Whether chanted as devotional prayers, intoned against the dangers of the wilds, or invoked to heal the sick and bring ease to the dead, incantations were pervasive features of Buddhist practice in late medieval China (600Ð1000 C.E.). Material incantations, in forms such as spell-inscribed amulets and stone pillars, were also central to the spiritual lives of both monks and laypeople. In centering its analysis on the Chinese material culture of these deeply embodied forms of Buddhist ritual, The Body Incantatory reveals histories of practiceÑand logics of practiceÑthat have until now remained hidden. Paul Copp examines inscribed stones, urns, and other objects unearthed from anonymous tombs; spells carved into pillars near mountain temples; and manuscripts and prints from both tombs and the Dunhuang cache. Focusing on two major Buddhist spells, or dharani, and their embodiment of the incantatory logics of adornment and unction, he makes breakthrough claims about the significance of Buddhist incantation practice not only in medieval China but also in Central Asia and India. His work vividly captures the diversity of Buddhist practice among medieval monks, ritual healers, and other individuals lost to history, offering a corrective to accounts that have overemphasized elite, canonical materials.

Whether chanted as devotional prayers, intoned against the dangers of the wilds, or invoked to heal the sick and bring ease to the dead, incantations were pervasive features of Buddhist practice in late medieval China (600–1000 C.E.). Material incantations, in forms such as spell-inscribed amulets and stone pillars, were also central to the spiritual lives of both monks and laypeople. In centering its analysis on the Chinese material culture of these deeply embodied forms of Buddhist ritual, The Body Incantatory reveals histories of practice—and logics of practice—that have until now remained hidden. Paul Copp examines inscribed stones, urns, and other objects unearthed from anonymous tombs; spells carved into pillars near mountain temples; and manuscripts and prints from both tombs and the Dunhuang cache. Focusing on two major Buddhist spells, or dhāraṇī, and their embodiment of the incantatory logics of adornment and unction, he makes breakthrough claims about the significance of Buddhist incantation practice not only in medieval China but also in Central Asia and India. Copp's work vividly captures the diversity of Buddhist practice among medieval monks, ritual healers, and other individuals lost to history, offering a corrective to accounts that have overemphasized elite, canonical materials.

“The heart of Orr’s poetry, now as ever, is the enigmatic image . . . mystical, carnal, reflective, wry.”—San Francisco Review This book-length sequence of ecstatic, visionary lyrics recalls Rumi in its search for the beloved and its passionate belief in the healing qualities of art and beauty. Concerning the Book that is the Body of the Beloved is an incantatory celebration of the “Book,” an imaginary and self-gathering anthology of all the lyrics—both poems and songs—ever written. Each poem highlights a distinct aspect of the human condition, and together the poems explore love, loss, restoration, the beauty of the world, the beauty of the beloved, and the mystery of poetry. The purpose and power of the Book is to help us live by reconnecting us to the world and to our emotional lives. I put the beloved In a wooden coffin. The fire ate his body; The flames devoured her. I put the beloved In a poem or song. Tucked it between Two pages of the Book. How bright the flames. All of me burning, All of me on fire And still whole. There is nothing quite like this book—an “active anthology” in the best sense—where individuals find the poems and songs that will sustain them. Or the poems find them. Gregory Orr is the author of eight books of poetry, four volumes of criticism, and a memoir. He has received numerous awards for his work, most recently the Academy Award in Literature from the American Academy of Arts and Letters. Orr has taught at the University of Virginia since 1975 and was, for many years, the poetry editor of The Virginia Quarterly Review. He lives with his family in Charlottesville, Virginia.

"This volume supplements Tang Tales, A Guided Reader (Volume 1; 2010) and presents twelve more Tang tales, going beyond the standard corpus of these narratives to include six stories translated into English for the first time. The rich annotation and translator's notes for these twelve tales provide insights into many aspects of Tang material culture and medieval thought, including Buddhism and Daoism. In addition to meticulously annotated translations, the book offers original texts (with some textual notes), and commentaries in the form of translator's notes, thereby joining the first volume of Tang tales as the only collections that introduce students to Tang tales while also challenging specialists interested in the field."--

This volume supplements Tang Tales, A Guided Reader (Volume 1; 2010) and presents twelve more Tang tales, going beyond the standard corpus of these narratives to include six stories translated into English for the first time. The rich annotation and translator's notes for these twelve tales provide insights into many aspects of Tang material culture and medieval thought, including Buddhism and Daoism.In addition to meticulously annotated translations, the book offers original texts (with some textual notes), and commentaries in the form of translator's notes, thereby joining the first volume of Tang tales as the only collections that introduce students to Tang tales while also challenging specialists interested in the field.

