In China Buddhism flourished during the Liang Dyansty (502–587) due in large part to Emperor Wu, who personally met with Bodhidharma, the 28th Indian patriarch from Shakyamuni Buddha. Legend has it that Emperor Wu’s first wife died prematurely and fell into the lower realms. In order to rescue her and to help her spirit ascend to the heavens, Emperor Wu, a great patron of Buddhism, had Chan Master Baozhi compose a repentance ceremony on her behalf. The resulting repentance text was so successful and popular that it is still used in monasteries today. Repentance Dharma of Kindness and Compassion in the Bodhimanda is a complete English translation of what is popularly known as “The Jeweled Repentance of the Emperor of Liang.” It was translated over a period of 15 years by the monks, nuns and laity of the Buddhist Text Translation Society (BTTS). BTTS was founded in 1970 in San Francisco by Tripitaka Master Hsuan Hua as part of the Dharma Realm Buddhist Association. BTTS publishes sutra translations, instructional handbooks, biographies, children’s books, and introductory material on Buddhism.

Since the 1970s, tens of thousands of Vietnamese immigrants have settled in Louisiana, Florida, and other Gulf Coast states, rebuilding lives that were upended by the wars in Indochina. For many, their faith has been an essential source of community and hope. But how have their experiences as migrants influenced their religious practices and interpretations of Buddhist tenets? And how has organized religion shaped their understanding of what it means to be Vietnamese in the United States? This ethnographic study follows the monks and lay members of temples in the Gulf Coast region who practice Pure Land Buddhism, which is prevalent in East Asia but in the United States is less familiar than forms such as Zen. By treating the temple as a site to be made and remade, Vietnamese Americans have developed approaches that sometimes contradict fundamental Buddhist principles of nonattachment. This book considers the adaptation of Buddhist practices to fit American cultural contexts, from temple fundraising drives to the rebranding of the Vu Lan festival as Vietnamese Mother’s Day. It also reveals the vital role these faith communities have played in helping Vietnamese Americans navigate challenges from racial discrimination to Hurricane Katrina.

This volume studies the evolution of Chinese art during the Qin and Han Dynasties, The Three Kingdoms, Eastern and Western Jin, and the Northern and Southern Dynasties. It traces the initial artistic vocabularies of Chinese calligraphy as well as the rapid development of the performing and the decorative arts. A General History of Chinese Art comprises six volumes with a total of nine parts spanning from the Prehistoric Era until the 3rd year of Xuantong during the Qing Dynasty (1911). The work provides a comprehensive compilation of in-depth studies of the development of art throughout the subsequent reign of Chinese dynasties and explores the emergence of a wide range of artistic categories such as but not limited to music, dance, acrobatics, singing, story telling, painting, calligraphy, sculpture, architecture, and crafts. Unlike previous reference books, A General History of Chinese Art offers a broader overview of the notion of Chinese art by asserting a more diverse and less material understanding of arts, as has often been the case in Western scholarship.

In its role as a scriptural charter, vinaya has justified widely dissimilar approaches to religious life as Buddhist orders in different times and places have interpreted it in contradictory ways. In the resulting tension between scripture and practice, certain kinds of ceremonial issues (such as those involving lineage, seniority, initiation, purification, repentance, visualization, vows, ordination) acquire profound social, psychological, doctrinal, and soteriological significance in Buddhism. Going Forth focuses on these issues over a wide sweep of history—from early fifth-century China to modern Japan—to provide readers with a rich overview of the intersection of doctrinal, ritual, and institutional concerns in the development of East Asian Buddhist practices. Despite the crucial importance of vinaya, especially for understanding Buddhism in East Asia, very little scholarship in Western languages exists on this fascinating topic. The essays presented here, written by senior scholars in the field, go beyond the timeworn method of relying on prescriptive accounts in the scriptures to describe what imaginary Buddhists must have done (or do). Rather, they address how actual people responded to local social and cultural imperatives by reading scripture in innovative ways to give new life to tradition. They place real people, practices, and institutions at the center of each account, revealing both diversity and unity, continuity and transformation, in Buddhist customs. The result is a well-integrated, accessible work—relevant for Buddhist studies, but with wider implications for anyone interested in East Asian cultural heritage. Contributors: T. H. Barrett, William Bodiford, David W. Chappell, James C. Dobbins, Daniel A. Getz, Paul Groner, John R. McRae, Morten Schlütter, Nobuyoshi Yamabe, Yifa.

