[ { "id": 211822, "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": 237, "title": "RAS-1989", "content_text": "212\n\n26.12.1861 (Thur)\n\nConcert by Signor Robbio, violin, and some local amateurs, Programme:\n\n4\n\nL. VAN BEETHOVEN; Trio for strings in E-flat opus 3, V. BELLINI: “Norma”, the aria 'Casta Diva' arranged for violin, C.A. DE BERIOT: Tremolo\", C. GOUNOD: **Meditation upon J.S. Bach's first prelude\", i.e., the famous Ave Maria, C.M. von WEBER: \"Der Freischütz”, cavatine (presumably \"Und ob die Wolke sie verhülle”, act III), arranged for cello and piano. Sir Henry BISHOP: \"Home sweet home\" (from the opera \"Clari, the maid of Milan'), Sr ROBBIO: \"Grande Valse Diabolique“, In addition: some quartet and solo singing by amateurs.\n\nTh: N.N.\n\nR: Today the second concert by the violinist Signor ROBBIO came off \"for a very large audience\". In November he had made his debut in Shanghai but because of a gap of three November issues in the file of the Herald I have been using no details can be given. Once more, however, the paper seems to have been discontented with the selection of the pieces. Not so tonight, with the exception of one composition by Sr Robbio himself, **a work of the Paganini school” of which the critic was evidently not a lover. About the interpretations by the violinist, though, there was but praise; e.g. \"he greatly charmed his audience by the power and feeling with which he executed the beautiful air from Norma, 'Casta Diva'\". So all was enjoyable, the more so as \"for the moribund piano used at the last concert a fine 'Broadwood' was substituted, which displayed to great advantage the admirable playing of the gentleman to whom St Robbio was so much indebted for his accompaniment\". One letter writer went even so far as to exclaim that such delights in Shanghai are indeed 'like angels' visits few and far between' \"' (NCH 28.12.1861).\n\nFebruary and March 1861\n\nPerformances by \"Lewis' Australian Hippodrome” Loc: Commercial House in Hongkew\n\n-\n\n―\n\nוי\n\nN: During the months of February and March \"Lewis' Equestrian Australian Troupe\" gave a large number of performances, of which the first one was announced for February 15 and the last for March 17. The public was entertained with horses and artists, among whom Mr. and Mrs. COUSINS, Mr. BARLOW, Senior RAPHAEL, Jessi GARDONI, **Austin Shanghai**, and “Little Ella\". For all, benefits were held in March. It was not the first time that the troupe had operated on the China Coast. In December 1859 they had visited Hong Kong (CM 15.12.1859, 22.12.1859).\n\n13.2.1863 (Fri)\n\nJ.M. MORTON: \"Our Wife, or the Rose of Amiens\" (1856)\n\nT: Comic drama (1 act)\n\nH\n\nA. MAYHEW & H. SUTHERLAND EDWARDS: The Goose with the Golden Eggs T: Farce (1 act)\n\nC: Amateurs (Local and British officers)\n\n13.2.1863 (Fri)\n\nJ.M. MORTON: \"Our Wife, or the Rose of Amiens\" (1856)\n\nT: Comic drama (1 act)\n\nA. MAYHEW & H. SUTHERLAND EDWARDS: \"The Goose with the Golden Eggs' T: Farce (1 act)\n\nC: Amateurs (Local and British officers)\n\nF: Music by the band of the 67th regiment\n\nTh: Theatre Royal (G)\n\nN: First performance of the season\n\nR: Casts:", "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h", "rank": 0 }, { "id": 214235, "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-1998", "page_number": 93, "title": "RAS-1998", "content_text": "56\n\nYin in the other temple, the Pi-yun Ssu, depicts her with only two arms sitting cross-legged on a recumbent blue lion. Her assistants are an unnamed dark-faced elderly minister who appears to be South Asian, standing holding a tablet before his chest and dressed in a long blue robe. Her other attendant is the Red Youth, Hung Hai-eh, standing on her left hand with his hands held together before his chest, and dressed in a red robe over green trousers with a flowing scarf-like halo.\n\nTaking the three groups, the twenty Deva listed in Soothill, and the two groups in the Ta Pei Ssu and the Pi-yun Ssu, we have twenty deities common to all three.\n\nThese are:\n\nBrahma, Indra, Pancika, Sarasvati, Laksmi, Skanda [Wei T'o], Prthivi, Hariti, Marici, Surya, Candra, Siva, Yamaraja, Bodhidhruma, Guyapati, Kinnara and the four T'ien-wang guardians Vaisravana, Dhrtarastra, Virudhaka and Virupaksa.