[ { "id": 204309, "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-1961", "page_number": 77, "title": "RAS-1961", "content_text": "Journal of the Royal Asiatic Society Hong Kong Branch\n\nORASHKB and author\n\nVol. 1 (1961)\n\nISSN 1991-7295\n\n73\n\ncalled \"Umbrella of Noumenon and Unity\" (hun-yüan san A) which is decorated with emeralds and precious pearls of divine power which are threaded together to form the words: \"to pack up the universe.\" When this umbrella is opened, heaven and earth, the sun and the moon, will be covered up by darkness, and when it is rolled the world will be shaken. Mo Li-hai carries a spear and on his back there is a four-stringed guitar (p'i-p'a) which will produce the same effect as the \"Blue Cloud Sword\" when played on and the four strings correspond to earth, water, fire and wind. Mo Li-shou carries two whips and a bag in which is concealed a peculiar creature resembling a rat, hua hu-tiao (the striped marten). When hurled into the air this creature will assume the shape of an elephant with wings from its ribs and will devour every one.\n\nThe combat between these four brothers and the heroes from the camp of King Wu can be found in Chs.39-41 of the novel. They are engaged in mortal combat with the Li brothers, Chin-cha, Mu-cha and No-cha in Ch.40. If the reader knows that Li Ching, the fabulous father of these three Li brothers is in fact derived from one of these four heavenly kings, Vaisravana, the ingenuity of the author of this novel can be appreciated, because before the publication of this novel, in many other works Vaisravana and the Chinese god Li Ching, based on the historical hero so named of the Tang dynasty, had long been amalgamated and formed a single name, P'i-sha-mên t'ien-wang Li Ching (Vaisravana or Li Ching, the Heavenly King of Vaisravana). The Chinese transliteration from the Sanskrit \"Vaisravana\" since the T'ang dynasty has been Pi-sha-mên (R), the last character of which, mên, though senseless in this connection, normally means \"gate\". Thus, in popular literature, the term P'i-sha-mên lost its original meaning and became the name of the P'i-sha Gate, and it was therefore natural enough to have a heavenly general, like Li Ching, to take charge of it, though in English this may appear peculiar.\n\n* In Yang Ching-hsien's (MRK) play T'ang San-tsang Hsi-t'ien Ch’ü-ching (EXRE), Scene 9, we read \"P'i-sha-mên hsia Li Tien-wang\" (TX) which means the Heavenly King Li under the P'i-sha Gate. In the prompt-book Ch'i-kuo Ch'un-ch'iu P'ing-hua ta (TH), chüan 3, we have \"P'i-sha-mên To-t'a Li T'ien-wang\" (*XE) or P'i-sha-mên, the Heavenly King Li who holds in his hand a pagoda. Sometimes the story-tellers thought since there was a P'i-sha mên (gate), it was wise to create a palace, called P'i-sha Kung (CE W D). In the Nan-yüeh-chi, Ch. 11, we have \"P'i-sha Kung Li Ching Tien-wang\" (K*XE). In a long eulogistic poem in Ch. 12 of the Feng-shen, there is a palace in heaven called K'un-sha Kung (R V E) which is obviously an erratum.", "txt_file_path": "txt/dfo323lmgvd/RAS-1961.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/vd6724704", "rank": 0 }, { "id": 204331, "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-1961", "page_number": 99, "title": "RAS-1961", "content_text": "Journal of the Royal Asiatic Society Hong Kong Branch\n\nRASHKB and author\n\nVol. 1 (1961)\n\nISSN 1991-7295\n\n95\n\nB\n\n(c) The T'ao T'ien-chün ( or Celestial Master T'ao), one of the four attendant-generals forming the retinue of the Premier Wên T'ai-shih in the Fêng-shên Yen-i is an invention of the author of the Fêng-shên for a particular reason.3\n\nIn any one of the earlier works before the Fêng-shen, whether Taoist canonical texts or popular literature, we can find the other three T'ien-chün but not this one. This fact strengthens the hypothesis that this particular character was created with a purpose. But he appears also in Wu Ch'êng-ên's Hsi-yu-chi. (Ch.4 etc.)\n\n(d) Yin Chiao () in his transformed figure is an ugly and evil god. \"His face was as blue as indigo, and he had long projecting teeth\" (Ch.63, Fêng-shên Yen-i). He was canonized as the T'ai-sui (✯ the God of the Cycle) in Ch.99 of the Feng-shên. Now in Wu's Hsi-yu-chi there is a line of verse, \"The other had a blue face and protruding teeth as ugly as the T'ai-sui.”\n\n(56)\n\n(e) In Wu's Hsi-yu-chi, when Sun Wu-k'ung ( the Monkey) was repelled by Hsüan-tsang (), he thought of “going to the islands (hai-tao ) but he was rather ashamed to meet those immortals in the three fairy-lands (san-tao chu-hsien l)\". (Ch.57) This is probably influenced by the islands and the immortals there (hai-tao tao-yu fă‡) in Chs.38, 47 and 59 of the Fêng-shễn. In Ch.59 of the Feng-shên when Lü Yüeh (BG) was defeated by the troops of Chiang Tzu-ya, he fled to the islands as his last resort.\n\n(f) In Wu's Hsi-yu-chi (Ch.60), the Demon-king of Oxen (Niu Mo-wang 4E) rode on a \"water-proof golden-pupiled monster\" (Pi-shui Chin-ching Shou HR). I think this name was invented after the \"fire-spitting golden-pupiled monsters\" (Huo-yen Chin-ching Shou ) ridden by Chêng Lun, Chiên Ch'i and Ch'ung Hei-hu in the Fêng-shên Yen-i.\n\n(g) In Ch.61 of the Wu's Hsi-yu-chi there are the \"four great Vajras\" (MAI) which are no doubt an adaptation of the “four great heavenly kings\". One of their dwelling-places is in the Chin-hsia Tung ( Golden Clouds Cave) of Mt. K'un-lun. In fact this Chin-hsia Tung is exactly the name of the grotto where the Yü-ting Chên-jên (EMRA Immortal of the Jade Urn) lives in the Fêng-shên Yen-i, and Mt. K'un-lun is the sacred mountain of the Promulgating Sect.\n\n37 Ibid., pp. 251-55.", "txt_file_path": "txt/dfo323lmgvd/RAS-1961.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/vd6724704", "rank": 0 }, { "id": 204452, "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-1962", "page_number": 84, "title": "RAS-1962", "content_text": "CHINA'S 35 MILLION NON-CHINESE\n\nTABLE 1\n\n73\n\nCHINA'S MINORITY POPULATIONS IN ORDER OF SIZE,\n\n1. Chuang\n\n2. Wei-wu-erh (Uighur)\n\n3. Hui (Dungan)\n\n4. Yi (Lolo, etc.)\n\n1953\n\n5. Tsang (Tibetan)\n\n6. Miao\n\n7. Man (Manchu)\n\n8. Meng-ku (Mongol)\n\n9. Pu-yi\n\n10. Ch'ao-hsien (Korean)\n\n11. Tung\n\n12. Yao\n\n13. Pai (Pai-man)\n\n14. Ha-sa-k'e (Kazakh)\n\n15. Ha-ni\n\n16. T'ai\n\n17. Li\n\n18. Li-su\n\n19. Tu-chia\n\n20. She\n\n21. K'a-wa (Wa)\n\n22. Kao-shan (Malay-Polynesian)\n\n23. Tung-hsiang\n\n24. Na-hsi (Na-khi)\n\n25. La-hu\n\n26. Shui\n\n27. Ching-p'o (Singpho, Kachin)\n\n28. Ko-erh-k'e-tzu (Kirghiz)\n\n29. T'u (Mongor)\n\n30. Ta-kuan-erh (Daghor)\n\n31. Mo-lao\n\n32. Ch'iang\n\n33. Pu-lang (Palaung)\n\n34. Sa-la (Salar)\n\n35. Ngo-lo-ssu (Russian)\n\n36. K'e-lao\n\n37. Hsi-po (Sipo)\n\n38. Mao-nan\n\n39. A-chang\n\n40. T'a-chi-k'e (Tadjik)\n\n41. Wu-tzu-pieh-k'e (Uzbek)\n\n42. Nu\n\n43. T'a-t'a-erh (Tatar)\n\n44. O-wen-k'e (Evenki)\n\n45. Pao-an\n\n46. Yü-ku (Sara Uighur)\n\n47. Peng-lung\n\n48. Tu-lung\n\n...\n\n7,000,000\n\n3,640,000\n\n3,559,000\n\n3,250,000\n\n2,775,000\n\n2,511,000\n\n2,418,000\n\n1,463,000\n\n1,247,000\n\n1,120,000\n\n712,000\n\n665,000\n\n567,000\n\n509,000\n\n481,000\n\n478,000\n\n360,000\n\n317,000\n\n300,000 *\n\n286,000\n\n210,000\n\n200,000\n\n155,000\n\n143,000\n\n139,000\n\n133,000\n\n101,000\n\n70,000\n\n53,200\n\n44,100\n\n43,100\n\n35,600\n\n35,000\n\n30,600\n\n22,600\n\n20,800\n\n19,000\n\n18,400\n\n17,700\n\n14,400\n\n13,600\n\n12,700\n\n6,900\n\n6,200\n\n4,900\n\n3,800\n\n2,900\n\n2,400\n\n2,200\n\n450\n\nO-lun-ch'un (Orochun)\n\n50. Ho-che (Nanai)\n\n* Found by Fang Jen in 1955 to be 300,000, but Bruk listed 49,000.\n\n† From April 19, 1957 issue of Kuang-ming Daily News.\n\n† An estimate.\n\n§ Collectively including the So-lun (4,900), T'ung-ku-ssu (Tungus: 1,205), and Ya-k'u-te (Yakut; 137).\n\nHere is the revised response in HTML format using Markdown table syntax for the table:\n\n \n Order\n Minority Population\n Population (1953)\n \n \n 1\n Chuang\n 7,000,000\n \n \n 2\n Wei-wu-erh (Uighur)\n 3,640,000\n \n \n 3\n Hui (Dungan)\n 3,559,000\n \n \n 4\n Yi (Lolo, etc.)\n 3,250,000\n \n \n 5\n Tsang (Tibetan)\n 2,775,000\n \n \n 6\n Miao\n 2,511,000\n \n \n 7\n Man (Manchu)\n 2,418,000\n \n \n 8\n Meng-ku (Mongol)\n 1,463,000\n \n \n 9\n Pu-yi\n 1,247,000\n \n \n 10\n Ch'ao-hsien (Korean)\n 1,120,000\n \n \n 11\n Tung\n 712,000\n \n \n 12\n Yao\n 665,000\n \n \n 13\n Pai (Pai-man)\n 567,000\n \n \n 14\n Ha-sa-k'e (Kazakh)\n 509,000\n \n \n 15\n Ha-ni\n 481,000\n \n \n 16\n T'ai\n 478,000\n \n \n 17\n Li\n 360,000\n \n \n 18\n Li-su\n 317,000\n \n \n 19\n Tu-chia\n 300,000 *\n \n \n 20\n She\n 286,000\n \n \n 21\n K'a-wa (Wa)\n 210,000\n \n \n 22\n Kao-shan (Malay-Polynesian)\n 200,000\n \n \n 23\n Tung-hsiang\n 155,000\n \n \n 24\n Na-hsi (Na-khi)\n 143,000\n \n \n 25\n La-hu\n 139,000\n \n \n 26\n Shui\n 133,000\n \n \n 27\n Ching-p'o (Singpho, Kachin)\n 101,000\n \n \n 28\n Ko-erh-k'e-tzu (Kirghiz)\n 70,000\n \n \n 29\n T'u (Mongor)\n 53,200\n \n \n 30\n Ta-kuan-erh (Daghor)\n 44,100\n \n \n 31\n Mo-lao\n 43,100\n \n \n 32\n Ch'iang\n 35,600\n \n \n 33\n Pu-lang (Palaung)\n 35,000\n \n \n 34\n Sa-la (Salar)\n 30,600\n \n \n 35\n Ngo-lo-ssu (Russian)\n 22,600\n \n \n 36\n K'e-lao\n 20,800\n \n \n 37\n Hsi-po (Sipo)\n 19,000\n \n \n 38\n Mao-nan\n 18,400\n \n \n 39\n A-chang\n 17,700\n \n \n 40\n T'a-chi-k'e (Tadjik)\n 14,400\n \n \n 41\n Wu-tzu-pieh-k'e (Uzbek)\n 13,600\n \n \n 42\n Nu\n 12,700\n \n \n 43\n T'a-t'a-erh (Tatar)\n 6,900\n \n \n 44\n O-wen-k'e (Evenki)\n 6,200\n \n \n 45\n Pao-an\n 4,900\n \n \n 46\n Yü-ku (Sara Uighur)\n 3,800\n \n \n 47\n Peng-lung\n 2,900\n \n \n 48\n Tu-lung\n 2,400\n \n \n 49\n O-lun-ch'un (Orochun)\n 2,200\n \n \n 50\n Ho-che (Nanai)\n 450\n \n\n* Found by Fang Jen in 1955 to be 300,000, but Bruk listed 49,000.\n\n† From April 19, 1957 issue of Kuang-ming Daily News.\n\n† An estimate.\n\n§ Collectively including the So-lun (4,900), T'ung-ku-ssu (Tungus: 1,205), and Ya-k'u-te (Yakut; 137).", "txt_file_path": "txt/dfo323lmgvd/RAS-1962.