One of the minor miracles of art history is the extraordinary flowering of Indian painting that began in the mid-sixteenth century under the early Mughal emperors of Indian, notably Akbar the Great.
Only in recent decades has the consummate artistry of early Mughal painting come to be widely appreciated in the West. Scholars have noted the innovations--departures from both Islamic and native Indian tradition--of the new, highly distinctive school of painting, among them natural history studies, a concern for portraiture, and the documentation of contemporary court events.
Milo Beach traces, with an abundance of captivating illustrations, the evolution of the Mughal style. While acknowledging the influence of Akbar's interests and changing tastes (related in turn to historical and biographical circumstances), he shows that many of the new tendencies were evident during the short reign of Akbar's father, the Emperor Humayun, whose role as patron of the arts is thereby reassessed. Beach also stresses the traditionalism of the individual painters, who only gradually changed their concepts and compositions in response to foreign influences and to imperial taste. Mughal art, he affirms, can no longer be regarded as simply a reflection of its imperial patrons.
The book takes account of recently discovered material and reproduces for the first time important paintings from unpublished manuscripts and albums. It will appeal to the general reader as well as the scholar.
This monograph is a study of the Rgyal ba'i dben gnas rwa sgreng gi bshad pa nyi ma'i 'od zer (Rays of the Sun: A Statement about Rwa sgreng Monastery, Hermitage of the Victor), which is a newly discovered hand-written manuscript from the Fifth Dalai Lama’s private library at 'Bras spungs monastery, Lhasa. It is the first known work devoted solely to Rwa sgreng monastery, the mother monastery of the Bka' gdams school founded by 'Brom ston Rgyal ba'i 'byung gnas (1005–1064) in 1057 after the death of his master Atiśa (982–1054).
The Bka' gdams school no longer exists, but it has greatly influenced major schools of Tibetan Buddhism, such as Dge lugs, Bka' brgyud, and Sa skya school. Rwa sgreng monastery itself has shifted to the Dge lugs school, but it still has a strong presence as a monastery related to Bka' gdams school. Since this work was written at approximately the end of the thirteenth century, it is a relatively early text in the history of the Bka' gdams school, and it provides valuable historical, political, and sociological data on Rwa sgreng monastery.
This study aids understanding of the history of Rwa sgreng monastery and the early Bka' gdams school—and more broadly illuminates important aspects of Tibetan history.
This volume is a study and edition of Bcom Idan ral gri's (1227-1305) Bstan pa rgyas pa rgyan gyi nyi 'od. Likely composed in the last decades of the thirteenth century, this systematic list of Buddhist Sutras, Tantras, Shastras, and related genres translated primarily from Sanskrit and other Indic languages holds an important place in the history of Buddhist literature in Tibet. It affords a glimpse of one Tibetan scholar's efforts to classify more than two thousand titles of Buddhist literature in the decades before the canonical collections known as the Bka' 'gyur and the Bstan 'gyur achieved a relatively stable form. Tibetan historiography traces the origin of the Bka' 'gyur and Bstan 'gyur to Bcom ldan ral gri's efforts, though the unique structure of the Bstan pa rgyas pa rgyan gyi nyi 'od, which differs greatly from available Bka' 'gyur and Bstan 'gyur catalogs, shows that the situation is more complex.
Known to contemporary scholars of Tibetan literature for some time through mention in other works, Bcom ldan ral gri's survey has recently become available for the first time in two manuscripts. The present work contains a detailed historical introduction, an annotated edition of the two manuscripts, as well as concordances and appendices intended to aid the comparative study of early Tibetan collections of Indic Buddhist literature.
In the early 1960s, fewer than five percent of Japanese owned automobiles, China’s per capita income was among the lowest in Asia, and living standards in South Korea’s rural areas were on par with some of the world’s poorest countries. Today, these are three of the most powerful economies on earth. Dwight Perkins grapples with both the contemporary and historical causes and consequences of the turnaround, drawing on firsthand experience in the region to explain how Asian countries sustained such rapid economic growth in the second half of the twentieth century.
East Asian Development offers a comprehensive view of the region, from Japan and the “Asian Tigers” (Hong Kong, Singapore, Taiwan, South Korea) to Indonesia, Vietnam, Thailand, Malaysia, and China—a behemoth larger than all the other economies combined. While the overall picture of Asian growth is positive, no single economic policy has been effective regionwide. Interventionist policies that worked well in some countries failed elsewhere. Perkins analyzes income distribution, to uncover why initially egalitarian societies have ended up in very different places, with Japan, for example, maintaining a modest gap between rich and poor while China has become one of Asia’s most unequal economies.
