RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1993 https://digitalrepository.lib.hku.hk/catalog/66833t302 Lectures: 1993 16 April 14 May 11 June 9 July 15 October 30 October 19 November 26 November 9 December 1994 21 January 18 February 11 March 21 March Chinese Opera Di S.Y Chan Growing Up in China Mr Denis Bray New Territories Poetry and Song Di Patrick Hase The Li Family of Hong Kong Mr Frank Ching Chinese Festivals in Hong Kong. Dr Patrick Hase based on video taken by Mr. Peter Lee Mult-culturalism and Asia Asian Arts Society of Australia Dr. James Hayes Emigration from Hong Kong Dr. Elizabeth Sinn Law as a Foreign Language Professor Derek Roebuck Triad Societies in Hong Kong Mr. Ip Pau-fuk William Mesney. Mr Keith Stevens Chinese Clothing An Illustrated Guide Mis Valery Garrett Eternal Serenity Meaning of Architecture of the Chinese Buddhist Monastery Di Puay-peng Ho Ancient Chinese Gold Dr Simon Kwan Crossing the Taklamakan Desert Mr Charles Blackmore Visits: 1993 3 April 2 May 22 May 5 June/September 25 June 3 July 30 September Exhibition of paintings by Nancy Woo - Fung Ping Shan Museum, HK University Jewish Cemetery Mer Yung Tang Collection of Paintings by Chan Dai Chien Chinese University Art Gallery Marine Police Headquarters in Tsim Sha Tsui (two visits) Japanese Tea Ceremony - Fung Ping Shan Museum, HK University Picnic and outing to Yuen Tun Village Civil Aid Services Camp, Tar Lam Chung Wo Hang Village to see making and letting off of paper balloons (Moon Festival) ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-2003 https://digitalrepository.lib.hku.hk/catalog/2v242g390 219 Luoyang at Binglingsi (where a ferry took Silk Road travellers across the Yellow River) also shows influence from further west, this time from Gandhara (see below). These caves date from around 420. Indian influence was significant too in the magnificent complex of four hundred and ninety-two caves at Dunhuang, 'the art gallery in the desert', nearly fifteen hundred kilometres (as the crow flies) northwest of Chang'an. The practice arose at Dunhuang of travellers making offerings for a safe trip as they set off into the Taklamakan desert, or for a safe return, in the form of commissioning Buddhist devotional cave paintings. Dunhuang also became a monastic centre, particularly flourishing after the great fair at Zhangye (nine hundred kilometres northwest of Chang'an) in 609, which was sponsored and attended by the Chinese Emperor Yangdi. Among those who travelled to attend this fair were people from twenty-seven different nations, according to Tucker. This indicates the greater freedom of travel established by this period, and it is not surprising that Gandharan influence is to be seen in Dunhuang's paintings, although Tucker argues that their style is distinctively Chinese. Clearly, by the time of the Zhangye fair, the Silk Road was thriving. By then, Xinjiang Province (meaning 'New Dominion') had been firmly in Chinese hands for four centuries. The roaming hordes of nomads that had formerly menaced travellers on the routes through the Province had been brought to heel by Chinese military control and lines of forts extended west into the desert beyond Dunhuang. One of the most important power groups beyond the Taklamakan desert with which the Chinese had established good relations beginning with Wudi's efforts in 105 BCE was the Kushan Empire (c. 2nd century BCE to 3rd century AD), the territory of which straddled the Pamirs and the Hindu Kush, and is now occupied by Afghanistan, northern Pakistan, Uzbekistan, and Tajikistan. It had been established by a formerly nomadic tribe, the Yuezhi, which had settled after fleeing west from the nomadic Xiongnu. The Kushan Empire, with its provinces of Bactria and Gandhara, was the primary nexus of cross-cultural interaction along the Silk Road, straddling as it did the mountains and passes between the Indian subcontinent, Central Asia, Persia, and the plains and great river valleys draining northwest into Europe. It was in the Kushan cities of Peshawar (now in Pakistan) and Mathura (India), where magnificent schools of art emerged that blended western and eastern influences and that, in turn, spread further east into China. For example, in what is now the north of Pakistan, then known as Gandhara, Greek sculpture strongly influenced statues of ================================================================================