RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1961
https://digitalrepository.lib.hku.hk/catalog/vd6724704
Journal of the Royal Asiatic Society Hong Kong Branch

RASHKB and author

78

Vol. 1 (1961)

ISSN 1991-7295

son of Li Ching is Hui-an () who was a disciple of Kuan Yin (Bodhisattva Avalokitesvara), while his name, Mu-ch'a (*), is not mentioned except in one verse, and not in the prose part of Ch.21. This is the name the author of the Fêng-shên Yen-i adopted. The origin of the name Mu-ch'a can be found in chüan 18, Kan-t'ung P'ien (A) of the Sung Kao-sêng Chuan (***) by Tsan-ning (), who was a follower of the Monk Sangha (@). The latter was said to be an incarnation of the Avalokitesvara of eleven faces and died in A.D. 710. Apart from Mu-ch'a, Hui-an was also one of his disciples. Therefore, in popular literature, Mu-ch'a and Hui-an are mixed up into one person and in the "Four Travels" Hui-an remains a disciple of Kuan Yin. It was the author of the Fêng-shên who changed the character ch'a (X) to cha (RE) in his novel so that the name could have the same second character as No-cha. In some popular editions of the "Four Travels" the character ch'a (X) has also been changed.

Now, in the Tantric works, though the second and third sons of Vaisravana (Tu Chien and Nata) play rather important parts, his other sons, especially his first son, are not mentioned. I have read through a large number of sutras about Vaisravana and consulted some Buddhist scholars in Japan,1a but they could not give me any definite opinion. In Oda Tokuno's (1) Buddhist Thesaurus (#) and in the Chinese work Fu-hsüeh Ta Tz'u-tien (BAND) edited by Ting Fu-pao (TR) based upon it,19 we find that the names of P'i-sha-mên wu t’ung-tzu (£££7 Five Attendants of Vaisravana) include Tu Chien and Nata, but no origin is given. I think they may be identical with the "Five Yakshas" which appear under the sub-title "Princes and Family Members" (ERB) in Caturmaharaja (19F諸小王及眷屬)in E) in chuan 6 of the Ch'i Shih Ching (). They are, in translation, Fifty-feet (wu-chang £), Wilderness (k'uang-yeh ), Golden Mountain (chin-shan ), Long Fellow (ch'ang-shên ) and Hair of A Needle (chên-mao E). They appear (translated literally from the Sanskrit) also in the Caturmaharaja of the Shih Chi Ching (H) and in chüan 19 of the Dirghagama (£§ÂŒ) as "Five Attending Genii of Vaisravana.”

20

I Dr. Henmi Baiei), Professor of Buddhist Art, Tama University (9) and others. I have also consulted the Chinese Buddhist priest Tan-hsü (1), aged 89, a disciple of the late T'i-hsien (M) of the Tien-t'ai Sect (R) and some Tantric scholars.

19 The 4th ed., I Hsieh Shu Chũ (885), Shanghai, 1939.

20 No. 24, The Tripitaka in Chinese, translated by Jñanagupta. cf. No. 25, Ch'i-shih Yin-pên Ching (#LFXE), chữan 6 & 7.
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RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1973
https://digitalrepository.lib.hku.hk/catalog/8910rj06r
88