Today, the once-dynamic Japanese and Korean economies are sluggish, and even China shows signs of losing steam. Perkins investigates whether this is a regional phenomenon or typical of all economies at this stage of development. His inquiry reminds us that the uncharted waters of China’s vast economy make predictions of its future performance speculative at best.
Discovering Singaporean identity through cooking and cuisine
While eating is a universal experience, for Singaporeans it carries strong national connotations. The popular Singaporean-English phrase "Die die must try" is not so much hyperbole as it is a reflection of the lengths that Singaporeans will go to find great dishes.
In Eating Her Curries and Kway: A Cultural History of Food in Singapore, Nicole Tarulevicz argues that in a society that has undergone substantial change in a relatively short amount of time, food serves Singaporeans as a poignant connection to the past. Eating has provided a unifying practice for a diverse society, a metaphor for multiracialism and recognizable national symbols for a fledgling state. Covering the period from British settlement in 1819 to the present and focusing on the post–1965 postcolonial era, Tarulevicz tells the story of Singapore through the production and consumption of food.
Analyzing a variety of sources that range from cookbooks to architectural and city plans, Tarulevicz offer a thematic history of this unusual country, which was colonized by the British and operated as a port within Malaya. Connecting food culture to the larger history of Singapore, she discusses various topics including domesticity and home economics, housing and architecture, advertising, and the regulation of food-related manners and public behavior such as hawking, littering, and chewing gum. Moving away from the predominantly political and economic focus of other histories of Singapore, Eating Her Curries and Kway provides an important alternative reading of Singaporean society.
Cultures have long defined themselves through biological elements to prove their strength and longevity, from cherry blossoms in Japan to amber waves of grain in the United States. In Ecology without Culture, Christine L. Marran introduces the concept of biotropes—material and semiotic figures that exist for human perception—to navigate how and why the material world has proven to be such an effective medium for representing culture. A bold and timely reconsideration of ecocriticism, Ecology without Culture insists on decentering questions of culture to highlight the materiality of poetry, film, and prose fiction.
Marran argues that ecocriticism can critique ecological realities more effectively from outside the frame of human exceptionalism. Through discussions of primarily non-Anglophone literature, poetry, and cinema about toxic events in contemporary history— from the depiction of slow violence in documentary by Tsuchimoto Noriaki to the powerful poetry of Ishimure Michiko—Marran argues that ecocriticism must find a way to engage culture without making the perpetuation of ethnos and anthropos the endgame of ecopolitics.
Using the biological foundations and geological time scales of textual worlds to more deeply critique cultural humanism, Marran ultimately contends that the chief stumbling block to ecological thinking is not the image of nature, but the image of culture.
Ink landscape painting is a distinctive feature of the Northern Song, and painters of this era produced some of the most celebrated artworks in Chinese history. The Efficacious Landscape addresses how landmark works of this pivotal period first came to be identified as potent symbols of imperial authority and later became objects through which exiled scholars expressed disaffection and dissent. In fulfilling these diverse roles, landscape demonstrated its efficacy in communicating through embodiment and in transcending the limitations of the concrete.
Building on decades of monographic writings on Song painting, this carefully researched study presents a syncretic vision of how ink landscape evolved within the eleventh-century court community of artists, scholars, and aristocrats. Detailed visual analyses of surviving works and new insight about key landscapes by the court painter Guo Xi support the perspective put forward here and introduce original methodologies for interpreting painting as an integral element of political and cultural history. By focusing on the efforts of emperors, empresses, and eunuchs to cultivate ink landscape and its iconography, this investigation also tackles the social and class dichotomies that have long defined and frustrated existing scholarship on this period’s paintings, highlighting instead the interconnectedness of painting practice’s elite modalities.
When and why do democratic political actors change the electoral rules, particularly regarding who is included in a country’s political representation? The incidences of these major electoral reforms have been on the rise since 1980.
Electoral Reform and the Fate of New Democracies argues that elite inexperience may constrain self-interest and lead elites to undertake incremental approaches to reform, aiding the process of democratic consolidation. Using a multimethods approach, the book examines three consecutive periods of reform in Indonesia, the world’s largest Muslim majority country and third largest democracy, between 1999 and 2014. Each case study provides an in-depth process tracing of the negotiations leading to new reforms, including key actors in the legislature, domestic civil society, international experts, and government bureaucrats. A series of counterfactual analyses assess the impact the reforms had on actual election outcomes, versus the possible alternative outcomes of different reform options discussed during negotiations. With a comparative analysis of nine cases of iterated reform processes in other new democracies, the book confirms the lessons from the Indonesian case and highlights key lessons for scholars and electoral engineers.
