\nGillian Bickley (1997), The Golden Needle: The Biography of Frederick Stewart (1836-1889), with a foreword by Lady Saltoun, Hong Kong: David C. Lam Institute for East-West Studies.\n\nFrederick Stewart, born in Buchan, Aberdeenshire, Scotland, was known by his contemporaries as the “founder of Hong Kong Government education.” He was the first headmaster of the Central School, now Queen's College, which led Hong Kong English education from 1862 until 1911 when the first university in Hong Kong was established.\n\nStewart became Registrar General, then Colonial Secretary, acting as Governor of Hong Kong on several occasions. He was keenly aware of his historical context at the meeting of the two cultures of East and West, and of his role as a facilitator in the modernisation of Chinese thought. His consistent policy was to educate pupils in Western knowledge, while preserving their Chinese identity, and he insisted on equal time for Chinese and English studies. Although retiring, unassuming and modest, Stewart was highly popular among the Chinese, foreign and Portuguese communities. By the end of his life, Stewart's intimate knowledge of Hong Kong was considered unequalled among non-Chinese in Hong Kong at the time. Never married or in particularly good health, he died at the early age of 52 of double pneumonia and is buried at Happy Valley.\n\n“Unassuming and modest,” in the nicest possible way, might be a good description of the book and its author. Although the book is printed using an unusually small font, it still manages to be 308 pages long, which gives you an idea of the amount of content. As regards the author, who is an Associate Professor at the Hong Kong Baptist",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1998.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/1g05n0794",
        "rank": 0
    },
    {
        "id": 214797,
        "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": 212,
        "title": "RAS-1999",
        "content_text": "177\n\nquite the reverse. Richard Coyne (1999) has recently pointed to the romantic stream in digital narratives, which implicates them in notions of utopia through the discourse of the 'global village and the electronic cottage', the return to a tribal stage of freedom and a Golden Age equality, the ideal of preindustrial arts and crafts. It may well be, as Coyne argues, that such 'digital narratives', whether romantic or rationalist, necessarily provide spaces of interpretation rather than referring to contextual realities beyond language.\n\nPerhaps as part of a general tendency in anthropology away from getting dirty hands by doing fieldwork in local sites, my more recent research has tended towards a great interest in the power of the Internet, and its World Wide Web, to forge new ties of community between Hmong in France, Canada, Australia and New Zealand, French Guyana, Thailand, Laos, Vietnam and China (Tapp 1999). Of course the Hmong voices represented on the Internet are the voices of those most in the position of being able to represent themselves in this way; that is, the most educated, most literate, and those with computer access. Yet these representations of themselves, both those aimed purely at other Hmong and those aimed at others, are of considerable interest for the way they so often speak directly of the losses and separations suffered by the Hmong community as a whole, and the need to reunite and re-bond, the memories of particular households and the life in Laos or Thailand, or an ancestral home in China. Evans (1998) also draws attention to the power of these nationalist images of homeland among groups of overseas Hmong refugees from Laos.29 These are moving, and deeply felt, images, and they are not necessarily emanating from those Hmong with a particular political agenda, or even from those Hmong who individually left Laos themselves, but often from members of the younger generations, college students who cannot themselves recollect such pasts or places.\n\n20\n\nCoupled with the facts of overseas Hmong tourism to South East Asia and China, return family visits and the emergence of small-scale transnational businesses, we must I think see these Internet representations, these uses of the Internet together with other forms of telecommunication, as directly contributing to the formation of a new kind of Hmong identity and Hmong community, on a global scale, the kind of identity which more nearly approximates our understanding of a nationality or national group, perforce without a state or sovereign",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1999.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/s178b887x",
        "rank": 0
    },
    {
        "id": 216199,
        "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": 498,
        "title": "RAS-2002",
        "content_text": "432\n\nskinned, whilst the other had been put to work supervising the father's labourers in the fields and whose skin had been burned black. The elder was said to be depicted at thirteen years of age whilst the second was two years younger. Ruan, the younger prince, is portrayed with a fierce expression whilst the elder has a gentler look despite not having any eyebrows. Both tend to be depicted with white [pink] or black skin, and are barefoot. Both are dressed simply, in trousers and a small apron. They wear golden bracelets on their forearms and their head-dress consists of a gilded crown from which protrude long peacock's feathers. A tiny matshed seaside shrine at Port Dickson, also on the west coast of Malaysia, contains a small composite image of the youths, most certainly wrestling, one grasping the other by his queue and an arm.\n\nIn a temple in Singapore the keeper was adamant that the two youths only spoke Hindi and that many of the devotees in his temple praying before them were Singaporean Indians who regularly consulted the Hokkien [Fujian] spirit medium in the temple. In every day life the medium only spoke Hokkien and therefore had to work through a spirit interpreter. The Indian devotees, he added, could only understand their mother tongue, Tamil, one of the Dravidian languages of southern India and who seemed to be able to converse with the deities through the medium without any trouble 'as the medium in his trance spoke Tamil'.\n\nIn one temple in Fujian recently a local Chinese explained that they were homosexuals presumably a guess inspired by their pose. However, you can imagine our reaction when in a village temple in Kaohsiung county in southern Taiwan we saw what appeared to be the standard image of the pair, swathed as usual in silken robes donated by devotees, being “undressed\" by the leering temple custodian to reveal that the dark skinned youth was holding the white skinned by the forearm and his queue whilst the white skinned youth had one arm around the shoulder of the black skinned one, but was holding the black skinned youth's penis with the other hand. The custodian fell about when he saw how disconcerted we were. The village elders left their card playing on the temple veranda to join in the general laughter which encouraged village children to rush in to see what was happening. They were chased out but not before several had managed to see the image and were unable to get out fast enough to tell the others what they had seen. The custodian explained that someone had ordered the image to be carved this way some years ago, possibly as a joke, and very few devotees",