CHUANG SHEN

chuan; completed in the 16th year of the Shun Chih era, 1659); Wu Ch'i-chên's Shu-hua-chi (6 chüan; completed in the 16th year of the K'ang Hsi era, 1677); Kao Shih-ch'i's (1645-1704) Chiang-ts'un hsiao-hsia-lu (3 chuan; completed in the 32nd year of the K'ang Hsi era, 1693); and Miu Yüeh-tsao's (1682-1761) Yü-i-lu (6 chuan; completed in the 11th year of the Yung Chêng era, 1733). During the prosperous period of Ch'ing, there were Lu Shih-hua's (1714-1779) Wu-yüeh so-chien-shu-hua-lu (6 chüan; completed in the 41st year of the Chien Lung era, 1776); Chen Cho's Hsiang-kuan-chai yü-hsiang-pien (12 chüan; completed in the 47th year of the Chien Lung era, 1782). In mid Ch'ing, more works of this kind appeared, such as Pan Shih-huang's Hsü-ching-chai yün-yen-kuo-yen-lu (1 chüan; completed in the 9th year of the Tao Kuang era, 1820); Chang Ta-yung's Chih-i-chai shu-hua-lu (30 chüan; completed in the 12th year of the Tao Kuang era, 1832); Tao Liang's (1772-1857) Hung-tou-shu-kuan shu-hua-chi (8 chüan; completed in the 16th year of the Tao Kuang era, 1836); and Hu Chi-t'ang's Pi-hsiao-hsüan shu-hua-lu (2 chüan; completed in the 19th year of the Tao Kuang era, 1839). Still more were published during the late Ch'ing period. These were: Han Tai-hua's Yü-yü-t'ang shu-hua-chi (4 chüan; completed in the first year of the Hsien Fêng era, 1851); Chang Kuang-hsü's Pieh-hsia-chai shu-hua-lu (4 chüan; completed in the 4th year of the T'ung Chih era, 1865); Li Tso-hsien's Shu-hua-chien-yin (24 chüan; completed in the 10th year of the T'ung Chih era, 1871); Fang Chün-i's Mêng-yüan shu-hua-lu (24 chüan; completed in the first year of the Kuang Hsü era, 1875); Hsieh K'un's Shu-hua-so-chien-lu (3 chüan; completed in the 6th year of the Kuang Hsü era, 1880), Ko Chin-liang's Ai-jih-yin-lu shu-hua-lu (4 chüan; completed in the 7th year of the Kuang Hsü era, 1881); Lu Hsin-yüan's (1834-1894) Jang-li-kuan kuo-yen-lu (40 chüan; completed in the 18th year of the Kuang Hsü era, 1892); and Shao Sung-nien's Ku-yüan-ts'ui-lu (18 chüan; completed in the 29th year of the Kuang Hsü era, 1903).
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RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1973
https://digitalrepository.lib.hku.hk/catalog/8910rj06r
94

CHUANG SHEN

It should be noted here that the Shih-ku-t'ang hua-k’ao was completed in the 21st year of the K'ang Hsi era, and Kao Shih-ch'ï's Chiang-ts'un hsiao-hsia-lu, in the 32nd year of the K'ang Hsi era. Thus there were eleven years in between. As early as the 21st year of the K'ang Hsi era, Pien Yung-yü had already begun to record the measurements of painting, use the regular script to transcribe the seal text, and squares and rectangles to represent the original shape of the seals. Therefore, the Chiang-ts'un hsiao-hsia-lu was not as Wu Yung-kuang stated "the first catalogue that recorded the measurements of scrolls and paintings". Furthermore, neither did the method of "enclosing seal text transcribed in the regular script by lines" to record seals that appeared on paintings, as had been extolled by Wu Yung-kuang as the "best" method, originate from Kao Shih-ch'i. Kao was only one of those early art catalogue compilers who followed Pien's systems. However, in regard to these two compilers' writings, owing to the fact that no matter on the subject of the classics or literature, Kao by far out-numbered Pien in quantity. His reputation as a connoisseur was also far higher than Pien's. It was probably because of these reasons that Wu Yung-kuang only noticed Kao's Chiang-ts'un hsiao-hsia-lu and overlooked Pien's Shih-ku-t'ang hua-k'ao. Consequently Wu's editing methods adopted in his Hsin-ch'ou hsiao-hsia-chi followed exactly those of Chiang-ts'un-hsiao-hsia-lu. Undoubtedly, the editing methods adopted by Wu were the most perfect ones in the compilation of art catalogues. However, the fact that he was only aware of Kao Shih-ch'i and not Pien Yung-yü seems to show that he had put a wrong emphasis on the first and last, which is something regrettable.