\n\nIn the Ta Pei Ssu we also have five additional Deva not present in the Pi-yun Ssu, the Asura, Vimalakirti, Nanda Upananda and Mahoraga. A further two Deva images are seen only in the Pi-yun Ssu. These are Lei Kung and Sagara.\n\nTaking each of the deities in turn, we shall examine their background and in particular their Brahmanist [or Vedic] origins, their role in the Chinese pantheon and any ambiguities or contradictions we encounter. The important three Brahmanist deities are known in Sanskrit as the Trimurti:\n\nthe creator\n\nBrahma\n\nthe preserver\n\nVishnu\n\nthe destroyer\n\nSiva\n\nBrahma and Siva are indeed included in the two temples whilst Vishnu is not3. Though a major Hindu deity today Vishnu was not so during the Vedic era of the second millennium BC. His particular task", "txt_file_path": "txt/dfo323lmgvd/RAS-1998.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/1g05n0794", "rank": 0 }, { "id": 214238, "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-1998", "page_number": 96, "title": "RAS-1998", "content_text": "59\n\nConclusion\n\nWe have been examining a particular arrangement of Indian Deva within two temples in the Western Hills of Peking. Each group has an image of the Bodhisattva Kuan Yin as the main deity within the Deva hall itself. Although monks explained that the images of deities down the side walls of the hall had been created in accordance with researches in old Buddhist books, there was no explanation why they should all have a Chinese rather than an Indian form. It has been suggested by devotees that the concept of the Deva might have reflected the Manchu dynasty's affinity with Tantric Buddhism, and perhaps Vedic beliefs or been brought by Lamaist monks during the late Ming but there is no evidence that this was so. Yet another devotee thought that when the images were first created during the early sixteenth century, Chinese craftsmen had a somewhat limited idea of the origins of the deities concerned and even, perhaps, no idea what the people of South Asia looked like and therefore made the images in the form of Chinese. An unanswered question is the presence of several deities within the groups of Deva whose origins were entirely Chinese without any connection whatsoever with Vedic Hinduism.\n\nA small number of individual images of deities with a Brahmanist origin have been seen on altars in temples in all Chinese communities; these however have not been at all widespread. Typically they were adopted by immigrant Chinese from native Buddhism. A remarkable example of a syncretic group of Buddhist, Hindu and Chinese folk religion deities is to be seen in a joint Buddhist, Hindu and Chinese folk religion temple in a quiet area of Angsila some sixty miles south of Bangkok. The three altars against the rear wall in the main hall of this temple are the Thai Buddhist altar, stage right with an image of Sakyamuni Buddha in its centre flanked by two other Thai Buddhist images. The central altar, the Hindu altar, contains one large image of Shiva [Siva], holding a trident and dressed in a robe and turban, and with several small unidentified images standing before him. And finally, the Chinese folk religion altar dedicated to T'ien Hou, the patron deity of sailors, with her small image on the altar, stage left, flanked by her usual demonic attendants, Thousand-Mile Eye and Following-Wind Ear. Devotees of all races pray before each altar in turn, usually beginning with the altar of their own culture and cursorily placing incense before the other two. In the temple forecourt are large brightly painted", "txt_file_path": "txt/dfo323lmgvd/RAS-1998.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/1g05n0794", "rank": 0 }, { "id": 214239, "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-1998", "page_number": 97, "title": "RAS-1998", "content_text": "60\n\nconcrete images of Thai Buddhas, the [Chinese] Jade Emperor and Siva with the tiger. Temple staff of the three religions attend to their own altars and help devotees as and when required.