By the turn of the twentieth century, Japan’s military and economic successes made it the dominant power in East Asia, drawing hundreds of thousands of Chinese, Korean, and Taiwanese students to the metropole and sending thousands of Japanese to other parts of East Asia. The constant movement of peoples, ideas, and texts in the Japanese empire created numerous literary contact nebulae, fluid spaces of diminished hierarchies where writers grapple with and transculturate one another’s creative output.
Drawing extensively on vernacular sources in Japanese, Chinese, and Korean, this book analyzes the most active of these contact nebulae: semicolonial Chinese, occupied Manchurian, and colonial Korean and Taiwanese transculturations of Japanese literature. It explores how colonial and semicolonial writers discussed, adapted, translated, and recast thousands of Japanese creative works, both affirming and challenging Japan’s cultural authority. Such efforts not only blurred distinctions among resistance, acquiescence, and collaboration but also shattered cultural and national barriers central to the discourse of empire. In this context, twentieth-century East Asian literatures can no longer be understood in isolation from one another, linked only by their encounters with the West, but instead must be seen in constant interaction throughout the Japanese empire and beyond.
In the West, Harvard philosopher Michael Sandel is a thinker of unusual prominence. In China, he’s a phenomenon, greeted by vast crowds. China Daily reports that he has acquired a popularity “usually reserved for Hollywood movie stars.” China Newsweek declared him the “most influential foreign figure” of the year. In Sandel the Chinese have found a guide through the ethical dilemmas created by the nation’s swift embrace of a market economy—a guide whose communitarian ideas resonate with aspects of China’s own rich and ancient philosophical traditions.
Chinese citizens often describe a sense that, in sprinting ahead, they have bounded past whatever barriers once held back the forces of corruption and moral disregard. The market economy has lifted millions from poverty but done little to define ultimate goals for individuals or the nation. Is the market all there is? In this context, Sandel’s charismatic, interactive lecturing style, which roots moral philosophy in real-world scenarios, has found an audience struggling with questions of their responsibility to one another.
Encountering China brings together leading experts in Confucian and Daoist thought to explore the connections and tensions revealed in this unlikely episode of Chinese engagement with the West. The result is a profound examination of diverse ideas about the self, justice, community, gender, and public good. With a foreword by Evan Osnos that considers Sandel’s fame and the state of moral dialogue in China, the book will itself be a major contribution to the debates that Sandel sparks in East and West alike.
How China’s expansive new era of urbanization threatens to undermine the foundations of rural life
Since the beginning of the twenty-first century, China has vastly expanded its urbanization processes in an effort to reduce the inequalities between urban and rural areas. Centered on the mountainous region of Chongqing, which serves as an experimental site for the country’s new urban development policies, The End of the Village analyzes the radical expansion of urbanization and its consequences for China’s villagers. It reveals a fundamental rewriting of the nation’s social contract, as villages that once organized rural life and guaranteed rural livelihoods are replaced by an increasingly urbanized landscape dominated by state institutions.
Throughout this comprehensive study of China’s “urban–rural coordination” policy, Nick R. Smith traces the diminishing autonomy of the country’s rural populations and their subordination to larger urban networks and shared administrative structures. Outside Chongqing’s urban centers, competing forces are at work in reshaping the social, political, and spatial organization of its villages. While municipal planners and policy makers seek to extend state power structures beyond the boundaries of the city, village leaders and inhabitants try to maintain control over their communities’ uncertain futures through strategies such as collectivization, shareholding, real estate development, and migration.
As China seeks to rectify the development crises of previous decades through rapid urban growth, such drastic transformations threaten to displace existing ways of life for more than 600 million residents. Offering an unprecedented look at the country’s contentious shift in urban planning and policy, The End of the Village exposes the precarious future of rural life in China and suggests a critical reappraisal of how we think about urbanization.
As India emerges as a significant global actor, diverse states have sought to engage India with divergent agendas and interests. Some states aspire to improve their relations with New Delhi, while others pursue the transformation of Indian foreign policy—and even India itself—to suit their interests. The Engagement of India explores the strategies that key states have employed to engage and shape the relationship with a rising and newly vibrant India, their successes and failures, and Indian responses—positive, ambivalent, and sometimes hostile—to engagement. A multinational team of contributors examine the ways in which Australia, China, Japan, Russia, and the United States have each sought to engage India for various purposes, explore the ways in which India has responded, and assess India’s own strategies to engage with Singapore, Vietnam, Indonesia, and the Central Asian republics.
