RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1973 https://digitalrepository.lib.hku.hk/catalog/8910rj06r PERSIANS, ARABS IN T'ANG CHINA 71 23 Ch'en Yu-ching, p. 19; Wang Gungwu1, 'The Nanhai Trade', Journal of the Malayan Branch Royal Asiatic Society, vol. 31, part 2, chapter 7, "The Middlemen and the Spices 618-960 (II), (Kuala Lumpur, 1958). 24 CTS, chüan 89; HTS, chüan 116. 25 TCTC, chüan 203; Wang Gungwu, pp. 75-76. The passage from TCTC follows Wang Gungwu's translation. 26 CTS, chüan 89; HTS, chüan 116. 27 Tung Hao and others, eds., Ch'üan-Tang wen♬ X (A.D. 1814 edition), chüan 291. 28 Hsiang Ta, pp. 38-39. 29 Ibid., Schafer, p. 21. 30 Wang Ch'i±1 ed., Li T'ai-po wen-chi4★ø̇ (A.D. 1758 edited), chüan 3, 'Ch'ien yu tsun-chiu hsing'☀☀f The Chinese version is as follows: 嬰獒龍門之綠桐，玉壺美酒清若空口 催舷梯往與君飲，看朱成碧顏始缸口 胡姬貌如花，當爐笑春風，笑春風， 笑春風，舞羅衣，君今不醉將安歸。 The translation here follows Schafer's. 31 Hsiang Ta, pp. 41-47. 32 Yüan-shih chang-ch'ing chiZAŁA (1929 edition), chüan 24, p. 5, 'Fa Chu'. After Schafer's translation. Schafer, p. 28. 33 Liu Mau-tsaiA†, 'Kulturelle Beziehungen zwischen den Ost Türken (Tu-Küe) und China', Central Asiatic Journal 3:3:199 (The Hague and Wiesbaden, 1957-58). The dictionary is 'T'u-chüeh yü'*A* See Schafer, p. 285, n. 175. 34 Cf. S. W. Bushell, Chinese Art, Victoria and Albert Museum Handbook (London, 1906), chapter 12; Osvald Siren, Chinese Painting (London, 1956) I, 71; Arnold Silock, Introduction to Chinese Art and History (Oxford, 1948), p. 181; Arthur Waley, An Introduction to the Study of Chinese Painting (London, 1923), p. 108; Jitsuzo Kuwabara, 'Zui-To-jidai ni Shina ni raiju shita seikijin ni tsuite'隋唐時代に支那に来往した番域人に就いて Naito Hakase Kanreki shukuga shukuga Shinagaku ronsoAKŁET#***$*£ (Tokyo, 1926; *ˆ†±‡ƒ), pp. 643-644; Chuang Shen#, 'Sui-Tang shih-tai Yü-tien tsu-chih chi fu-tzu hua-chia'MAARTA##, Lishih yü-yen yen-chiu-so chi-k'anAt*7*ƒƒ4N (Bulletin of the Institute of History and Philology), Extra Vol. 4, part I, pp. 403-454 (Academic Sinica, Taiwan, 1960). 35 Schafer, p. 36 Chuang Shen, pp. 408-416. 37 Ibid., pp. 440-443. 38 TCTC, chüan 203, p. 6415. For Ch'in Ming-ho and Li Hsün, I am indebted to Professor Lo Hsiang-lin's stimulating article 'Hsi-chu po-ssu chih Li Hsün chi ch'i Hai-yao pen-ts'ao'±Ùƒ±‡HZ‡❀$$‡ Symposium on Chinese Studies Commemorating the Golden Jubilee of the University of Hong Kong, 1911-1961. F. S. Drake, ed., (Hong Kong, 1964) II, 217-240. 39 For Ch'ung ICTH, chüan 95 see Lo Hsiang-lin's article on Li Hsün; also ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1973 https://digitalrepository.lib.hku.hk/catalog/8910rj06r 100 CHUANG SHEN Ink Bamboo & As Ni Tsan's Yu-po-t'an-hua-t'u and Ho-lin-t'u are both paper hanging scrolls, it is difficult to perceive why after recording the painting Yu-po-t'an-hua-t'u Wu Yung-kuang must necessarily record four other scrolls of calligraphy and two paintings by some other artists and then continued with Ho-lin-t'u. Again, similar confusions could be found in Wu Yung-kuang's record of three paintings by Wang Fu. In chuan 4 of his Hsin-ch'ou hsiao-hsia-chi, Wu entered first of all Wang Fu's Kao-liang-shan-t'u # which was followed by Ni Tsan's small hanging scroll of landscape. Furthermore, only after introducing works by five other artists (Wang Mien, Wang Meng E. Huang Kung-wang ★✰✰, Ni Tsan and Wu Chen) and nine calligraphers (Kung Su, Liu Yu-ch'ing, Fan Kuo, Ou-yang Ying, Yü chi, Wu Ch'uan-chieh, Liu Kuan, Fêng Hai-su and Nao