\n\nThe most widespread Buddhist images seen throughout China which are obviously not Chinese deities are the four major guardians in the entrance hall to Buddhist establishments, the Defenders of the Faith. These and other similar minor guardian deities are former gods of Indian folklore and include the giant guardian deities known in Chinese as Wu-shih, such as those whose images stand outside the main hall of the Jinci in Taiyuan. A further two are the traditional guardians of Buddhist temple gates dating from at least the 8th century. The one [facing the gate] on the right hand is opened-mouthed and coloured vermilion, whilst the guardian on the left has a closed-mouth and is the colour of charcoal. Both are made of stucco. In China they are known as the two generals Heng and Ha, the Blower and the Snorter. In legend they fought with secret weapons; one blew a deadly yellow gas from his mouth with a ha! and the second snorted a white beam of light from each nostril with a heng! which vaporised his enemies. They can also be seen guarding the entrances to Japanese Buddhist temples where they are known as Kongo Rikishi. All of these guardians are undeniably foreign in form in comparison with the gilded images of the standard Buddhas which are now not even considered by Chinese devotees to be anything but Chinese.\n\nWe know who the Deva are, when they were placed in their present temples, both in Taiwan and the Western Hills, but not why. From our various sources it would seem that these Sinicised Indian deities are celestial protectors. We can guess that the concept was imported at a comparatively late stage but who, individually, sponsored them and had the images made is now lost in time. It is interesting to note that present day monks in the Western Hills have little idea of their origins and were apparently completely disinterested in the subject.\n\nIn the cave-tunnel in the comparatively modern temple in Taiwan, however, the images were, to the religious specialists there, simply Buddhas of Yore, the principal ones who preceded Sakyamuni.", "txt_file_path": "txt/dfo323lmgvd/RAS-1998.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/1g05n0794", "rank": 0 }, { "id": 214240, "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-1998", "page_number": 98, "title": "RAS-1998", "content_text": "61\n\nAppendix A\n\nDETAILS OF THE DEITIES WITH SINICISED SANSKRIT NAMES\n\nWHOSE IMAGES APPEAR IN THE GROUPS IN THE TWO TEMPLES IN THE WESTERN HILLS OF PEKING\n\nAND THE ONE IN NORTHERN TAIWAN\n\n1] Brahma [Mahabrahman] usually known in Chinese as Fan T'ien 梵天\n\nBrahma is the ancient Vedic creator and the Soul of the Universe, an impersonal being, chief of the Hindu gods and celestial spirits and the first in the Hindu trinity. He is usually paired with Indra [see Ti Shih below] though married to Sarasvati. It is believed that the Vedas sprang from Brahma's head.\n\nHe is known in China by several titles including Ta Fan T'ien-shen and Fan Wang as well as Ta Fan T'ien Wang. In India his image varies from place to place but frequently he is portrayed with four arms and four faces or heads. Over the centuries his worship slowly declined in favour of Vishnu and Shiva.\n\nHis image has been noted in a number of folk religion temples in China where he is considered to be one of the forms of the Jade Emperor. In several Buddhist monasteries he has been noted as one of the two attendants flanking Sakyamuni Buddha, the other attendant being Indra.\n\nIn a number of temples in southern China he has been represented as a bearded middle-aged man, standing, wearing long flowing robes, and either the standard Hanlin-style Chinese literati cap or the tiny Taoist crown. He can also be portrayed carrying a stylised incense-stick holder which looks very similar to the long-stemmed tobacco pipe. In some temples in central China he was depicted riding a swan.\n\nIn the Ta Pei Ssu in the Western Hills he is portrayed as an imperial minister, standing with a tablet held in both hands before his chest and dressed in a colourfully decorated robe and Ming decorated leather.", "txt_file_path": "txt/dfo323lmgvd/RAS-1998.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/1g05n0794", "rank": 0 }, { "id": 214242, "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-1998", "page_number": 100, "title": "RAS-1998", "content_text": "63\n\nthe golden bowl being his unique characteristic.