[
    {
        "id": 212145,
        "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-1990",
        "page_number": 87,
        "title": "RAS-1990",
        "content_text": "64\n\nit reminded its readers, in two delicately separated allusions, that the Christian general I-ssu had helped the emperor Su-tsung keep his throne in the traumatic An Lu-shan rebellion, but decently avoided an explicit statement to that effect. A well-educated Chinese reader would have gone away with the impression that there was probably something to the 'brilliant teaching', and that, in terms of social acceptability, it had solid credentials.\n\nOne very obvious feature of Adams' style in the Sian tablet inscription is the care which he took to express his meaning in straightforward Chinese wherever he could, and his distaste for transliteration from Syriac. His skill can be better appreciated now that other Nestorian works in Chinese have been found at Tunhuang. The Book of Jesus the Messiah, admittedly written very shortly after the Nestorians arrived in China, and apparently by a man with an imperfect command of Chinese, contains a large number of unattractive transliterations of proper names. Obviously names had to be found for Jesus, Mary, John, Pilate, and other major characters in the Christian story, but meaningless transliterations of obscure names such as Golgotha could easily have been avoided, and a Chinese name found to represent the name's meaning (the 'place of the skull'). Adam never fell into the trap of using a Syriac expression because he was too lazy to invent a better Chinese term. Indeed, he seems to have standardised, simplified, and improved the Chinese translations of uniquely Christian terms wherever he could. He discarded unsatisfactory seventh-century names for God in favour of A-lo-he. This term, to be sure, resembled the Syriac Eloi, but it was probably chosen by Adam because it had for many years been used by the Buddhists in China to translate their own term for God, Arbhar, and therefore had respectable associations for a Chinese reader. He used the expression 'pure wind' (ching feng) for the Holy Spirit, in preference to the not particularly apt 'cool wind' (liang feng), found in seventh-century Nestorian documents. Finally, he abandoned transliterations of the proper name 'Jesus', common in the seventh century, and used only the term Mi-shi-he, 'Messiah', which had by the 780s established itself as a convenient term for Christ.\n\nWe are now in a position to draw some conclusions about Adam and his personality. His collaboration in a translation of a Buddhist scripture into Chinese demonstrates that he was reasonably fluent in Chinese, but perhaps overconfident in his linguistic ability;",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1990.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/d79206299",
        "rank": 0
    },
    {
        "id": 215410,
        "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": 187,
        "title": "RAS-2001",
        "content_text": "136\n\nIn imitation of a real altarpiece the Dormition of Mary is followed higher up by an image above a rose window representing the Assumpta, or the Assumption of Mary into heaven, a favourite theme of Iberian retables, often combined with the theme of the Dormition. Above her there is a high relief of the Trinity with a Golgotha group at the summit. These images are quite typical of the iconography of contemporary retables and follow the sometimes-convoluted theological arguments of the Christian art of the period.\n\nAs the intricacies of the Late Gothic style gave way to the Italian Renaissance, the artistic potency of retable-façades persisted under different forms, dimensions and styles, and in different places. It spread to Southern Spain after the Reconquista, where it developed its own Renaissance characteristics. Later, mainly in a Mannerist style, it appeared in Portugal. Finally some of the most amazing examples of the genre sprouted in Spanish colonies in Mexico and Peru in a Baroque and Rococo style, sometimes displaying the artistry, or otherwise, of indigenous craftsmen.\n\nAlthough such structures are not usually found in Portuguese colonies, there are nonetheless unusual developments in the decoration of some Jesuit church façades in Portuguese India, which can give insights to later developments in their Macao church. The study of these Indian examples is also useful in another respect. Instead of studying the Macao church in isolation, as is usually done, a comparison with these and a selected number of buildings in India can help us obtain a more coherent chronological and stylistic perspective for the façade of Madre de Deus.\n\nTo trace back some of these developments in Jesuit architecture the city of Goa, today known as Velha Goa, is an obvious starting point because of its importance within the Portuguese empire in Asia. In fact, soon after Afonso de Albuquerque captured it from Yusuf Adil Khan in 1510, it came to be considered by the Portuguese as the capital of the whole Portuguese Empire in the East. It eventually became not only the seat of the vice-royalty, but equally of a huge Bishopric, which encompassed the entire region from the Cape of Good Hope to China. In the seventeenth century it counted some seventy religious establishments, including thirty-one churches.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-2001.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/zg651950g",
        "rank": 0
    }
]