[ { "id": 206244, "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-1971", "page_number": 61, "title": "RAS-1971", "content_text": "LETTERS FROM CHINA 1835-36 \n\n55 \n\naverage of one in a fortnight! Moreover, I can't swim a stroke. Thus, the house-top is my esplanade and Champ-de-Mars every morning and evening; and seriously, the view from it is very interesting at least to an eye not palled by long repetition of it. All Canton, the City, and the Suburbs (far more extensive than it) stretches away below you on the north, with its strange curved roofs and gables, such as you always see painted in China tea-cups; and now and then the pinnacles of a joss-house, or temple, with tall flag-staffs; until the eye takes in a most beautiful hill some 2 to 3,000 feet high, and perhaps three miles away from you in a straight line. There stands an enormous Pagoda at the foot of this hill, towering prodigiously many stories above all the trees and houses around it, and with a tree (which looks a merest shrub) growing on its summit. That hill is the finest thing here; I wander over it—I mean in spirit—every morning that day breaks on it drawing out all the tints of the scene; there are half a dozen fissures in one part, which I look on as thunder-rifts; and a delicate whitish line creeps up one shoulder, which I take to be a path-way for those happy, happy, thrice-enviable and most-favored Chinamen who can walk thereon without being bamboo'd to death for the offence! The river opposite the Factories joins another great branch only a few yards higher up, and the remote shores of the united stream above, show yellow with harvest, and painfully rural to the poor bird in the cage. The country there stretches away into hills too, but perhaps 15 or 20 miles away, a long and very high range—several indeed—which break the horizon nearly half its circuit. Down the River, i.e., to the S.E., the stream curves like an S, and thereby, from your point of view, a forest of masts, of all heights and sizes ever used in boats, is visible in one coup-d'oeil, such as I never saw before. I should not say boats, though; for most of them are the masts (single sticks!) of junks from 2 to 600 Tons Burden. Their number is perfectly prodigious. You see the horizon beyond and near this, striped with one or two delicate lines of alternate land and water from the windings of the noble river, the last line of all being perhaps ten miles off. It is over there the sun rises to you, else you could not see that tiny thread of water inlaying the meadows. Not a single European ship is in sight here, and only a few sailing boats and wherries. All the European ships are down at Whampoa reach, some 12 or 13 miles away.\n\n—\n\n—\n\n—", "txt_file_path": "txt/dfo323lmgvd/RAS-1971.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/z029vt43g", "rank": 0 }, { "id": 212560, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-1991", "page_number": 114, "title": "RAS-1991", "content_text": "94\n\nperfected in the United States, Stevenson adopts an approach which gives great emphasis to the expression of the inner, emotional state of the characters, an alternative to the approach Chinese dancers were familiar with. In the summer of 1979, he trained two Chinese student dancers at the Houston Ballet Academy. At the end of the summer, the students returned to China with a pas-de-deux Stevenson choreographed for them. In China, the performance of that piece caused a stir among the audiences and a revision of the approach Chinese dancers took towards their profession. In the succeeding years, Chinese artists choreographed some pieces, such as the Spirit of the Yellow River, which also suggests Stevenson's influence on dance in China.6\n\nObviously, the contributions American Cultural presence made to cultural pluralism are twofold: direct presentations gave a different feature to the cultural life of the Chinese people while they introduce new ideas. The latter, therefore, is of more significance as it is more persistent and penetrating. As for exchanges in arts education and exchanges of specialists, the consequences were also twofold: the influx of new ideas and the improvement in China's artistic activities.\n\nIn this context, the work of David Gilbert can be taken as an example of how American specialists helped Chinese artists in the improvement of artistic quality. David Gilbert, music director and conductor of the Greenwich Philharmonia in the United States, began to serve as principal guest conductor of the Central Philharmonic Orchestra (CPO, affiliated to the CPS) in June 1980. At the conclusion of his first term, he reflected: \"The players (of the CPO) are fine professional musicians but they have no repertory and no experience.” “The orchestra itself had never done Beethoven's Eighth Symphony, and when I scheduled the overture to 'Die Meistersinger' I discovered it was their first Wagner of any kind.\"37 Nonetheless, in mid-1981, he was able to tour with the CPO to Mudan Jiang, Harbin, and Changchun for two weeks with a repertoire made up largely of pieces learnt by the orchestra from him, and since then the orchestra had presented one concert every two weeks, rehearsing six days a week.\n\nIn evaluating the consequences of Sino-American arts exchanges in the 15 years since 1972, and particularly in the eight years since 1979, one important aspect to discuss is whether these exchanges have affected domestic socio-political development of China. It is important, and even vital, to the further development of China's arts exchanges with the", "txt_file_path": "txt/dfo323lmgvd/RAS-1991.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/k356gt84j", "rank": 0 }, { "id": 215117, "series_id": 26, "series_slug": "histsyn-rashkb-journal-engine", "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊", "series_use_hku_proxy": false, "document_key": "RAS-2000", "page_number": 213, "title": "RAS-2000", "content_text": "170\n\nThere would appear to be two minor generals also in this story. Several temples in the Chia I and Yunlin coastal strip of Taiwan are dedicated to the Three Princes, San Wangye Zhang, Li and Mo. These were identified in the temples as Zhang Xun with two of his subordinate generals, Li and Mo, both of whom died with him at Suiyang5 One temple keeper related the story of how Mo Ying15, whose real name was Gai TuoE, was one of the generals at the siege of Suiyang with Zhang Xun and his sworn brother, who committed suicide when Zhang was executed and quartered.\n\nTwo further minor soldiers, again generals who served under Zhang and Xu whose images have also been seen on altars in Taiwan and Fujian province beside those of Zhang and Xu, are Lei WanchunS, an image either with a black face with six or seven golden stars on it or with a red face, and Nan JiyunE, an image with a blue face.\n\nNothing is known about General Nan; however, General Lei Wanchun, a native of Hebei province, was a military officer who served under General Zhang Xun in the first half of the 8th century AD, commanding the garrison in the area to the north of Xi'an, within the loop of the Yellow River. During the An Lushan revolt Lei was besieged by rebel forces in Luoyang, the secondary capital of the Tang. He remonstrated with An's forces from the garrison walls accusing them of being traitors to the Tang and remained there even though six rebel arrows had struck him. He continued to exhort the rebels to surrender until his forces were overcome and he died with them. His image usually has six or seven spots on the face where, so it is claimed, the arrows pierced him. During the reign of the Qing Kang Xi emperor a military officer named Zai carried an image of Lei over to Taiwan where his cult developed and he is now revered in some dozen or so temples in and around the central plain of the West coast.\n\nA protective Wangye, a pestilence deity, in Jiali, a town just north of Tainan city, better known as the General of the Lei clan, Lei Fu Jiangjun, is the secondary deity on the altar of a small temple. The history as recorded in the temple explains that the original temple, having been badly damaged by an earthquake in 1862, was rebuilt and enlarged by devotees. During the hard labouring necessary to achieve their aim the spirit of the then main deity, General Lei, having transformed himself into an old man dressed in a feather coat, went", "txt_file_path": "txt/dfo323lmgvd/RAS-2000.txt", "external_url": "https://digitalrepository.lib.hku.hk/catalog/nk328168n", "rank": 0 } ]