\n\nMahesvara, Mahadevi or Siva, known in Chinese as Mo-hsi-shou-lo T'ien 摩醯首羅天\n\nMahesvara is one of the numerous titles borne by one of the best known of the Indian deities, Siva. He has come to be regarded as the Supreme Being though he more generally represents the more malignant forces and destruction, all part of the cycle of creation and destruction. He is married to either Uma Mahesvara [also known as Parvati], by whom he had a son named Skanda [see 21 below], or to Kali, who is also Durga. The latter is known as Hariti [and in Chinese Kuei-tzu Mu: see 6 below] whose image is also one of the twenty-eight Devi. Hariti has one face, six arms and a necklace of skulls\".\n\nImages of Siva stand in both the Ta Pei Ssu and the Pi-yun Ssu. In the Ta Pei Ssu he is portrayed as a typical northern Chinese deity dressed in multi-coloured robes and a tall Buddhist crown, but with six arms and an ageless Chinese face of indeterminate sex. He looks like and could easily be confused with other multi-arm Buddhist deities as he has no unique characteristic. In the Pi-yun Ssu he is naked apart from a skirt in colourfully decorated cloth down to his knees. He has four arms and a smaller head on top of his normal head. He has red spiky hair on both heads and fangs rising out of the lower jaw of his normal head.\n\nSoothill described Siva as having eight arms, three eyes and riding a large white bull, holding a handful of snakes and a small drum, and can be represented as the phallic symbol.\n\n4] Maritci [Maritchi or Marici] known in Chinese as Chun-t'i P'u-sa\n\nThe Tantric [Lamaist] bodhisattva, Chun-t'i, is the Buddhist form of the Hindu personification of light and an offspring of Brahma, Cundi or Candi. She is often confused with the Tantric many-armed Kuan Yin and the Taoist stellar deity, Tou-mu Hsing-chün. Two separate deities also are referred to by Chinese devotees as Chun-t'i; these are as", "txt_file_path": "txt/dfo323lmgvd/RAS-1998.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/1g05n0794", "rank": 0 }, { "id": 214243, "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-1998", "page_number": 101, "title": "RAS-1998", "content_text": "64\n\nMaritchi [or Marici Deva], [a Sanskrit term for the Indian mythological form of Parbati, the wife of Siva]; and Ma-yeh, the mother of Sakyamuni, The Buddha, the whole being confused by devotees who tend to describe them all as Chun-t'i, with the legends of Maritchi and Cundi producing an inextricably involved and perplexing picture.\n\nImages of Marici are present in both the Ta Pei Ssu and the Pi-yun Ssu and in both temples he, rather than she, is portrayed as a standing Buddhist deity with eight arms and with three faces. The face facing forward is of a benign human with hooded eyes commonly seen on Tibetan images. He has a third eye in the centre of his forehead. The other two are faces of a pig and of a human. He is dressed in colourful robes and a five-leaf Buddhist crown, and is barefoot.\n\nThe association between Chun-t'i and Kuan Yin goes back to the original relationship in Buddhism of Chun-t’i with the bodhisattva Avalokitesvara who promised to save mankind and bring them to deliverance before they, the two bodhisattvas, Chun-t'i and Avalokitesvara themselves entered Nirvana. Marici has the face and eight arms of Chun-t'i, and is one of the six manifestations of Avalokitesvara who is concerned especially with humans, rather than the deities and demons. Chun-t'i in the form of Avalokitesvara is a male deity, though Tantric sects, giving her an entirely different role left her feminine.\n\nLegends about Chun-t'i usually include stories of her valour in battle. According to the Ming novel The Deification of the Gods [Feng-shen Yen-i], from which many of the beliefs of folk religion devotees have evolved, Chun-t’i was summoned to Heaven during the legendary period of Chinese history when the heroes and Immortals were emerged, in order to acquire the necessary skills to take on K'ung Hsüan, one of the contestants for the dynastic throne. This was because she had attained the required degree of perfection on Earth. She found herself whisked aloft in a rainbow, and having acquired the skills necessary she reappeared in a cloud of fire with twenty-four heads and eighteen arms and, throwing a silken cord around her adversary's throat, she turned K'ung Hsüan into a one-eyed peacock on which she rode off to the Western Heavens.