A catalogue that was completed earlier than the Hsin-ch'ou hsiao-hsia-chi was: Yeh Meng-lung's Fêng-man-lou shu-hua-lu. Unfortunately, Yeh Mêng-lung did not give any introductory note to explain his editing system. Therefore it is not known whether his inclusion of the five essential elements i.e. measurements, material, format, seals and colophons was under the influence of Pien Yung-yü or Kao Shih-ch'i. However, since Yeh and Wu were not only good friends, but also later became relatives1, it is possible that when compiling his Fêng-man-lou shu-hua-lu, Yeh Mêng-lung was somehow influenced by Wu Yung-kuang. Thus like Wu Yung-kuang, Yeh's adoption of the five essential elements was probably under the influence of Kao Shih-ch'i and not directly from Pien Yung-yü.
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RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1973
https://digitalrepository.lib.hku.hk/catalog/8910rj06r
96

CHUANG SHEN

Thus, instead of saying that the compilation method of the T'ing-fan-lou shu-hua-chi was an imitation of the system used in Wu Yung-kuang's art catalogue, rather, it would be more appropriate to say that Pan compiled it according to his own ideas,

Thirdly, if this assumption is reasonably correct, then the fact that Pan, in the preface of his T'ing-fan-lou shu-hua-chi regarded Kao Shih-ch'i's Chiang-ts'un hsiao-hsia-lu as one of the representative art catalogues in the Ch'ing dynasty was due to his high esteem for Kao's work, which incidentally was a view shared by Wu Yung-kuang. Moreover, it is possible that he came under Wu's influence while undertaking the collating work for the Hsin-ch'ou hsiao-hsia-chi, thus regarded Kao Shih-ch'i's work of special importance.

Fourthly, Pan Chêng-wei considered Sun Ch'êng-chê's Kêng-tzu hsiao-hsia-chi and Kao Shih-ch'i's Chiang-ts'un hsiao-hsia-lu as the most representative art catalogues compiled in early Ch'ing. This point of view is worth our notice. It should be noted that though Sun's catalogue was completed in the 16th year of the Shun Chih era (1659), it was being collated only less than a century after its publication, by Ho Cho2 (1661-1722), a well-known scholar of the Chiang Nan district21 and active in the K'ang Hsi era. Moreover, in the Chien Lung period, distinguished scholars like Lu Wên-ch'aoAx 3 (1717-1795), Pao T'ing-po3* ty (1728-1814) and Yu Chi (1738-1823) at one time or other wrote prefaces and colophons for this catalogue3, and in particular, Pao T'ing-po even included it in his Chih-pu-chü-chai ts'ung-shu1 * F & *** in order to publicize it. Not long afterward, it was well appraised by the Ssu-k'u-ch'uan-shu tsung-mu t'i-yao★ATAIRE, an official catalogue completed in the 48th year of the Chien Lung era. Thus, it can be seen that during the 124 years between the 16th year of the Shun Chih era and the 48th year of the Chien Lung era, in regard to the connoisseurship of painting and calligraphy, no matter whether it was in Chiang Nan or in the capital, and regardless of whether privately or officially, there was no one who did not consider Sun Ch'êng-chê's Kêng-tzŭ hsiao-hsia-chi as an important work for reference,

However, the situation was not quite the same in Kwangtung. Probably up to the Chien Lung era, no Kwangtung scholar had ever noticed the Kêng-tzŭ hsiao-hsia-chi. Even Wu Yung-kuang and Yeh Mêng-lung, relatives who both served for a long time in the
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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 

97

capital during the Chia Ch'ing and Tao Kuang eras, did not seem to be aware of the significance of the Kêng-tzu hsiao-hsia-chi. This was why when quoting a representative work among the art catalogues completed in the Ch'ing dynasty, Wu Yung-kuang only commended Kao Shih-ch'i's Chiang-ts'un hsiao-hsia-lu, and completely ignored Sun Ch'êng-chê's Kêng-tzu hsiao-hsia-chi. Finally it was only when Pan Chêng-wei wrote the preface for his own T'ing-fan-lou shu-hua-chi in the 23rd year of the Tao Kuang era (1843) that for the first time Sun and Kao's works were given equal attention. In other words, whilst Sun's Kêng-tzu hsiao-hsia-chi had already aroused attention among the scholars of Chiang Nan only half a century after its publication, it had to wait 184 years after its publication to be brought to the notice of Kwangtung art collectors. If Wu Yung-kuang's introduction of Kao Shih-ch'i's Chiang-ts'un hsiao-hsia-lu to Kwangtung can be regarded as some kind of contribution to the art collectors in his native place, then Pan Chêng-wei's recommendation of Sun Ch'êng-chê's Kêng-tzu hsiao-hsia-chi should in the same way be said to be one of his contributions to the Kwangtung art collectors. It was probably because of Pan's high recommendation of the Kêng-tzu hsiao-hsia-chi that this book later attracted the attention of two other Kwangtung art collectors. Therefore, although in the Chia Ch'ing and Tao Kuang eras, the earlier Kwangtung art collectors Wu Yung-kuang and Yeh Mêng-lung were not fully aware of the significance of the Kêng-tzu hsiao-hsia-chi, it seems that in the Hsien Fêng era, however, the later Kwangtung art collectors Liang Ting-nan and Kung Kuang-tao began to show a certain degree of respect for Sun's catalogue. Evidence for this can be obtained in the compilation system adopted in the art catalogues compiled by Liang and Kung.