Nao) did he continue with Wang Fu's Ink Bamboo. Although, on the one hand, Wu listed the two Ni Tsan paintings and the three Wang Fu paintings separately in two unrelated places, on the other hand, in regard to the four paintings respectively done by Ch'ien Hsüan✯✯ and Chao Meng-fu #, he grouped them together. Why is it that Wu recorded works by Ch'ien Hsüan and Chao Meng-fu in continuous order, and yet broke up the record of works done by Ni Tsan and Wang Fu by inserting entries of works executed by other artists and calligraphers? In a word, when recording more than two paintings done by the same artists, Wu sometimes entered them continuously and sometimes separately. From this, it is apparent that no consistent principle was observed in the method of recording works by one artist in this catalogue. This mixed use of continuous and separate entries not only creates inconvenience to the reader, but also gives one a confused feeling. The presence of such shortcomings is undoubtedly a result caused by Wu Yung-kuang's unsuitable treatment in the matter of compilation. In Pan Chêng-wei's ✯ T'ing-fan-lou shu-hua-chi and Hsû-chi, as well as in Liang Ting-nan's T'êng-hua-t'ing shu-hua-pa, another type of shortcoming in compilation, which is quite different from that appeared in the Hsin-ch'ou hsiao-hsia-chi, can again be found. There are altogether five chüan in the T'ing-fan-lou shu-hua-chi. With the exception of chüan 5, all the paintings and calligra- ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1973 https://digitalrepository.lib.hku.hk/catalog/8910rj06r 102 CHUANG SHEN 2. Wang Yuan-ch'i £ß 3. Wang Yuan-ch'i 4. Wang Yuan-ch'i 5. Wang Chien £ 6. Wang Chien 7. Wang Hui 8. Fang Shih-shu 9. Hua Yen 華嵒 hanging scroll of the Fu-ch'un Mountain 富春山軸 hanging 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 of former masters. Yün-ho sung-yin-t'u *** H , hanging scroll Ts'êng-luan-sung-ts'ui-t'u 翠圖 hanging scroll Hsia-k'ou tai-tu t'u #* album of landscape, figure and flower hanging screens of flower and bird 10. Wang Shih-min E 11. Liang Pei-lan 12. Ch'ien Tsai hanging scroll executed in the style of Huang Kung-wang hanging scroll of poems written in the running script hanging scroll of orchid and bamboo executed in ink monochrome Among 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. ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1977 https://digitalrepository.lib.hku.hk/catalog/np198x23n TWO ESSAYS ON THE CH'ING ECONOMY OF HSIN-AN 67 12 Lockhart lists 255 villages occupied by Hakkas, with a total population of 36,070 in the Tung Lo in 1898. Assuming a population of 250,000 for the total district in 1900, Hsin-An probably had a Hakka population of around 90,000. 13 Rawski's bibliography in Agricultural Change and the Peasant Economy of South China offers the most complete listing of works bearing on perpetual tenancy. p. 64. 14 CSO280/04 Extension. See note 4, Essay 2. 15 Hsu T'ien-tai, Fu Chien Wen Hua (福建文化), Vol. 1, No. 1, (1941), 16 Correspondence Respecting Affairs of China, March 1898-September 1900. "Report on the New Territory at Hong Kong," (Presented to both Houses of Parliament, November 1900) p. 19. 17 The Shih Chien T'ang Chia P'u (世鑑堂家譜), a collection of genealogies from Kam Tin, gives the following settlements of lineal descendants in Tung Kuan: Chuh Yuan (竹園), Yen Tien (燕田), Fu Lung (福龍), Huai Te (懷德), Shih Ching (石井), Tu Kao (土高), and Ping Hu (平湖). 