\n\nImages of Chun-t'i show her with four or nine pairs of arms, each", "txt_file_path": "txt/dfo323lmgvd/RAS-1998.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/1g05n0794", "rank": 0 }, { "id": 214253, "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-1998", "page_number": 111, "title": "RAS-1998", "content_text": "74\n\nhim by priests he has been regarded by some foreigners as the patron deity of monks: he was and still is, however, the protector of the Buddhist Law before whom lots were drawn during the selection of the new abbot.\n\nSkanda, son of Shiva and brother of Ganesh [Tunhuang fresco] is a major protector, a destroyer of demons and a god of war, identical with Karttikaya.\n\nWei T'o in Japan is known as Idaten, whilst in Tibetan and Lamaist Buddhism he is known as Skanda: Wei T'o T'ien-shen ## [or in transliterated Chinese: Ssu-chien-t'o].\n\nAlthough the image in the Ta Pei Ssu is labelled in Chinese, Wei T'o; the well-produced and colourful Chinese guide to the Hall of the Bodhisattvas produced in Taiwan gives the title in Chinese as Wei T'o and in English as Skanda. Skanda according to Werner is the Hindu mythological god of war, usually known as Karttikaya. He is represented riding a peacock, holding a bow in one hand and an arrow in the other.\n\nHe has numerous appointments, all protective. Originally he was one of the Thirty-two Generals under the command of the Four Celestial Kings - Ssu Ta T'ien-wang (see 23 below). One such appointment is his rôle as Commander of the Heavenly Hosts, the head of the Heavenly Guard [one of the Twenty or Twenty-four Devas], the protective spirit or spirits of Buddhism and its sanctuaries. In the biographies of Hsüan Tsang, Wei T'o is described as the leader of all the kuei-shen [minor deities], and was charged by the Buddha who was at that moment on the point of entering Nirvana, with the protection of the Law.\n\nOfficially he is neither a Buddha nor a bodhisattva though commonly he is referred to as the latter and it is often claimed that for his zeal he was promoted to bodhisattva when he became the commander of the Four Diamond Kings [Chin-kang: see below]. His title would appear to be the Chinese form for the Sanskrit term \"Veda\", the body of sacred writings brought to India by invaders and from which Hinduism developed. However, it is generally said that his origin is uncertain even though, for example, Vitasoka, the younger brother of King Asoka", "txt_file_path": "txt/dfo323lmgvd/RAS-1998.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/1g05n0794", "rank": 0 }, { "id": 214268, "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-1998", "page_number": 126, "title": "RAS-1998", "content_text": "89\n\nAppendix B\n\nTHE DEVA WITHIN THE BODHISATTVA HALL IN THE PI-YUN SSU PEKING'S WESTERN HILLS\n\nThe Chinese titles of these the Deva within the Bodhisattva Hall in the Pi-yun Ssu are as follows together with their standard Sanskrit name:\n\nFan T'ien\nBrahma\n[Mahabrahman]\n\nTi-shih\nIndra\n[Sakra Devaran]\n\nT'o-wen Tien-wang\nVaisravana\n(Guardian of the North)\n\nCh'ih-kuo T'ien-wang\nDhrtarastra\n(Guardian of the East)\n\nTseng-ch'ang T'ien-wang\nVirudhaka\n(Guardian of the South)\n\nKuang-mu T'ien-wang\nVirupaksa\n(Guardian of the West)\n\n) the Four\n) Guardians\n) of the\n) Entrance\n) to\n) Buddhist\n) Temples**\n\nMi-chi Chin-kang\nGuhyapati\nAnother Diamond King Guardian\n\nMo-hsi-shou-lo\nSiva\n[Mahesvara]\n\nPan-chih Ta-ching\nPancika\n\nPien-ts'ai T'ien\nSarasvati\n\nChi-hsiang T'ien-nü\nLaksmi\n\nWei-t'o\nSkanda or Viharapala\n\nChien-lao-ti-shen\nPrthivi\n\nP'u-t'i Shu-shen\nBodhidruma or Pippala\n\nKuei-tzu Mu\nHariti", "txt_file_path": "txt/dfo323lmgvd/RAS-1998.