Now let us examine the editing system set down in Liang Ting-nan's T'êng-hua-t'ing shu-hua-pa and Kung Kuang-tao's Yüeh-hsüeh-lou shu-hua-lu. In the former there is a preface written in the 5th year of the Hsien Fêng era (1855) by Liang T'ing-nan himself, the last part of which reads,

This time when I came again to the province, I lived in seclusion ... I decided to keep this part after making a revision. As to this edition, I would not dare to compare it with the two works compiled by Sun and Kao respectively. Moreover, in the matter of the editing system, my book differs from theirs on many points.
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RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1975
https://digitalrepository.lib.hku.hk/catalog/j0995146d
BOOK REVIEWS

341

16 This mountain is clearly marked in the map (pl. CXIV of Vol. II) of the book review. In addition, according to Chun kuo ku-chin ti-ming ta tzu-tien "Dictionary of Ancient and Present Place Names in China", edited by Tsang Li-ho and others (1933, 2nd edition, Shanghai), p. 135, Mt. Tien-chu is at the northwest of Chien-shan in the present western An-hui Province.

17 In Tung Shih-heng's Li-tai chiang-yu hsing-shih i-lan-t'u (1914, Shanghai), Map 3 (Chan-kuo ch'i-hsung-t'u A Map of the Seven Strong States during the Warring States period); again in Watari Yanai's Toyo Tokushi Chizu (1934, 3rd edition, Tokyo), Map 3; also in Albert Herrmann's A Historical Atlas of China (1966, 2nd edition, Chicago), Map 8 (The Contending States), the Huai River area is always marked as part of the territory of the State of Ch'u.

18 This is to be seen in Fujiwara Sosui's Chokuoku shoho rokutai dai-jiten, Dictionary about Six Different scripts of Chinese calligraphy, (1960, Tokyo), pp. 615-616.

19 See Chin Shu, History of the Chin Dynasty (1974, Peking punctuated edition), Chüan 40, (in Book V), p. 1366.

20 Ibid., p. 1359.

21 For the latest findings of scholars of this small circle, see Ho Ch'i-min: "Chu-lin ch'i-hsien yen-chiu" "A study of the Seven Talents of the Bamboo Grove", 1966, Taiwan.

22 Po-hsüeh hung-tz'u. This examination, initiated in 731, the 19th year of the K'ai-yüan era during Emperor Hsüan-tsung's reign in the Tang Dynasty was during the Ch'ing Dynasty confined to some limited candidates primarily recommended by the Education Department in each province.

23 For sound scholarship on the economic importance of Yang-chou during the Ch'ing Dynasty, see Prof. Ho Ping-ti: "The Salt Merchants of Yang-chou: A Study of commercial capitalism in Eighteenth century China", in the Harvard Journal of Asiatic Studies (1954, Cambridge), Vol. 17, pp. 130-168.

24 Tsang Li-ho and others, op. cit., p. 923.

25 The edition that the reviewer used is the Yüeh-ya-t'ang ts'ung-shu edition, first wood-blocked in Canton in 1850.

26 The Chinese title reads: "44415447".
焦山看月分得辇字

27 In Chiao-shan chi it is to be found in p. 1b-p. 2a, while in Fan-hsieh shan-fang chi, (1937, Shanghai), hsü-chi (a supplementary collection), chüan 7, pp. 359-360 (In the Kuo-hsüeh chi-pen ts'ung-shu edition).