18 "These clans gain their local influence, not through numbers alone, but owing to the fact that certain of their numbers have official rank, gained through competitive examinations, or obtained by purchase, which keeps them in touch with the Magistrate and even higher officials." Correspondence Respecting Affairs of China ibid., p. 20. The Shih Chien T'ang Chia P'u records that, from Cheng Hua (Ming Dynasty) to Tao Kwang (Ch'ing Dynasty)—that is, from roughly 1470-1820—fourteen Kam Tin Tangs passed the state examination. Several of these became office holders. Another indicator of gentry connections with officialdom was the construction, in Kam Tin, of a temple (祠堂) dedicated to the two officials (Chou Yu-te (周有德) and Wang Lai-jen (王來任)) who petitioned the Emperor, on behalf of the inhabitants of the coastal areas, to allow resettlement. 19 Introduction to the Nan Yang Tang Shih Tsu P'u (南陽堂世族譜), compiled by the Ping Shan Tangs. 20 Sung Hok-P'ang, in his articles on the Kam Tin Tangs in the Hong Kong Naturalist, claims to have seen references to Tang lands on Hong Kong in the Land Register (土地冊) of Tung Kuan. "One may judge that the land was owned by the Tangs before the first year of Maan Lik, AD 1525, (sic) as after that the San On District was formed” (Vol. VIII, nos. 3 and 4). 21 HKTCSMTC, "Details of Cultivated Land” (耕地詳情). 22 ibid. 23 The landlord clans were often referred to by the British as "first cultivators." See, for instance, CSO3172/1915 cited in the essay on tax-lordism. 24 Correspondence Respecting Affairs in China, ibid., p. 16. 25 Hsin-An Hsien-chih, ch'uan 8. 26 In this regard, note the high degree of correlation among the different "tax-burdens" in Table II. One is tempted to speculate that a native formula for the conversion of rent rates from tax-rates existed. 27 In the 1934 edition of the Chung-Kuo Ch'ing-chi Nien-chien (中國經濟年鑑), chapter 7 (Chinese Tenancy Systems), contains the following description of the Fen Chih Chih (分種制) system, a form of perpetual lease found in the East River counties of the Kwangchow Prefecture: "This ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1977 https://digitalrepository.lib.hku.hk/catalog/np198x23n TWO ESSAYS ON THE CH'ING ECONOMY OF HSIN-AN 81 buyers and sellers of commodities and to effect a transaction between them.” By the late 1920's, "its importance to the Hopei provincial finance was only second to that of the land tax." It is difficult to weigh the relative importances of the various taxes in Hsin-An, but we do have figures on the revenue collected on trade between local markets in November 1911, which indicate a relatively low volume of local trade (see Imperial Maritime Customs, 1902-1911, Volume II, p.156). Also, refer to Appendix II, which Lockhart credits as a reliable source. The Tangs of Kam Tin and Lung Kwat Tau (A) were apparently farmed the monopolies of collecting market taxes in Un Long Kau Hui (±##4) and Tai Po Kau Hui (£# #). The Tongs who oversaw the markets in turn "sub-leased" the brokerages to traders, merchants, and shop-owners. 4 The CSO files held in the Government Archives of Hong Kong constitute one of the richest stores of first-hand knowledge about local political economy and society in Hsin-An during the period 1890-1910. I am very grateful to Mr. Ian Diamond, Government Archivist, and his staff for their assistance in helping with my research. 5 C. M. Chang, op. cit., pp. 826-828. 