[
    {
        "id": 212956,
        "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-1993",
        "page_number": 24,
        "title": "RAS-1993",
        "content_text": "In the economic sphere, the concept of face also prevails. A Japanese who worked in China for quite some time thought that a strong sense of nationalistic pride among Chinese was at work. Chinese thought that being a great nation with a great history, they could achieve whatever the foreigners had accomplished. While it had been clearly stated that the country could not lose in the competition with other developing nations such as India, Taiwan, etc., China chose to spend much more time modernising her own model than learning from the developed industrial nations whose colonial spirit she refuted (Funadashi, 1985: 224-228).\n\nRegardless of the excuse of colonial spirit, Chinese people could not learn from foreigners because they thought they belonged to a superior race. To follow foreigners' steps would mean depreciation of face (Hsu, 1981: 469; Bo, 1987: 199). Even when a Chinese praises Western culture and civilization, he is bound to be called by his fellow countrymen a worshipper of the West (Bo, 1987: 69).\n\nSome Recent Observations\n\nIt is the question of face at work, the importance of it, which pervades the whole country, her culture and her people. Now, in the 1980s, face still seems to be at work. Sun Longji (1983: 60) has cited Yu Luoji's (44) and Li Shuang's (*) cases. Had they not been publicised, they would not have encountered such great reaction from the authorities. It was the revelation of these cases which put the Communist leadership into an embarrassing situation. It could not help putting heavy sentences on these two persons who openly acted against what it preached, otherwise its reputation and power as the outright governing body of China would be hampered.\n\nIn the political sphere, in the 13th National Congress of the Chinese Communist Party (the most recent session of the All-China Representatives Meeting), a new Central Committee was elected and a once powerful man, Deng Liqun, believed to have lost power in the recent shuffle, was given membership in the Central Advisory Commission. Hu Yaobang, the General Secretary having resigned in disgrace, remained in the Politburo. Hua Guofeng, the former chairman, deposed in the third comeback of Deng Xiaoping, continued his party member status. Aside from the recognition of these men's contributions as a reason for their retention of some participation in the party, it might just be evidence of Pye's postulation - avoidance of putting someone in a totally defeated",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1993.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/66833t302",
        "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": 215107,
        "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": 203,
        "title": "RAS-2000",
        "content_text": "160\n\nThe Emperor\n\nTang Ming Huang was the third son of the fifth emperor of the Tang. His personal name was Li Longji [AD 685-761], though popularly known as the Third Son, San Lang. He is now the patron of actors and professional musicians, worshipped backstage by Fukienese devotees in Taiwan and several places in South-east Asia. Prior to 1949 he was also revered throughout northern China as the patron of actors, actresses and musicians, with incense burnt before his altar prior to every performance [Photograph 1].\n\nHe succeeded his father who abdicated in his favour in 713, and ruled the country fairly. The first part of his reign approximated that of his great-grandfather, Tai Zong, in prosperity and glory. He began by economising and by 740 the country was reasonably prosperous. Being a man of the arts he surrounded himself by a brilliant court, welcoming such men as the poet Li Bo. It quickly became the most glorious period of Tang culture. He loved song and dance and he had built within his palace an area known as the Pear Orchard, Liyuan, to bring together the best actors and actresses, dancers and singers in all China. The title, Liyuan, later became a common designation for anyone who sang, acted or danced professionally.\n\nMany myths are particularly centred on Tang Ming Huang - and stories about him abound describing him as a very sociable man, fond of music and drama, with men and maidservants being trained as actors and musicians for whom he composed tunes. He also founded a school of dramatic art.\n\nThere are at least six temples in Taiwan dedicated to this deity, in Taipei, Taichung, Changhua and Kaohsiung where his festival is celebrated on or about the 24th of the sixth lunar month.\n\nAs a deity he is known by a number of titles, including Ming Huang Dadi 明皇大帝; Lao Lang Ming Huang 老郎明皇; Lao Lang 老郎; and in Beijing Xi Shen, the God of Happiness. In Sichuan, however, his images were simply referred to as the Bodhisattva Prince, Taizi Pusa and, as elsewhere, were worshipped backstage, principally to prevent actors and actresses from bursting out into uncontrolled laughter or forgetting their lines. He is the patron in",
        "txt_file_path": "txt/dfo323lmgvd/RAS-2000.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/nk328168n",
        "rank": 0
    }
]