Death is a topic that has fascinated people for centuries. In the English-speaking world, eulogies in poetic form could be traced back to the 1640s, but gained prominence with the 'graveyard school' of poets in the eighteenth century often stressing the finality of death. Chinese American Death Rituals examines Chinese American funerary rituals and cemeteries from the late nineteenth century until the present in order to understand the importance of Chinese funerary rites and their transformation through time. The authors in this volume discuss the meaning of funerary rituals and their normative dimension and the social practices that have been influenced by tradition. Shaped by individual beliefs, customs, religion, and environment, Chinese Americans have resolved the tensions between assimilation into the mainstream culture and their strong Chinese heritage in a variety of ways. This volume expertly describes and analyzes Chinese American cultural retention and transformation in rituals after death.

During the late imperial era (1500-1911), China, though divided by ethnic, linguistic, and regional differences at least as great as those prevailing in Europe, enjoyed a remarkable solidarity. What held Chinese society together for so many centuries? Some scholars have pointed to the institutional control over the written word as instrumental in promoting cultural homogenization; others, the manipulation of the performing arts. This volume, comprised of essays by both anthropologists and historians, furthers this important discussion by examining the role of death rituals in the unification of Chinese culture.

This study examines how political and legal disputes regarding the performance of death rituals contributed to shape a revival of Confucianism in eleventh-century Northern Song China.

Through a cultural analysis of the symbols of death - flesh, blood, bones, souls, time numbers, food and money - Chinese Death Rituals in Singapore throws light upon the Chinese perception of death and how they cope with its eventuality. In the seeming mass of religious rituals and beliefs, it suggests that there is an underlying logic to the rituals. This in turn leads Kiong to examine the interrelationship between death and the socioeconomic value system of China as a whole.

They have looked to individual beliefs, customs, religion, and environment for this resolution. This volume expertly describes and analyzes cultural retention and transformation in the after-death rituals of Chinese American communities."--Jacket.

In eleventh-century China, both the living and the dead were treated to theatrical spectacles. Chambers designed for the deceased were ornamented with actors and theaters sculpted in stone, molded in clay, rendered in paint. Notably, the tombs were not commissioned for the scholars and officials who dominate the historical record of China but affluent farmers, merchants, clerics—people whose lives and deaths largely went unrecorded. Why did these elites furnish their burial chambers with vivid representations of actors and theatrical performances? Why did they pursue such distinctive tomb-making? In Theater of the Dead, Jeehee Hong maintains that the production and placement of these tomb images shed light on complex intersections of the visual, mortuary, and everyday worlds of China at the dawn of the second millennium. Assembling recent archaeological evidence and previously overlooked historical sources, Hong explores new elements in the cultural and religious lives of middle-period Chinese. Rather than treat theatrical tomb images as visual documents of early theater, she calls attention to two largely ignored and interlinked aspects: their complex visual forms and their symbolic roles in the mortuary context in which they were created and used. She introduces carefully selected examples that show visual and conceptual novelty in engendering and engaging dimensions of space within and beyond the tomb in specifically theatrical terms. These reveal surprising insights into the intricate relationship between the living and the dead. The overarching sense of theatricality conveys a densely socialized vision of death. Unlike earlier modes of representation in funerary art, which favored cosmological or ritual motifs and maintained a clear dichotomy between the two worlds, these visual practices show a growing interest in conceptualizing the sphere of the dead within the existing social framework. By materializing a “social turn,” this remarkable phenomenon constitutes a tangible symptom of middle-period Chinese attempting to socialize the sacred realm. Theater of the Dead is an original work that will contribute to bridging core issues in visual culture, history, religion, and drama and theater studies.

Death rituals and Buddhist imagery of the afterlife have been central to the development and spread of Buddhism as a social and textual tradition. Bringing together ethnographic, historical and theoretically informed accounts, the book presents in-depth studies of the Buddhist funeral cultures of mainland Southeast Asia and China.