6 Lien-sheng Yang, "Buddhist Monasteries and Four Money-Raising Institutions in Chinese History," in his Studies in Chinese Institutional History, pp. 198-199n. 7 Yeh-chien Wang draws heavily on the Ts'ai-cheng Shuo-ming-shu for his research on the land tax in China (Land Taxation in Imperial China, 1750-1911). On the basis of the material presented in this paper, Hsin-An conforms to his general thesis of the declining relative importance of the land tax throughout late Ch'ing. 8 Correspondence Respecting the Extension of the Boundaries of the Colony (hereafter Extension Papers), p. 60. 9 For a fuller discussion of li-chia, see Kung-chuan Hsiao's Rural China, Imperial Control in the Nineteenth Century, pp. 84-143. 10 The annual rotation of these positions (44) constituted the primary mechanism whereby the local magistrate attempted to maintain some measure of centralized power by restricting the excesses of local magnates. 11 Hsiang-kang Teng-ch'u-shui-mau Ts'ung-ch'eng (44¥Æ#*# Z), p. 2: "All together the cultivated land measured 8 ch'ing 3 mau 6 fen 1 li 9 hau 2 ssu 5 hu (i.e., 803.61925 mau) and was registered under the name of Tang Tin-luk, 6th tu, 7th p'i, 2nd chia. In addition, Tang Chi-cheung and others had purchased from Ho Ch'iu-ping and others plots of land at Wong Nei Chung... having a total area of 1 ch'ing 89 mau registered in Tung-Kuan under the name of Tang Chi-fu of the 2nd tụ, 18th p'i, last chia." The formula is often repeated in the land memorials held at the Land Office of the Registrar General in Hong Kong. 12 Kwangchow Fu-chih (1759), ch'uan 4: 43a-b, 46b. 13 Hsin-An Hsien-chih (1819), ch'uan 2. 14 Kwangtung T'u-shuo, Hsin-An Hsien-t'u. 15 Krone, "A Notice of the Sunon District", originally published in the Transactions of the China Branch of the Royal Asiatic Society, 6:5, 41-105. This quote, as all the others, is from the reprinted copy in the Hong Kong Branch of the Royal Asiatic Society V: p. 119. 16 Tung-Kuan Hsien-chih (1797), 10:10b-11. 17 Lockhart, in the Correspondence Respecting the Affairs in China, writes: "Small villages and hamlets often place themselves under the protection of large and influential clans to which they refer all complaints and from which they expect assistance in case of attack, robbery, and ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1977 https://digitalrepository.lib.hku.hk/catalog/np198x23n 90 K. G. STEVENS and in another temple with a carved wooden coiled snake in the middle of the group. In one Macau temple four of the Five Demons have very cheeky, European children's faces. This is because the original heads of the images had been so badly burnt by candle and incense heat that the temple keeper had substituted European doll's heads. Apart from the background sheet of titles and the image of the Local Wealth God and those of the Five Demons already described, there are some five other items and images which may feature in Under Altars. As with every temple disposition there does not appear to be any firm rule as to where or how each image or item should be placed within the altar. There are many conventions, but none without the exception. The first group of items consists of wooden or stone images of living animals or creatures, the most popular being cockerels, dogs and snakes. No keeper was prepared to say why these creatures are depicted. Secondly, there are several Gods whose images are seen in Under Altars in addition to being on normal altars. The most popular and easily the most common of these is Marshal Chao, a Wealth God who is also called