        "txt_file_path": "txt/dfo323lmgvd/RAS-2002.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/mp4901278",
        "rank": 0
    },
    {
        "id": 216314,
        "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": 73,
        "title": "RAS-2003",
        "content_text": "22\n\nsuccessive courtyards which separate the six main halls on the central axis. All told there are about a dozen halls, towers, and pavilions, each containing golden effigies of a wide variety of various Buddhist deities. This goes well beyond the typical scale of the average Buddhist temple which normally has only three main halls and sometimes just one.\n\nIn this first courtyard are four stone relics of uncertain age, but probably not older than the Minguo era at most. These include two stone lions and two octagonal stone lanterns, all four enclosed by stone railings. Two large trees in the courtyard were transplanted here in January 2004. On the right side of the courtyard is a new expanded gift shop (shu dian) added in January 2004. It offers not only Buddhist trinkets, but a fine selection of Chinese language books containing histories of Longhua Temple and Buddhist scriptures. Until 2004, there was not a single published history of Longhua Temple available for sale here, but late in December 2003 no less than three new well-researched titles on this topic were published, several of which can be found here.\n\nThe first main hall is the one-story Maitreya Buddha Hall (Mi Le Dian). This hall dates from an 1884 reconstruction, when it was rebuilt to replace an earlier structure destroyed during the Taiping rebel attacks on Shanghai in 1860-1862. The hall was last restored in 1981. It is dedicated to the Maitreya Buddha of the future, known in China as Mi Le Fo, and depicted here as the fat laughing Buddha of the Song Dynasty (960-1279). This Mi Le Fo image is a golden effigy, seated on a square stone base and protected by a glass case. He is depicted as having a third eye in the centre of his forehead. The Buddha can be seen from the first courtyard through a partially open gate of the hall, but the hall itself cannot be entered without passing through the adjoining orange wall into the second courtyard and entering from the other side.\n\nAlthough, Mi Le Fo usually does occupy the first hall of many temples, he often has to share his space with the Four Heavenly Kings (Si Tian Wang). In this case he has the whole hall to himself, the kings occupying a separate building of their own. Until January 2004 he had to share his home with the temple gift shop (shu dian), but this has now been moved out to a separate new hall in the first courtyard.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-2003.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/2v242g390",
        "rank": 0
    },
    {
        "id": 216318,
        "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": 77,
        "title": "RAS-2003",
        "content_text": "26\n\nwhich is open to the public, the Mu Ta Yuan, so named for the Tao Ming Chan Si Mu Ta, a broken stone tomb pagoda dating from the year 1667 in the reign of Emperor Kang Xi which stands in the centre. The Mu Ta is a hexagonal stone pillar on a lotus flower with a round stone ball balanced on top decorated with dragon images wrapped around it. Two faint inscriptions can be seen on either side of the pillar. Lying on the ground beside the Mu Ta is a broken piece of an ancient inscribed tablet. This is one of the original four boundary stones of Longhua's predecessor Kongxiang Temple dating from the year 1262 in the late Southern Song Dynasty (1127-1279). Near the Mu Ta are three stone statues of a mythical animal, the Si Ge Lin Shou. These broken stone remains may be the oldest relics on the site, but their age, origin, and significance seem a mystery. In one corner of this courtyard is a corridor connecting with the Longhua Hotel next door. At the rear of the courtyard is the monk's Dining Hall (Zhai Tang), not to be confused with the separate Vegetarian Restaurant (Su Cai Guan) intended for public visitors located on the right side of the Da Xiong Bao Dian beneath the sign of the large wooden fish (pang) hanging from the rafters.\n\nTwo long barracks-like halls run along almost the full length of the western side of the temple compound and are divided up into many small Buddhist chapels. The major ones include the Arhat Hall (Luo Han Dian), and the Goddess of Mercy Hall (Guan Yin Dian). The Luo Han Dian is a new addition to the temple, added sometime during 2002. It features small golden statues of 500 arhats or Buddhist saints. This chapel has become quite popular with worshippers, but one woman who had just finished praying mistakenly told the author there were 800 arhats, testimony to the newness of this innovation. The Guanyin Dian is on the left side of the fourth courtyard and features an impressive golden statue of Guanyin, who is depicted as facing in all four directions, and has 1,000 arms. Many of her hundreds of hands hold objects of special significance.\n\nIn between the Luo Han Dian and Guanyin Dian is yet another hall, seemingly nameless, which although devoid of architectural splendor does have three splendid gilded Buddha statues. These three include Sakyamuni Buddha (Shi Jia Mou Ni Pusa) in the centre, Manjusri (Wen Shu) on your left, and Guanyin on your right. The interior walls of this hall are literally covered with memorial slips of paper and photographs meant to commemorate lost loved ones. It is",
        "txt_file_path": "txt/dfo323lmgvd/RAS-2003.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/2v242g390",
        "rank": 0
    }
]