RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1962 https://digitalrepository.lib.hku.hk/catalog/9s166f47f CHINA'S 35 MILLION NON-CHINESE TABLE 1 73 CHINA'S MINORITY POPULATIONS IN ORDER OF SIZE, 1. Chuang 2. Wei-wu-erh (Uighur) 3. Hui (Dungan) 4. Yi (Lolo, etc.) 1953 5. Tsang (Tibetan) 6. Miao 7. Man (Manchu) 8. Meng-ku (Mongol) 9. Pu-yi 10. Ch'ao-hsien (Korean) 11. Tung 12. Yao 13. Pai (Pai-man) 14. Ha-sa-k'e (Kazakh) 15. Ha-ni 16. T'ai 17. Li 18. Li-su 19. Tu-chia 20. She 21. K'a-wa (Wa) 22. Kao-shan (Malay-Polynesian) 23. Tung-hsiang 24. Na-hsi (Na-khi) 25. La-hu 26. Shui 27. Ching-p'o (Singpho, Kachin) 28. Ko-erh-k'e-tzu (Kirghiz) 29. T'u (Mongor) 30. Ta-kuan-erh (Daghor) 31. Mo-lao 32. Ch'iang 33. Pu-lang (Palaung) 34. Sa-la (Salar) 35. Ngo-lo-ssu (Russian) 36. K'e-lao 37. Hsi-po (Sipo) 38. Mao-nan 39. A-chang 40. T'a-chi-k'e (Tadjik) 41. Wu-tzu-pieh-k'e (Uzbek) 42. Nu 43. T'a-t'a-erh (Tatar) 44. O-wen-k'e (Evenki) 45. Pao-an 46. Yü-ku (Sara Uighur) 47. Peng-lung 48. Tu-lung ... 7,000,000 3,640,000 3,559,000 3,250,000 2,775,000 2,511,000 2,418,000 1,463,000 1,247,000 1,120,000 712,000 665,000 567,000 509,000 481,000 478,000 360,000 317,000 300,000 * 286,000 210,000 200,000 155,000 143,000 139,000 133,000 101,000 70,000 53,200 44,100 43,100 35,600 35,000 30,600 22,600 20,800 19,000 18,400 17,700 14,400 13,600 12,700 6,900 6,200 4,900 3,800 2,900 2,400 2,200 450 O-lun-ch'un (Orochun) 50. Ho-che (Nanai) * Found by Fang Jen in 1955 to be 300,000, but Bruk listed 49,000. † From April 19, 1957 issue of Kuang-ming Daily News. † An estimate. § Collectively including the So-lun (4,900), T'ung-ku-ssu (Tungus: 1,205), and Ya-k'u-te (Yakut; 137). Here is the revised response in HTML format using Markdown table syntax for the table: Order Minority Population Population (1953) 1 Chuang 7,000,000 2 Wei-wu-erh (Uighur) 3,640,000 3 Hui (Dungan) 3,559,000 4 Yi (Lolo, etc.) 3,250,000 5 Tsang (Tibetan) 2,775,000 6 Miao 2,511,000 7 Man (Manchu) 2,418,000 8 Meng-ku (Mongol) 1,463,000 9 Pu-yi 1,247,000 10 Ch'ao-hsien (Korean) 1,120,000 11 Tung 712,000 12 Yao 665,000 13 Pai (Pai-man) 567,000 14 Ha-sa-k'e (Kazakh) 509,000 15 Ha-ni 481,000 16 T'ai 478,000 17 Li 360,000 18 Li-su 317,000 19 Tu-chia 300,000 * 20 She 286,000 21 K'a-wa (Wa) 210,000 22 Kao-shan (Malay-Polynesian) 200,000 23 Tung-hsiang 155,000 24 Na-hsi (Na-khi) 143,000 25 La-hu 139,000 26 Shui 133,000 27 Ching-p'o (Singpho, Kachin) 101,000 28 Ko-erh-k'e-tzu (Kirghiz) 70,000 29 T'u (Mongor) 53,200 30 Ta-kuan-erh (Daghor) 44,100 31 Mo-lao 43,100 32 Ch'iang 35,600 33 Pu-lang (Palaung) 35,000 34 Sa-la (Salar) 30,600 35 Ngo-lo-ssu (Russian) 22,600 36 K'e-lao 20,800 37 Hsi-po (Sipo) 19,000 38 Mao-nan 18,400 39 A-chang 17,700 40 T'a-chi-k'e (Tadjik) 14,400 41 Wu-tzu-pieh-k'e (Uzbek) 13,600 42 Nu 12,700 43 T'a-t'a-erh (Tatar) 6,900 44 O-wen-k'e (Evenki) 6,200 45 Pao-an 4,900 46 Yü-ku (Sara Uighur) 3,800 47 Peng-lung 2,900 48 Tu-lung 2,400 49 O-lun-ch'un (Orochun) 2,200 50 Ho-che (Nanai) 450 * Found by Fang Jen in 1955 to be 300,000, but Bruk listed 49,000. † From April 19, 1957 issue of Kuang-ming Daily News. † An estimate. § Collectively including the So-lun (4,900), T'ung-ku-ssu (Tungus: 1,205), and Ya-k'u-te (Yakut; 137). ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1962 https://digitalrepository.lib.hku.hk/catalog/9s166f47f 74 HEROLD J. WIENS TABLE II (Population in 000's) Provincial distribution of South China peoples Szechwan Kwangsi Kweichow Yunnan Hupei Chekiang Fukien Kiangsi Kwangtung Hunan Chuang 6,445 43 1 18 Molao 116 14 1 Maonan 14 Pu-yi 1,233 479 T'ai 439 1,333 T'ung 360 1,425 Shui 84 204 378 Li 469 Miao 453 150 1,233 70 21 72 K'e-lao 41 Yao 358 14 1 14 28 14 She 25 96 52 2 Tibetan* 713 67 Ch'iang 36 Nu 13 Tu-lung 2 Ching-p'o 102 Yi 275 1,852 Ha-ni 481 Li-su 317 Nakhi 143 La-hu 139 Achang 18 Pai 567 T'u-chia 549 1,123 K'a-wa or Wa 286 Peng-lung 3 Pa-lang 35 Kao-shan (found only in Taiwan 200,000) Ching 4 (Vietnamese) 2 * In Tibet proper and in the Chamdo region there is an additional Tibetan population of about 1,274,000. ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1964 https://digitalrepository.lib.hku.hk/catalog/qz20zx09r 54 K. M. A. BARNETT previously described, no longer carries water, and part of which is still used to supply irrigation water to a village. The ancient grave at Lo-A-Tsai on Lamma Island is made of similar stones; and I am inclined to associate also with these people a number of high standing stones, some of which are still cult objects, of which one stands above Bowen Road, another overlooking Sha Tin115 is known to Europeans by the unnecessarily sneering name of the "Amah Rock". A stone of this type, standing above a rock pool which looks as though it had been artificially enlarged and made circular, stands between the deserted village of Pak Koks at the south-western tip of Shek Pik Bay128 and the new village to which the ancient Fung2 clan of Fan Puisi were moved to make room for the Shek Pik Reservoir. Another overlooks Long Harbour, and about this one there is some mystery, since every year at approximately the date of the Mid-Autumn Festival a considerable number of women can be seen flocking up the hill to this stone, but all villages within walking distance flatly deny knowledge of any such celebration. This is at best negative evidence, and may not indicate the persistence of a pre-Chinese tradition; for a similar reticence regarding religious celebrations by women is observed at the great Nu-kwa102 temple on Honam Island154 opposite Canton, which men are seldom allowed to visit. I am trying to plot the positions of all these stone works and believe that when the list is finished, it will arrange itself into three circuits on Lantao Island, one on Lamma Island, two on Hong Kong Island, two on the Saikung126 Peninsula and three or four in the rest of the New Territories. This work might well be taken in hand by someone younger, but it must be someone who is fond of walking; and walkers have a peculiar blind spot when it comes to the collection of this kind of evidence, for I have often had to draw the attention of my walking companions even to the most obvious systems of stone walls which they have been walking right past, or even over, without noticing. The Lo-A-Tsai grave is situated close by a path and the first time I passed it, in the company of five villagers, I asked them what it was though most of them used that path nearly every day, none had ever before noticed the grave! A piece which is of vital importance and may indeed be what holds the rest of our jigsaw puzzle together is the correct identification of occupied sites on the seashore. There are many ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1973 https://digitalrepository.lib.hku.hk/catalog/8910rj06r FIVE ART CATALOGUES BY 19TH CENTURY KWANGTUNG ART COLLECTORS CHUANG SHEN* Introduction: Chinese Paintings and the Compilation of Art Catalogues Although wall painting is the most historic form of Chinese painting, few of them survive today. With regard to other types of painting, Ku K'ai-chih's "Admonition of Court Ladies" (Nu-shih-chen t'u), a work executed in the fourth century Chin dynasty, is the earliest in date and exists in the form of a small handscroll. In the sixth century Sui dynasty, there appeared Chan Tzu-chien's "Spring Outing" (Yu-ch'un t'u), which is a large horizontal hanging scroll. During the seventh to ninth centuries T'ang dynasty, screens (both p'ing, unmovable; and chang, movable) were widely used. Viewing these in terms of practicality, no matter whether the format is a horizontal handscroll, or a vertical hanging scroll, or even a folding screen, they are all paintings with a portable form. Due to this portability and their much smaller size in