Early Buddhist Art Of China And Central Asia Volume 1 Later Han Three Kingdoms And Western Chin In China And Bactria To Shan Shan In Central Asia

A comprehensive analysis of the earliest Buddhist art of China, Bactria, and the Southern Silk Road in Central Asia from ca. 1st - 4th century A.D., elucidating the inter-relationships, history, religious elements, sources, dating and chronology.

A comprehensive analysis of the earliest Buddhist art of China, Bactria, and the Southern Silk Road in Central Asia from ca. 1st - 4th century A.D., elucidating the inter-relationships, history, religious elements, sources, dating and chronology.

Presenting new studies on the chronology and iconography of Buddhist art during the Western Ch'in (385-431 A.D.) in northwest China, including Ping-ling ssu and Mai-chi shan, this book addresses issues of dating, textual sources, the five-Buddhas, and relation with Gandhara.

Volume two of Marylin Rhie’s widely acclaimed and formative multi-volume work presents a comprehensive, scholarly and detailed study of the Buddhist art of China and Central Asia from 316-439 A.D. during the formative early periods of Buddhism in the Eastern Chin and Sixteen Kingdoms Period. Using texts translated from the Chinese together with stylistic and technical analyses, the chronology and sources of the art are more clearly defined than in previous studies for the regions of South and North China (other than Kansu) and the important sites of Tumshuk, Kucha and Karashahr on the Northern Silk Route in eastern Central Asia. Furthermore, by incorporating extensive religious and historical materials, this work not only contributes to clarifying the regional characteristics of the art, but also offers new insights into the broader, interregional relationships of this politically fragmented period.

One of the least known but culturally rich and complex regions located at the heart of Asia, Xinjiang was a hub for the Silk Roads, serving international links between cultures to the west, east, north and south. Trade, artefacts, foods, technologies, ideas, beliefs, animals and people traversed the glacier covered mountain and desert boundaries.

In the great tradition of publications on Chinese art from the Metropolitan Museum, China: Dawn of a Golden Age will become an essential text for years to come. This book is the catalogue for a major exhibition at The Metropolitan Museum of Art (October 5, 2004 to January 23, 2005).

In early medieval China hundreds of Buddhist miracle texts were circulated, inaugurating a trend that would continue for centuries. Each tale recounted extraordinary events involving Chinese persons and places—events seen as verifying claims made in Buddhist scriptures, demonstrating the reality of karmic retribution, or confirming the efficacy of Buddhist devotional practices. Robert Ford Campany, one of North America’s preeminent scholars of Chinese religion, presents in this volume the first complete, annotated translation, with in-depth commentary, of the largest extant collection of miracle tales from the early medieval period, Wang Yan’s Records of Signs from the Unseen Realm, compiled around 490 C.E. In addition to the translation, Campany provides a substantial study of the text and its author in their historical and religious settings. He shows how these lively tales helped integrate Buddhism into Chinese society at the same time that they served as platforms for religious contestation and persuasion. Campany offers a nuanced, clear methodological discussion of how such narratives, being products of social memory, may be read as valuable evidence for the history of religion and culture. Readers interested in Buddhism; historians of Chinese religions, culture, society, and literature; scholars of comparative religion: All will find Signs from the Unseen Realm a stimulating and rich contribution to scholarship.

In commemoration of Lothar von Falkenhausens 60th birthday, this volume assembles eighteen scholarly essays that explore the intersection between art, economy, and ritual in ancient East Asia. The contributions are clustered into four themes: Ritual Economy, Ritual and Sacrifice, Technology, Community, Interaction, and Objects and Meaning, which collectively reflect the theoretical, methodological, and historical questions that Falkenhausen has been examining via his scholarship, research, and teaching throughout his career. Most of the chapters work with archaeological and textual data from China, but there are also studies of materials from Mongolia, Korea, Southeast Asia and even Egypt, showing the global impact of Falkenhausens work. The chronological range of studies extends from the Neolithic through the Bronze Age in China, into the early imperial, medieval, and early modern periods. The authors discuss art, economy, ritual, interaction, and technology in the broad context of East Asian archaeology and its connection to the world beyond.