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/9s166f47f", "rank": 0 }, { "id": 206095, "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-1970", "page_number": 175, "title": "RAS-1970", "content_text": "170 \n\nS. F. BALFOUR \n\nor jumping with great agility from one mast to another cutting down rigging and sails, managed to defeat the rebels.25 This must have happened just after the turmoil of civil war under the last Sung Emperor. During the Ming dynasty (1368 to 1644) the problem of local disturbance was still present. The Tanka were always predatory and for the first time an attempt was made to control their anchorages. Tai O and the islands stretching southwest into the sea continued to be a centre of piracy. The famous pirate Man, who gave his name to Lo Man Shan island group known to the Portuguese as the Ladrones, arose in Tai O during the Ming dynasty.\n\nThis local problem was resolved by placing garrisons along the coast. In the very first year of the Ming dynasty, as soon as Kwangtung was pacified, they began to be organised. In our region forts were built at Tai O and Fat T'ong Mun, and the foundation of Kowloon City as a small administrative centre also dates from the beginning of the Ming dynasty. It was then called Kun Fu Cheung and had little population and no fortifications; its main use was as one of the stations used to enforce the salt monopoly. More important was the military garrison at Po On which had been for generations the site of the Tung Kun commandery, under which the garrison at T'un Mun had controlled the entrance and exit of ships to the Canton estuary.*\n\nIn 1386 instructions were given to the garrisons of Kwangtung as follows: \"Walls and forts are to be built, waste land must be reclaimed, and cultivated land must be protected from the inroads of the Dwarf Robbers (Wo K'ou).\"26 This was the name given to the Japanese and Formosan pirates who were active along the entire South China coasts, making forays inland for plunder, during the entire Ming dynasty, and who made an additional problem of coast defence.\n\nForeign traders continued to live in Canton, the city still had its Mohammedan quarter and T'un Mun in our region remained an important anchorage and a place from which foreigners conducted their trading negotiations. These foreigners had been Indians, Persians, and Arabs until the beginning of the 16th century when\n\n25 讀史方語\n\n26 倭寇\n\n* See plate 20 for the local forts. Ed.", "txt_file_path": "txt/dfo323lmgvd/RAS-1970.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/ww72j0241", "rank": 0 }, { "id": 206139, "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-1970", "page_number": 219, "title": "RAS-1970", "content_text": "212\n\nBOOK REVIEWS\n\nTRADITIONAL CHINESE PLAYS, Volume 2, translated, described, annotated and illustrated by A. C. Scott, Longing for the worldly Pleasures, Ssu Fan, Fifteen Strings of Cash, Shih wu kuan, University of Wisconsin Press, Madison, Milwaukee and London, 1969, pp. X, 156.\n\nThe second volume is translated with all the same accompaniments that we find in the first one. But the two plays chosen are not Peking operas. They belong to another kind of opera which was predominant in China from the end of the XVIth century to the end of the XVIIIth. The music was softer than in Peking opera and the main instrument for accompanying the singing was the flute. As in more ancient forms, the sung parts were written on different types of melodies, with verses of unequal lengths. The literary character of these verses made them difficult for a popular audience to understand. And this type of opera, created at K'un-shan, near Suchow, was later overcome by the success of the genre elaborated at the capital and favoured by the court.\n\nBut this K'un-ch'ü, as it is called, remained for years part of the training of a good Peking opera actor. The famous actor Mei Lan-fang tried to revive it around 1915-16 and again later in 1933 with the great actor Yü Chen-fei. After 1949 a new troupe of K'un-ch'ü was formed, which put on Fifteen Strings of Cash in 1956, with the actor Wang Ch'uan-song as the clown, Lou the Rat.\n\nLonging for worldly Pleasures comes from a Buddhist story: a nun, put in a monastery, escapes to find her paramour. Fifteen Strings of Cash is a detective story from storytellers' repertoires: Lou the Rat commits a murder to steal and puts the blame on the stepdaughter of the murdered man. But a good judge, disguised as a fortune-teller, confounds him.\n\nThe interest of these books lies not so much in the translation of four librettos as in all the information about costumes, make-up, and the movements made by the actors at each moment. Consequently, the work is not just one more translation, but, first and foremost, a handbook; and a good one for anyone wanting to put on and adapt Chinese plays for a foreign audience, instead of being interested in Chinese opera as a museum piece or as an...", "txt_file_path": "txt/dfo323lmgvd/RAS-1970.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/ww72j0241", "rank": 0 }, { "id": 206816, "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-1973", "page_number": 93, "title": "RAS-1973", "content_text": "FIVE ART CATALOGUES\n\n87\n\nsame tradition. For instance, Pien Yung-yü's Shih-ku-t'ang shu-hua hui-k'ao of 1682 (60 chüan altogether; 30 for painting and 30 for calligraphy); Ku Fu's P'ing-sheng chuang-kuan of 1692 (10 chüan altogether; 5 for painting and 5 for calligraphy); Wu Shêng's Ta-kuan-lu of 1712 (20 chüan altogether; for painting and calligraphy, 10 chüan each); An Ch'i's Mo-yüan hui-kuan of 1742 (There are mainly 2 chüan; one for painting and the other, calligraphy. However, near the end of this work there appears an additional chüan with simplified descriptions of painting); and finally, Ku Wên-pin's Kuo-yün-lou shu-hua-lu of 1882 (6 chüan for painting and 4 for calligraphy). All these important works on the history of either painting or calligraphy were edited by separating records of painting and calligraphy into two different sections.\n\nOn the other hand, speaking in general, works in which records of painting and calligraphy were put together as a combined chronicle were far fewer. From the earlier period, only Huang Po-ssu's Tung-kuan-yu-lun (2 chüan, edited in 1147 by the author's son, Huang Nai) and Chou Mi's Yün-yen kuo-yen-lu (4 chüan, edited probably around 1291) may be regarded as representative works in this line during the Sung and the Yüan.\n\nHowever, during the Ming and the Ch'ing periods, works in this line were innumerable. During the Ming period the most important were: Chu Ts'un-li's (1444-1513) San-hu-mu-nan (8 chüan); Tu Mu's (1458-1525) Yü-i-pien (only 1 chüan); Wên Chia's (1501-1583) Ch'in-shan-r'ang shu-hua-chi (1 chüan, edited in 1565); Chu Chih-ch'ih's Ao-an shu-hua-mu (1 chüan); Sun Feng's Shu-hua-ch'ao (1 chüan); Chen Chi-ju's (1558-1639) Ni-ku-lu (4 chüan); Tung Ch'i-ch'ang's (1555-1636) Hua-chan-shih sui-pi (4 chüan); and Li Jih-hua's (1565-1635) Wei-sui-hsüan jih-chi (compiled in 1616). In all these works, the records of painting and calligraphy of various dynasties were combined, forming one chronicle.\n\nThis type of books became even more numerous during the Ch'ing dynasty. Those completed in early Ch'ing were Sun Chêng-che's (1592-1676) Kêng-tzŭ hsiao-hsia-chi (8", "txt_file_path": "txt/dfo323lmgvd/RAS-1973.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8910rj06r", "rank": 0 }, { "id": 206817, "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-1973", "page_number": 94, "title": "RAS-1973", "content_text": "88\n\nCHUANG SHEN\n\nchuan; completed in the 16th year of the Shun Chih era, 1659); Wu Ch'i-chên's Shu-hua-chi (6 chüan; completed in the 16th year of the K'ang Hsi era, 1677); Kao Shih-ch'i's (1645-1704) Chiang-ts'un hsiao-hsia-lu (3 chuan; completed in the 32nd year of the K'ang Hsi era, 1693); and Miu Yüeh-tsao's (1682-1761) Yü-i-lu (6 chuan; completed in the 11th year of the Yung Chêng era, 1733). During the prosperous period of Ch'ing, there were Lu Shih-hua's (1714-1779) Wu-yüeh so-chien-shu-hua-lu (6 chüan; completed in the 41st year of the Chien Lung era, 1776); Chen Cho's Hsiang-kuan-chai yü-hsiang-pien (12 chüan; completed in the 47th year of the Chien Lung era, 1782). In mid Ch'ing, more works of this kind appeared, such as Pan Shih-huang's Hsü-ching-chai yün-yen-kuo-yen-lu (1 chüan; completed in the 9th year of the Tao Kuang era, 1820); Chang Ta-yung's Chih-i-chai shu-hua-lu (30 chüan; completed in the 12th year of the Tao Kuang era, 1832); Tao Liang's (1772-1857) Hung-tou-shu-kuan shu-hua-chi (8 chüan; completed in the 16th year of the Tao Kuang era, 1836); and Hu Chi-t'ang's Pi-hsiao-hsüan shu-hua-lu (2 chüan; completed in the 19th year of the Tao Kuang era, 1839). Still more were published during the late Ch'ing period. These were: Han Tai-hua's Yü-yü-t'ang shu-hua-chi (4 chüan; completed in the first year of the Hsien Fêng era, 1851); Chang Kuang-hsü's Pieh-hsia-chai shu-hua-lu (4 chüan; completed in the 4th year of the T'ung Chih era, 1865); Li Tso-hsien's Shu-hua-chien-yin (24 chüan; completed in the 10th year of the T'ung Chih era, 1871); Fang Chün-i's Mêng-yüan shu-hua-lu (24 chüan; completed in the first year of the Kuang Hsü era, 1875); Hsieh K'un's Shu-hua-so-chien-lu (3 chüan; completed in the 6th year of the Kuang Hsü era, 1880), Ko Chin-liang's Ai-jih-yin-lu shu-hua-lu (4 chüan; completed in the 7th year of the Kuang Hsü era, 1881); Lu Hsin-yüan's (1834-1894) Jang-li-kuan kuo-yen-lu (40 chüan; completed in the 18th year of the Kuang Hsü era, 1892); and Shao Sung-nien's Ku-yüan-ts'ui-lu (18 chüan; completed in the 29th year of the Kuang Hsü era, 1903).", "txt_file_path": "txt/dfo323lmgvd/RAS-1973.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8910rj06r", "rank": 0 }, { "id": 206819, "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-1973", "page_number": 96, "title": "RAS-1973", "content_text": "90\n\nCHUANG SHEN\n\nfollowing either the joint principle or the separate principle throughout the Ch'ing dynasty.\n\nIt may also be worthwhile for us to look into the editing methods employed in the art catalogues of the five Kwangtung collectors. Starting from the middle of the Ming dynasty (the 16th century is taken here as the demarcating point), the editing methods used in Chinese art catalogues can also be classified into two types. Most of the catalogues completed during the Sung and the Yuan periods, as well as in early Ming, possessed the following three characteristics:\n\n(1) brief description of subject matter seen on the painting proper.\n\n(2) in regard to the colophons written on or outside the painting proper, most of the time only the names of colophon writers were recorded,\n\n(3) as to the seals stamped on or outside the painting proper, most of the time only the names of the seal owners were recorded.