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/1g05n0794", "rank": 0 }, { "id": 214272, "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-1998", "page_number": 130, "title": "RAS-1998", "content_text": "93\n\nAppendix D\n\nTHE TWENTY-EIGHT BUDDHAS OF YORE\n\nTwenty-eight images of the Early Buddhas, the Ku Fo; the Buddhas of pre-history, the Buddhas who came before Sakyamuni, The Buddha, are to be seen in the Kuan Tu temple complex, to the north-west of Taipei. These 28 'Old Buddhas' are:\n\nTa Fan T'ien Wang 大梵天王\n\n[Maha Brahman - Brahma]\n\nP'i-p'o Chia-lo Wang 毘婆迦羅王\n\n[Vipasyin: the first of the Seven Buddhas of antiquity]\n\nKan-ta-p'o Wang 乾達婆王\n\n[Gandharva: the gods of fragrance and music: the musicians of Indra]\n\nTi-shih T'ien 帝釋天\n\n[Indra]\n\nTa Pien-ts'ai 大辯才\n\n[Sarasvati]\n\nMa-hsi-shou-lo 摩醯首羅\n\n[Siva: Mahesvara]\n\nTa Hai Lung Wang 大海龍王\n\n[Sagara - Lung Wang]\n\nChien-na-lo Wang 監那羅王\n\n[Kinnara]\n\nWu Pu Ching 五部凈\n\nChin-p'i-lo Wang 金毘羅王\n\n[Yama - as protector of the 1000 arm Kuan Yin]\n\n[Kumbhira - a Yaksha king, who was converted and became a guardian of Buddhism]", "txt_file_path": "txt/dfo323lmgvd/RAS-1998.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/1g05n0794", "rank": 0 }, { "id": 214276, "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-1998", "page_number": 134, "title": "RAS-1998", "content_text": "97\n\nNOTES\n\nMacGowan J : Men and Manners of Modern China: T Fisher Unwin: London 1912\n\n2 Werner in his Dictionary of Chinese Mythology gives the Eight Classes of Dragon Kings as follows:\n\n3 Deva naga, Yaksha, Gandharva, Asuras, Garudas, Vinnaras, Mahonagas and Rakshas Soothill in his Dictionary of Chinese Buddhist Terms lists the Eight Classes of Supernatural Beings as follows: Deva, Naga, Yaksha, Gandharva, Asura, Garuda, Kinnara and Mahoraga.\n\nMajor well known Brahmanist deities not included in the groups of Deva in the Western Hills of Peking include Hanuman, Parbati and Ganesh.\n\n* A Student Interpreter: Where Chineses Drive : English Student Life in Peking Wm Allen & Co : London: 1885\n\n6 As with a number of titles the romanised spelling varies depending upon the form used and, as examples, we have Siva and Shiva, Pancika and Panchika. He is the esoteric cult Deva, a masculine form of the wife of Siva. He is the tutelary god of Mongolian Lama Buddhism, and is also said to be an incarnation of Vairocana for the purpose of destroying demons.\n\n7 Werner, ETC: A Dictionary of Chinese Mythology:\n\n8\n\n9 x stands for an illegible character. Although images iconographically look like the standard Buddhist image of the Temple Guardian, Wei T'o, they have been identified as being one of three Vedic deities. Lessing in his Yung-Ho-Kung [Stockholm 1942] and the Taiwanese guide to The Guan Yin Hall of the Ta Pei Ssu both identify Wei T'o's origin as Skanda whilst Soothill claims that he is Viharapala.\n\n10 Occasionally Yüeh T'ian-wang, that is the 12th century hero Yüeh Fei, takes the place of Li Yüan-shuai.\n\n\"Chin-se are the Five Primary Colours permutated in various ways to represent various ideas; also, a five coloured emblematic cord, a Brahman sign worn on", "txt_file_path": "txt/dfo323lmgvd/RAS-1998.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/1g05n0794", "rank": 0 }, { "id": 214283, "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-1998", "page_number": 141, "title": "RAS-1998", "content_text": "104\n\nDevas in the Deva Hall of the Pi-yun Ssu\n\nright to left:Siva,Ziwei Dadi [Venus], Yama,Candra,Maritci and Bodhidruma", "txt_file_path": "txt/dfo323lmgvd/RAS-1998.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/1g05n0794", "rank": 0 }, { "id": 214899, "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-1999", "page_number": 314, "title": "RAS-1999", "content_text": "288\n\nfront onto one street and back on to the street behind, thus, in a way linking two streets. All the houses are built of durable timber in a refined two-storey style. The front portion often serves as a boutique and the area behind is generally used as storage space. The interior living space has split levels with an inner courtyard open to the sky and a veranda linking several living quarters. One of the most remarkable features of these old homes is the diversity of their architecture. This varies greatly from one house to another in terms of space distribution, sculptural art, decoration and inner courtyard gardens. Space is utilized to the utmost. Walking in the streets of this beautiful and charming ancient town, a living vestige of the past, one can observe the influence of the architecture, sculpture and decorative Chinese and Japanese styles and the skills of the Vietnamese architects who have absorbed various influences and created something similar, yet somehow uniquely different.