First published in 1965, The Culture and Civilisation of Ancient India in Historical Outline is a strikingly original work, the first real cultural history of India. The main features of the Indian character are traced back into remote antiquity as the natural outgrowth of historical process. Did the change from food gathering and the pastoral life to agriculture make new religions necessary? Why did the Indian cities vanish with hardly a trace and leave no memory? Who were the Aryans – if any? Why should Buddhism, Jainism, and so many other sects of the same type come into being at one time and in the same region? How could Buddhism spread over so large a part of Asia while dying out completely in the land of its origin? What caused the rise and collapse of the Magadhan empire; was the Gupta empire fundamentally different from its great predecessor, or just one more ‘oriental despotism’? These are some of the many questions handled with great insight, yet in the simplest terms, in this stimulating work. This book will be of interest to students of history, sociology, archaeology, anthropology, cultural studies, South Asian studies and ethnic studies.

How is Tokyo, a city of thirty million people, so safe that six-year-old children commute to school on their own? Why are there no trashcans in Japanese cities? Why are Ganesha idols in Japanese temples hidden from public view? Globe-trotting journalist Pallavi Aiyar moves to Japan and takes an in-depth look at the island country including its culinary, sanitary and floral idiosyncrasies. Steering through the many (mis)adventures that come from learning a new language, imbibing new cultural etiquette, and asking difficult questions about race, Aiyar explores why Japan and India find it hard to work together despite sharing a long civilizational history. Part travelogue, part reportage, Orienting answers questions that have long confounded the rest of the world with Aiyar's trademark humour. Tackling both the significant and the trivial, the quirky and the quotidian, here is an Indian's account of Japan that is as thought-provoking as it is charming.

Elegant representations of nature and the four seasons populate a wide range of Japanese genres and media—from poetry and screen painting to tea ceremonies, flower arrangements, and annual observances. In Japan and the Culture of the Four Seasons, Haruo Shirane shows how, when, and why this practice developed and explicates the richly encoded social, religious, and political meanings of this imagery. Refuting the belief that this tradition reflects Japan's agrarian origins and supposedly mild climate, Shirane traces the establishment of seasonal topics to the poetry composed by the urban nobility in the eighth century. After becoming highly codified and influencing visual arts in the tenth and eleventh centuries, the seasonal topics and their cultural associations evolved and spread to other genres, eventually settling in the popular culture of the early modern period. Contrasted with the elegant images of nature derived from court poetry was the agrarian view of nature based on rural life. The two landscapes began to intersect in the medieval period, creating a complex, layered web of competing associations. Shirane discusses a wide array of representations of nature and the four seasons in many genres, originating in both the urban and rural perspective: textual (poetry, chronicles, tales), cultivated (gardens, flower arrangement), material (kimonos, screens), performative (noh, festivals), and gastronomic (tea ceremony, food rituals). He reveals how this kind of "secondary nature," which flourished in Japan's urban architecture and gardens, fostered and idealized a sense of harmony with the natural world just at the moment it was disappearing. Illuminating the deeper meaning behind Japanese aesthetics and artifacts, Shirane clarifies the use of natural images and seasonal topics and the changes in their cultural associations and function across history, genre, and community over more than a millennium. In this fascinating book, the four seasons are revealed to be as much a cultural construction as a reflection of the physical world.

The great Buddhist priest Kûkai (774-835) is credited with the introduction and establishment of tantric -or esoteric -Buddhism in early ninth-century Japan. In Ryûichi Abé examines this important religious figure -neglected in modern academic literatu

Buddhism introduced many Hindu Gods and Goddesses to the Japanese. The rulers were the first to be attracted to them. Historical records show that they earnestly believed in the miracles of these divinities promised in the sutras. Many miracle stories started appearing in popular literature as the divinities percolated down to the masses. The resulting naturalisation process in the case of some divinities went to the extent that they became an integral part of the native Shinto pantheon. Their popularity remains unabated even today. The Tantric Buddhist sects also played a vital role in propagating the divinities. They regularly worshipped the divinities in their temples where people thronged in large numbers. Many steps in these ceremonies, for instance, the homa ritual, are very familiar to the present-day Hindus. The monks have also produced a considerable volume of religious literature related to these divinities. Descriptions of many divinities show that they have not changed substantially over centuries. A study of these writings also shows that a large volume of Hindu myths and legends related to these deities were transmitted to Japan. These writings are also a testimony to the way the ancestors of the present-day Hindus thought about these deities, say, around the eighth or ninth century of the Christian era.

"There is hardly any book equal to Ways of Thinking of Eastern Peoples in terms of its thorough and systematic presentation of the intricate thought patterns of Asian peoples. The book not only is an essential reference for the student of Asian culture, but also for students of philosophy, religion, anthropology, and art, as it is an excellent source for aiding the student in gaining a deeper understanding of each facet of Oriental thought." --Isshi Yamada, Northwestern University "The clearest discussion and analysis of these complex subjects that I have found. My advanced undergraduate students find this work to be 'stimulating', 'challenging' and comprehensible.' The organization of the text enhances the usefulness of this volume, but it is the high quality of the scholarship that makes Ways of Thinking a most valuable addition to Asian studies and to the academic training of upper division students." --Ann B. Radwan, University of North Florida "I find Ways of thinking a most provocative source for exploring with my students certain basic themes in Eastern religion and culture. Used carefully, it is a most stimulating and effective source for tapping Eastern 'ways' at a fundamental level of inquiry." --Wilbur M. Fridell, University of California, Santa Barbara

The first broad study of Japanese mandalas to appear in a Western language, this volume interprets mandalas as sanctified realms where identification between the human and the sacred occurs. The author investigates eighth- to seventeenth-century paintings from three traditions: Esoteric Buddhism, Pure Land Buddhism, and the kami-worshipping (Shinto) tradition. It is generally recognized that many of these mandalas are connected with texts and images from India and the Himalayas. A pioneering theme of this study is that, in addition to the South Asian connections, certain paradigmatic Japanese mandalas reflect pre-Buddhist Chinese concepts, including geographical concepts. In convincing and lucid prose, ten Grotenhuis chronicles an intermingling of visual, doctrinal, ritual, and literary elements in these mandalas that has come to be seen as characteristic of the Japanese religious tradition as a whole. This beautifully illustrated work begins in the first millennium B.C.E. in China with an introduction to the Book of Documents and ends in present-day Japan at the sacred site of Kumano. Ten Grotenhuis focuses on the Diamond and Womb World mandalas of Esoteric Buddhist tradition, on the Taima mandala and other related mandalas from the Pure Land Buddhist tradition, and on mandalas associated with the kami-worshipping sites of Kasuga and Kumano. She identifies specific sacred places in Japan with sacred places in India and with Buddhist cosmic diagrams. Through these identifications, the realm of the buddhas is identified with the realms of the kami and of human beings, and Japanese geographical areas are identified with Buddhist sacred geography. Explaining why certain fundamental Japanese mandalas look the way they do and how certain visual forms came to embody the sacred, ten Grotenhuis presents works that show a complex mixture of Indian Buddhist elements, pre-Buddhist Chinese elements, Chinese Buddhist elements, and indigenous Japanese elements.