28 The Chinese title reads: "9493A7”.
同作分得月字“

29 In Chiao-shan chi it is to be found in p. 9a-9b, while in Fan-hsieh shan-fang chi it is in hsü-chi, chüan 7, p. 360.

30 In Ma Yueh-kuan's own Sha-ho i-lao hsiao-kao (also the Yüeh-ya-t'ang ts'ung-shu edition), it is to be found in chüan III, p. 17a-17b.

31 The Chinese title reads: "宿佛日淨慈". It is to be found in Fan-hsieh shan-fang chi, chüan 7, p. 134.
倪龍瘢痕

32 The Chinese title reads: “晚起 撖上人導行黃萬峯下 倪龍瘢泉 尋龍”. It is in Fan-hsieh shan-fang chi, chüan 7, p. 134.

33 The Chinese title of this poem reads: "...". It is to be found in Fan-hsieh shan-fang chi, chüan 7, p. 135.
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RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1989
https://digitalrepository.lib.hku.hk/catalog/8336pm92h
52

A second legend also tells of five scholars, again during the T'ang dynasty, on their way to the capital to take the imperial examinations when they overheard demons plotting to poison a village well with pestilence pills. The villagers themselves would not believe the scholars so the five jumped into the well and polluted it with their corpses. The Jade Emperor was impressed by their self-sacrifice and appointed them Pestilence Wang Yeh. This story was originally specifically told by people from Ch'uanchou in Fukien.

A third legend claimed that five men, Li, Chih, Wu, Chu and Fan became blood brothers in order to serve the man who, after his military campaign, established the T'ang dynasty and became its first emperor, Kao Tsu. The five were appointed to various offices of state, served the country well, and after they died were appointed Celestial Inspectors, known colloquially as Pestilence Princes, Wen Wang (HE).

Two further legends date the origins of the Pestilence Wang Yeh to the Ming, some four hundred and sixty years after the T'ang. The first tells of 36 literati ordered by an early Ming emperor to travel forth beyond the borders of China to tell the world about China's greatness and in particular about the history of the great Tang dynasty. On one of the voyages all 36 were lost in a storm at sea and according to one of the surviving sailors, an auspicious pink cloud drifted over the roaring waves and celestial music was heard as the 36 were borne aloft. The emperor ordered a new ship to be built to be called the Ship of the Wang Yeh into which was placed a tablet for each of the 36 together with a decree personally written by the emperor requiring the officials at every port where the ship docked to welcome and honour the spirits of the dead literati.

Yet another local legend claims that towards the end of the Ming era five literati, Chih, Li, Chu, Hsing and Chin, on their way to invigilate at the local imperial examinations at Ch'uanchou fell ill and died of plague. They lost their lives in the service of the people of the town and have been worshipped ever since as the Five Excellencies (Wu Fu Wang Yeh).

In a popular story teller's tale, the Feng Shen Pang, recorded during the Ming dynasty, Lu Yueh, a Taoist with his four disciples fought for the last of the Shang dynasty against the Chou forces, using germ warfare (pestilence weapons). All five were on the losing side and
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RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1990
https://digitalrepository.lib.hku.hk/catalog/d79206299
346

DIALOGUE IN FIVE STAGES. Cambridge (Mass) Harvard University Press, 1988. 160 pp. Notes. Bibliography. Index. This series of five Edwin O. Reishauer lectures delivered by the doyen of 20th century China scholars covers the five stages of the development of the great East Asian civilization: the classical legacy, the Buddhist age, the Neo-Confucian stage, East Asia's modern transformation, and the post-Confucian era, with a chapter on East Asia and the West. The book should be in the library of every individual seriously interested in China past and present.

O'Brien, Kevin J, REFORM WITHOUT LIBERALIZATION: CHINA'S NATIONAL PEOPLE'S CONGRESS AND THE POLITICS OF INSTITUTIONAL CHANGE, Cambridge: Cambridge University Press, 1990. 263 pp. Notes. Bibliography. Index. This is a pioneer work in which the author traces the development of the National People's Congress in the context of political and institutional changes in contemporary China.