This informative analysis of the foreign relations of a key rising power, and first comparative study of engagement strategies, casts light on the changing nature of Indian foreign policy and the processes that shape its future. The Engagement of India should be of interest to students and scholars of international relations, diplomacy, and South Asia.
A foray into to the complexities of statecraft and leadership in medieval India.
Kamandaki’s Nītisāra, or The Essence of Politics, redefined the field of political thought in early medieval India and became one of the most influential works in the genre across South and Southeast Asia. It was likely written during or shortly after the Gupta Empire (c. 325–550 CE) and enjoyed wide popularity for nearly a millennium.
An elegant introduction to the intricacies of statecraft, The Essence of Politics encompasses virtually all aspects of elite social life, making it indispensable for generals, spies, ministers, and other members of the royal court, especially poets writing about war and conquest. Addressed directly to the king, its lessons range from the finer points of military strategy and economic policy to the moral qualities of effective rulers. Kamandaki anchors political practice in intellectual and spiritual discipline. His model of leadership, based on self-control and personal cultivation, is as relevant today as it was in its own time.
The Sanskrit text, presented here in the Devanagari script, accompanies a new English prose translation.
The Essential Tagore showcases the genius of India’s Rabindranath Tagore, the first Asian Nobel Laureate and possibly the most prolific and diverse serious writer the world has ever known.
Marking the 150th anniversary of Tagore’s birth, this ambitious collection—the largest single volume of his work available in English—attempts to represent his extraordinary achievements in ten genres: poetry, songs, autobiographical works, letters, travel writings, prose, novels, short stories, humorous pieces, and plays. In addition to the newest translations in the modern idiom, it includes a sampling of works originally composed in English, his translations of his own works, three poems omitted from the published version of the English Gitanjali, and examples of his artwork.
Tagore’s writings are notable for their variety and innovation. His Sonar Tari signaled a distinctive turn toward the symbolic in Bengali poetry. “The Lord of Life,” from his collection Chitra, created controversy around his very personal concept of religion. Chokher Bali marked a decisive moment in the history of the Bengali novel because of the way it delved into the minds of men and women. The skits in Vyangakautuk mocked upper-class pretensions. Prose pieces such as “The Problem and the Cure” were lauded by nationalists, who also sang Tagore’s patriotic songs.
Translations for this volume were contributed by Tagore specialists and writers of international stature, including Amitav Ghosh, Amit Chaudhuri, and Sunetra Gupta.
Poetry by Asian American writers has had a significant impact on the landscape of contemporary American poetry, and a book-length critical treatment of Asian American poetry is long overdue. In this groundbreaking book, Xiaojing Zhou demonstrates how many Asian American poets transform the conventional “I” of lyric poetry—based on the traditional Western concept of the self and the Cartesian “I”—to enact a more ethical relationship between the “I” and its others.
Drawing on Emmanuel Levinas’s idea of the ethics of alterity—which argues that an ethical relation to the other is one that acknowledges the irreducibility of otherness—Zhou offers a reconceptualization of both self and other. Taking difference as a source of creativity and turning it into a form of resistance and a critical intervention, Asian American poets engage with broader issues than the merely poetic. They confront social injustice against the other and call critical attention to a concept of otherness which differs fundamentally from that underlying racism, sexism, and colonialism. By locating the ethical and political questions of otherness in language, discourse, aesthetics, and everyday encounters, Asian American poets help advance critical studies in race, gender, and popular culture as well as in poetry.
The Ethics and Poetics of Alterity is not limited, however, to literary studies: it is an invaluable response to the questions raised by increasingly globalized encounters across many kinds of boundaries.
The Poets
Marilyn Chin, Kimiko Hahn, Myung Mi Kim, Li Young Lee, Timothy Liu, David Mura, and John Yau
Since the inception of the noh drama six centuries ago, actors have resisted the notion that noh rests on natural talent alone. Correct performance, they claim, demands adherence to traditions. Yet what constitutes noh’s traditions and who can claim authority over them have been in dispute throughout its history. This book traces how definitions of noh, both as an art and as a profession, have changed over time. The author seeks to show that the definition of noh as an art is inseparable from its definition as a profession.