the "Marshal of the Dark Altar," Hsuan T'an Chao Kung-ming Yuan Shuai (#). Chao's image is relatively standard, and was very common in temples throughout China. He is a ferocious general, seated astride or seated with a foot on a tiger; or standing on a tiger; with his right hand raised holding a magic whip (a knobbly-bladed sword). He was spotted on one occasion in one temple only with a long folded white strip of paper and a short strip of hessian laid across his head. We will briefly refer again to Chao. Others include Tzu Wei Hsing Chun (***), The Star God of the Planet Venus, and Hua Fen Fu Jen (✯✯✯A), the Powder Maiden (who preserves a girl's beauty). The face of the latter image is coated with cosmetic powder by young girls and she is frequently bedecked with strings of imitation pearls as offerings. The connexion between the Powder Maiden and the rest of the altar escapes explanation, and the answer from temple keepers has been that it is simply custom. There are also numerous other unidentified individual images unconnected with the altar which have been placed there by ignorant temple keepers or worshippers. ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1989 https://digitalrepository.lib.hku.hk/catalog/8336pm92h deui-lyun dim-dang Wif ding-hau T`LI Dongguan 東莞 dong-ji Dung Ping Guk 東本局 faan Fa-Gung Fa-Mou (EAEN fa-paai TEMP Fau-Ng ởH Fong 兒 fong fong-jeung Fu Qing (47 fu 伏 Fu-Hip gwan-ma 郡馬 Gwok-Yin Gwong-Yu K Gwong-Yu Tong Gwun-Yam #E Gyun 銷 Ha Tsuen 厦村 Ha Che 下崟 haang 坑 ha-fu F Hak-Sa ha-yan FA Hei-Ye 起野 heui-lok Heung heung Fui-Sing !! Fung Yuk-Daan MƒU!! Gaai-Yut gaam-sang Gai-Jau # heung-on Ho fil hoi-dang EH hou 號 Hung-Fan Taam gam-taap Gam-Tin Gaozong h Gau Ga Chyun **† hung-jeuk FL Hung-Ji 孔子 Hung-Ji 洪贄 Hung-Sing # Hung-Yi 洪儀 geui-yan git-jing #7 Git-Sau gu l Guangdong MAC Guangzong 光宗 guk 榖 gung-chou Y gung-sang Gwaan-Dai BNR Gwai-Ting gwai-waan (?) Gwai-Wong E gwan 棍 Gwan-Haak 7K Gwan-Leung R jaap-fo 雜貨 Jai Baak-Fu Jan 鈞 Jan-Ting Jau M Jau-Man B jau-tung 州同 Jeung Hoi Jeung 張 Jeung-Luk A jeun-si 進士 Jiangxi 江西 Ji-Ga Tong #18 2 Jik-Gin jiu BE Page 369 ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1991 https://digitalrepository.lib.hku.hk/catalog/k356gt84j Liang Zhe fang hu (ling qin ci mu) lu (REHE)* Zhejiang kao Ku jing jing she wen ji 詁經精社文集 (Wang fu zhai) zhung ding kuan shi (E) H** Xue shi zhong ding kuan shi 薛氏鐘鼎款識 Jiao shan ding-kao 焦山定陶鼎考 Huang Qing bei ban lu Hai tang zhi 海塘志 Ji gu zhai zhung ding yi qi kuan shi **** 海連考 Hai yun kao I Liang Zhe jin shi zhi 兩浙金石志 Shi san jing zhu shu fu jiao kan ji +¶EAH Yang zhou Ruan shi jia miao bei 揚州阮氏家廟碑 Yen jing shi wen ji 擘經室文集 Sui Wen xuan lou ming Ying zhou shu ji 瀛舟書記 Qu jiang ting ji 曲江亭記 ** Si ku wei shou shu mu ti yao 四庫未收書目提要 Tian yi ge shu mu 大一閣書目 Ling yin shi shu zang mu Chou ren zhuan AM Shi san jing jing fu +* ****! Yi li shang fu da gong zhang zhuan zhu chuan wu Kao x 功章傳注舛考 Han Yen xi xi yue Hua shan bei kao ✶✶U** Ru lin zhuan kao ####N Guo shi wen yuan zhuan 國史文苑傳 Jiao shan shu cang shu mu 焦山書藏書目 (Song ben) shi san jing zhu shu (**)+*** Jiang su shi zheng # Jiang xi gai jian gong yuan hao she bei ji 江西改建貢院號舍碑記 Guangdong tong zhi 廣東通志 Gai jian Guangdong xiang shi wei she zhuo bei ji ***** 碑記 Shi shu gu shun 詩書古訓 Yen jing shi ji 擘經室集 Chong xiu Ruan shi zu-pu CEE** Huang Qing jing jie 皇清經解 Xue hai tang zhi 學海堂集 Yen jing shi shi lu 擘經室詩錄 Shi hua ji 石畫記 61 ================================================================================