This comprehensive study explores the dynamic spread of Buddhist print culture in China and its Asian neighbors. It examines a vast selection of Buddhist printed images and texts, not merely as static cultural relics, but holistically within multicultural contexts related to other cultural products, and as objects on the move, transmitted across a sprawling web of transnational networks, “Buddhist Book Roads”. The author applies interdisciplinary and network approaches developed in art history, religious studies, digital humanities, and the history of the print and book culture to shed new light on Buddhist print culture from visual, textual, social, and religious perspectives.

Drawing on his personal experience of growing up exposed to the rituals of Chinese Buddhism, and yet embracing Catholicism and being ordained a Jesuit priest, Fr. Ari Dy ventures to examine Chinese Buddhism in the Philippines, analyzing its adaptation to the Philippines and its contribution to conceptions of Chinese identity.

The book aims to describe the history of Chan (Japanese Zen) School thought from the standpoint of social history. Chan, a school of East Asian Buddhism, was influential on all levels of societies in the region because of its intellectual and aesthetic appeal. In China, Chan infiltrated all levels of society, mainly because it engaged with society and formed the mainstream of Buddhism from the tenth or eleventh centuries through to the twentieth century. This book, taking a critical stance, examines the entire history of Chan thought and practice from the viewpoint of a modern Chinese scholar, not a practitioner, but an intellectual historian who places ideological developments in social contexts. The author suggests that core elements of Chan have their origins in Daoist philosophers, especially Zhuangzi, and not in Indian Buddhist concepts. Covering the period from the sixth century into the twentieth century, it deals with Chan interactions with neo-Confucianism, Quanzhen Daoism, and Gongyang new text philology, as well as with literature and scholarship, its fusion with Pure Land Buddhism, and its syncretic tendencies. Chan’s exchanges with emperors from the Song, Yuan, Ming, and Qing Dynasty, as well as the motives of some loyalists of the Ming Dynasty for joining Chan after the fall of the Ming, are described. The book concludes with an examination of the views of Chan of Hu Shi, D.T. Suzuki, and the scholar-monk Yinshun.

This book presents a multi-sited ethnographic study of the global development of the Taiwanese Buddhist order Fo Guang Shan. It explores the order’s modern Buddhist social engagements by examining three globally dispersed field sites: Los Angeles in the United States of America, Bronkhorstspruit in South Africa, and Yixing in the People’s Republic of China. The data collected at these field sites is embedded within the context of broader theoretical discussions on Buddhism, modernity, globalization, and the nation-state. By examining how one particular modern Buddhist religiosity that developed in a specific place moves into a global context, the book provides a fresh view of what constitutes both modern and contemporary Buddhism while also exploring the social, cultural, and religious fabrics that underlie the spatial configurations of globalization.

Chinese Theatre: An Illustrated History Through Nuoxi and Mulianxi is the first book in any language entirely devoted to a historical inquiry into Chinese theatre through Nuoxi and Mulianxi, the two most representative and predominant forms of Chinese temple theatre. Volume Two is a continuation of the historical inquiry into Chinese theatre with focus shifted from Mulian storytelling to Mulian story-acting. Thus, this volume traces the historical trajectory of xiqu from Northern dramas to Southern dramas and from elite court theatre to mass regional theatre with pivotal forms and functions of Mulianxi examined, explicated and illustrated in association with the development of corresponding genres of xiqu. In so doing, every aspect of Mulianxi is considered not in the margins of xiqu but in and of itself. While this volume is primarily concerned with Mulianxi, references are also made to other forms of Chinese performing arts and temple theatre, Nuoxi in particular, as Mulianxi has been performed since the twelfth century as, or in company with, Nuoxi, to cleanse the community of evil spirits and epidemic diseases. This is an interdisciplinary book project that is aimed to help researchers and students of theatre history understand the ritual origins of Chinese theatre and the dynamic relationships among myth, ritual, religion and theatre.