\n\nIn other words, before the Wan Li era of mid Ming, art catalogue compilers only gave limited attention to the content of colophons and to the text and shape of the seals. After the Wan Li era, however, in regard to the inscriptions and colophons, a number of innovations in the compilation of Chinese art catalogues began to appear.\n\nFirst of all, in his Tieh-wang san-hu, Chu Ts'un-li not only recorded the artists' own short inscriptions, but also recorded in detail the longer colophons written by the collectors' or the artists' friends on or outside the painting proper. As a result, in reading the catalogue, the reader would have a clear picture of the background of each painting, its history of transmission, as well as other people's opinion of it. In comparison with the editing methods employed in art catalogues of the previous few centuries, Chu Ts'un-li's editing method was undoubtedly a major change. Therefore, although after the publication of the Tieh-wang san-hu, certain compilers ignored Chu's editing method and still adhered to the traditional ways, there were actually a great number of others who accepted the new way readily. The San-hu-wang hua-lu, completed in the 16th year of the Ch'ung Chên era by Wang K'o-yü, was one of the more important art catalogues that first followed this new", "txt_file_path": "txt/dfo323lmgvd/RAS-1973.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8910rj06r", "rank": 0 }, { "id": 206823, "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-1973", "page_number": 100, "title": "RAS-1973", "content_text": "94\n\nCHUANG SHEN\n\nIt should be noted here that the Shih-ku-t'ang hua-k’ao was completed in the 21st year of the K'ang Hsi era, and Kao Shih-ch'ï's Chiang-ts'un hsiao-hsia-lu, in the 32nd year of the K'ang Hsi era. Thus there were eleven years in between. As early as the 21st year of the K'ang Hsi era, Pien Yung-yü had already begun to record the measurements of painting, use the regular script to transcribe the seal text, and squares and rectangles to represent the original shape of the seals. Therefore, the Chiang-ts'un hsiao-hsia-lu was not as Wu Yung-kuang stated \"the first catalogue that recorded the measurements of scrolls and paintings\". Furthermore, neither did the method of \"enclosing seal text transcribed in the regular script by lines\" to record seals that appeared on paintings, as had been extolled by Wu Yung-kuang as the \"best\" method, originate from Kao Shih-ch'i. Kao was only one of those early art catalogue compilers who followed Pien's systems. However, in regard to these two compilers' writings, owing to the fact that no matter on the subject of the classics or literature, Kao by far out-numbered Pien in quantity. His reputation as a connoisseur was also far higher than Pien's. It was probably because of these reasons that Wu Yung-kuang only noticed Kao's Chiang-ts'un hsiao-hsia-lu and overlooked Pien's Shih-ku-t'ang hua-k'ao. Consequently Wu's editing methods adopted in his Hsin-ch'ou hsiao-hsia-chi followed exactly those of Chiang-ts'un-hsiao-hsia-lu. Undoubtedly, the editing methods adopted by Wu were the most perfect ones in the compilation of art catalogues. However, the fact that he was only aware of Kao Shih-ch'i and not Pien Yung-yü seems to show that he had put a wrong emphasis on the first and last, which is something regrettable.\n\nA catalogue that was completed earlier than the Hsin-ch'ou hsiao-hsia-chi was: Yeh Meng-lung's Fêng-man-lou shu-hua-lu. Unfortunately, Yeh Mêng-lung did not give any introductory note to explain his editing system. Therefore it is not known whether his inclusion of the five essential elements i.e. measurements, material, format, seals and colophons was under the influence of Pien Yung-yü or Kao Shih-ch'i. However, since Yeh and Wu were not only good friends, but also later became relatives1, it is possible that when compiling his Fêng-man-lou shu-hua-lu, Yeh Mêng-lung was somehow influenced by Wu Yung-kuang. Thus like Wu Yung-kuang, Yeh's adoption of the five essential elements was probably under the influence of Kao Shih-ch'i and not directly from Pien Yung-yü.", "txt_file_path": "txt/dfo323lmgvd/RAS-1973.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8910rj06r", "rank": 0 }, { "id": 206824, "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-1973", "page_number": 101, "title": "RAS-1973", "content_text": "FIVE ART CATALOGUES\n\n95\n\nThe next catalogue completed soon after the Fêng-man-lou shu-hua-lu and Hsin-ch'ou hsiao-hsia-chi was Pan Chêng-wei's T'ing-fêng-lou shu-hua-chi. One paragraph in the preface is of particular importance here,\n\nIt was Tu Mu's Yü-i-pien which initiated the practice of selecting paintings and calligraphies belonging to masters of past dynasties, and cataloguing them in one chronicle. After that, the most distinguished works were Chu Ts'un-li's San-hu mu-nan and Chang Ch'ou's ## Ch'ing-ho shu-hua-fang **★✰★ · In our period, there was Sun Ch’êng-chê's Kêng-tzu hsiao-hsia-chi, in which in addition to his own collection, Sun also included records of other people's collections. Then there was Kao Shih-ch'ï's Chiang-ts'un hsiao-hsia-lu in which Kao entered details such as the material used (whether paper or silk), the format (album or scroll), the measurements (the length and breadth) of paintings that he had seen, and a full record of all his colophons was also given. Recently the minister Wu Yung-kuang has edited a catalogue entitled Hsin-ch'ou hsiao-hsia-chi in which he adopted the system set down by Sun Ch'êng-chê and Kao Shih-ch'i. He has also selected a few items from my own collection and included them in his work. Moreover, he urged me to compile a catalogue for my own collection and have it published. Thus, following his way, I edited this book.\n\nIn this preface by Pan, there are a few points worth our notice: Firstly, among the art catalogues compiled in the Ch'ing dynasty, he had only mentioned Sun Ch’êng-chê's Kêng-tzu hsiao-hsia-chi and Kao Shih-ch'i's Chiang-ts'un hsiao-hsia-lu. Based on this fact, either Pan was entirely ignorant of Pien Yung-yü's Shih-ku-t'ang hua-k'ao or at least he must have held it in low esteem. This attitude is no different from that shown by Wu and Yeh.\n\nSecondly, although Pan Chêng-wei humbly admitted that the compilation methods of his T'ing-fan-lou shu-hua-chi followed that of Wu Yung-kuang's Hsin-ch'ou hsiao-hsia-chi, in fact, this was only a polite remark made by him. In the opening part of the Hsin-ch'ou hsiao-hsia-chi, it has been clearly stated that this catalogue was compiled by Wu Yung-kuang, but was collated jointly by his brother Wu Mi-kuang ✯ ✯ Ł. Ch’ü Shu-ch’ên # and Pan Chêng-wei. This means that in the course of compiling the Hsin-ch'ou hsiao-hsia-chi, Wu Yung-kuang had consulted Pan Chêng-wei.", "txt_file_path": "txt/dfo323lmgvd/RAS-1973.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8910rj06r", "rank": 0 }, { "id": 206825, "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-1973", "page_number": 102, "title": "RAS-1973", "content_text": "96\n\nCHUANG SHEN\n\nThus, instead of saying that the compilation method of the T'ing-fan-lou shu-hua-chi was an imitation of the system used in Wu Yung-kuang's art catalogue, rather, it would be more appropriate to say that Pan compiled it according to his own ideas,\n\nThirdly, if this assumption is reasonably correct, then the fact that Pan, in the preface of his T'ing-fan-lou shu-hua-chi regarded Kao Shih-ch'i's Chiang-ts'un hsiao-hsia-lu as one of the representative art catalogues in the Ch'ing dynasty was due to his high esteem for Kao's work, which incidentally was a view shared by Wu Yung-kuang. Moreover, it is possible that he came under Wu's influence while undertaking the collating work for the Hsin-ch'ou hsiao-hsia-chi, thus regarded Kao Shih-ch'i's work of special importance.\n\nFourthly, Pan Chêng-wei considered Sun Ch'êng-chê's Kêng-tzu hsiao-hsia-chi and Kao Shih-ch'i's Chiang-ts'un hsiao-hsia-lu as the most representative art catalogues compiled in early Ch'ing. This point of view is worth our notice. It should be noted that though Sun's catalogue was completed in the 16th year of the Shun Chih era (1659), it was being collated only less than a century after its publication, by Ho Cho2 (1661-1722), a well-known scholar of the Chiang Nan district21 and active in the K'ang Hsi era. Moreover, in the Chien Lung period, distinguished scholars like Lu Wên-ch'aoAx 3 (1717-1795), Pao T'ing-po3* ty (1728-1814) and Yu Chi (1738-1823) at one time or other wrote prefaces and colophons for this catalogue3, and in particular, Pao T'ing-po even included it in his Chih-pu-chü-chai ts'ung-shu1 * F & *** in order to publicize it. Not long afterward, it was well appraised by the Ssu-k'u-ch'uan-shu tsung-mu t'i-yao★ATAIRE, an official catalogue completed in the 48th year of the Chien Lung era. Thus, it can be seen that during the 124 years between the 16th year of the Shun Chih era and the 48th year of the Chien Lung era, in regard to the connoisseurship of painting and calligraphy, no matter whether it was in Chiang Nan or in the capital, and regardless of whether privately or officially, there was no one who did not consider Sun Ch'êng-chê's Kêng-tzŭ hsiao-hsia-chi as an important work for reference,\n\nHowever, the situation was not quite the same in Kwangtung. Probably up to the Chien Lung era, no Kwangtung scholar had ever noticed the Kêng-tzŭ hsiao-hsia-chi. Even Wu Yung-kuang and Yeh Mêng-lung, relatives who both served for a long time in the", "txt_file_path": "txt/dfo323lmgvd/RAS-1973.