[
    {
        "id": 205649,
        "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": 191,
        "title": "RAS-1968",
        "content_text": "186\n\nGILES, Herbert A.\n\nTHE LIBRARY\n\nChina and the Manchus. Cambridge, University Press, 1912. (Cambridge manuals of science and literature).\n\nGILES, Lionel.\n\nA gallery of Chinese immortals; selected biographies translated from Chinese sources. London, Murray, 1948.\n\nGODMAN, A., ed.\n\nThe attainment and ability of Hong Kong primary IV pupils: a first study. Hong Kong, University Press, 1964.\n\nGOODRICH, L. Carrington.\n\nA short history of the Chinese people. 2nd ed. London, Allen & Unwin, 1957 reprinted 1962.\n\nGRAHAM, Dorothy.\n\nThrough the moon door: the experiences of an American resident in Peking. New York, Sears, 1926.\n\nGRATTON, Henry Pearson, ed.\n\nAs a Chinaman saw us: passages from his letters to a friend at home. New York, Appleton, 1904 reprinted 1916.\n\nGRAY, Terence James Standus.\n\nAll else is bondage: non-volitional living [by] Wei Wu Wei [pseud.] Hong Kong, University Press, 1964.\n\nGRAY, Terence James Stannus.\n\nOpen secret [by] Wei Wu Wei [pseud.] Hong Kong, University Press, 1965.\n\nGRAY, Terence John Stannus.\n\nThe tenth man: the great joke (which made Lazarus laugh) [by] Wei Wu Wei [pseud.] Hong Kong, University Press, 1966.\n\nGRIFFIS, William Elliot.\n\nChina's story, in myth, legend, art and annals. Boston, Houghton Mifflin, 1901.\n\nGRUNWEDEL, Albert.\n\nMythologie du Buddhisme au Tibet et en Mongolie, basée sur la collection lamaïque du Prince Oukhtomsky. Traduit de l'allemand par Ivan Goldschmidt. Leipzig, Brockhaus, 1900.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1968.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/66833948d",
        "rank": 0
    },
    {
        "id": 206423,
        "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-1971",
        "page_number": 240,
        "title": "RAS-1971",
        "content_text": "214\n\nBOOK REVIEWS\n\ninto a modern system of law. No less important is the way in which this book tells us much of western attitudes towards Chinese law and of the ways in which the westerners attempted to come to terms with a system which was so unlike their own. Though we might today criticise Jamieson's comparative law approach and his defective anthropology, his book was a creature of its own time and of his own intellectual experience, and as such it must take a place on the sinologists' bookshelves.\n\nNotes\n\n1. A. M. Kotenev, Shanghai: its Mixed Court and Council, (Shanghai: North China Daily News and Herald Ltd, 1925; now reprinted by Ch'eng Wen Publishing Company, Taipei, 1968).\n\n2. But see now Hao, The Comprador in Nineteenth Century China, Cambridge (Harvard U.P.), 1970.\n\n3. pp. 124-126.\n\nHong Kong, 1971.\n\nDAFYDD EVANS\n\nCHINNERY AND CHINA COAST PAINTINGS, Henry and Sidney Berry-Hill, 64 pages text, 144 photographs, F. W. Lewis. Publishers, Ltd., England 1970, U.S.$30.00.\n\nThe writers operate a picture gallery in New York City. In 1963 they published George Chinnery 1774-1852, Artist of the China Coast, which was reviewed in this Journal, Vol. 4, 1964, pp. 128-132.\n\nIn spite of severe criticism of their previous efforts, the authors, in another volume under the present title, persist in claiming that Chinese Port Scenes painted in Cantonese style were influenced by Chinnery and therefore are \"Chinnery School\". Even though there are numerous pictured examples in both books that Chinese Port Scenes before, during, and after Chinnery do not change and bear no resemblance to English painting, the authors plod on with their futile theory. For some 26 illustrations in the List of Plates marked \"Chinnery School\", substitute “Chinese artist\".\n\nObviously this book is written for the inexperienced collector. It lacks bibliography, an index, and a comprehensive table of contents. The text is largely a lyrical history of China from Macartney through the Arrow War. It positively oozes opium and frequently lacks accuracy.\n\nPage 240\n\nPage 241",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1971.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/z029vt43g",
        "rank": 0
    },
    {
        "id": 206938,
        "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-1974",
        "page_number": 9,
        "title": "RAS-1974",
        "content_text": "deity in Hong Kong, particularly among the boat-people. There are many temples dedicated to her in the Colony. This particular temple is believed to date from the Sung Dynasty, and with the nearby rock-carving, dated 1274, provides a popular place for pilgrimages. These three last trips were organised by our Vice-president, Mr. James Hayes, who has an extensive knowledge of the history of Hong Kong, particularly its rural areas.\n\nThe ten lectures covered a wide variety of subjects. The first lecture of the year was delivered by Professor Murray Groves, head of the Sociology Department, University of Hong Kong. Professor Groves had lived in New Guinea and worked there as an anthropologist, and he talked about a sea-faring people, the Motu, and their musical styles. His talk was illustrated with slides and tape recordings. The second talk was about Chinese paintings in the William Rockhill Nelson Gallery of Art: a Gallery of international reputation, situated in Kansas, and housing one of the major comprehensive collections of oriental art in the U.S.A. The talk was delivered by Professor Chu-tsing Li, Research Curator of the Gallery, and was illustrated with slides. Later in the year, Professor Winston Hsieh of Missouri University, talked to us about the Canton Delta Project which he is currently heading. The Canton Delta has great significance for scholars of Chinese social organization, urban studies, foreign trade, revolutionary movements and overseas emigration, and it is particularly rich in Chinese and Western source materials. The project is interdisciplinary and we look forward to hearing more about its activities.