comparison with wall painting, there has appeared ever since the fourth century a large number of art collectors in China. After the T'ang and the Sung dynasties, collecting ancient paintings became very popular; and when their collections grew to be quite sizable, art collectors began to feel a need to compile catalogues. According to documentary materials that are now known to us, the earliest painting catalogue is Pei Hsiao-yuan's "History of Imperial and Private Painting Collections in the Chen Kuan Era" (Chên-kuan kung-ssu hua-shih). This title, apparently dating from early T'ang, indicates that there was no clear-cut distinction between imperial and private collections, both being considered together for cataloguing purposes. However, by the Sung dynasty, we find this is no longer the case. * Mr. Chuang Shen (S. C. Chuang) is BA (Taiwan) and MA (Princeton) and Lecturer in the Chinese Department of the University of Hong Kong. ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1973 https://digitalrepository.lib.hku.hk/catalog/8910rj06r 108 CHUANG SHEN obtained under the entry of the 8th year in the Tao Kuang era (1828), "In the third month, my daughter named Hsi married Yeh Ying-ch'i". In chuan 2 of Wu Yung-kuang's Hsin-ch'ou hsiao-hsia chi, there is an entry about Mi Yu-jen's Yün-shan tê-l-t'u #4#★#, which according to Kung Kuang-tao's LAM Yüeh-hsüeh-lou shu-hua-lu *****, should bear a square seal, the text of which reads, "Nan-hai nu-shih Yeh Wu Hsiao-ho hsieh-yün-lou shu-hua-chih-yin” ✯✯✯±‡*+*Z*#‡‡<¢ "seal of calligraphies and paintings in the Hsieh-yün-lou collection of Madam Yeh Wu Hsiao-ho, native of Nan-hai”. Ho-wu is one of the style names of Wu Yung-kuang, and so he gave his daughter Wu Hsi the style name of Hsiao-ho. Furthermore, above Hsiao-ho's surname, it is added her husband's surname (Yeh). Thus it is evident that the Yün-shan tê-t-t'u was one of the items in her dowry when she was married off to Yeh Ying-ch'i. However, in the opening part of chuan 3 in Wu Yung-kuang's Shih-yün-san-jen fen-t'l-shih-hsuan, it is stated that one of the collators was his son-in-law, whose name, however, was recorded as Yeh Ying-hsin #44. 2 At the end of his Kêng-tzŭ hsiao-hsia-chi chiao-wên ✯TMIERZ - "Collatery Note of the Kêng-tzŭ hsiao-hsia-chi" Ho Cho put down the date of "K'ang Hsi kuei-ssu" which is equivalent to the 52nd year of the K'ang Hsi era (1713). Ho's collatery note can be found in Ku-hsüeh-hui-k'an **✰★, vol. II, No. V, published by Kuo-ts'ui hsüeh-pao shê @##★#, 1923, and reprinted by Li Hsing Book Co. ★1⁄2, Taiwan. (The collatery note is found in pp. 2585-2601 of this reprint.) 3 Pao T'ing-po's colophon, which is attached to the Kêng-tzŭ hsiao-hsia-chi, was completed in the 20th year of the Chien Lung era ✯✯ (1755). Yu Chi's colophon and Lu Wên-ch'ao's preface were both written in the 26th year of the Chien Lung era (1761). 4 There are altogether 18 collections in Chih-pu-tsu-chai ts'ung-shu ÞILIIT. The fourth collection includes only Sun Ch'êng-chê's Hsien-chê-hsüan-tieh-k'ao §**** (which is now attached to the end of Kêng-tzŭ hsiao-hsia-chi. However, it is included in the occasional publication of the Chih-pu-tsu-chai. Nowadays, an edition that was published separately in the 26th year of the Chien Lung era (1761) is available. 5 See Ssŭ-k'u-ch'üan-shu tsung-mu ti-yao **** chuan 113. Only the last sentence in this discussion is quoted here, since it already suffices to reflect the whole situation by this, "Though the man can be slighted, his writing is however something that we cannot pass over slightly." 