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8910rj06r", "rank": 0 }, { "id": 206827, "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-1973", "page_number": 104, "title": "RAS-1973", "content_text": "98\n\nCHUANG SHEN\n\nNeedless to say, the two works by Sun and Kao mentioned in the text refer to Sun Ch'êng-chê's Kêng-tzŭ hsiao-hsia-chi and Kao Shih-ch'i's Chiang-ts'un hsiao-hsia-lu. Although Liang T'ing-nan pointed out that it would be unsuitable to compare his T'êng-hua-t'ing shu-hua-pa with the two works of Sun and Kao—which was, moreover, something that he would not venture to do—it could be deduced that, in his opinion, the two catalogues compiled by Sun Ch'êng-chê and Kao Shih-ch'i must have been held in reverence. Otherwise, it would be difficult to explain why he must necessarily take his work to compare with the Kêng-tzŭ hsiao-hsia-chi and the Chiang-ts'un hsiao-hsia-lu, and not with Pien Yung-yü's Shih-ku-t'ang hua-k'ao. According to Liang's remark, it is clear that owing to Pan Chêng-wei's recommendation of the Kêng-tzŭ hsiao-hsia-chi, Sun's work became an art catalogue capable of being compared with Kao Shih-ch'i's Chiang-ts'un hsiao-hsia-lu in the mind of Kwang-tung art collectors some time later; while, on the other hand, Pien Yung-yü's work seemed to remain unnoticed, as it was during Wu Yung-kuang's time. It thus seems rather questionable whether Liang T'ing-nan was ever aware of Pien Yung-yü's Shih-ku-t'ang shu-hua hui-k'ao.\n\nAs to the origin of the editing method employed in Kung Kuang-tao's Yüeh-hsüeh-lou shu-hua-lu, some hints may be obtained from the preface written by Li Ch'ao-t'ang, which reads,\n\nThe two brothers Huai-min and Shao-tang (i.e., Kung Kuang-yung and Kung Kuang-tao) had the largest collection of books in Kwangtung. At his leisure hours, Kung Kuang-tao compiled this catalogue by following the editing system set down in the catalogues of Sun Ch'êng-chê and Kao Shih-ch'i.\n\nThus, it can be seen that the origin of the editing method employed in the Yüeh-hsüeh-lou shu-hua-lu was also that used in the two catalogues of Sun Ch'êng-chê and Kao Shih-ch'i. From the time when Wu Yung-kuang completed his Hsin-ch'ou hsiao-hsia-chi to the time when Liang T'ing-nan completed his T'êng-hua-t'ing shu-hua-pa, 15 years had elapsed, and up to the completion of Kung Kuang-tao's Yüeh-hsüeh-lou shu-hua-lu, 21 years. During these 21 years, apart from the fact that owing to Pan Chêng-wei's recommendation, Sun Ch'êng-chê's Kêng-tzŭ hsiao-hsia-chi received more attention, and that Liang T'ing-nan's T'êng-hua-t'ing shu-hua-pa", "txt_file_path": "txt/dfo323lmgvd/RAS-1973.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8910rj06r", "rank": 0 }, { "id": 206828, "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-1973", "page_number": 105, "title": "RAS-1973", "content_text": "# FIVE ART CATALOGUES\n\n99\n\ndiffered somewhat from the two catalogues of Sun and Kao, by the time Kung Kuang-tao compiled his art catalogue, the editing method he adopted seemed to be, if not a continuation of that used in Sun's Kêng-tzŭ hsiao-hsia-chi and Kao's Chiang-ts'un hsiao-hsia-lu, at least unrelated to Pien Yung-yü's Shih-ku-t'ang hua-k'ao.\n\nIn a word, although these five Kwangtung art collectors had adopted a new editing system in their catalogues, they had not referred to the work of the compiler who first introduced this system. This is no different from one who counts the records but has forgotten one's ancestors, and can but be regarded as a very unreasonable incident in the history of art catalogue compilation.\n\n## III\n\n## Defects in the Catalogues\n\nAs mentioned above, though the five Kwangtung collectors' catalogues were all compiled by following the new editing method introduced in the compilation of art catalogue, it should be pointed out here that they are not without shortcomings and errors. These, on the whole, can be divided into 3 types, namely: unsuitable compilation method, carelessness in proof-reading, as well as erroneous chronology. Each of these will be discussed below.\n\n### A. Unsuitable Compilation Method\n\nIn Wu Yung-kuang's Hsin-ch'ou hsiao-hsia-chi, paintings done by the same artist are mostly grouped together. However Wu had at least in two instances separately recorded the paintings of two artists. As a result, the reader would feel rather confused when using this catalogue. For example, this catalogue has recorded two paintings by Ni Tsan (1301-1374) in chüan 4. One of these, the Yu-po-t'an-hua-t'u appears in chüan 4, p. 22b, and the other, Ho-lin-t'u, on p. 41a of the same chüan. They are thus nearly twenty pages apart. Between these two paintings, Wu recorded accordingly the hanging scrolls of calligraphy respectively done by Kung Su, Fêng Hai-su and Nao Nao, as well as a handscroll including calligraphies written by Liu Yu-ch'ing, Fan Kuo, Ouyang Ying, Yü Chi, Wu Ch'uan-chieh, Yü-fu-t'u, and Liu Kuan. In addition, in the space of nearly twenty pages, Wu also recorded Wu Chen's and Wang Fu's (1362-1416).\n\nPage 105\n\nPage 106", "txt_file_path": "txt/dfo323lmgvd/RAS-1973.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8910rj06r", "rank": 0 }, { "id": 206831, "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-1973", "page_number": 108, "title": "RAS-1973", "content_text": "102 \n\nCHUANG SHEN \n\n2. Wang Yuan-ch'i £ß \n\n3. Wang Yuan-ch'i \n\n4. Wang Yuan-ch'i \n\n5. Wang Chien £ \n\n6. Wang Chien \n\n7. Wang Hui \n\n8. Fang Shih-shu \n\n9. Hua Yen 華嵒 \n\nhanging scroll of the Fu-ch'un Mountain 富春山軸 \n\nhanging scroll of landscape executed in the style of Huang Kung-wang 黄公望 and Ni Tsan 倪瓒 handscroll of landscape in the style \n\nof former masters. \n\nYün-ho sung-yin-t'u *** H \n\n, hanging scroll \n\nTs'êng-luan-sung-ts'ui-t'u \n\n翠圖 hanging scroll \n\nHsia-k'ou tai-tu t'u \n\n#* \n\nalbum of landscape, figure and flower \n\nhanging screens of flower and bird \n\n10. Wang Shih-min E \n\n11. Liang Pei-lan \n\n12. Ch'ien Tsai \n\nhanging scroll executed in the style of Huang Kung-wang \n\nhanging scroll of poems written in the running script \n\nhanging scroll of orchid and bamboo executed in ink monochrome \n\nAmong the three different kinds of edition available today, no matter whether it is hand-written, or wood block printed, or type printed, all the texts in chuan 5 of this T'ing-fan-lou shu-hua-chi have left out ten items of painting and calligraphy; i.e., from the landscape album executed by the Sung and Yüan artists up to Ch'ing-chieh-t'u executed by Ch'ien Hsi-pai of the Sung dynasty. And similarly, all the texts in chuan 2 of the supplement of the same catalogue have omitted record of the 12 items of painting and calligraphy; i.e., from Wang Hui's hanging scroll executed in the style of Wang Meng up to Ch'ien Tsai's hanging scroll of orchid and bamboo executed in ink monochrome. For the same item of painting, the table of contents in this book lists its painter, its title as well as the format, and yet all these details have not been entered into the text. Such inconsistency cannot but be regarded as a shortcoming in compilation, the more so since this shortcoming arises not because of the difference in edition, but entirely due to the carelessness of the compiler.", "txt_file_path": "txt/dfo323lmgvd/RAS-1973.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8910rj06r", "rank": 0 }, { "id": 207029, "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": 100, "title": "RAS-1974", "content_text": "94\n\nR. G. IRWIN\n\nCes trois historiens des MING sont particulièrement distingués à la Chine, & personne n'y révoque en doute les faits qu'ils rapportent; c'est sur leur réputation de fidélité & d'exactitude que le Père de Mailla les a adoptés de préférence aux autres. II a encore puisé dans un recueil de discours & instructions de HONG-VOU, fondateur des MING, que Chun-chi des TSING a fait traduire en tartare pour son usage particulier dans le gouvernement de son nouvel empire & pour l'instruction des grands de sa cour. Ce recueil est intitulé, Ming-kou-lou-hong-vou-han-y-oyong-tatsi-yen; c'est-à-dire, Documens importans de l'empereur HONG-VOU, de la dynastie des MING.\n\nThese authors and their works may well have been renowned at the time of de Mailla, but two centuries later their very identification presents a problem, the results of which are herewith summarized:\n\n1. Ku Ying-t'ai (T. Keng-yü),3 who is credited with the authorship of Ming-ch'ao chi-shih pen-moa by the editors of the Ssu-k'u ch'üan-shu tsung-mu¤$£$#!' was a native of Feng-jun, Pei-Chihli. After taking the chin-shih degree in 1647 he held a secretaryship in the ministry of Revenue, and later in the Chekiang provincial board of education. The history, a work in 80 chüan, each devoted to a separate topic, carries a preface dated 1658.6 On the whole, it is a well-ordered record of the Ming period. Factual errors, which occur, for example, in connection with Chu Yün-wen, who reigned as Emperor Hui (1399-1402), and again with Chang Ma, better known as Empress I-an (consort of Chu Yu-chiao, emperor of the T'ien-ch'i period, 1621-27), are accounted for by the lack of any such standard source as the official history at the time of composition. But the Ssu-k'u editors are of the opinion that the author has handled the available material well.\n\nWhether Ku should be given entire credit for its authorship is open to question, however, since it seems to have been based on Shih-kuei ts'ang-shu♬ §#*, for which he is reported to have paid Chang Tai of Shan-yin, Chekiang, some 500 pieces of gold. Fu I-li# » † (fl. 1862-74), in a colophon, discusses the problem at length, concluding that Chang Tai's material passed through the hands of Hsu Ch'ao-li, who re-wrote it. Ku, in turn, re-worked this, and cannot be accused of out and out plagiarism.", "txt_file_path": "txt/dfo323lmgvd/RAS-1974.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/x633mp077", "rank": 0 }, { "id": 207110, "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": 181, "title": "RAS-1974", "content_text": "LEGENDS & STORIES OF THE NEW TERRITORIES\n\n175\n\nfound in Wing Lung Wai where his portrait in military officer's uniform is to be seen.\n\nTang Ming Luen, the son of Tang Kuen Hin, was another military officer. He was a very powerful man with exceptional strength in his arms. When he was young and before he studied the military arts, he came across, one day, two water buffaloes fighting in a road. The people standing by were unable to pass and yet could do nothing to separate the animals. Tang Ming Luen, seeing this, seized each buffalo by the horn, wrenched them apart, and stopped the fight. It happened that a newly passed Kui Yan named Tang T'in K'ei, who came from Tung Kwun district, was visiting Kam T'in to worship at the ancestral hall, and, according to old Chinese custom, to report the good news of his degree to his ancestors. He witnessed Tang Ming Luen's feat of strength and greatly admiring him, he encouraged him to study for the army, giving him ten taels of pure silver sycee as a reward. Tang Ming Luen passed his Mo Sau Tsoi in the 25th year of Ka Hing, A.D. 1820, and the Mo Kui Yan in the following year.