This is the first study to provide an overall interpretation of the Buddhist monument Borobudur in Indonesia. Including both the narrative reliefs and the Buddha images, the book opens up a wealth of information on Mahayana Buddhist religious ideas and practices that could have informed Borobudur and it convincingly interprets Borobudur within that context. Presenting new material, the book contributes immensely to a new and better understanding of the significance of the Borobudur for the field of Buddhist and Religious Studies.

Step into a Burmese temple built between the late seventeenth and early nineteenth centuries and you are surrounded by a riot of color and imagery. The majority of the highly detailed wall paintings displays Buddhist biographical narratives, inspiring the devotees to follow the Buddha’s teachings. Alexandra Green goes one step further to consider the temples and their contents as a whole, arguing that the wall paintings mediate the relationship between the architecture and the main Buddha statues in the temples. This forges a unified space for the devotees to interact with the Buddha and his community, with the aim of transforming the devotees’ current and future lives. These temples were a cohesively articulated and represented Burmese Buddhist world to which the devotees belonged. Green’s visits to more than 160 sites with identifiable subject matter form the basis of this richly illustrated volume, which draws upon art historical, anthropological, and religious studies methodologies to analyze the wall paintings and elucidate the contemporary religious, political, and social concepts that drove the creation of this lively art form. “Buddhist Visual Cultures, Rhetoric, and Narrative in Late Burmese Wall Paintings is truly a tour de force that allows us to see Burmese temple paintings of the Life of the Buddha and similar themes as an open-ended genre that, like literary discourse, participates in wider social, intellectual, and religious contexts.” —Juliane Schober, Arizona State University “Alexandra Green introduces this relatively unknown material and subjects it to sophisticated analysis. This study is major step towards creating a template that could be used for analyzing other late traditions of Buddhist painting.” —Janice Leoshko, University of Texas at Austin

Providing an overall interpretation of the Buddhist monument Borobudur in Indonesia, this book looks at Mahayana Buddhist religious ideas and practices that could have informed Borobudur, including both the narrative reliefs and the Buddha images. The author explores a version of the classical Mahayana that foregrounds the importance of the visual in relation to Buddhist philosophy, meditation, devotion, and ritual. The book goes on to show that the architects of Borobudur designed a visual world in which the Buddha appeared in a variety of forms and could be interpreted in three ways: by realizing the true nature of his teaching, through visionary experience, and by encountering his numinous presence in images. Furthermore, the book analyses a particularly comprehensive and programmatic expression of Mahayana Buddhist visual culture so as to enrich the theoretical discussion of the monument. It argues that the relief panels of Borobudur do not passively illustrate, but rather creatively "picture" selected passages from texts. Presenting new material, the book contributes immensely to a new and better understanding of the significance of the Borobudur for the field of Buddhist and Religious Studies.

Traditionally the "Chinese body" was approached as a totality and explained by sweeping comparisons of the differences that distinguished Chinese examples from their Western counterparts. Recently, scholars have argued that we must look at particular examples of Chinese images of the body and explore their intrinsic conceptual complexity and historical specificity. The twelve contributors to this volume adopt a middle position. They agree that Chinese images are conditioned by indigenous traditions and dynamics of social interaction, but they seek to explain a general Chinese body and face by charting multiple, specific bodies and faces. All of the chapters are historical case studies and investigate particular images, such as Han dynasty tomb figurines; Buddhist texts and illustrations; pictures of deprivation, illness, deformity, and ghosts; clothing; formal portraiture; and modern photographs and films. From the diversity of art forms and historical periods studied, there emerges a more complex picture of ways that the visual culture of the body and face in China has served to depict the living, memorialize the dead, and present the unrepresentable in art.

Post-Enlightenment notions of culture, which have been naturalized in the West for centuries, require that art be autonomously beautiful, universal, and devoid of any practical purpose. The authors of this multidisciplinary volume seek to complicate this understanding of art by examining art objects from across Asia with attention to their functional, ritual, and everyday contexts. From tea bowls used in the Japanese tea ceremony to television broadcasts of Javanese puppet theater; from Indian wedding chamber paintings to art looted by the British army from the Chinese emperor’s palace; from the adventures of a Balinese magical dagger to the political functions of classical Khmer images—the authors challenge prevailing notions of artistic value by introducing new ways of thinking about culture. The chapters consider art objects as they are involved in the world: how they operate and are experienced in specific sites, collections, rituals, performances, political and religious events and imagination, and in individual peoples’ lives; how they move from one context to another and change meaning and value in the process (for example, when they are collected, traded, and looted or when their images appear in art history textbooks); how their memories and pasts are or are not part of their meaning and experience. Rather than lead to a single universalizing definition of art, the essays offer multiple, divergent, and case-specific answers to the question "What is the use of art?" and argue for the need to study art as it is used and experienced. Contributors: Cynthea J. Bogel, Louise Cort, Richard H. Davis, Robert DeCaroli, James L. Hevia, Janet Hoskins, Kaja McGowan, Jan Mrázek, Lene Pedersen, Morgan Pitelka, Ashley Thompson.