The aim of this book is to describe how memories of the past become traditions, as well as the role of these traditions in the institutional development of the noh theater from its beginnings in the fourteenth century through the late twentieth century. It focuses on the development of the key traditions that constitute the “ethos of noh,” the ideology that empowered certain groups of actors at the expense of others, and how this ethos fostered noh’s professionalization—its growth from a loose occupation into a closed, regulated vocation. The author argues that the traditions that form the ethos of noh, such as those surrounding masks and manuscripts, are the key traits that define it as an art.
A long-awaited corrective to the controversial idea of world literature, from a major voice in the field.
Katerina Clark charts interwar efforts by Soviet, European, and Asian leftist writers to create a Eurasian commons: a single cultural space that would overcome national, cultural, and linguistic differences in the name of an anticapitalist, anti-imperialist, and later antifascist aesthetic. At the heart of this story stands the literary arm of the Communist International, or Comintern, anchored in Moscow but reaching Baku, Beijing, London, and parts in between. Its mission attracted diverse networks of writers who hailed from Turkey, Iran, India, and China, as well as the Soviet Union and Europe. Between 1919 and 1943, they sought to establish a new world literature to rival the capitalist republic of Western letters.
Eurasia without Borders revises standard accounts of global twentieth-century literary movements. The Eurocentric discourse of world literature focuses on transatlantic interactions, largely omitting the international left and its Asian members. Meanwhile, postcolonial studies have overlooked the socialist-aligned world in favor of the clash between Western European imperialism and subaltern resistance. Clark provides the missing pieces, illuminating a distinctive literature that sought to fuse European and vernacular Asian traditions in the name of a post-imperialist culture.
Socialist literary internationalism was not without serious problems, and at times it succumbed to an orientalist aesthetic that rivaled any coming from Europe. Its history is marked by both promise and tragedy. With clear-eyed honesty, Clark traces the limits, compromises, and achievements of an ambitious cultural collaboration whose resonances in later movements can no longer be ignored.
During the two difficult decades immediately following the 1947 Indian Independence, a new, commercially successful print culture emerged that articulated alternatives to dominant national narratives. Through what Aakriti Mandhwani defines as middlebrow magazines—like Delhi Press’s Saritā—and the first paperbacks in Hindi—Hind Pocket Books—North Indian middle classes cultivated new reading practices that allowed them to reimagine what it meant to be a citizen. Rather than focusing on individual sacrifices and contributions to national growth, this new print culture promoted personal pleasure and other narratives that enabled readers to carve roles outside of official prescriptions of nationalism, austerity, and religion.
Utilizing a wealth of previously unexamined print culture materials, as well as paying careful attention to the production of commercial publishing companies and the reception of ordinary reading practices—particularly those of women—Everyday Reading offers fresh perspectives into book history, South Asian literary studies, and South Asian gender studies.
The People’s Republic of China has experienced numerous challenges and undergone tremendous structural changes over the past four decades. The party-state now faces a fundamental tension in its pursuit of social stability and regime durability. Repressive state strategies enable the Chinese Communist Party to maintain its monopoly on political power, yet the quality of governance and regime legitimacy are enhanced when the state adopts more inclusive modes of engagement with society.
Based on a dynamic typology of state–society relations, this volume adopts an evolutionary framework to examine how the Chinese state relates with non-state actors across several fields of governance. Drawing on original fieldwork, the authors identify areas in which state–society interactions have shifted over time, ranging from more constructive engagement to protracted conflict. This evolutionary approach provides nuanced insight into the circumstances wherein the party-state exerts its coercive power versus engaging in more flexible responses or policy adaptations.
In the years of rapid economic growth following the protest movements of the 1960s, artists and intellectuals in Japan searched for a means of direct impact on the whirlwind of historical and cultural transformations of their time. Yet while the artists often called for such “direct” encounter, their works complicate this ideal with practices of interruption, self-reflexive mimesis, and temporal discontinuity. In an era known for idealism and activism, some of the most cherished ideals—intimacy between subjects, authenticity, a sense of home—are limitlessly desired yet always just out of reach.
In this book, Miryam Sas explores the theoretical and cultural implications of experimental arts in a range of media. Casting light on important moments in the arts from the 1960s to the early 1980s, this study focuses first on underground (post-shingeki) theater and then on related works of experimental film and video, buto dance, and photography. Emphasizing the complex and sophisticated theoretical grounding of these artists through their works, practices, and writings, this book also locates Japanese experimental arts in an extensive, sustained dialogue with key issues of contemporary critical theory.
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