6 A hand-written copy of the T'ing-fan-lou shu-hua-chi and its supplement is found in the collection of the Feng Ping-shan library, University of Hong Kong. 7 The Feng Ping-shan library in the University of Hong Kong has in its collection a wood block printed version of the T'ing-fan-lou shu-hua-chi in 5 chuan and its supplement in 2 chuan, the beginning section of both of which are missing. Therefore, the date and place when this catalogue was printed is now known. * The type printed version of the T'ing-fan-lou shu-hua-chi and its supplement is available in Mei-shu ts'ung-shu *#*# vol. IV, part VII. This catalogue was first printed by the Kuo-ts'ui hsüeh-shê # in the 3rd year of the Hsuan Tung era ✯ (1911). The second edition came out in 1928. The copy used in this paper is the fourth edition published by Shen-chou kuo-kuang shê **B£* in 1947. ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1974 https://digitalrepository.lib.hku.hk/catalog/x633mp077 62 CAROLE MORGAN Although, as we have seen, horses were hunted as early as the third millennium, there is still some controversy among experts as to whether horses were eaten by the Shangs. Certainly by Chou times the practice of eating horse meat had become prevalent enough to warrant an injunction in the Chou Li against eating bad horse flesh27 and a warning in the Li Chi that the taste of a horse with black hair growing along its spine is no better than that of a burrowing animal.28 In a book from the latter part of the third century B.C. called the "Travels of King Mu" we are told that King Mu, while on a journey through Western China, was offered 300 edible horses by the Chu Tse (✯✯) tribe, 900 by Tsao Nu (✯ ✯) and 700 by the Chih ( ),29 As for dogs they, along with pigs, constituted the major source of animal protein in ancient China. The Shuo Wen even gives a special character for dog's meat (1) written with the radicals for dog and flesh, while the Chou Li divides dogs into three categories: the tien chuan (□) or watch dog, the fei chuan (ok†) or barking dog and the chih chuan (✯✯) or edible dog.30 With the exception of the liver every part of the animal was considered edible.31 At the banquets of feudal lords a dish of dog's broth and glutinous rice was considered a great delicacy;32 for Summer dried fish fried in pungent dog's fat was thought to be cooling33 and when dog's meat was prepared as sacrificial meat it had first to be marinated in a mixture of vinegar and pepper.34 (Animals whose meat was used for sacrificial purposes were never referred to by name. Thus an ox was known as i yuan da wu (~✰✰✰) a head一元大武) on large feet; cocks as han yin (4) birds whose cry reaches heaven and dogs as gao hsien ( ‡**) animals used to make ancestor soup.35 The Emperor was required to eat dog's meat during the first three Autumn months36 and much later dog's meat was credited with the power of reducing fatigue and was recommended for scholars sitting for their examinations.37 Both edible dogs and horses were considered fit presents for the Emperor and feudal lords, although a pure white horse was deemed unsuitable, possibly because white was the colour of mourning.38 (The writer is more inclined to believe that since white horses were ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1975 https://digitalrepository.lib.hku.hk/catalog/j0995146d EMPLOYMENT OF FOREIGN MILITARY TALENT 119 into the family of the famous minister and military commander Ho Kuang.29 But the Han experience in employing outsiders had negative as well as positive effects. While Hsiung-nu might defeat their fellow barbarians in battle, they might also revolt against the Chinese—witness the uprising of the "Dutiful Barbarians of Huang-chang" (Huang-chung i-ts'ung hu) in 184 A.D. Financial inducements, honors—and even the Han practice of requiring barbarian soldiers to give up members of their families as hostages—did not always prove sufficient in controlling barbarians with conflicting interests or wavering fidelity.30 Yet on balance, China benefitted from the use of foreigners during the Han, and Chin Mi-ti, like Yu Yü, received the praise of later generations for his faithfulness and devotion