[
    {
        "id": 207583,
        "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-1975",
        "page_number": 351,
        "title": "RAS-1975",
        "content_text": "342\n\nBOOK REVIEWS\n\n34 This observation is mainly based on the fact that the first poem from his own collection is entitled \"Chin shou-men has shown me a rubbing of the inscription taken from the bronze bells being made for the Ching-lung Monastery during the Tang Dynasty.”\n\n毒門见示所裁唐景龍觀錘髭拓本 In Li E's Fan-hsieh SFC, chuan 1, p. 1 under this poem, the date of its completion is recorded by the combined used of the Chinese cyclical characters: chia-mu which according to Li E's chronology, is to be identified as 1714 (the 53rd year of the Kang-hsi era).\n\n35 Ever since 1963, the Kwang-tung ying-jen chuan, “A Biographical study of the seal-carvers in Kwang-tung\", edited by Ma Kuo-chuan, has continuously appeared in the -lin section of Hong Kong's Ta Kung Pao Daily News. His study about Chang Hsiang-ming in particular, appeared in Ta Kung Pao, December 19, 1965. In October 1974 this biographical information was edited and published by the Nan Tung Company in Hong Kong, still entitled Kwang-tung ying-jen chuan. The portion concerning Chang Hsiang-ning is to be seen in this book edition p. 98.\n\n36 This is based on Takikawa Shiteru's colophon being inscribed on Hsiao Yün-ts'ung's painting entitled Li Sao T’u. A full reproduction of this painting has been printed in 1924 in Tokyo by Seigei Omura as one item of his edited Zubon Sosho. In addition, Takikawa's colophon was also quoted by Professor Akiyama Mitsuo in his Sho Sekiboku to Shuzan Koryo zu which appeared as the last article, being collected in the same author's Nihon bijusisu ronko (1943, Tokyo), pp. 413-414.\n\n37 According to Tzu Hai (1967, Taiwan edition), Appendix V (A conversion chart British, Japanese and Metric Lengths), each Japanese feet equals 0.3030 metre. Thus, 40 Japanese feet equal 12.12 metre. On the other hand, since the Drenowaltz handscroll measures 1302 cm; namely, 13.02 metre, the lengths of this painting, now in Switzerland, and the Li Sao Tu, once in Japan, are certainly very close.\n\n38 See Hu I: \"Hsiao Yun-ts'ung Nien-p'u” “A Biographical study of Hsiao Yün-ts'ung on A Yearly Basis”, in Mei-shu Yen-chiu (1960, Shanghai), No. 1.\n\n39 For these literary men who were gifted artists as well as members of the Fu She Association, these were, in addition to Hsiao Yün-ts'ung, many others, such as Li Sui-chlu from Kwangtung province, Wan Shou-ch'i (1603-1652), Wu Wei-yeh (1609-1671), Chi Pao-chia (middle 17th century) and Mao Hsiang (1611-1693) from the Kiangsu province, Fang I-chih (1611-1671) from the An-hui province, and Yang Wen-ts’ung (1597-1645) from the Kwei-chou province. These were all example-figures of such a type.\n\n40 Hsiao Yün-ts'ung name is listed in Fu She Hsin-Shih Lu \"Records of Members of the Fu-she Association\" first volume, p. 7a. This rare book is now owned by the Institute of History and Philology, Academia Sinica at Nankang, Taiwan.\n\n41 Hsieh Kuo-chen: \"Nan-ming shih-luch\" “A Brief History of the Southern Ming Period\" (1957, Shanghai), pp. 12-13.\n\n42 S. W. Stephen: Chinese Art, 2 vols. (1904-06, London).\n\n43 Ch'eng Wei: “A primary study on the Origin and Development of Ancient Bird-and-flower paintings\" in Wen-wo (1963, Peking), No. 10, p. 22-29. This article probably serves as the only research on the history of Chinese painting by using one single painting collection as its basis. Yet unlike the work done by Professor Li",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1975.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/j0995146d",
        "rank": 0
    },
    {
        "id": 208896,
        "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-1980",
        "page_number": 58,
        "title": "RAS-1980",
        "content_text": "30\n\nKEITH G. STEVENS\n\nor halls.32 Nearly 70% of all nunneries are on Lantau island, whereas only 10% of the monasteries are; and three hundred and fifty-three temples and monasteries have resident staff.\n\nThere are thirty-two temples in Macau, of which two are well-nigh derelict. Of the thirty-two temples, six are coastal, twenty-four are urban, and two rural. The majority of temples contain a mixture of Buddhist and folk religion images (no temples contain only Buddhist images), and the remainder contain only folk religion deities.\n\nDegrees of popularity of the major deities in temples and shrines\n\nThe total number of temples dedicated to a specific deity throughout the two areas reflects the importance of that deity to devotees. In Hong Kong and Macau, forty-four different gods each have at least one temple dedicated to him (or her), whilst only seven gods have more than five temples to him (or her). The seven, in order of precedence (based simply on them being the main deity of a temple or monastery), are Tian Hou (seventy-eight) (*), Sakyamuni Buddha (thirty-nine), Guan Yin (thirty-eight), Guan Di (twenty-one), Hong Sheng (twenty), Bei Di, who is better known as the Northern Emperor, (ten), and Lu Zu or Lu Dongbin (seven). Although this gives only a very rough guide, the number of images of Guan Yin throughout Hong Kong and Macau vastly outnumbers those of Tian Hou. However, when the criterion is the number of temples in Hong Kong and Macau in which a particular deity is to be found (on any altar and not necessarily as the main deity), then the first five are Guan Yin, whose image appears in at least seventy-five temples, Tian Hou (114), Guan Di (88), Qi Tian Da Sheng (Monkey) (61), and Di Zang Wang (59).