[
    {
        "id": 208156,
        "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": 195,
        "title": "RAS-1977",
        "content_text": "NOTES AND QUERIES \n\n179 \n\n32. Before we left the higher ground, however, the most striking feature of the walk was, suddenly rounding a bend of the path and topping a rise, to be confronted with a low roaring noise which some of the party thought was jet engine noise but which turned out to be the din of the Kwai Chung section of Tsuen Wan New Town! This was a noise that accompanied us along much of our foothills walk thereafter. \n\n33. The final stretch took us from the main stream above Lo Wai to Chuen Lung. It was marked by pine forests sowed, we were told by aeroplane, and by various large rocks and boulders. One of these was known locally as the Frog Stone (...), a name that it is claimed was given to it by the founder of the Tung Po To monastery at Lo Wai, the famous monk Mou Fung (***) who was fond of walking in the area, giving names to rocks whose shapes touched his fancy. \n\nHong Kong, 1976, 1978. \n\nJAMES HAYES \n\nBOOKS CITED: \n\nBourne, F. S. A., The Lo-Fou Mountains, An Excursion (Hong Kong, \n\nKelly and Walsh, 1895). \n\nDavis, S. G., The Geology of Hong Kong (Hong Kong, Government \n\nPrinter, 1952). \n\nDingle, E. J., China's Revolution 1911-1912 (London, T. Fisher Unwin, \n\n1912). \n\nGiles, H. A., The Civilization of China (London, Williams and Norgate \n\n1911). \n\nHenry, B. C., The Cross and the Dragon (N.Y, 1882). \n\nHeywood, G. S. P., Rambles in Hong Kong (Hong Kong, Kelly and \n\nWalsh, second edition 1951). \n\nPitcher, P. W., In and About Amoy (Shanghai and Foochow, The \n\nMethodist Publishing House in China, 1909). \n\nROYAL ASIATIC SOCIETY---VISIT TO THE TANG FAMILY GRAVES ON SATURDAY, 11TH DECEMBER, 1976 \n\nThe Tang family is the oldest, largest and most famous of the New Territories' Chinese lineages. It has been settled in the area for just over 900 years and has a long history of local dominance. It has also produced many famous scholars and officials in the tradition of large, wealthy Chinese lineages. \n\nPage 195\n\nPage 196",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1977.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/np198x23n",
        "rank": 0
    },
    {
        "id": 208776,
        "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-1979",
        "page_number": 233,
        "title": "RAS-1979",
        "content_text": "206\n\nNOTES AND QUERIES\n\nHe named the new temple the 'Pu To' (Po Tor in Cantonese) in the East, meaning Kwangtung. There is a much older 'Pu To in the South' at Amoy in the Fukien province.* The original 'Pu To' is the famous island of that name off the Chekiang coast. It is covered with temples and is one of the homes of Chinese Buddhism.†\n\nApart from seeing the relics associated with its founder and visiting his grave and those of later abbots, the purpose of our visit is to walk round the premises and to note the wealth of presentation boards (§§§) to be found on them. These combined examples of calligraphy and Buddhist sentiment are cut on wood and mostly painted in gold characters on a red ground. Many are from the brush of the several abbots, especially the founder who clearly took a delight in naming and commemorating the different buildings and gateways.\n\nThe Monastery occupies a considerable area and its grounds were previously much larger, taking in a wooded area in front which has since been resumed by the Government for development. There has been considerable re-building and much new building, but overall the influence of the founder is still plainly evident.\n\nChinese calligraphy has always been a highly—indeed perhaps the most—respected and prized art form. Dun J. Li in his The Essence of Chinese Civilization (New York, Van Nostrand Co., 1967) writes (p. 414):\n\nOf all the talents the Chinese emphasized, none was more important than the literary talent. Such emphasis was evidenced by the fact that prior to the modern period the Chinese produced more books than the rest of the world combined. As for fine arts, the art form which the Chinese cherished most was calligraphy, and the works of such great masters as Wang Hsi-chih (321-379), Liu Kung-ch'üan (d.A.D. 865), and Chao Meng-t'iao (d.A.D. 1322) were imitated throughout history.\n\nHe then gives biographies of several famous calligraphers, taken from the standard dynastic histories, which illustrate this esteem. Emperor Mu-tsung of T'ang (821-824) was not considered an able, enlightened ruler.\n\n* P. W. Pitcher, In and About Amoy (Shanghai and Foochow, The Methodist Publishing House in China, 1909) p. 78 and illustration at p. 161. † See the extensive account in Reginald Fleming Johnston, Buddhist China (London, John Murray, 1913) pp. 259-389.\n\nI",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1979.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/2801w5938",
        "rank": 0
    }
]