\n\nThere is another story that Tang Ming Luen dug up some hidden treasure in his orchard, which was near Sui T'au Ts'un. To the North of the garden, there was a large banyan tree and close by it a rock covered with creeping plants. On dark days, it was said that a light used to shine near this rock and at a distance, it appeared like a big white horse. One day, Tang told a labourer to dig a hole for planting a fruit tree in a corner of the garden where a lot of long grass was growing. In doing so, the man dug up a large earthenware jar with a lid on it, which was full of silver sycee. He seized a handful of them and started to carry them home, but at once, his eyes became dim-sighted and he was unable to see his way. Thinking that it must be a punishment for trying to take money that did not belong to him, the man put the coins back in the ground, and his sight recovered at once. When he told Tang of his discovery, Tang had the ground thoroughly dug, and many more jars, each full of silver coins, were found.\n\nTang Kuen Hin was born in the 20th year of Kin Lung, A.D. 1755, and he built a school called So Lau Yuen in Shui Tau Tsuen, one of the Kam T'in villages. This building has a curious carving inside, rather like the face of a clock with Roman lettering on it, the origin of it being unknown. Another building called Ch'eung Tsun Yuen was built by one of his descendants.", "txt_file_path": "txt/dfo323lmgvd/RAS-1974.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/x633mp077", "rank": 0 }, { "id": 207116, "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": 187, "title": "RAS-1974", "content_text": "LEGENDS & STORIES OF THE NEW TERRITORIES\n\n181\n\nIt is an ancient custom in China when a man passes a Government degree examination or is appointed as a Government official, for him to have his new official title carved on a wooden tablet and hung in the Hall of his ancestors. By this means the good news is reported to the ancestors that their descendant has become a man of rank, and at the same time an example is set to future generations to encourage them to do their best to rise to the same honour, as the tablet is left hanging in the hall permanently. There are many of these title-tablets hung in Sz Shing Tong, put there not only by Kam T'in men, but by other descendants of the Tang family who have sent their tablets from places far away, where they have gone to live. The oldest among them is the \"Man Fui” or Kui Yan degree put there by Tang Ting Ching who passed it in the 7th year of Shing Fa, A.D. 1471. The most highly honoured title-tablets are the two from Tang Yung Keng from Tung Kwun district. He passed his Kui Yan degree in the 3rd year of Tung Chi, A.D. 1864 and became \"Hon Lam Yuen Shue Kat Sz\" (H.K.N. VIII, p. 110) in the 10th year of T’ung Chi, A.D. 1871. He held the office of On Ch'aat Sz (Provincial Judge) of Kiangsu province, and in 1900 during the Boxer trouble he was appointed by Lei Hung Cheung, the Prime Minister and then Viceroy of Kwangtung and Kwangsi provinces, to be the Superintendent of volunteers in Kwangtung.\n\nTang Ts'ing Lok's eldest son, Tang Wan Kuk was a very rich man, and he owned a lot of cultivated land in San On District. During his time there were twenty-eight Sau Ts'oi (B.A.'s) and nine very rich men all members of his family and living in the same street where his house was situated in Shui Mei village. His house was called Kam Ts'un Tong \"ornamental stream hall\"; it has long since been destroyed and a vegetable garden is on the site of where it once existed, but the remains of a large stone gateway can still be seen (plate 20). Tang Wan Kuk owned a large library in this house, and a fine stone fish-tank, made of pink coloured stone, 2 Chinese feet high, 14 wide and 24 long. (Plate 19). Two scholars of the Tang Family have written inscriptions about this tank, speaking very highly of it, but it now lies in a destroyed school building in Shui T’au village, and no-one cares about it. The dates of Tang Wan Kuk's birth and death are not recorded, but we know that his grave, which is in Noh Mai Ham about seven li from Kam T'in was made before the 8th year of Ching", "txt_file_path": "txt/dfo323lmgvd/RAS-1974.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/x633mp077", "rank": 0 }, { "id": 207570, "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": 338, "title": "RAS-1975", "content_text": "BOOK REVIEWS\n\n329\n\nChapter VI:\n\nChapter VII: (1577-after 1668), Sheng Mao-yueh (act. 1620-40), Hsiang Sheng-mo (1597-1658), Yün Hsiang (1586-1655) and Shen Hao (act. 1630-50).\n\n\"The Sung-chiang School: Triumph of a New Theory\", under this headline five artists of the Ming Dynasty, Mo Shih-hung (ca. 1540-1587), Tung Ch'i-chang (1555-1636), Ku Shau-yu (act. early 17th century), Li Liu-fang (1575-1629), and Pien Wen-yü (act. 1620-1670) are discussed.\n\n\"Various Directions of Late Ming: A Mixture of Old and New\", this chapter covers Mi Wan-chung (1595-1628), Chang Jui-t'u (1576-1641), and Lan Yü (1585-1664).\n\nChapter VIII: \"The Orthodox Masters of Early Ch'ing: The Great Synthesis”, discussions are concentrated on Wu Li (1632-1718), Wang Hui (1632-1717) and Wang Yuan-ch'i (1642-1715).\n\nChapter IX:\n\nChapter X:\n\nChapter XI:\n\nChapter XII:\n\n\"The Lou-tung School: Homage to Wang Yuan-ch'i\", in this chapter the Lou-tung school artists are represented by Huang Ting (1660-1730), Chang Tsung-ts'ang (1686-still alive in 1755) and Wang Ch'en (1720-1797).\n\n\"The Yu-shan School: Homage to Wang Hui”, in this chapter, Chiao Ping-chen (act. 1680-1720), Wang Chiu (act. later 18th century) and Prince Yung-jung (1744-1790) are taken as being representatives of this School,\n\n\"The Anhwei School: Transformation of the Ni Tsan Tradition\", four early Ch'ing artists: Hsiao Yün-ts'ung (1596-1673), Yao Sung (1648-after 1717), Hung-jen (1610-1663), and Mei Ch'ing (1623-1697) are discussed in this chapter.\n\n\"Monks and Hermits: A silent Revolution”, another four early Ch'ing artists; K’un-ts'an (b. 1612-ca. 1673), Kung Hsien (b. 1617-1618, d. 1689), Chu Ta (1626-ca. 1705), and Tao-chi (b. 1641-d. before 1720), are discussed under this heading.\n\nChapter XIII: \"The Yang-chou School: Haven of the creative mind”, two Yang-chou school artists; Chin Nung (1687-1765) and Huang Shen (1687-1768) are discussed in detail.", "txt_file_path": "txt/dfo323lmgvd/RAS-1975.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/j0995146d", "rank": 0 }, { "id": 207574, "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": 342, "title": "RAS-1975", "content_text": "BOOK REVIEWS\n\n333\n\n\"On the Road to Mt. T'ien-chu” (or as Prof. Li prefers, \"On the Road to the Peak that holds up the sky\"). This very Mt. T'ien-chu is geographically located in the present western An-hui Province16, south of the Huai River. During the 6th century B.C. (or the active period of Yen Tsu), the area which included Mt. T'ien-chu was part of the territory of the State of Ch'u17. Thus, to associate the oranges of Ch'u to Mt. T'ien-chu is but to relate some old historic and geographic references to the real scenery that Huang Shen might have seen in 1729.\n\nSecondly, in structure and in style, as far as those example-characters in the \"Dictionary of Six Different Scripts for Characters of Chinese Calligraphy\" is concerned, the 16th character hand-written by Huang Shen for leaf 9 of his landscape album, certainly bears more physical resemblances to 'ch'u' rather than ‘yeh'. \n\nThus, there seems to be reason enough to conclude that this problematic Chinese character 'yeh' should be more properly identified as 'ch'u' instead of ‘yeh'. This is not only because the new identification has more possibilities to conform with the old geographical and historical information, but also because it is able to fit in with other calligraphical references as a whole.\n\nThe second example of this nature happens to be Prof. Li's failure in identifying a literary reference. In Volume II, Plate CVII illustrates a fan-painting attributed to K'un-ts'an. In Volume I, p. 203, Prof. Li's English translation, together with the original poem in Chinese inscribed by the artist himself, are presented side by side. It does seem essential to quote them both here again:\n\n“Leisurely I sit in my boat below the valley\n\nIn the vast twilight of dusk, smoke rises gently from an old house;\n\n水屋蒼冥起昏煙;\n\nthe autumn scene is there for me to sing and\n\nto enjoy, 自有秋光共嘯傲,\n\nand one needs no money to own mountains\".\n\nI47#★¶¤·\n\nIt is obvious that after comparison, the literary implication of the term \"Chang-tou\" which appears in the last Chinese line has not been rendered by any literary equivalent in the English version. In fact, this term happens to be not only the key word in terms of an overall understanding of the last line but seems a key point in interpreting the poet's intention as expressed by the whole poem. Documentarily, “Chang-tou” §§ is a reference to Juan Hsiu #k.", "txt_file_path": "txt/dfo323lmgvd/RAS-1975.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/j0995146d", "rank": 0 }, { "id": 208059, "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-1977", "page_number": 98, "title": "RAS-1977", "content_text": "82\n\nJ. T. KAMM\n\nlawsuits. In some instances the smaller villages pay their land tax through the influential clans.\" (p. 20).\n\n18. Tung-Kuan Hsien-chih (1921), 3:4a.\n\n19 For details on Hakka migration into the area, see Lo Hsiang-lin's K'o chia shih liao hui p'ien (***** Historical Sources for the Study of the Hakkas). See also Essay I.\n\n20 Krone, op. cit., p. 125.\n\n21 Sung Hok-p'ang, \"Legends and Tales of the New Territories” in The Hong Kong Naturalist, VII: 3 and 4. For the tale of the \"Hungry Bug\" see pp. 249-250 in number 3.\n\n22 CSO6269 in 1909,\n\n23 Extension Papers, p. 227.\n\n24 See statements by Tang Kok-lam in the Extension Papers (pp. 216 and 293-294): \"... the reason for the resistance is that there were rumours that there would be an increase in taxation, numbering of houses, and taxes on fruits and houses.\" See similar reasons put forth in the petition from the Tung Wo Kuk of Sha Tau Kok Tung, p. 319.\n\n25 CSO130 in 1902.