\n\nOur sixth day was spent in My Son Valley, 43 miles southwest of Danang. My Son was chosen as a religious sanctuary from the fourth century onwards. Many temples and towers were built here. Most were dedicated to kings and Brahman divinities, including the god Shiva who was considered the creator, founder and defender of the Champa Kingdom and the Cham royal dynasties.\n\nMore than 70 architectural works of different styles and eras once stood in this ancient valley but today less than 20 remain. Tragically, My Son fell within a “free-fire zone” during the American War and was almost completely destroyed by bombs. The French did the present restoration work. The Cham towers were ingeniously constructed of dried bricks stuck together with resin from the cau day tree. Once the tower was completed it was encircled by fires, which were kept well stoked for several days. The intense heat fired the whole structure completely melting and sealing the bricks and resin together to form a structure well able to withstand the combined onslaught of time and the elements - but unfortunately not 20th century bombs.\n\nOur tour ended in My Son and the next morning we left Danang for Hanoi and flew back to Hong Kong. I returned to Hong Kong with many emotions about Vietnam. It was once a tribal neighbour of China and the Chinese influence there was strong. I felt much affinity with the place and its people when I saw the tombs and I tried to interpret", "txt_file_path": "txt/dfo323lmgvd/RAS-1999.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/s178b887x", "rank": 0 }, { "id": 215421, "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-2001", "page_number": 198, "title": "RAS-2001", "content_text": "147\n\nWork on it could only have started after the beatification of St. Francis Borgia at the end of 1624. His statue and that of St. Luís Gonzaga appear in niches on the second storey of the façade with pedestals only bearing the title beatus, not saints. Francis Borgia was only canonised in 1670 but had been beatified by Pope Urban VIII on the 23rd November 1624. Luis Gonzaga had already been beatified in 1605 (Figs 14.15).\n\nThe statues of Ignatius of Loyola and Francis Xavier also appear in the second storey and on their pedestals are given the correct title of saints. Both had been declared saints in 1622 with spectacular canonisation ceremonies in Rome, Spain and Portugal. We know from a 1644 Annual Letter written from the college in Macao that the façade was completed the year that this letter was dated. It seems therefore very probable that the frontispiece was constructed between 1625 and 1644 and that the impulse for its construction or reconstruction was very likely the canonisation of Ignatius of Loyola and Francis Xavier.\n\nThe initiative for founding the Macao College as the seat of the Japan missions, later expanded to include China, was due to Alessandro Valignano, the Father Superior and Father Visitor of the Jesuits in the East. As stated, the architect of the church was Father Carlo Spinola, an Italian from Naples. The reputed decoration of the façade at the hands of Chinese and Christian Japanese craftsmen was very likely carried out under the direction of Giovanni Nicolao, an Italian Jesuit painter from Nola. From this it is only too obvious that Italian Jesuits with a Late Renaissance mentality were highly influential in its creation, something characteristic of the historical period in question.\n\nJ.E. McCall, whose pioneering research is fundamental to the subject, has studied the activities of Giovanni Nicolao. Yoshitomo Okamoto, in his Namban Bijutsu, also gives important insights on Father Nicolao, who had actually opened a school of fine arts for young Japanese seminarians as apprentices in Western painting, printmaking and sculpture in various missionary colleges in Japan.19 But apart from Giacomo Niva, a Chinese-Japanese painter and the most brilliant of Nicolao's pupils, we hardly know the names of the other Chinese and Japanese artists who may have formed Nicolao's team in Macao. Unfortunately, this was apparently Jesuit practice at the time. Their famous annual letters sent from China or their Macao College, today", "txt_file_path": "txt/dfo323lmgvd/RAS-2001.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/zg651950g", "rank": 0 } ]