The first scholarly monograph on Buddhist maṇḍalas in China, this book examines the Maṇḍala of Eight Great Bodhisattvas. This iconographic template, in which a central Buddha is flanked by eight attendants, flourished during the Tibetan (786–848) and post-Tibetan Guiyijun (848–1036) periods at Dunhuang. A rare motif that appears in only four cave shrines at the Mogao and Yulin sites, the maṇḍala bore associations with political authority and received patronage from local rulers. Attending to the historical and cultural contexts surrounding this iconography, this book demonstrates that transcultural communication over the Silk Routes during this period, and the religious dialogue between the Chinese and Tibetan communities, were defining characteristics of the visual language of Buddhist maṇḍalas at Dunhuang.

As belief in the Buddha grew and his teachings were transmitted across Asia, Buddhist images, scriptures, and relics were duplicated and reduplicated to satisfy the needs of increasing numbers of the faithful. Yet how were these countless copies of sacred objects able to retain their authenticity and efficacy? Authentic Replicas explores how Buddhists in medieval China (seventh to twelfth centuries) solved this conundrum through the use of traditional methods of replication such as stamping, mold casting, and woodblock printing to create objects that fulfilled the spiritual aspirations of those who possessed them. Setting aside Western notions about the relative value of copies versus the “original,” the book posits Buddhist ideas on what imbues an object with credibility and authority and offers fresh insights into the ways authenticity was represented and reproduced in the Chinese Buddhist context. Each section of the volume focuses on an area of artistic output to provide readers with a thorough grasp of the theological concepts underpinning each act of duplication. Part I looks at the replication of sutras to clarify how the spiritual value of a handwritten sutra differed from a printed one. In Part II, clay tablets, woodblock prints, silk paintings, and cave murals are examined to trace iconographic lineages and uncover the divine identity in each new replica. The chapters in Part III describe in detail the copying of the Buddha’s bodily relics and the endlessly repeated votive act of burying these in stupas. Of particular significance is the visual and textual vocabulary used on reliquaries to persuade adherents to believe in the actual presence of the Buddha concealed inside. Deftly weaving together data and research from several disciplines, including Buddhist studies, archaeology, and art history, Authentic Replicas vividly conveys how replication lay at the heart of Buddhist worship in medieval China, offering a new understanding of how religious belief guided the artistic output of an entire age.

Koichi Shinohara traces the evolution of Esoteric Buddhist rituals from the simple recitation of spells in the fifth century to complex systems involving image worship, mandala initiation, and visualization practices in the ninth century. He presents an important new reading of a seventh-century Chinese text called the Collected Dharani Sutras, which shows how earlier rituals for specific deities were synthesized into a general Esoteric initiation ceremony and how, for the first time, the notion of an Esoteric Buddhist pantheon emerged. In the Collected Dharani Sutras, rituals for specific deities were typically performed around images of the deities, yet Esoteric Buddhist rituals in earlier sources involved the recitation of spells rather than the use of images. The first part of this study explores how such simpler rituals came to be associated with the images of specific deities and ultimately gave rise to the general Esoteric initiation ceremony described in the crucial example of the All-Gathering mandala ritual in the Collected Dharani Sutras. The visualization practices so important to later Esoteric Buddhist rituals were absent from this ceremony, and their introduction would fundamentally change Esoteric Buddhist practice. This study examines the translations of dharani sutras made by Bodhiruci in the early eighth century and later Esoteric texts, such as Yixing's commentary on the Mahavairocana sutra and Amoghavajra's ritual manuals, to show how incorporation of visualization greatly enriched Esoteric rituals and helped develop elaborate iconographies for the deities. Over time, the ritual function of images became less certain, and the emphasis shifted toward visualization. This study clarifies the complex relationship between images and ritual, changing how we perceive Esoteric Buddhist art as well as ritual.

Largely unstudied until now, the religious festivals that attracted Chinese people from all walks of life provide the most instructive examples of the interaction between Chinese forms of social life and the Indian tradition of Buddhism. Stephen Teiser examines one of the most important of such annual celebrations. He provides a comprehensive interpretation of the festivities of the seventh lunar month, in which laypeople presented offerings to Buddhist monks to gain salvation for their ancestors. Teiser uncovers a wide range of sources, many translated or analyzed for the first time in any language, to demonstrate how the symbolism, rituals, and mythology of the ghost festival pervaded the social landscape of medieval China.

Spare, airy, exacting poems whose quietness is often at an ironic counterpoint to their strident leftist politics.