\n\n26 Pat Heung and Shap Pat Heung are districts whose natural boundaries are made up of two major valleys of Un Long to the southeast and northwest of Kam Tin, respectively. These hsiang consist largely of small, multi-lineage settlements with substantial Hakka populations. In some of the documents in the Extension Papers, tung is appended to these districts, a usage still heard among the older elders in the area. The hypothesis which I develop later in this paper refers specifically to the large-order tung; however, it applies equally to the smaller-order tung insofar as they constitute districts treated as a whole for the purposes of revenue collection.\n\n28 CSO6269 in 1909.\n\n29 The only mention of this decision which I have seen is Tratman's account of the opening of a new market at Un Long in CSO3172 of 1915. \"Of the existence of this feud there can be no doubt. It began in the endeavors of Pat Heung to free their land from the ground-rent claimed by Kam Tin as first settlers and so overlords of the whole district. The actual bone of contention fell to the Pat Heung when the Land Court disallowed all the \"taxlord claims\" in that district; but the bad blood still remains. Its fast manifestation was in the form of an organized assault by the people of Un Long on certain Kam Tin cultivators in 1911.”\n\n30 Hugh Baker, \"The Five Great Clans of the New Territories,\" Journal of the Hong Kong Branch of the Royal Asiatic Society, Volume 6. pp. 25-48.\n\n31 “If a person is arrested by a village constable, he is taken before the gentry and elders of the village, who assemble in a place specially appointed for the purpose. The gentry and the elders, who are the representatives of the clans inhabiting the villages, are selected by the inhabitants to deal with cases in the village council, The usual cases are those of theft, disputes about land, domestic squabbles, and cases of debt. Most of these cases are summarily dealt with by the village council, and as a rule, the decision of that council is accepted as final. But if either of the parties to a case is dissatisfied, he can appeal to a council of the Tung, or to a general council, made up of representatives of the different Tung. A reference to Map VI will show how the newly leased territory is divided", "txt_file_path": "txt/dfo323lmgvd/RAS-1977.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/np198x23n", "rank": 0 }, { "id": 208843, "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": 5, "title": "RAS-1980", "content_text": "204\n\nDAVID FAURE\n\nhsü 12 (1886). In the Kau Sai Hung Shing Temple, the lintel is dated Kuang-hsü 15 (1889), and the altar Kuang-hsü 20 (1894); and in the Hang Hau T'in Hau Temple (besides the 1840 bell), the lintel is dated Kuang-hsü 1 (1875), a tablet Kuang-hsü 2 (1876), an altar is of the same year, a wooden board of Kuang-hsü 4 (1878), a shrine of Kuang-hsü 10 (1884), a pair of stone lions of Kuang-hsü 13 (1887), and a pair of incense burners of Kuang-hsü 20 (1894). The bell and the incense burner at the Tin Ha Wan T'in Hau Temple are both undated, but Mr. Ip Ch'un, who lived nearby, told us that the temple was already in disrepair over fifty years ago. Historical inscriptions found in Sai Kung and elsewhere in Hong Kong and the New Territories have been transcribed as a special project and may be found in David Faure, Alice Ng, and Bernard Luk, \"A collection of historical inscriptions in Hong Kong\". The report is available in the Institute of Chinese Studies, Chinese University of Hong Kong, and will, it is hoped, be published shortly.\n\n7\n\nMr. Hoh Taai of Ko Tong, aged over 60, knew of the whereabouts of a charcoal burner, but never saw it in operation (Int. 10.6.81). Lime kilns were reported in Wong Yi Chau, Wong Keng Tei, Tai Mong Tsai Tso Wo Hang, Tai Wan, Kiu Tsui, Sha Ha, Pak Sha Wan, Che Keng Tuk, Ta Ho Tun, Tai Tan, and Yau Yu Wan (Ints. Mr. Yau T'aam Shang 15.5.81, 22.5.81, Mr. Wong Yung Ts'ing 20.5.81, Mr. Tang Kei Faat 25.6.81, Mr. Lei Yau 28.6.81, Mr. Wong Ping Lin 29.6.81, Madam Liu 20.5.81, Mr. Lau Lui Faat 23.6.81, Mr. Tse Wing 9.6.81, Mr. Tse Shui Kam 24.6.81, Madam Lo Koon Mooi 21.6.81, Mrs. Hoh née Lei 28.6.81, Mr. Chung 23.7.81, and Madam Lam Yau Ch'un 19.8.81.) The Liu family at Kiu Tsui built the ancestral hall that can be seen today on the main road into Sai Kung Market. For an impression of the long history of lime making in Sai Kung, it should be noted that Madam Lo Koon Mooi was 85 and Mr. Yau T'aam Shang 87 in 1981, and it was their fathers who were engaged in the lime business. Mr. Yau continued working the kilns until his early 40's. Brick kilns were reported in Chek Keng and Pak Tam Chung (Ints. Mr. Chiu Sz 7.5.81 and Mr. Yau T'aam Shang 15.5.81, 22.5.81). The lime industry, of course, also provided income for fishermen who collected coral for the kilns. See \"Return of the approximate number of fishermen employed in taking coral and shell from the sea adjoining the New Territory\", in Hong Kong Legislative Council, Sessional Papers, 1901, p. 685.\n\n\"The best indication of the growing importance of the trade in pigs is a set of account books that belonged to Mr. Yung Sz Ch'iu of Pak Sha O, a photocopy of which is held by the Oral History Project. See also ints. Mr. Chan Tsz K'eung 28.5.81 and Mr. Hoh King 5.6.81.\n\n• There are many instances of seamen recruited by recruitment firms (haang shuen koon); see, eg. Mr. Chiu Sz (Int. 7.5.81). Remittance from abroad was sent back to the village through import-export houses (kam shan tsong), see Mr. Yau T'aai Hong (Int. 11.8.81).\n\n10 Mr. Cheung T'o's grandfather was a cook on Hong Kong Island, and his father was employed on the Kowloon-Canton Railway. Mr. Cheung, of Ho Chung, was c. 70 in 1981 (Int. 15.6.81). Mr. Tsang Yau of Tai Mong Tsai (age unknown, but who married before World War II) worked in a shop started by his father in Shaukiwan on Hong Kong Island (Int. 23.6.81).\n\n11 Ints. Mr. Cheng Chung Ting 21.5.81, Mr. Chan P'aang Hing 29.5.81, Mr. Chan T'aai 22.7.81; Bernard Williams, \"Visit to Ho Chung and Sheung Yeung villages in the Sai Kung area”, in Marjorie Topley, ed. Aspects of Social Organization in the New Territories, Hong Kong, 1965, pp. 46-47, and \"The Chan family of Tseung Kwan O\", JHKBRAS 7 (1967), pp. 158-160.", "txt_file_path": "txt/dfo323lmgvd/RAS-1980.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/kh04md207", "rank": 0 }, { "id": 209278, "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-1981", "page_number": 181, "title": "RAS-1981", "content_text": "60\n\nJUAN YUAN'S MANAGEMENT OF SINO-BRITISH RELATIONS IN CANTON, 1817-1826 167\n\nIbid., 1:22b-23. Court letter to Juan Yuan et al., TK 2/5/25 (1822/7/13). 07 After Juan Yuan left Canton, his successor as Governor-General of Kwangtung and Kwangsi, Li Hung-pin, established a system of patrol boats to check on opium smuggling. Each boat received a monthly bribe to permit the illicit trade. Liang, Kuang-chou shih-san hang k'ao, p. 299.\n\nChang Shun-ts'un #\n\nTao-Kuang ch'ao\n\nCh'en 陳\n\nCh'en-Li shih ★BA\n\nchin f\n\nchüan-na ‡Ã1⁄4\n\nfen 分\n\nHsiang-shan J\n\nHsin-hui hsien-chih Hsi Nai-chi 許乃濟 Hsüeh-hai t'ang***\n\nHu-Kuang Hu-pu 户部\n\nHuang I-ming *** I-li-pu 伊里布\n\nJuan Yuan 阮元\n\nKuang-tung shih-san hang k'ao\n\nKuang tung tung chi là ki\n\nKung-chung-tang\n\nkung-hong 2Ấ\n\nKuo-Liang shih\n\nLi Hung-pin 李鴻賓 Liang Chia-pin 梁嘉彬 Liang-Kuang✯ Liang-Kuang yen-chih\n\nch'ou-pan i-wu shih-mo\n\ntao-t'ai\n\nTi-tzu chi, for (Lei-t'ang-an-chuɃ‡ƒ‡ ti-tzu chi)\n\nTs'an-chan ta-ch'en ★★★E ts'un += 1/10 Chinese foot) Wai-chi-tang >-*#\n\nWai-chiao shih-liao ££* Wu Kuo-yung Wu-lung-a\n\nWu Shou-ch'ang ££ 3\n\nWu Ts'ung-yao 14\n\nWu Tun-yuan {£✶ ̃\n\nyang-hang *{1\n\nyang-shang 洋商\n\nYeh Huan-shu #£#\n\nYeh Hsia 葉及\n\nYen-ching shih-chi &*£✯ Yun-Kuei +\n\nNei-wu-fu\n\nPan-yü 番禺 pao-chia 保甲\n\nTa-Ku\n\n#", "txt_file_path": "txt/dfo323lmgvd/RAS-1981.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/ff36bt18m", "rank": 0 }, { "id": 209955, "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-1983", "page_number": 214, "title": "RAS-1983", "content_text": "192\n\nN° of Column\n\n27.\n\n+\n\n+\n\n+\n\nOmens\n\nbelow the black, offer it along with wine and dried\n\nmeat (?) and it will be auspicious.\n\nIf sounds are heard on a chen day it bodes ill; parents will die. Offer a peach tree branch 6 inches 8 mu long. Write.\n\n+\n\nNOTES\n\n1 Cheng Te-K'un, Archaeology in China, Heffer, Cambridge, vol. II (1960) p. 90. For the ning ceremony see the same volume p. 55. For further dismembering ceremonies see note 11.\n\n2\n\n* In Song times canine teeth, bile and penises were thought to possess medicinal properties. See D. Bodde Festivals in Classical China, Princeton University Press (1975) p. 321,\n\n\"For an entertaining if not always accurate account of the discovery of the Dunhuang manuscripts, see Peter Hopkirk Foreign Devils on the Silk Road, John Murray, London (1980). The manuscripts discovered by Aurel Stein are in the British Library, those discovered by Paul Pelliot in the Bibliothèque Nationale. Manuscript numbers preceded by \"P\", refer to manuscripts in the Pelliot collection.\n\n+\n\nDuring the Song, the same offence carried the death penalty. Two cases of scholars found guilty of possessing astronomical works are on record; the life of the first man was spared because the book in his possession was incomplete but the second man was executed. See Li Tao * Xu zizhi tongjian chang bian * j.123, pp.1a, b and\n\n續資治通鑑長編 j.14, p.10b.\n\n* P. 3608, chapters 9 to 14. This manuscript contains characters introduced in 689 which, while remaining in official use only until the end of Empress Wu's reign, continued to be used elsewhere until well into the 9th century. See D. Twitchett Printing and Publishing in Medieval China, Frederic C.Beil, New York 1983, p. 88 note 2.\n\nThe most inauspicious themes associated with dogs are: the mating of dogs with pigs, thought by Jing Fang to indicate moral laxity in the nation's women (quoted by the Shou Shenji (juan 6) from the Yichuan); dogs growing horns, the birth of deformed dogs and dogs which suddenly begin to speak or sing. In this connection a tale from the lost part of the Shuyi ji by Ren Fang # preserved in the Gu Xiaoshuo Gouchen tells of a dog which suddenly began to sing and wittily announced the demise of two brothers. Although the animal was beheaded and its head buried by the side of a road the evil inherent in this supernatural phenomenon could not be averted and the brothers did indeed die. See Wei Jin Nanbei Chao Zhiguai Xiao Shuo Yanjiu 魏晉南北朝志怪小說研究 by Wang Guoliang, Wenshi Xue Shubanshi, Taipei (no date), p. 148.