\n\nIn September Professor P. B. Harris, who heads the Political Science Department of the University of Hong Kong talked to the Society on \"Maoism and Rousseauism\", and in November Mr. Henry Lethbridge of Hong Kong University's Sociology Department described the exploits of two adventurers extraordinary who visited Hong Kong in the late 1880's: David de Mayréna, soi-disant King of the Sedangs in Indo China, and the Marquis de Morès. Both died later in mysterious circumstances. Mr. Lethbridge specialises in the social history of Hong Kong, and participated in our symposium last year on \"Hong Kong: Chinese tradition and the growth of a town”.\n\nDr. Hugh Baker, who also participated in our first symposium which I organised in 1964 on “The Social Organization of the New",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1974.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/x633mp077",
        "rank": 0
    },
    {
        "id": 211265,
        "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-1987",
        "page_number": 326,
        "title": "RAS-1987",
        "content_text": "301\n\nI understand that Mr. Ching is contemplating a book about the major families of Hong Kong, descended from successful men who came here in the 19th century with little more than their wits. On the showing of his first historical work, I cannot think of a more suitable person to undertake this task than Mr. Ching, and I hope that, warts and all, he gets all the cooperation and understanding of the requirements of the job from the families concerned.\n\nFrom there, or in the process, he could perhaps take up the true history of families great and small during the years of the Japanese Occupation of the colony, where the same rules apply. The job needs to be done, because of the way in which leading families have shunned the very mention of these years. Shanghai was not the only place where, as Mr. Ching writes (p. 458), the returning authorities looked down on those who had lived under the Japanese as tainted.\n\nJAMES HAYES\n\nMind Landscapes: the Paintings of C. C. Wang, by Jerome Silbergeld, Henry Art Gallery, University of Washington Press (Seattle and London), 1987.\n\n132 pp. + plates, bibliography, index, US$40.00 (cloth); US$19.95 (paper).\n\nC. C. Wang is certainly one of the most intriguing Chinese artists in the later twentieth century. His life chronicles cataclysmic changes many Chinese have endured and his path — artist, collector, connoisseur, businessman and exile was rarely clear. He was called upon to continuously redefine his relationship with China and the West as he travelled, explored and matured.\n\nHaving been born into a Suzhou family of mandarins in Imperial China in 1907 and having had a traditional Chinese education till the age of 14 assured young Wang the basis for blossoming into a twentieth-century version of the literati. But young Wang longed for a Western-style education, into which he switched at age fourteen and from which he went on to study law in Shanghai at China's distinguished Suzhou Law School. But his art education, which started as he learned to read and write, was carried on simultaneously and ever more seriously. Over time he had many art teachers and, indeed, became a teacher himself at an early age.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1987.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/rx919b522",
        "rank": 0
    },
    {
        "id": 211267,
        "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-1987",
        "page_number": 328,
        "title": "RAS-1987",
        "content_text": "303\n\ncultivation of controlled accidents, synthesis of East and West: \"Chinese brushwork is really individual, like Western color. Good brushwork is so beautiful. It can make you look at it many times... It's just like with voice when I hear one song, if the voice is good I want to hear another song. It's the same voice, but each time it's a little bit different: that attracts me so much. . . .” (p. 42).\n\nOther notable scholars and critics who have written about artist-collector-connoisseur Wang have also been allowed to speak with their own voices, which gives the story a clarity and authenticity rarely achieved in a scholarly book. Moreover, the book is lavishly illustrated not only with Mr. Wang's works of all periods but also with the paintings that were most influential in building his style.\n\nIn addition, Professor Silbergeld recounts the long history of C. C. Wang as collector, and how he has been a central figure in influencing the growth of major collections of Chinese art in the West, notably that of the Metropolitan Museum of Art, through the sale of his own collections.\n\nMind Landscapes has been laid out with great beauty and intelligence. It would have been impossible to produce such an outstanding volume without financial support. This was provided through grants from the Henry Art Gallery Association, PONCHO, the University of Washington Press, and the J. Paul Getty Trust. Yet it is rare to have such a thoughtful and handsome product even if one has the resources. Kudos are also due to the designer, Douglas Wadden.\n\nThe publication of Mind Landscapes coincides with a major retrospective of C. C. Wang's work and serves as a catalogue to it. This book is a fitting climax to Mr. Wang's career and sets a standard of excellence in its field. Let us hope that young scholars in Asia and the West will take note.\n\nJOAN LEBOLD COHEN*\n\n* Joan Lebold Cohen, art historian and photographer, is a lecturer at Tufts University and the School of the Museum of Fine Arts, Boston. Her most recent books discuss various aspects of contemporary Chinese painting: The New Chinese Painting, 1949-1986 (1987) and Yunnan School, a Renaissance in Chinese Painting (1988).",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1987.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/rx919b522",
