The northern Chinese mountain range of Mount Wutai has been a preeminent site of international pilgrimage for over a millennium. Home to more than one hundred temples, the entire range is considered a Buddhist paradise on earth, and has received visitors ranging from emperors to monastic and lay devotees. Mount Wutai explores how Qing Buddhist rulers and clerics from Inner Asia, including Manchus, Tibetans, and Mongols, reimagined the mountain as their own during the eighteenth and nineteenth centuries. Wen-Shing Chou examines a wealth of original source materials in multiple languages and media--many never before published or translated—such as temple replicas, pilgrimage guides, hagiographic representations, and panoramic maps. She shows how literary, artistic, and architectural depictions of the mountain permanently transformed the site's religious landscape and redefined Inner Asia's relations with China. Chou addresses the pivotal but previously unacknowledged history of artistic and intellectual exchange between the varying religious, linguistic, and cultural traditions of the region. The reimagining of Mount Wutai was a fluid endeavor that proved central to the cosmopolitanism of the Qing Empire, and the mountain range became a unique site of shared diplomacy, trade, and religious devotion between different constituents, as well as a spiritual bridge between China and Tibet. A compelling exploration of the changing meaning and significance of one of the world's great religious sites, Mount Wutai offers an important new framework for understanding Buddhist sacred geography.

The northern Chinese mountain range of Mount Wutai has been a preeminent site of international pilgrimage for over a millennium. Home to more than one hundred temples, the entire range is considered a Buddhist paradise on earth, and has received visitors ranging from emperors to monastic and lay devotees. Mount Wutai explores how Qing Buddhist rulers and clerics from Inner Asia, including Manchus, Tibetans, and Mongols, reimagined the mountain as their own during the eighteenth and nineteenth centuries. Wen-Shing Chou examines a wealth of original source materials in multiple languages and media--many never before published or translated—such as temple replicas, pilgrimage guides, hagiographic representations, and panoramic maps. She shows how literary, artistic, and architectural depictions of the mountain permanently transformed the site's religious landscape and redefined Inner Asia's relations with China. Chou addresses the pivotal but previously unacknowledged history of artistic and intellectual exchange between the varying religious, linguistic, and cultural traditions of the region. The reimagining of Mount Wutai was a fluid endeavor that proved central to the cosmopolitanism of the Qing Empire, and the mountain range became a unique site of shared diplomacy, trade, and religious devotion between different constituents, as well as a spiritual bridge between China and Tibet. A compelling exploration of the changing meaning and significance of one of the world's great religious sites, Mount Wutai offers an important new framework for understanding Buddhist sacred geography.

The Transnational Cult of Mount Wutai explores the pan-East Asian significance of sacred Mount Wutai from the Northern Dynasties to the present.

By the tenth century CE, Mount Wutai had become a major pilgrimage site within the emerging culture of a distinctively Chinese Buddhism. Famous as the abode of the bodhisattva Ma�ju r (known for his habit of riding around the mountain on a lion), the site in northeastern China�s Shanxi Province was transformed from a wild area, long believed by Daoists to be sacred, into an elaborate complex of Buddhist monasteries. In Building a Sacred Mountain, Wei-Cheng Lin traces the confluence of factors that produced this transformation and argues that monastic architecture, more than texts, icons, relics, or pilgrimages, was the key to Mount Wutai�s emergence as a sacred site. Departing from traditional architectural scholarship, Lin�s interdisciplinary approach goes beyond the analysis of forms and structures to show how the built environment can work in tandem with practices and discourses to provide a space for encountering the divine. For more information: http://arthistorypi.org/books/building-a-sacred-mountain

In The Five-Colored Clouds of Mount Wutai: Poems from Dunhuang, Mary Anne Cartelli introduces a significant corpus of Chinese Buddhist poems from the Dunhuang manuscripts celebrating Mount Wutai. They offer important literary evidence for the transformation of the mountain into the earthly paradise of the bodhisattva Mañju?r? by the Tang dynasty.????

The Buddhist master Fazang is regarded as one of the greatest metaphysicians in medieval Asia. This study aims at correcting misinterpretations and shedding light on neglected areas, opening up for discussion the various structures of medieval East Asian monastic biography.

Dunhuang Although Internationally Known Is Infrequently Visited. The Mogao Shrine At Dunhuang Is A Cluster Of 492 Caves, Containing 45,000 Square Metres Of Frescoes And 2,415 Stucco Statues. These Caves Were Created, Renovated And Maintained Continually With Devotion And Care From The 4Th Upto The 14Th Century. In This Volume We Have Provided An English Translation Of Selected Writings Of Prof. Duan Wenjie, Director Of The Dunhuang Academy Who Has Given A Chronological Study Of The Contents Inside The Mogao Caves With Several Decades Of Research Of The Dunhuang Academy Under His Command. Prof. Tan Chung, The Editor, Has Furnished An Illuminating Introduction, While Dr. Kapila Vatsyayan, The Driving Spirit Behind This Volume, Has Made Succinct Comments In Her Foreword . A Valuable Information On All The Mogao Caves Has Been Added. Colour And Black And White Photographs And Fine Sketches By Vineet Kumar Supplement The Text. The Indira Gandhi National Centre For The Arts Is Committed To Exploring All Dimensions Of Art. It Feels Privileged To Place Before Art Historians And Art Lovers Of The English-Speaking World First-Hand Information About His Unique Art Gallery Going Back To One-And-A-Half Millennia.