\n\n* E.A. Schafer \"The Auspices of Tang\" in The Journal of the American Oriental Society, vol. 83, No. 2, p. 210.\n\n* E.S. Schafer, op.cit, p. 202 “Our knowledge of popular omens lore is limited to a few random notes made by inquisitive scholars\".", "txt_file_path": "txt/dfo323lmgvd/RAS-1983.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/j9607p61v", "rank": 0 }, { "id": 211382, "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-1988", "page_number": 98, "title": "RAS-1988", "content_text": "74\n\nTang family had the right of building shops there, and a stone with an inscription to that effect, was put up in the temple of T'in Hau Kung(g) which can still be seen in old Tai Po market.\n\nWhen the Man family lost their case a wealthy friend called a big meeting of the elders of the seven districts round about Taai Haang (林村), Fan Ling(K), Lam Ts'un(#1), Yip Woh(), Sheung Wan(), Ting Kok(TM) and Cheung Shue Tan(). At his suggestion, and financed by him, they built a new market where the present market now stands. It was called Taai Woh Shei (utmost friendship market)(★Fifi) and was officially opened on the twenty-third day of the 6th month of the twentieth year of Kwong Sui, A.D. 1894. All the trade at once went to the new market and the old one gradually fell into disuse and can now be seen as a very poor and derelict village.\n\nNote. 1. The district of Sun On was formed in the sixth year of Lung Hing() A.D. 1572 of Ming dynasty. Fourteen years later the **History of Sun On District** was written by Yau Tai Kin the district magistrate. It was revised for the first time in the eighth year of Sung Ching(), but this edition was not published until eight years later when a third magistrate Chau Hei Yiu(2) added slightly to it. A second edition was published in the eleventh year of Hong Hei(E) A.D. 1672 of Ts'ing dynasty, a third appeared sixteen years later, and the present edition was published in A.D. 1819.\n\nNote. 2. The second character(W) is read yeuk in Cantonese but in the New Territories dialect it is read as Kwat.\n\n#\n\nNote. 3. Lam Fung is \"Limahong\" (= Lim a hong, not Li ma hong) whose name is already mentioned in the history of the Philippine Islands. It is also translated as in some Japanese books, and Limahong or Lin Ah Hong in some of the European books.\n\n=\n\nLam Fung\n\nLimahong was a native of Raoping district(ATM) In the 10th month of the 2nd year of Lung Hing(), A.D. 1568 of Ming dynasty, he took sixty-two battleships with 2,000 sea-soldiers, 1,500 women, and a large store of food and ammunition to attack the Philippines. He was defeated and his fleet dispersed by the soldiers of", "txt_file_path": "txt/dfo323lmgvd/RAS-1988.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/ft84gb83q", "rank": 0 }, { "id": 211384, "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-1988", "page_number": 100, "title": "RAS-1988", "content_text": "76\n\nLEGENDS AND STORIES OF\n\nTHE NEW TERRITORIES\n\n[E\n\nTS'ING SHAAN UI OR CASTLE PEAK*\n\nSUNG HOK-P'ANG\n\nThe original name of Tsing Shaan was Yeung Haang Shaan (meaning \"Sheep or Goat Ditch Hill\", and nearby there is still a village called Yeung Siu Haang \"Sheep or Goat Little Ditch\", but later on the Peak was called simultaneously Shing Shaan “Saint Hill\", and T'uen Moon Shaan “Military Colonist Gate Hill\". The latter name was given because in olden times the Chinese Emperor sent soldiers there to cultivate the soil, and at the same time protect the countryside from the numerous pirates that infested the coast.\n\nIn A.D. 428 a certain monk named Pooi To became abbot of the monastery, and then the name of Pooi To Shaan was used.\n\nNearly five and a half centuries later, in the 12th year of Taai Po of Naam Hon dynasty, on the 18th day of the 2nd month (A.D. 969) the Emperor gave the hill the special name of Sui Ying Shaan \"Good omen hill\", and caused a stone tablet to be erected on which was carved the history of the monastery. This stone recorded that in the 11th year of K'in Woh A.D. 954 a military officer named Ch'an Ts'un had paid a stone mason to carve a figure of Pooi To which he put in a cave near the monastery, and which can still be seen. In the 4th year of Yuen Yau A.D. 1089 of Sung dynasty a general in Canton named Tseung Chi K'ei wrote an account of the hill, and put it on a stone tablet in place of the old one. This second one has now disappeared, but fortunately the account is in the \"History of the Sun On District\", and from it can be learnt that formerly there was a castle at the north of the hill, and to the west\n\n* The Hong Kong Naturalist July 1935.", "txt_file_path": "txt/dfo323lmgvd/RAS-1988.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/ft84gb83q", "rank": 0 }, { "id": 211647, "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": 62, "title": "RAS-1989", "content_text": "37\n\nPestilence Wang Yeh were revered in Fukien before 1661, the date given for their first arrival in Taiwan. The first images, five in all, bore surnames which have been passed on to individual Pestilence Wang Yeh in all parts of Taiwan. A nineteenth-century missionary, Doolittle,3 noted images of Five Emperors in temples in Fuchou, said to control epidemics and malignant diseases. He understood that the 'idols', much feared by the common people, had several attendants, two of whom were very frequently paraded through the streets, one was the Tall White Devil and the other, the Short Black Devil. These two, Generals Hsieh and Fan, are still commonly seen in Taiwan and South-East Asia but only comparatively rarely are they colocated with the Pestilence Wang Yeh. He went on to describe a ritual involving setting fire to 'spirit boats' floating down the Min river, which were believed to bear diseases and unhealthy influences out to sea. It used to be believed in Taiwan and still is in Singapore, that the Pestilence Wang Yeh themselves could and did spread contagion.\n\nImages of the Pestilence Wang Yeh in temples have in the main been seen in groups of three or five, each bearing an individual surname (see Plate 9). Nowadays they each have only a surname, without any given names and are therefore somewhat more fortunate than the earlier Pestilence Wang Yeh who had neither surname nor given names. It was the practice for migrants to select the Wang Yeh bearing their own surname as their particular protective deity, and although the surnames Chih (李), Wu (武), Wen (温), Su (↡K) and Fan (皖YZ) are common amongst Pestilence Wang Yeh, Li (李*) and Chu (祝) are also quite widespread too. There is little functional difference and though in legend, particularly in South-East Asia, Chih is the main Wang Yeh, \"The Leader of the 108 or 360', Li is a close runner-up for the honour in Taiwan.\n\nDespite the fact that in the Pestilence Wang Yeh temple at Nan K’un Shen near Tainan (claimed to be the oldest Wang Yeh temple in Taiwan) the main deity on the main altar is Li, with the other four, Fan, Chih, Wu and Chu beside him, the Five connected with the Five Protective Spirits of Fukien referred to in the legends below, are Hsu (徐#), Li (李4), Po (舰4), Heng (衡f) and Chu (祝️).\n\nAs one would expect there are individual cults which do not follow standard patterns. One Pestilence Wang Yeh has been referred to by forenames as well as his surname. This also was in Nan K'un Shen where", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211653, "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": 68, "title": "RAS-1989", "content_text": "43\n\nto the Afterworld during the major festival of the Hungry Ghosts.\n\nIn Chinese ethnic communities other than the Fukienese, pestilence deities are rarely known as such, though individual 'deified doctors' (deities prayed to for specific cures and illnesses) are believed to have special abilities to prevent or cure plague and pestilence. They are not referred to or considered as Wang Yeh. A good example of this is the image of Sui Ching-po (#24(1)) brought to Hong Kong in 1894 during a major outbreak of plague.\n\n4\n\nAmongst the large number of Pestilence Wang Yeh temples in Taiwan the most popular is, as already mentioned, at Nan K'un Shen at Peimen, just north of Tainan. This modern temple is located on the site where the Five Wang Yeh are believed to have first arrived in Taiwan from Fukien province some four centuries ago aboard their Spirit Boat. It began, as did most modern temples, as a tiny shrine of mud and stone, and as time passed and the community became wealthier, and of course, when the cult proved efficacious, the building progressed from wattle and daub, to wood and then to brick and tile. The Nan K'un Shen (A) temple contains a blend of cults, of Wang Yeh, of a protective general and the spirits of the unknown dead, the Yu Ying Kung.\n\nLegend has it that several hundred years ago a youth looking after cattle took shelter from the rain under a tree and stayed dry due to the special quality of the tree. The boy died young, seventeen according to some, and was buried under the tree as he had stipulated in his last wishes. From time to time his spirit, which was at first called the Spirit of the Broom (k) appeared to villages who built a small shrine for him referring to him now as Yu Ying Kung (A).\n\nHe was looked upon as the 'prince' of the surrounding area. However, later five Wang Yeh arrived in their Spirit Boat and the spirit of a general was brought over to Tainan; they asked the Yu Ying Kung spirit to permit them to have a temple in which they could live to be built nearby. The Yu Ying Kung refused and said that he had stuck a needle into the ground to mark his possession of the territory. The Wang Yeh countered this by claiming that they had buried a coin in the ground and thus they too had a claim on the territory. It came to blows until Kuan Yin intervened and a compromise was reached with the two temples standing side by side sharing one common wall which separated them. Thus it is that the Plague Gods (The Wang Yeh), the general (an unidentified and unnamed", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211654, "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": 69, "title": "RAS-1989", "content_text": "44\n\nCommander of the Main Army [ff]) and the Yu Ying Kung share the sanctified premises and all offerings. The stalls in front of the temple sell 'gold paper' for the Wang Yeh and 'silver paper' for the Yu Ying Kung together in one bundle. Worshippers have to pay their respects at both temples or their prayers will not be answered. These are special characteristics of this temple.