A translation of Wang Daiyu’s Real Commentary on the True Teaching, the first and most influential work written in the Chinese language on Islam. Published in 1642, Wang Daiyu’s Real Commentary on the True Teaching was the first significant presentation of Islam in the Chinese language by a Muslim scholar. It set the standard for the expression of Islamic theology, Sufism, and ethics in Chinese, and became the literary foundation of a school of thought that has been called “Muslim Confucianism.” In contrast to Muslim scholars writing in every other language, Wang avoided Arabic words, opting instead to reconfigure the religion in terms of Chinese concepts and categories. Employing the terminology of Neo-Confucian philosophy, his overview of Islam is thus both congenial to the mainstream Islamic tradition and reaffirms Confucian teachings about the human duty to establish harmony between heaven and earth. This book will appeal to those curious about the manner in which Islam has flourished in China over the past thousand years, as well as those interested in dialogue among religions and the significance of religious diversity. Sachiko Murata is Professor of Religious Studies at Stony Brook University, State University of New York. Her books include The Tao of Islam: A Sourcebook on Gender Relationships in Islamic Thought, also published by SUNY Press.

The first study in English of Islamic thought in China, this book shows that this tradition was informed by both Sufism and Neo-Confucianism; translations of two classic works are included.

"Tells the stories of Chinese Muslims trying to create coherent lives at the intersection of two potentially conflicting cultures. How can people belong simultaneously to two cultures, originating in two different places and expressed in two different languages, without alienating themselves from either? Muslims have lived in the Chinese culture area for 1400 years, and the intellectuals among them have long wrestled with this problem. Unlike Persian, Turkish, Urdu, or Malay, the Chinese language never adopted vocabulary from Arabic to enable a precise understanding of Islam's religious and philosophical foundations. Islam thus had to be translated into Chinese, which lacks words and arguments to justify monotheism, exclusivity, and other features of this Middle Eastern religion. Even in the 21st century, Muslims who are culturally Chinese must still justify their devotion to a single God, avoidance of pork, and their communities' distinctiveness--among other things--to sceptical non-Muslim neighbours and an increasingly intrusive state"--

This book documents the relationship and wisdom of Asian cartographers in the Islamic and Chinese worlds before the Europeans arrived.

Liu Zhi (ca. 1670–1724) was one of the most important scholars of Islam in traditional China. His Tianfang xingli(Nature and Principle in Islam), the Chinese-language text translated here, focuses on the roots or principles of Islam. It was heavily influenced by several classic texts in the Sufi tradition. Liu’s approach, however, is distinguished from that of other Muslim scholars in that he addressed the basic articles of Islamic thought with Neo-Confucian terminology and categories. Besides its innate metaphysical and philosophical value, the text is invaluable for understanding how the masters of Chinese Islam straddled religious and civilizational frontiers and created harmony between two different intellectual worlds. The introductory chapters explore both the Chinese and the Islamic intellectual traditions behind Liu’s work and locate the arguments of Tianfang xingli within those systems of thought. The copious annotations to the translation explain Liu’s text and draw attention to parallels in Chinese-, Arabic-, and Persian-language works as well as differences.

This book is the first ethnographic study of Muslim minorities' practice of Islamic law in contemporary China.

"Over the centuries, early Chinese classical poetry became embedded in a chronological account with great cultural resonance and came to be transmitted in versions accepted as authoritative. But modern scholarship has questioned components of the account and cast doubt on the accuracy of received texts. The result has destabilized the study of early Chinese poetry. This study adopts a double approach to the poetry composed between the end of the first century B.C.E. and the third century C.E. First, it examines extant material from this period synchronically, as if it were not historically arranged, with some poems attached to authors and some not. By setting aside putative differences of author and genre, Stephen Owen argues, we can see that this was “one poetry,” created from a shared poetic repertoire and compositional practices. Second, it considers how the scholars of the late fifth and early sixth centuries selected this material and reshaped it to produce the standard account of classical poetry. As Owen shows, early poetry comes to us through reproduction—reproduction by those who knew the poem and transmitted it, by musicians who performed it, and by scribes and anthologists—all of whom changed texts to suit their needs."