[
    {
        "id": 205010,
        "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": 118,
        "title": "RAS-1965",
        "content_text": "BOOK REVIEWS\n\n109\n\nof Buddhist Tantrism\" with a discussion of the mystic's approach to what is 'experience.' When he treats the concepts of 'reality' and 'spirituality' his reference to S. Freud's 'super-ego' for the Tibetan yid i.e. 'mind,' lacks persuasiveness, but admittedly this is not part of the main argument. Comparisons with Hegel and Kant as well as the Sanskrit sources and their interpretation could not be checked for this review. Apart from referring, among others, to Bertrand Russell and Karl Jaspers, the author seems to agree repeatedly with William S. Haas's The Destiny of the Mind. Taken as a whole, this broadly conceived study is valuable food for thought to the informed philosopher.\n\n\"Three Impressions of Bamian\" by Alastair Lamb is an exciting introduction to the sculptures, caves and wall paintings of this Buddhist monastic cave complex in Afghanistan. The views and pictures of three visitors to Bamian are compared: Charles Masson in 1832, Vincent Eyre in 1842 and Lamb himself in 1958. The picture section comprises altogether thirty-two plates, mostly photographs. The main features of Bamian are the Buddha colossi of 120 and 175 feet in height respectively, the \"giants of Gandhara sculpture.\" Bamian is taken as “a gigantic demonstration of the great extent of contacts between China, India, Iran and the Mediterranean which flourished from the foundation of the Roman Empire to the period of the T'ang Dynasty.\" The various early domes in Bamian cave architecture are treated in some detail and described as \"convincing proof of the strong Western influence in the Buddhist architecture of Afghanistan.\"\n\nThaung Blackmore presents a comprehensive view of the \"Founding of the City of Mandalay by King Mindon\" in 1857. Though some ancient Burmese customs such as myosade, i.e. human sacrifices at the foundation of a city, were given up, the construction of Mandalay was still mainly influenced by traditional concepts, in particular by astrology.\n\nWalter Hochstadter is a very outspoken fighter for the \"Real Shen Chou,\" as he sees him. Under the heading of \"Popular Conceptions of Shen Chou's Style\" he particularly criticizes Professor Osvald Sirén. Hochstadter lists seven points which are useful to establish a major painter's work, the main one being brushwork. He arrives at the conclusion that only two works",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1965.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/s752cj653",
        "rank": 0
    },
    {
        "id": 205112,
        "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-1966",
        "page_number": 68,
        "title": "RAS-1966",
        "content_text": "SINO-WESTERN CONTACTS\n\n63\n\ntestify to their Oriental origin, such as the lute (from Arabic al-lūt, \"wood”), and even in our century we have witnessed the spread of Negro jazz over the whole world. A similar development took place in China, and there are many passages in Yüan literature where foreign music and musicians are mentioned.15 In this connection we should perhaps save from oblivion the name of one of these musicians from the Near East. We find her name in the Ch'ing-lou chi “Records from the Green Bowers\", an anonymous work dated 1364 which gives a list of the most popular courtesans under the Yüan, together with a description of their accomplishments. Among these ladies of easy virtue we find one solitary girl from the Western Regions mentioned among her many Chinese professional sisters. She was a Mohammedan girl by the name of Miliha (or Maliha) praised for her sweet and clear voice and her skill in singing. She was, alas, not beautiful, but we are told that she was a superb theatrical performer. The author of the book once made her acquaintance and was duly impressed by her acting.16\n\nThere must have been many influences from Near Eastern folklore that reached China under the Yüan. I shall quote here only two examples. A well-known Near Eastern folk-tale motif, that of the honest loser, the greedy finder and the Solomonic judge, can be traced both in European medieval and Chinese literature. It reached Europe via Spain through the Disciplina Clericalis of Petrus Alfonsi of Toledo (thirteenth century A.D.), a work which contains many Arab stories and anecdotes that subsequently became immensely popular in the West. Boccaccio has not a few stories from the Disciplina Clericalis in his Decamerone and also at least one motif in Shakespeare's Merchant of Venice, that of the three caskets, comes from that source. The story of the loser, the finder and the judge can be found in European literature in many versions, the classical German version being J. P. Hebel's \"Der kluge Richter\". In China we find this story in a text dated 1360. Here the story is set in a typical Chinese environment and being given some additional touches typical of China. The most interesting feature is, however, that the Chinese text does not present the anecdote as a mere story but as a historical event. The clever judge to whom the final solution of the case is entrusted was a perfectly real person, a circuit prefect from Kiangsi Province. This shows the Chinese tendency to attach literary clichés and even,",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1966.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/bz60k0811",
        "rank": 0
    }
]