\n\nThe temple was completed in 1824 and Wang Te-lu (E), an Escort to the Crown Prince and a native of Taiwan, went to Nan K’un Shen to pay his respects to the Wang Yeh. It was generally believed at that time that such deities are incarnated officials and are feared by demons. The way to test whether a deity is a genuine incarnation or not is for a living high official to kick the effigy of the god and if it is a demon in disguise then the effigy will fall over. Wang Te-lu kicked an image of one of the Five Wang Yeh with his boot but the image did not budge.\n\nThe Yu Ying Kung is known in this temple as The Lord of the Myriad Kindnesses (Wan Shan Yeh). He is also referred to colloquially as the Infant Duke (FA).\n\nAccording to legend, one of the Five Wang Yeh of Nan K'un Shen in 1820 made a tour of inspection to the north of their area and encountered the local magistrate also on tour, in what is now Chia I. Neither would give away to the other and a dangerous confrontation took place. A nearby illiterate farmer suddenly had supernatural powers and wrote in the soil with his hoe, \"Representing Heaven in order to deal with both the Yin and Yang worlds. Hope that the bad government will change for the better\". The magistrate seeing these words hurriedly gave way. The local Prefect heard of the incident and decided that he would like to test the power and genuineness of the Wang Yeh. By coincidence the Wang Yeh was on his way to Tainan, where the Prefect had his Yamen, in the course of his inspection tour. So the Prefect ordered his men to tie an effigy of the Wang Yeh on the altar to a large tree stump and announced that if the effigy was unable to free itself from the tree stump then he, the Prefect would chop the effigy up for firewood. Nothing happened for two days and then, on the third day at midday two large black dogs appeared, jumped on to the shrine and tore away the large tree stump. The Prefect was very impressed and pledged that he would go each year to the shrine to worship before the Wang Yeh.", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 211658, "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": 73, "title": "RAS-1989", "content_text": "48\n\nOne of the more interesting Wang Ch'uan is in the Hai Ling Temple on the Pescadores. In Tainan there are some boats as big as small buses, and at the Ma Tsu temple at Lu Erh near Tainan, there is a multi-storey boat. The captains and crew of the large wooden models are portrayed by small images, the largest being the captain dressed in Ch'ing mandarin robes, seated in an open cabin on the aftercastle overlooking the whole junk. The crew consists of sailors manning the ropes and tiller, and marines with weapons including cannon. The captain (or comptroller) of the Pestilence Wang Yeh junk is sometimes portrayed holding a writing brush and scroll. One such image in Tung Kang is seated on a throne on a small altar table before his large and magnificent boat, smoking a real cigarette which smoulders down to a stub before being replaced by one of the temple staff.\n\nSimilar images make up miniature military units representing the armies of the Pestilence Wang Yeh; some dozen or so soldiers in V formation with a senior officer at the apex (see Plate 12). Such armies of the Pestilence Wang Yeh, to be seen only in Taiwan and not in South-East Asia, consist of tamed and therefore 'good' demons and are portrayed on side altars on a few temples only. One temple keeper explained that the Pestilence Wang Yeh soldiers were all difficult spirits of dead humans who had been beyond reform during purgatory, but who had been invited to join the army of the Wang Yeh on condition that they would obey orders implicitly, and in return they had been promised rehabilitation and even the possibility of rebirth to the human world should they toe the line. They are referred to as depraved or evil spirits (Hsieh shen 邪神).\n\nThe armies are led by generals and marshals under the overall command of the Wang Yeh. The armies referred to as 'The Office of Military Affairs' (Chung Chun Fu), the main defensive forces for the prefecture in the fight against the demonic forces, are represented in some Pestilence Wang Yeh temples by a single seated image of an anonymous general surrounded by a varying number of soldiers in varying robes and uniforms, each small group of six or eight representing subordinate formations and units. In the Wang Yeh temple at Nan K'un Shen the Wang Yeh army is called “The Grand Defender of the Office of Military Affairs (Chung Chun Fu Chen Shou)\".\n\nThe Pestilence Wang Yeh army in the temple at Hsi Yu on the Pescadores consists of a general in charge, (Assistant Regional", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 212770, "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-1992", "page_number": 79, "title": "RAS-1992", "content_text": "64\n\nSeptember 1885 March\n\nJune\n\nca 1885\n\n1886 January\n\nca 1886\n\nca 1886\n\n1887\n\n1889/1890\n\n1889 23 January\n\n1890\n\nLived in the Chang-fa Chen, an hotel in Shanghai\n\nHis first child, Pin Mesny, also known as Hu-sheng, born in Shanghai Departed Shanghai aboard the Yangtze for Canton and appointed for service in both Arsenals [claimed that during the years 1884/1887 whilst living in Canton, he suffered from boils, eczema and prickly heat]\n\nMany of Mesny's notes lost in Chungking during the destruction of the CIM missionary premises. Mesny had left them for safe keeping with the Rev G Nicoll\n\nOffice Bearer of the Keystone Royal Arch Chapter of Masons in Shanghai\n\nPromoted to the brevet rank of Lieutenant-General [ennobled for three generations: previously claimed to have been bestowed in 1879] In charge of the China Branch of the New York Life Office, in Shanghai\n\nRepresentative of the Lartigue Railway Construction Company in Shanghai\n\nIntention to publish a monthly magazine in Shanghai to be called Yüleh Pao together with Chiang Chao-ling (friend and sworn brother). to be the organ of the Reform Party\n\nMade two journeys through Anhui and northern Kiangsu in connection with famine relief\n\nJourney through Anhui, around Lake Chao from Wu-hu to Lu-chou Fu, returning 5 February 1889\n\nVisited Wu-chang to warn Chang Chih-tung that he was erecting the Iron and Steel Works in Wu-chang in an unsuitable place\n\n1891 7 September Typhoon destroyed the Olympia Skating Rink, his property in Lloyd\n\n1892 January\n\n1894\n\nMay\n\n1895 September\n\n1896 Mar/Sep 1898\n\nMay/June\n\nDecember 1899 Mar/Oct\n\nRoad, Shanghai, ruining him financially.\n\nMesny involved in the Mason case\n\nInvited to organise a naval brigade for service on the Hsiang and Han rivers\n\nStormy interview with Li Hung-chang in Tientsin Visited Peking and had breakfast with Manchu Prince Su Claims to have volunteered for service in Manchuria [Sino-Japanese War]\n\nEn route to Manchura: Visited Liu K'un-1, Generalissimo of Chinese Forces [afloat and ashore] at his headquarters at Shan-hai-kuan Mesny refused permission to visit camps of Wu Ta-cheng and Wei Kuang-tao at or near to T'ien-chuang-tai Liu advised Mesny to return to Tientsin.\n\nHis second and only other child, his daughter, Marie Wan-er, born in Shanghai\n\nBegan the publication of his Chinese Miscellany Volume 1 in Shanghai\n\nPublication of Volume 2 of his Chinese Miscellany\n\nLegally married to Lady Han, mother of Hu-sheng [or Pin] and Marie Wan-er\n\nTrip by chartered boat to Hangchou\n\nVisited Nanking\n\nPublication of Volume 3 of his Chinese Miscellany", "txt_file_path": "txt/dfo323lmgvd/RAS-1992.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/qf85tx75x", "rank": 0 }, { "id": 213586, "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-1995", "page_number": 182, "title": "RAS-1995", "content_text": "152\n\nCountry Parks, currently plant around 300,000 trees a year for amenity, erosion control and the repair of fire damage. Usually only introduced trees such as Acacia will grow under the harsh conditions of bare and eroded slopes, but under more favourable conditions native tree species are also being planted for the benefit of wildlife. DAF organizes forestry camps where each summer around 2000 young people learn to care for trees. Each spring in the Country Parks DAF also organises community tree planting days in which 20,000 trees are planted by the public each year.\n\nREFERENCES\n\nChan, Ka-yan (1989). Joss Stick Manufacturing A Study of a Traditional Industry in Hong Kong Journal of the Hong Kong Branch of the Royal Asiatic Society 29 94-120\n\nChang, YN (1963) Hong Kong Ts'un (Hong Kong Village) and the Cultivation and Exportation of Incense from Kowloon and the New Territory in Lo, H. L. (ed) Hong Kong and its External Communications Before 1842 Hong Kong Institute of Chinese Culture P114\n\nCoates, A Myself a Mandarin (1968) Oxford University Press\n\nDaley, PA (1975). Man's Influence on the Vegetation of Hong Kong In Thrower, B (ed) The Vegetation of Hong Kong Hong Kong Branch of the Royal Asiatic Society 44-56\n\nDunn, S T (1907). Report on the Botanical and Forestry Department for 1907 Hong Kong Govt\n\nHase, P, Hayes, J W and Iu, K. C. Traditional Tea Growing in the New Territories (1984). Journal of the Hong Kong Branch of the Royal Asiatic Society 24 264-281\n\nHayes, J. (1977), Notes for the Royal Asiatic Society Visit to Tai Mo Shan, 3rd April 1976. Journal of the Hong Kong Branch of the Royal Asiatic Society 17 157-178\n\nHayes, J (1983) The Rural Communities of Hong Kong, Studies and Themes Oxford University Press\n\nHong Kong Daily Press 1873 February 5\n\nIu, Kwok-choy (1983) The Cultivation of the \"Incense Tree\" (Aquilaria sinensis), Hong Kong Quarterly Journal of Forestry July\n\nNichols, D (1978) Some Aspects of Vegetation in Hong Kong with Special Reference to Fung Shui Woods University of Leicester Dept of Geography Quoted in Thrower, S", "txt_file_path": "txt/dfo323lmgvd/RAS-1995.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/95941j25g", "rank": 0 } ]