Endicott-West, Elizabeth, MONGOLIAN RULE IN CHINA: LOCAL ADMINISTRATION IN THE YUAN DYNASTY, Cambridge (Mass): Harvard University Press, 1989. 217 pp. Appendices. Notes. Bibliography. Glossary. Index. This enlightening work examines the local government in China before the rule of the Mongols, and what changes and developments there were during the Yuan dynasty. The discourse on the issue of centralization should provide informative reading, especially in conjunction with Dardess' work noted above, and with Tung-tsu Ch'u's Local Government in China Under the Ch'ing.

Kao, Charles K, A CHOICE FULFILLED: THE BUSINESS OF HIGH TECHNOLOGY, Hong Kong: The Chinese University Press, 1991. 203 pp. Glossary. Written with the interested general reading public in mind, this book traces the development of intricate technologies for the age of information in comprehensible language. Professor Kao, a highly respected electrical engineer who has made valuable contributions in transferring scientific and technological knowledge to everyday use, is renowned as the 'Father of Fiber Optics'. He concludes with great optimism that science and technology will provide the world's population with great opportunities for exploiting the world's resources to their fullest extent. Each essay in the book is introduced with a witty drawing.
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RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-2003
https://digitalrepository.lib.hku.hk/catalog/2v242g390
NOTES AND QUERIES

Photos from the HKBRAS trip to Canton, October, 2003..... 163

HKBRAS visit to Macau on 26th October 2003 to see an exhibition of George Smirnoff's watercolours of Macau 183

Michael Gillam - The making of Cornell Plant the pilot 185

David Mahoney - The history of the Belilios Star: Hong Kong's own life-saving medal .... 201

Keith Stevens - Yet another angle on the Chinese Labour Corps in France, 1918

Dan Waters - The Middlesex ("Tyndareus') Stone

BOOK REVIEWS 205

... 207

Full Circle: A Life with Hong Kong and China, Ruth Hayhoe, Introduction by Mark Bray and Ora Kwo, Comparative Education Research Centre, The University of Hong Kong, Hong Kong, 2004 (reviewed by Gillian Bickley) 213

The Silk Road, Art and History, Jonathan Tucker, Philip Wilson Publishers, 2003 (reviewed by Elizabeth Teather)....... 217

OBITUARY

Ian Diamond, 1924-2004 XV 225

Page 15

Page 16
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213

BOOK REVIEWS

Full Circle: A Life with Hong Kong and China

Ruth Hayhoe

Introduction by Mark Bray and Ora Kwo

Comparative Education Research Centre, The University of Hong Kong

Hong Kong, 200

ISBN 962 8093 31,2

276pp.

HK$200/US$32

Few westerners in history have become as knowledgeably inculturated into respect for China and Chinese ways as Ruth Hayhoe has, or achieved her high level of trilingual Chinese skills.

Centuries ago, the Jesuits adopted Chinese ways in order to convert China to Roman Catholicism. Some wore Chinese clothes and traveled in state like Confucian scholar-administrators, borne in palanquins preceded by attendants carrying their books. In the end, the Roman hierarchy thought they had gone too far, and the Order was suppressed.

Hayhoe wears the occasional mandarin collar, has written or edited several books and numerous articles, which could well be borne in state, and for just over four years, as a senior member of the educational hierarchy, enjoyed an official car in Hong Kong. But her avowed purpose is sometimes the opposite of that which compelled the Jesuits in the past. She wishes to bring Chinese knowledge (pp. 126, 251) -- and 'Asian ways of knowing' (pp. 20, 239) -- to the rest of the world. At other times, she looks for an equal balance; for, ‘an ideal set of relations between China and western countries, characterised by mutuality and ordered around the values of autonomy, equity, solidarity and participation.' (p. 117)

This Autobiography gives a description of how Hayhoe's inculturation took place and also expresses the illumination she found when writing this account of selected strata of her life. Although she tells us that when she left Canada for her first visit to Hong Kong, in June 1967, 'China meant nearly nothing to me' (p. 64), elsewhere she explains that, as she wrote this book, she came to feel that all her
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