to the Middle Kingdom. As a tribute to Chin's loyalty (and in acknowledgement that disloyalty was not a peculiar barbarian trait), the T'ang scholar, Ch'en Yen wrote: "In the case of the revolt and failure of Lu Wan and Shao-ch'ing [Li Ling] were they not barbarians? In the case of the loyalty of Chin Mi-ti, was he not a Chinese?”32 After the fall of Han, subsequent dynasties—both Chinese and foreign—used barbarians in numbers and positions appropriate to circumstance.33 The T'ang is especially noteworthy for its widespread use of aliens in various military and administrative capacities. Turkish tribes, particularly the Uighurs, became indispensable allies of the dynasty, fighting barbarians beyond China's frontiers as well as supplying troops for use against internal enemies. In 757, for example, the Uighur heir apparent (Yeh-hu) led some 4,000 Uighur cavalry forces successfully against the rebel An Lu-shan, for which he was honored with a long edict of praise, gifts, and substantial awards of title and rank.34 Other foreigners, employed permanently in the T'ang service, were such famous generals as Ch'i-pi Ho-li, Kao Hsien-chih, and Li K'o-yung. Ch'i-pi, the grandson of a Turkish (T'u-chüeh) khan, gained high rank and eventual enfeoffment as a duke for his military efforts against various barbarian tribes during the reign of Kao-tsung.35 Kao, a Korean whose father had been an officer in the Chinese army before him obtained numerous high military positions before he fell victim to intrigue following his defeat in the fateful Battle of Talas (751).36 Li was an opportunistic fourth-generation commander of Sha-t'o aristocratic background, whose father had ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1988 https://digitalrepository.lib.hku.hk/catalog/ft84gb83q Kon Territnews tanul Court Survey strice Nu Lot No. 179 Serial No. 4 門 a | 器 池 記 土名 一塊称 歆 Plate 15. A Chi Tsai printed on both sides. (photo courtesy of the Hong Kong Museum of History) 19 ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1997 https://digitalrepository.lib.hku.hk/catalog/wp98g7579 51 feet above sea level with the col being barred by a massive stone gateway. This was the Pass of the Wild Geese HEP, said by the local Cultural Site custodian to be one of the Three Passes facing Central Asia defended by the Yang family, and the main defensive point on the former main road, with its old track still visible winding up from the Chinese side and down to the Mongolian plain. The aged local custodian pointed out the location of the old temple and identified it as having been dedicated to Wu Lang. It was standing on the Chinese side of the gateway though all that remained of it, apart from the outline of the outer walls, were two tall marble flag-poles, several large inscribed tablets standing vertically on the backs of stone tortoises and a number of pieces of dressed stone and the entrance steps. A modern temple dedicated to Kuan Kung, the Patron both of Loyalty and of Shansi province, has been built on the northern side of the gateway, constructed since the Cultural Revolution. However, the old temple, according to the aged custodian and the local peasant back on the main road, had most certainly been dedicated to Yang Wu Lang whereas, according to a large coffee-table book on the temples and architecture of Shansi published by the Shansi provincial authorities, the old temple had been dedicated to Li Mu, with no mention whatsoever of Wu Lang. Li Mu, like Yang Yeh, was a soldier renowned for his valour in guarding the northern frontiers against incursions from Central Asia. Li Mu was a general of the state of Chao during the 3rd century BC who always maintained a defensive posture and, ridiculed for it by the enemy, the barbarian Hsiung Nu, a major warring race, he was removed by his Prince. His successor failed miserably; Li was recalled and after intense