        "rank": 0
    },
    {
        "id": 212021,
        "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-1989",
        "page_number": 436,
        "title": "RAS-1989",
        "content_text": "411\n\nJerome Silbergeld, Mind Landscapes: The Paintings of C.C. Wang, Henry Art Gallery, University of Washington Press (Seattle and London), 1987. 132 pp. + plates, bibliography, index.\n\nC.C. Wang is certainly one of the most intriguing Chinese artists of the later twentieth century. His life chronicles cataclysmic changes many Chinese have endured and his path - artist, collector, connoisseur, businessman, and exile - was rarely clear. He was continuously called upon to redefine his relationship with China and the West as he traveled, explored, and matured.\n\nHaving been born into a Suzhou family of mandarins in Imperial China in 1907 and having had a traditional Chinese education till the age of 14 assured young Wang the basis for blossoming into a twentieth-century version of the literati. But young Wang longed for a Western-style education, into which he switched at age fourteen, and from which he went on to study law in Shanghai at China's distinguished Suzhou Law School. But his art education, which started as he learned to read and write, was carried on simultaneously and ever more seriously. Over time, he had many art teachers and, indeed, became a teacher himself at an early age.\n\nMind Landscapes enables C.C. Wang to describe the challenges he faced in seeing paintings in a land without public museums: \"There were no good museums in China at that time, and you couldn't see the work of a contemporary painter in a museum or gallery. But since they had to be mounted or remounted, they could be seen in a mounter's shop. Suzhou was famous for its mounters. They would paste the paintings to be mounted on the walls of their shops, and if you walked around every few days, you could always see new paintings,\" (p. 15).\n\nMr. Wang also talks about his teachers and how he was able to view various private collections: \"For me, as well as for painter-scholars of the past, friendships with other painters and collectors were extremely significant. Each new meeting meant a new collection to see. In those days, private collections were never publicly displayed. To see a particular painting, you had to know the owner,\" (p. 17).\n\nWhen the great Chinese Imperial Collection was being prepared for the London Exhibition at Burlington House in 1936, C.C. Wang was a consultant and had a chance to study all those great paintings — another",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h",
        "rank": 0
    },
    {
        "id": 212023,
        "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-1989",
        "page_number": 438,
        "title": "RAS-1989",
        "content_text": "413\n\nMind Landscapes has been laid out with great beauty and intelligence. It would have been impossible to produce such an outstanding volume without financial support. This was provided through grants from the Henry Art Gallery Association, PONCHO, the University of Washington Press and the J. Paul Getty Trust. Yet it is rare to have such a thoughtful and handsome product even if one has the resources. Kudos is also due to the designer, Douglas Wadden.\n\nThe publication of Mind Landscapes coincides with a major retrospective of C.C. Wang's work and serves as a catalogue to it. This book is a fitting climax to Mr. Wang's career and sets a standard of excellence in its field. Let us hope that young scholars in Asia and the West will take note.\n\nJOAN LEBOLD COHEN\nTufts University\n\nPamela Atwell, British Mandarins and Chinese Reformers: the British Administration of Weihaiwei (1898-1930) and the Territory's Return to Chinese Rule, Hong Kong, Oxford, New York: Oxford University Press, 1985. 302 + xxiii pp. Appendices, Notes, Bibliography, Glossary (with Chinese characters), Index.\n\nThe year was 1898 and the sun was setting on the Ch'ing dynasty which had ruled the Chinese Empire since 1644. China's defeat by Japan in 1895 had revealed its weaknesses once more to the world. Foreign powers sought to take advantage of the vulnerability of the Ch'ing government to intensify their demands for territorial and economic concessions. The powers rushed, or \"scrambled\", to attain their objectives before others could get to them first.\n\nIn one respect, they had the support of Chinese officials, who, implementing traditional Chinese policy of using barbarians to control barbarians, sought to achieve a balance of power in China. By 1898, the Russians had built a naval base at Port Arthur while the Germans had established their presence over the province of Shantung. In April 1898, the Chinese government leased Weihaiwei to Britain. Weihaiwei, at the tip of the Kiaochow Peninsula in northern Shantung, was then occupied by the Japanese. It was hoped that, from this vantage, the British would be able to counter Russian and German strength in North China, and all of them would keep out the Japanese.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h",
        "rank": 0
    }
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