The first scholarly monograph on Buddhist maṇḍalas in China, this book examines the Maṇḍala of Eight Great Bodhisattvas. This iconographic template, in which a central Buddha is flanked by eight attendants, flourished during the Tibetan (786–848) and post-Tibetan Guiyijun (848–1036) periods at Dunhuang. A rare motif that appears in only four cave shrines at the Mogao and Yulin sites, the maṇḍala bore associations with political authority and received patronage from local rulers. Attending to the historical and cultural contexts surrounding this iconography, this book demonstrates that transcultural communication over the Silk Routes during this period, and the religious dialogue between the Chinese and Tibetan communities, were defining characteristics of the visual language of Buddhist maṇḍalas at Dunhuang.

From the fourteenth through the nineteenth centuries Japanese monks created hundreds of maps to construct and locate their place in a Buddhist world. This expansively illustrated volume is the first to explore the largely unknown archive of Japanese Buddhist world maps and analyze their production, reproduction, and reception. In examining these fascinating sources of visual and material culture, author D. Max Moerman argues for an alternative history of Japanese Buddhism—one that compels us to recognize the role of the Buddhist geographic imaginary in a culture that encompassed multiple cartographic and cosmological world views. The contents and contexts of Japanese Buddhist world maps reveal the ambivalent and shifting position of Japan in the Buddhist world, its encounter and negotiation with foreign ideas and technologies, and the possibilities for a global history of Buddhism and science. Moerman’s visual and intellectual history traces the multiple trajectories of Japanese Buddhist world maps, beginning with the earliest extant Japanese map of the world: a painting by a fourteenth-century Japanese monk charting the cosmology and geography of India and Central Asia based on an account written by a seventh-century Chinese pilgrim-monk. He goes on to discuss the cartographic inclusion and marginal position of Japan, the culture of the copy and the power of replication in Japanese Buddhism, and the transcultural processes of engagement and response to new visions of the world produced by Iberian Christians, Chinese Buddhists, and the Japanese maritime trade. Later chapters explore the transformations in the media and messages of Buddhist cartography in the age of print culture and in intellectual debates during the eighteenth and nineteenth centuries over cosmology and epistemology and the polemics of Buddhist science. The Japanese Buddhist World Map offers a wholly innovative picture of Japanese Buddhism that acknowledges the possibility of multiple and heterogeneous modernities and alternative visions of Japan and the world.

The imperialist ambitions of China – which invaded Tibet in the late 1940s – have sparked the spectacular spread of Tibetan Buddhism worldwide, and especially in western countries. This work is a study on the malleability of a particular Buddhist tradition; on its adaptability in new contexts. The book analyses the nature of the Tibetan Buddhism in the Diaspora. It examines how the re-signification of Tibetan Buddhist practices and organizational structures in the present refers back to the dismantlement of the Tibetan state headed by the Dalai Lama and the fragmentation of Tibetan Buddhist religious organizations in general. It includes extensive multi-sited fieldwork conducted in the United States, Brazil, Europe, and Asia and a detailed analysis of contemporary documents relating to the global spread of Tibetan Buddhism. The author demonstrates that there is a "de-institutionalized" and "de-territorialized" project of political power and religious organization, which, among several other consequences, engenders the gradual "autonomization" of lamas and lineages inside the religious field of Tibetan Buddhism. Thus, a spectre of these previous institutions continues to exist outside their original contexts, and they are continually activated in ever-new settings. Using a combination of two different academic traditions – namely, the Brazilian anthropological tradition and the American Buddhist studies tradition – it investigates the "process of cultural re-signification" of Tibetan Buddhism in the context of its Diaspora. Thus, it will be a valuable resource to students and scholars of Asian Religion, Asian Studies and Buddhism.

In recent years, the study of modern Chinese religions has developed into a highly innovative yet challenging field. One of the main reasons for this involves an ongoing (and largely unresolved) debate regarding what methods and theories are appropriate for analyzing the wide range of beliefs and practices we encounter. This series of three volumes is based on the conviction that, in this critical period of research on modern Chinese religions, it is time for scholars to review the development of our field, reconsider its present state of theories and analytical models, and open a new chapter in the understanding of methodologies we employ. Our research is grounded on the need to re-evaluate concepts and practices that inform both the religious sphere and contemporary scholarship, including endogenous Chinese concepts and exogenous ideas from the West and Japan that have been foundational in shaping our knowledge of the Chinese religious landscape. In this third volume of our series, we examine a variety of key concepts through their praxis in modern Chinese lived religions.

"This is a detailed exploration of Buddhist Christian dual belonging, engaging - from both Buddhist and Christian perspectives - the questions that arise, and drawing on extensive interviews with well-known individuals in the vanguard of this important and growing phenomenon. The issue is pressing insofar the last century has witnessed a gradual but profound transformation of the West's religious landscape. In today's context of diversity, people are often influenced by more than one religion. Multireligious identities are consequently on the rise. At one end of the spectrum are those who identify themselves as fully belonging to more than one tradition. One of the most prevalent combinations is Christianity and Buddhism This book addresses central and fundamental questions. How is it possible to be authentically Buddhist and authentically Christian when, for example, God is central to Christianity yet absent from Buddhism; when Christians have faith in Jesus Christ while Buddhists take refuge in the Buddha; when Christians hope for heaven and Buddhists hope for nirvana; and when Buddhists and Christians engage in different practices? Are those who identify themselves as belonging to both traditions profoundly irrational, religiously schizophrenic, or perhaps just spiritually superficial? Or is it possible somehow to reconcile the thought and practice of Buddhism and Christianity in such a way that one can be deeply committed to both? And if it is possible, will the influence of Buddhist Christians on each of these traditions be something to be regretted or celebrated?"--