drilling of his forces Li decisively defeated the Hsiung Nu; he also routed the forces of the neighbouring state of Ch'in. Finally, the ruler of Ch'in [who later became the first emperor of China, Ch’in Shih Huang-ti] succeeded by means of bribes to induce the Prince of Ch'ao to dismiss his great general. Li refused to accept the order to stand down and was put to death. Three months later, in 229 BC, Ch'in declared war and carried off the Prince of Ch'ao, annexing his state. The question here is, which is correct? Folk memory claiming that the temple was dedicated to the 10th century hero, Yang Wu Lang or the official publication which claimed that the temple had been ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-2001 https://digitalrepository.lib.hku.hk/catalog/zg651950g CONTENTS PRESIDENT'S REPORT FRIENDS OF THE HKBRAS (UK) REPORT HON. AUDITOR'S REPORT HON. LIBRARIAN'S REPORT ARTICLES page xiv xxix xxxii xlii Norman Miners - Industrial Development in the Colonial Empire and the Imperial Economic Conference at Ottawa 1932... 1 Göran Aijmer - Earth God Wine and the Meeting of the Fluttering Butterflies: Local Customs of Early Spring in Late Imperial Central China... 25 Keith Stevens - The Popular Religion Gods of the Hainanese ........... 43 Valery Garrett - Chinese Baby Carriers: A Hong Kong Tradition Now Gone 95 Anthony Hedley and Alfred Lin - The Lugard Tribute............... 109 César Guillén-Nuñez - The Façade of St. Paul's, Macao: A Retable-Façade? Robert Nield - Bhutan - Why Not? 131 189 Ko Tim-keung - A Review of Development of Cemeteries in Hong: 1841-1950........ 241 Louis Ha and Dan Waters - Hong Kong's Lighthouses and the Men Who Manned Them 281 NOTES AND QUERIES Keith Stevens - A Tale of Sour Grapes: Messrs. Little and Mesny and the First Steamship Through the Yangzi Gorges 321 ix ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-2001 https://digitalrepository.lib.hku.hk/catalog/zg651950g Göran Aijmer, is Professor Emeritus of Social Anthropology at the University of Gothenburg, Sweden, and is currently associated with the Gothenburg Research Institute of the University. His research focuses on symbolic expression and articulation in fields such as politics, economy and religion. His regional projects have concerned southern China, Southeast Asia and Melanesia. He has worked in many universities, more recently in the Research School of Asian and Pacific Studies, Australian National University, Canberra, École des hautes études en sciences sociales, Paris, and the Sainsbury Research Unit, University of East Anglia, Norwich. His recent monographs are Ritual Dramas in the Duke of York Islands: Cantonese Society in a Time of Change (with Virgil K.Y. Ho) and New Year Celebrations in Central China in Late Imperial Times. Together with Jon Abbink, he has also edited Meanings of Violence (goran.aijmer@newyork.com). Sir David Akers-Jones, K.B.E., C.M.G., J.P., was a founding member of the reconstituted HKBRAS in 1960 and a former Chief Secretary of the Hong Kong Government. He is a noted sinophile (akersjon@pacific.net.hk). A.C. Bromfield, is an active member of HKBRAS. Chiu Hang Shi, is an active member of HKBRAS. Richard Garrett, M.A.(Cantab), C.Eng., F.I.C.E., F.I.Struct.E., F.H.K.I.E., is a director of an international firm of consulting engineers and has lived in Hong Kong since 1973. He has been a collector of antique arms and a member of the Arms and Armour Society of the U.K. for over 30 years. He has published a number of articles on the subject of early firearms. Valery Garrett, B.A., Post Grad. Dip. Des., is a Hon. Research Fellow at the Centre of Asian Studies, University of Hong Kong, and the author of six books on traditional Chinese clothing. She is a Council Member of the Royal Asiatic Society (vgarrett@hkucc.hku.hk). César Guillén-Nuñez, M.Phil., is a specialist in colonial Spanish and