It Deals With The Development And Fundamental Aspects Of Buddhist Tantrism And Its Impact On Paintings And The Sculptural Art Of India. It Discusses Concepts And Schools Of Tantrism Citing Buddhist Tantric Works.

In the Tibetan highlands Buddhism flowered in the form known as Lamaism, and the presence of religious art in Tibet has been universal, extending even to remote and secluded regions. This comprehensive treatise examines this artistic heritage, aided by copious color plates and line drawings. The iconography of the great Buddhist masters and saints is presented and the mystic and revelatory functions of Tibetan religious art is elucidated.

Making Sense of Tantric Buddhism fundamentally rethinks the nature of the transgressive theories and practices of the Buddhist Tantric traditions, challenging the notion that the Tantras were “marginal” or primitive and situating them instead—both ideologically and institutionally—within larger trends in mainstream Buddhist and Indian culture. Critically surveying prior scholarship, Wedemeyer exposes the fallacies of attributing Tantric transgression to either the passions of lusty monks, primitive tribal rites, or slavish imitation of Saiva traditions. Through comparative analysis of modern historical narratives—that depict Tantrism as a degenerate form of Buddhism, a primal religious undercurrent, or medieval ritualism—he likewise demonstrates these to be stock patterns in the European historical imagination. Through close analysis of primary sources, Wedemeyer reveals the lived world of Tantric Buddhism as largely continuous with the Indian religious mainstream and deploys contemporary methods of semiotic and structural analysis to make sense of its seemingly repellent and immoral injunctions. Innovative, semiological readings of the influential Guhyasamaja Tantra underscore the text’s overriding concern with purity, pollution, and transcendent insight—issues shared by all Indic religions—and a large-scale, quantitative study of Tantric literature shows its radical antinomianism to be a highly managed ritual observance restricted to a sacerdotal elite. These insights into Tantric scripture and ritual clarify the continuities between South Asian Tantrism and broader currents in Indian religion, illustrating how thoroughly these “radical” communities were integrated into the intellectual, institutional, and social structures of South Asian Buddhism.

This volume, the result of an international collaboration of forty scholars, provides a comprehensive resource on Esoteric Buddhism and the Tantras in their Chinese, Korean, and Japanese contexts from the first few centuries of the common era to the present.

It is only recently that the systematic study of Buddhist Art has been inaugurated. Thanks to scientific excavations and explorations carried out in India by the Indian Archaeological Survey, in Central Aisa by a number of archaeological missions on behalf of different governments, and in China by the pioneer work of the eminent French sinologist, the late Edouard Chavennes, we possess a number of invaluable facts which enable us to reconstruct the vast domain of Buddhist Art. It is true that it is not yet possible to write a history of Buddhist Art in all its phases and different epochs. This huge work remains to be done, and we only can hope that future investigations in this field will facilitate the scholar's task. But if the complete history of Buddhist Art is still to be written, we can already affirm the unity of its evolution. -- Introduction.

The wisest teachings of Buddhism say that, like all oppositions, one must move beyond gender. But as Serinity Young shows in this enlightening work, the rhetoric of Buddhist texts, the symbolism of its iconography, and the performative import of its rituals, tell different, and often contradictory, stories. In Courtesans and Tantric Consorts, Serinity Young takes the reader on a journey through more than 2000 years of biographical writings, iconographic depictions, and ritual practices revealing Buddhism's deep struggles with gender. Juxtaposing empowering images of women with their textual repudiation, beginning with the Buddha himself who abandoned his wife; tantric courtesans who are considered necessary to male enlightenment with fertility rituals designed to ensure male offspring; tales of gender-bending gods and goddesses with all male heavens; Serinity Young draws on a vast range of sources to reveal the colourful, and often troubling, mosaic of beliefs that inform Buddhist views about gender and sexuality.

Tantric Buddhism is concerned with the direct experience of who we are and what we can become. Its sole aim is to help us realize our potential for profound wisdom and unbounded compassion by transforming the energy locked in by old habits, fears and narrow views. For the Tantra this experience is beyond words and thought. But it can be evoked with the help of symbols. Without the help of a reliable guide one could easily get lost or overwhelmed in this unfamiliar world of symbols. Sangharakshita is such a guide.

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.

Published in conjunction with a 2003 exhibition co-organized by the Columbus Museum of Art and the Los Angeles County Museum of Art, this hefty, oversize (10x13 catalogue features approximately 160 powerful masterpieces of Indian, Nepalese, Tibetan, Chinese, and Mongolian art produced over the pa