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Ruthless Compassion
The historical development of Esoteric Buddhism in India is still known only in outline. A few verifiably early texts do give some insight into the origin of the ideas which would later develop and spread to East and Southeast Asia, and to Tibet. However, there is another kind of evidence which can be harnessed to the project of reconstructing the history of Esoteric Buddhist doctrines and practice. This evidence consists of art objects, mainly sculpture, which survive in significant numbers from the 6th to the 13th century.
Demonic Divine
Demonic Divine: Himalayan Art and Beyond focuses on wrathful and fierce images once labeled by Europeans as demonic, and now open to more sympathetic investigation. Examining closely 66 works of art, the authors take us behind Western preconceptions to explore ways that fearsome imagery is used in Himalayan cultures, including representation of protection and benevolence. Over two hundred color images highlight visual power and artistic skill in works that blur the boundaries between horror and beauty. Essays by Rob Linrothe, Curator, RMA and Associate Professor of Art History at Skidmore College, and Marylin Rhie, Professor of Asian Art at Smith College, explore variations within the demonic and trace the evolution of style. Contributions from Jeff Watt, RMA Curator and Director of the Himalayan Art Website, are evident throughout. Matthieu Ricard, author, monk, and scientist, provided the foreword.
The Art of Buddhism
As its teachings spread from the Indian subcontinent in all directions across Asia, Buddhism influenced every culture it touched—from Afghanistan to Korea, from Mongolia to Java. Buddhist art is a radiant reflection of the encounter of the Buddha’s teachings with the diverse civilizations that came under their sway. It is also an intriguing visual record of the evolution of Buddhist practice and philosophy over a period of more than two millennia. More than two hundred photographs provide the visual context for this tour of the world of Buddhist art. Included in the rich variety of forms are architecture and monumental art, statuary, paintings, calligraphy, fresco, brushwork, and textile arts. Denise Leidy’s guide is the perfect introductory text for all those intrigued by this splendid aesthetic tradition. It also an essential resource for all who seek to understand Buddhist art as teaching.
Buddhist Encounters and Identities Across East Asia
Encounters, networks, identities and diversity are at the core of the history of Buddhism. They are also the focus of Buddhist Encounters and Identities across East Asia, edited by Ann Heirman, Carmen Meinert and Christoph Anderl. While long-distance networks allowed Buddhist ideas to travel to all parts of East Asia, it was through local and trans-local networks and encounters, and a diversity of people and societies, that identities were made and negotiated. This book undertakes a detailed examination of discrete Buddhist identities rooted in unique cultural practices, beliefs and indigenous socio-political conditions. Moreover, it presents a fascinating picture of the intricacies of the regional and cross-regional networks that connected South and East Asia.
Receptacle of the Sacred
In considering medieval illustrated Buddhist manuscripts as sacred objects of cultic innovation, Receptacle of the Sacred explores how and why the South Asian Buddhist book-cult has survived for almost two millennia to the present. A book “manuscript” should be understood as a form of sacred space: a temple in microcosm, not only imbued with divine presence but also layered with the memories of many generations of users. Jinah Kim argues that illustrating a manuscript with Buddhist imagery not only empowered it as a three-dimensional sacred object, but also made it a suitable tool for the spiritual transformation of medieval Indian practitioners. Through a detailed historical analysis of...
Collecting Paradise
Collecting Paradise features Buddhist objects, including manuscripts, paintings and sculptures in ivory, metal and wood, dating from the 7th to 17th centuries. With 44 objects, the exhibition presents an original and innovative look at art from the region of Kashmir and the Western Himalayas, as well as how it has been collected over time. The catalogue features essays by a leading scholar in the field, Robert Linrothe of Northwestern's Weinberg College of Arts and Sciences, with the support of Christian Luczanits of SOAS, University of London.
List of Officers of the Department of State, Including the List of Ministers, Consuls, and Other Diplomatic and Commercial Agents of the United States in Foreign Countries
List for March 7, 1844, is the list for September 10, 1842, amended in manuscript.
The Great State of White and High
"In the late tenth and eleventh centuries, a group of people known in Western and Japanese scholarship as the Tangut established an independent regime in the Ordos (present-day Ningxia, Shaanxi, Gansu, and Inner Mongolia). It quickly grew into the Xia empire, a multiethnic, multilingual state whose ruling dynasty, a people ethnically and linguistically related to Tibetans, adapted elements of Chinese and Inner Asian statecraft, culture, and religion. Xia continued to grow in prominence, and its people became renowned throughout Asia as devout Buddhists. An imperial state was formally born in 1038 and chronicled its existence up to 1227, when it was finally crushed in Chinggis Khan's last campaign." "The Great State of White and High is the first book-length treatment in English of Tangut Xia history. Exhibiting a mastery of languages, Ruth Dunnell has produced a pioneering, systematic study using primary and secondary sources in Tangut and Chinese to reconstruct early imperial Xia history from the inside."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
Garland of Visions
Garland of Visions explores the generative relationships between artistic intelligence and tantric vision practices in the construction and circulation of visual knowledge in medieval South Asia. Shifting away from the traditional connoisseur approach, Jinah Kim instead focuses on the materiality of painting: its mediums, its visions, and especially its colors. She argues that the adoption of a special type of manuscript called pothi enabled the material translation of a private and internal experience of "seeing" into a portable device. These mobile and intimate objects then became important conveyors of many forms of knowledge—ritual, artistic, social, scientific, and religious—and spurred the spread of visual knowledge of Indic Buddhism to distant lands. By taking color as the material link between a vision and its artistic output, Garland of Visions presents a fresh approach to the history of Indian painting.
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