Portuguese art. He has degrees in the History of Art from the Courtauld Institute of Art, the University of Pennsylvania and University College, London. He is presently a research fellow at the Macau Ricci Institute (cgnunes@yahoo.com). Fr. Dr. Louis Ha, Ph.D., is the Archivist of the Catholic Diocesan archives and Chairman of the Hong Kong Archives Society. His Ph.D. was entitled The Foundation of the Catholic Mission in HK 1841-1894. Peter Halliday, M.A., Ph.D., is a former assistant commissioner of the Hong Kong xi ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-2001 https://digitalrepository.lib.hku.hk/catalog/zg651950g 158 The prolific use of symbols for the decoration of the façade and the mystical poetry thus created is typical of the way images were used in the decoration of carved wooden retables. It is a topic that could be elaborated at great length, although unfortunately it is not possible here. Conclusion In this talk I have endeavoured to elucidate my main contention concerning the façade of St. Paul's by pointing out the way certain of its principal features relate to retables, such as the uniquely decorative nature of its classical supports and the strongly Eucharistic connotations of its decoration. This fact connects it to Spanish retable-façades, a kind of structure not typically Portuguese but also appearing in Portuguese architecture at this time. Moreover, two significant artistic developments in Jesuit architecture in Portuguese India could be said to prefigure the originality of the façade of St. Paul's. Firstly, there is some evidence of incipient retable-façades decorating a few of the churches of the Society of Jesus in India in which the Arch of Triumph is used as principal decorative motif. Although not possible here, Secondly, at the turn of the century the Jesuits in India were willing to admit the use of a more elaborate artistic idiom for the façades of their churches, in contrast to the plain styles preferred in the Iberian Peninsula during the latter half of the sixteenth century. Hopefully my extended inquiry has provided convincing answers to the intriguing similarities I believe exist between the unusual features seen in the façade of St. Paul's and those more characteristic of a retable-façade, even if the façade discussed remains an elusive artistic work sui generis. NOTES Guillén-Nuñez, César, “The Relationship of the Façade of the Jesuit Collegiate Church of Madre de Deus, Macao, to Retable-Façades”, M.Phil. Thesis, University College London, 1997. Guillén-Nuñez, C., Macau (Images of Asia), Oxford University Press, Hong Kong, 1984, pp. 52-3. 2 Vid. Rafael Moreira, “As Formas Artísticas”, in História dos Portugueses no ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-2002 https://digitalrepository.lib.hku.hk/catalog/mp4901278 274 There also used to be an early Buddhist shrine dedicated to the former abbot of renown, Fa Hai, concealed in a cave on the hillock. In recent times the few foreign tourists visiting Zhenjiang have been perplexed by the description of Jin Shan being an island when it is so obviously part of the mainland. The reason is all too obvious. Alluvial silt left by the Yangzi floods down the past hundred and fifty years has not only completely joined the island to the mainland but also reclaimed part of the River, land now used for agriculture. 