[
    {
        "id": 207913,
        "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-1976",
        "page_number": 301,
        "title": "RAS-1976",
        "content_text": "286\n\nNOTES AND QUERIES\n\nIn Chinese these two characters indicate the mountain's colour as if being lightened by the rosy sunset. According to some Chinese poetry, the sunset time seemed the most lovely time of a day.5 Thus, to Chinese mind, a red mountain is surely a term which indicates not only a poetic feeling but also suggests a painterly mood.\n\nBased on most probably this particular literary name, Ho Chung fixed upon Tan-shan lao-jenA, ‘an elderly man in a red mountain', as his second literary name. However, the nature of his first and second literary names was too closely related. Perhaps because of this reason, he began to call himself Ch'i-shih-erh-feng lao-jen+‘an elderly man who dwells among seventy-two peaks'. This is a good literary name except it seems too clumsy. Perhaps feeling this dissatisfaction, Ho Chung fixed Yen-ch'iao jen, ‘a man on a bridge (particularly hidden) by the smoke' (which had sometime been varied as Yen-ch'iao lao-jen) as his last literary name. Judging their literary implication as well as their mysterious atmosphere, Yen-ch'iao-jen is undoubtedly much better than either Tan-shan lao-jen or Ch'i-shih-erh-feng lao-jen.\n\nCorresponding to the number of his personal literary names, Ho Chung also had four literary names for his painting studio. His first, which was the only one recorded by writing on Kwangtung painting, was Chu-ch'ing shih-shou chih-tsai✯✯&$2★. 'A Studio which houses the emaciated bamboo and the long-lived rocks'. In addition, as could be found from his own writings inscribed on his paintings, Ho Chung's second studio name happened to be Lan-yen chu-hsiao chih-tsai✯✯✯✯, 'A studio in which the orchid speaks and the bamboo smiles (to their master)'; whilst his third was Mei-hua shan-kuan, 'a hall on the plum blooming mountain'. In fact, just as his second literary name (an elderly man of the red mountain) was derived from his first —— a red mountain - so Ho Chung's second studio name (a studio in which the orchid speaks and the bamboo smiles) is also very similar to his first studio name (a studio which houses the emaciated bamboo and the long-lived rocks). As to the 'hall on the plum blooming mountain' it has a special background. Ever since the 13th century, plum blossoms were always treated by Chinese scholars as a symbol of the incorruptness of literati”. Naming his art studio as 'a hall on the plum blooming mountain' suggested Ho Chung's personality",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1976.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/hq382988q",
        "rank": 0
    },
    {
        "id": 208473,
        "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-1978",
        "page_number": 197,
        "title": "RAS-1978",
        "content_text": "WOODBLOCK PRINTING\n\n181\n\nmethods had been much improved and paper became more economical. Many important works were done in this period. “Tou Pan” (ƒ) or multi-colour printing was also invented. Some of their works are well known to us through the painting manual series of the Ten Bamboo Studio († in Nanking (). Formerly, colour prints were made by first putting different colours on various parts of the woodblock. In the \"Tou Pan\" technique, different blocks were made and colours of different shades were applied on these blocks. Sometimes as many as hundreds of blocks of different sizes were used to make one print. In this way, very complex colour combinations could be achieved. The invention of “Tou Pan” and “embossing” (##) techniques in printing was attributed to Hu Cheng-jen (‡), the owner of the Ten Bamboo Studio, whose Catalogue of the Ten Bamboo Studio Letter-sheet Design and the Calligraphic and Painting Manual are monumental landmarks in the history of art.\n\nOther important works were produced in the early Ch'ing period. One of them was the Mustard Seed Garden Painting Manual († \n4) compiled and printed by a famous painter Wang Kai (± *) for the Studio of the Mustard Seed Garden in Nanking in the years 1679-1701 of the K'ang Hsi period (). The manual was printed in colour by using the same techniques as the Ten Bamboo Studio and was printed together with painting instructions. It has been widely used by painters as a bible of Chinese painting. The manual has been copied and reprinted many times by different painters and publishers during Ch'ing Dynasty. The copies we can obtain in the market are usually photostat printed copies from the reproductions issued in the Late Ch'ing period. The pictures contained in these new copies are no longer as gorgeous as those in the original ones. We can hardly see an original copy as only a few of them are known, and are being treasured by museums and libraries or private collectors.\n\nDuring the past thousand years, book printings were centered in Szechuen, Chekiang, Anwhei and Fukien Provinces where paper was also manufactured. The folk or religious printing work had been widespread all over China, but the noted centres of the production were Yang Liu Ching (##), To Hua Wu (✯✯) and Fatshan (*). Yang Liu Ching is a village on the outskirts of Tientsin city (△) and the people living there have been engaged",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1978.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/8g84t8593",
        "rank": 0
    },
    {
        "id": 208477,
        "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-1978",
        "page_number": 201,
        "title": "RAS-1978",
        "content_text": "# WOODBLOCK PRINTING \n\n185\n\nwere not entirely devoted to the depiction of divinities and pictorial symbols. Illustrations of popular tales, the opera and historical events were often designed to inspire good behaviour. As a wonderfully simple means of communication, it became an educational and propaganda media.\n\nChinese folk prints became known to the world only in the twentieth century. However, in the seventeenth and eighteenth centuries a large number of Chinese block-printed fancy paper, together with other decorative art works, were exported to Europe. The fancy papers, chiefly featuring flower and bird motifs, provided much inspiration for decorative art in Europe. Their influence was not as significant as that of the figure prints of Japanese Ukiyo-e which had so impressed nineteenth-century painters in France. But we can still find European upholstery fabric and wallpaper bearing Chinese symbolic motifs. As most of the Chinese folk prints were either used for burning or pasting on the walls, they were printed on low-cost thin and fragile paper, and since, after a few months of being pasted on walls or doors they faded and tore, very few of them have lasted to the present day. Not until the twentieth century did these woodblock-printed folk prints become a collector's item.\n\nThe processes of woodblock printing\n\nThe process of woodblock printing was actually not a simple one. A writing or design was carved on a block of wood. Ink was applied to this, paper placed over it and the back of the paper rubbed by a hand press made of a piece of wood wrapped with rags and covered with fibre from palm tree or bamboo sheath. Finger tip, nail or hand were also used as press by the printer of Ten Bamboo Studio to produce colour shading of the picture or detail of the prints. Chop printing method was also used in some of the folk paper printing.\n\nThe designers, carvers and printers cooperated in a division of labour to complete a book or print. Usually a text was written by a good calligrapher, or a picture was drawn by an artist, on semi-transparent paper. Flour paste was then smeared over the face of the block. The paper with the text or picture drawn on it was placed face down on the block and then the lines of the characters or picture showing through the back of the paper were cut into the wood. The carver was an important link in the printing process, perhaps not less important than the painter or writer. Many blocks",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1978.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/8g84t8593",
        "rank": 0
    }
]