\n\nThe Kitchen God, most frequently depicted by a reddish-orange paper pasted on the chimney above the stove, is the most common deity to be seen on the household altar, followed closely by Guan Yin, whose image, as we have noted, is also to be seen in 70% of all temples. The most common deities outside the home are Tu Di Gong, the Earth God (the local tutelary deity), in both urban and\n\n* The totals are not the number of images seen but the number of temples in which the deity is the main image in both Hong Kong and Macau.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1980.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/kh04md207",
        "rank": 0
    },
    {
        "id": 212527,
        "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-1991",
        "page_number": 81,
        "title": "RAS-1991",
        "content_text": "Liang Zhe fang hu (ling qin ci mu) lu (REHE)* Zhejiang kao\n\nKu jing jing she wen ji 詁經精社文集\n\n(Wang fu zhai) zhung ding kuan shi (E) H**\n\nXue shi zhong ding kuan shi 薛氏鐘鼎款識\n\nJiao shan ding-kao 焦山定陶鼎考\n\nHuang Qing bei ban lu\n\nHai tang zhi 海塘志\n\nJi gu zhai zhung ding yi qi kuan shi ****\n\n海連考\n\nHai yun kao I\n\nLiang Zhe jin shi zhi 兩浙金石志\n\nShi san jing zhu shu fu jiao kan ji +¶EAH\n\nYang zhou Ruan shi jia miao bei 揚州阮氏家廟碑\n\nYen jing shi wen ji 擘經室文集\n\nSui Wen xuan lou ming\n\nYing zhou shu ji 瀛舟書記\n\nQu jiang ting ji 曲江亭記\n\n**\n\nSi ku wei shou shu mu ti yao 四庫未收書目提要\n\nTian yi ge shu mu 大一閣書目\n\nLing yin shi shu zang mu\n\nChou ren zhuan AM\n\nShi san jing jing fu +*\n\n****!\n\nYi li shang fu da gong zhang zhuan zhu chuan wu Kao x\n\n功章傳注舛考\n\nHan Yen xi xi yue Hua shan bei kao ✶✶U**\n\nRu lin zhuan kao ####N\n\nGuo shi wen yuan zhuan 國史文苑傳\n\nJiao shan shu cang shu mu 焦山書藏書目\n\n(Song ben) shi san jing zhu shu (**)+***\n\nJiang su shi zheng #\n\nJiang xi gai jian gong yuan hao she bei ji 江西改建貢院號舍碑記\n\nGuangdong tong zhi 廣東通志\n\nGai jian Guangdong xiang shi wei she zhuo bei ji *****\n\n碑記\n\nShi shu gu shun 詩書古訓\n\nYen jing shi ji 擘經室集\n\nChong xiu Ruan shi zu-pu CEE**\n\nHuang Qing jing jie 皇清經解\n\nXue hai tang zhi 學海堂集 Yen jing shi shi lu 擘經室詩錄 Shi hua ji 石畫記\n\n61",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1991.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/k356gt84j",
        "rank": 0
    },
    {
        "id": 213776,
        "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": 128,
        "title": "RAS-1996",
        "content_text": "99\n\nLang, Heng Shan Shi Lang, Zhao Hou San Lang, Zhang Zhao Er Lang, and \"countless others\"\n\n17\n\nOnly the Lü Shan Jiu Lang, Zhao Hou San Lang and Zhang Zhao Er Lang are found in the Cantonese and Hakka ritual specialists' manuals, and Yao ritual manual from Qujiang County, Guangdong and Guangxi Province. But their predecessors, however unlikely, were not invented by Bai Yuchan or his disciples. We do see mention of the King of Asura, Tou To Wang, and Changsha Wang in a Yao manual from Liannan. The King of Asura as a major god is not one would expect in a Chinese context as the Buddhist (as well as the Hindu) consider Asura \"powerful demons\", although the same gods represents good in Persian mythology. Interestingly, there were some gods whose native place was what could be sinicization of Persia in the Liannan document.\n\nThe gods Zhao Hou San (3) Lang and Zhang Zhao Er (2) Lang appeared in the Yao ritual manuals from Qujiang county and in a slightly altered form in excerpts from Guangxi Province. They were featured together with Lu Shan Jiu Lang in the local Cantonese priestly tradition. The latter has a manual entitled Daojiao Yuanliu (“The Origin of Daoism”) (NJYL) which is a handbook on both the style of rituals with the Lü Shan Jiu Lang and the Wang Tai Mu in a central position, and another style more closely related to the Canonical tradition. In the Taiwan and Fujian case, the connection with Lu Shan Jiu Lang was mentioned in the hagiography of Chen Jinggu, a goddess central to one school of the Taiwanese ritual experts as well as the local Cantonese and Hakka ritual specialists. Although there are many versions of her story, they agree that she lived during the Five Dynasties period, in Fujian. According to the Ming work San Jiao Yuanliu Shou Shen Da Chuan, believed to be the work of popular authors of Fujian, She was a disciple of Lu Shan Jiu Lang. The book illustrates the entry with a man in Daoist garment holding a cow's horn, the latter being one of the objects common to the local Hakka and Cantonese and the Taiwanese \"popular\" magicians. More recent versions of Chen's story named the famous Xu Xun who was accepted as the patriarch of a respectable school of Daoism, identifying Xu with Lu Shan Fa Zu, the patriarch of Lu Shan. Although this may seem a change in the genealogy reflecting change of alliance between different schools of magic, some Yao material suggests that the two\n\n14",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1996.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/3n209j641",
        "rank": 0
    }
]