19th century western accounts of the town usually tended to begin with a description of the view from the Yangzi of the pagoda of the temple on the island of Jin Shan or, during the storming of the town by British forces in 1842, of troops being disembarked on the mainland across the strip of water at that time still separating Jin Shan from the mainland. According to Doré's description of the Jin Shan temple following his visit during the early days of the twentieth century, "the visitor was confronted on entering with the Falstaffian figure of the Buddha Maitreya [Mile Fo], the Buddha of the Future, squatting in his turret as guardian of the precincts. Behind him opens out a vast vestibule at the sides of which are four gigantic statues - about fifteen feet in height - of the Four Heavenly Kings, Si Da Jingang, inner guardians of the monks and the monastery. Crossing the inner court, one entered the great Hall. On the altar were two Buddhist triads. Facing North are gigantic statues of Sakyamuni, Yao Shi Fo and Mile Fo, the Buddhas of the Present, Past and Future. Beside Sakyamuni in the centre, stand his two disciples, the old Kasyapa and the young Ananda. Right and left of the altar are the two guardians Li, the Pagoda-bearer and Wei Tuo. Facing South is the Triad San Da Shi: Guan Yin, Wen Shu and Pu Xian. Guan Yin rides over the waves on a sea monster; near by are the rocks of her sacred isle, Pu Tuo and, in between these, sundry immortals and Buddhas were housed. The Golden Boy, Shan Cai and the Naga Maiden, Long Nu are conventionally in attendance on Guan Yin whom the authorities in the temple recognise as formerly having been a god - not a goddess". The second large Hall was the Hall of the Yangzi Spirit, Jiang Shen [Spirit of the River]. Serving as a military barracks at the time of Doré's visit “it retained of its former glories only one ordinary-sized statue of the god, in a lateral niche, viz. a fish about three metres in length carved in wood with a copper plaque providing the honorific ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-2003 https://digitalrepository.lib.hku.hk/catalog/2v242g390 183 VISIT TO MACAU MUSEUM OF ART. 26 OCTOBER 2003 A splendid day was enjoyed by the 28 participants on a visit to Macau on Sunday, 26 October 2003. Organised and led by the very knowledgeable and enthusiastic Council Member Jason Wordie, the purpose of the visit was to see the exhibition of George Smirnoff's watercolours, drawings and oil paintings at the Macau Museum of Art and to explore some of the places shown in the paintings. We were most fortunate to be joined for the day by Smirnoff's younger daughter, Nina Bieger, who remembers well the time her family spent in Macao in 1944 and 1945, when she was a child. Her memories, graciousness, and answers to our many questions added greatly to the pleasures of the day, making it a unique occasion. George Smirnoff was born in 1903 in Vladivostok. Educated as an engineer and architect, he worked in Harbin and Tsingtao. In 1939, he escaped to Hong Kong from the turmoil of Japanese-occupied northern China. Then, in 1944, with Hong Kong occupied by the Japanese, he and his family found refuge in Macau, where fortunately for posterity he was commissioned by Dr. Pedro José Lobo to paint a series of Macao scenes. These were the works we saw in this exhibition commemorating the centennial of Smirnoff's birth. César Guillén-Nuñez, who curated the first exhibition of Smirnoff's works in Macau almost twenty years ago, gave a brief introduction on the paintings themselves. When we left the Museum, we were each delighted to be presented with a hardcover copy of the exhibition book as a gift from the Museum, showing all of Smirnoff's works of art on display and giving fascinating historical information on his life. The book proved very useful when, after an excellent lunch at the Club Militar, Jason led us on a 3-hour walk through the back streets and parks of Macau to see many of the locations shown in the watercolours. It was amazing that many of the scenes had changed very little in the nearly 60 years that have passed since they were painted. And the time passed very quickly as we listened intently to Jason's explanations and Nina's recollections. Our heartfelt thanks to both of them for such a memorable day. ================================================================================