In Bronze Buddha, one of the earliest of Baba Hari Dass’s stories, we are transported to Tibet, India, and Nepal to witness the lives of a few great and powerful monks, the realization of Self of a sincere seeker, and the spiritual climate during the takeover of Tibet in the 20th Century.

Illustrations: 247 b/w illustrations Description: This book deals with crucial though controversial questions in Buddhist art: the origin of the Buddha image and the iconography of the Buddha images. The earliest Buddhist art of Sanchi and Bharhut is aniconic : The Buddha is represented in symbols only. In the later Buddhist art of Gandhara and Mathura, the Buddha is represented in human form: he is the principal subject of sculptural art. The book seeks to explore the geographical area in which the image of the Buddha first emerged and whether the Buddhist doctrines-Hinayana or Mahayana-had anything to do with this transformation. The Buddha image, as developed eventually at Sarnath, became the model for the Buddha images in whole of Asia, south-east, central and eastern Asia. The iconographic features of the Buddha image are superficially an aberration, being in apparent conflict with the doctrine. The Buddha had cut off his hair at the time of his renunciation; the rules of the order enjoin that a monk must be tonsured and must discard and eschew all riches. However, in his images, the Buddha has hair on his head; later he is also endowed with a crown and jewels. After an exhaustive examination of the views of various scholars, the book answers these questions and resolves the controversies on the basis of literary, numismatic and epigraphic sources. More importantly it makes use of the valuable evidence from the contemporaneous Jaina art : Aniconism of early Jaina art and the iconographic features of Jaina images. The implications of this study are also important : Does India owe idolatry to Buddhism? Was this of foreign inspiration? Was the Buddha image fashioned after the Vedic Brahma and whether the Buddha's usnisa and Buddhist art motifs are rooted in the Vedic tradition? The book is profusely illustrated and provides rich and stimulating fare to students of Indian art in general and of Buddhist art in particular.

The process by which this transformation occurs through chant, sermon, meditation, and the presence of charismatic monks is at the heart of this book."--BOOK JACKET.

Chinese Buddhist and Daoist Sculpture in The Metropolitan Museum of Art --

Treasures of the Buddha presents, in stunning color photographs, a vivid portrait of Buddhism including its teachings and its great treasures -- from its place of origin in northern India and out among the different kingdoms and empires of central, southern and eastern Asia.

In Buddha’s Company explores a previously neglected aspect of the Vietnam War: the experiences of the Thai troops who served there and the attitudes and beliefs that motivated them to volunteer. Thailand sent nearly 40,000 volunteer soldiers to South Vietnam to serve alongside the Free World Forces in the conflict, but unlike the other foreign participants, the Thais came armed with historical and cultural knowledge of the region. Blending the methodologies of cultural and military history, Richard Ruth examines the individual experiences of Thai volunteers in their wartime encounters with American allies, South Vietnamese civilians, and Viet Cong enemies. Ruth shows how the Thais were transformed by living amongst the modern goods and war machinery of the Americans and by traversing the jungles and plantations haunted by indigenous spirits. At the same time, Ruth argues, Thailand’s ruling institutions used the image of volunteers to advance their respective agendas, especially those related to anticommunist authoritarianism. Drawing on numerous interviews with Thai veterans and archival material from Thailand and the United States, Ruth focuses on the cultural exchanges that occurred between Thai troops and their allies and enemies, presenting a Southeast Asian view of a conflict that has traditionally been studied as a Cold War event dominated by an American political agenda. The resulting study considers such diverse topics as comparative Buddhisms, alternative modernities, consumerism, celebrity, official memories vs. personal recollections, and the value of local knowledge in foreign wars. The war’s effects within Thailand itself are closely considered, demonstrating that the war against communism in Vietnam, as articulated by Thai leaders, was a popular cause among nearly all segments of the population. Furthermore, Ruth challenges previous assertions that Thailand’s forces were merely "America’s mercenaries" by presenting the multiple, overlapping motivations for volunteering offered by the soldiers themselves. In Buddha’s Company makes clear that many Thais sought direct involvement in the Vietnam War and that their participation had profound and lasting effects on the country’s political and military institutions, royal affairs, popular culture, and international relations. As one of only a handful of academic histories of Thailand in the 1960s, it provides a crucial link between the keystone studies of the Phibun-Sarit years (1946–1963) and those examining the turbulent 1970s.

"Thai Buddhas looks at diverse aspects of Buddhism in Thailand from ancient times to the present day. The sacred art of Thailand possesses a timeless grace and beauty that reflects a balance of vitality and spirituality united by Buddhist principles. With an accessible text accompanied by beautiful images, the author explains the significance of these forms, looks at key periods in Thai Buddhist art and highlights the enduring importance of Buddhism for the Thai people"--P. [4] of cover.