A long-awaited textbook that introduces the major schools, teachings, and practices of Daoism, this work presents a chronological survey that is thematically divided into four parts: Ancient Thought, Religious Communities, Spiritual Practices, and Modernity. The work offers an integrated vision of the Daoist tradition in its historical and cultural context, establishing connections with relevant information on Confucianism, Chinese Buddhism, popular religion, and political developments. It also places Daoism into a larger theoretical and comparative framework, relating it to mysticism, millenarianism, forms of religious organization, ritual, meditation, and modernity. The book makes ample use of original materials and provides references to further readings and original sources in translation. It is a powerful resource for teaching and studying alike.

This book provides a systemic introduction of Daoism in China. Subjects includes the spirituality in early China, establishment and lineage of the celestial masters, Daoist deities, temples, and sacred places, the influence of Daoism in culture and customs. With black and white photographs, including shrines, temples, and deities.

Confucianism and Daoism absorbing and mutually transforming new horizons, especially Buddhism; attention to the writings of Matteo Ricci and potential Christian contributions to modern development in Chinese culture.

"Picturing the True Form investigates the long-neglected visual culture of Daoism, China’s primary indigenous religion, from the tenth through thirteenth centuries with references to both earlier and later times. In this richly illustrated book, Shih-shan Susan Huang provides a comprehensive mapping of Daoist images in various media, including Dunhuang manuscripts, funerary artifacts, and paintings, as well as other charts, illustrations, and talismans preserved in the fifteenth-century Daoist Canon. True form (zhenxing), the key concept behind Daoist visuality, is not static, but entails an active journey of seeing underlying and secret phenomena.This book’s structure mirrors the two-part Daoist journey from inner to outer. Part I focuses on inner images associated with meditation and visualization practices for self-cultivation and longevity. Part II investigates the visual and material dimensions of Daoist ritual. Interwoven through these discussions is the idea that the inner and outer mirror each other and the boundary demarcating the two is fluid. Huang also reveals three central modes of Daoist symbolism—aniconic, immaterial, and ephemeral—and shows how Daoist image-making goes beyond the traditional dichotomy of text and image to incorporate writings in image design. It is these particular features that distinguish Daoist visual culture from its Buddhist counterpart."

Traveling in China today and walking about in various cities, it is easy to observe the continued unbridled construction of huge, megalithic high-rise complexes in vast stretches of the country, complete with the untrammeled despoiling of nature and intensification of pollution, as well as the ever increasing vibrancy of the Chinese people, glued to their cell phones and actively connected online, always moving about and hustling for yet another deal. At the same time, using the internet without a VPN and talking to academics at various universities, it becomes obvious that there is a massive increase in repressive measures by the state, the tightening of the intellectual control of both content and expression, the fluctuating inaccessibility of information sources that used to be perfectly fine. What, the question arises, is going on here? Where China stands today and where is it headed from here? And what, in all of this, is the role and place of Daoism? These sixty vignettes on "Daoist China" present different aspects of life in China, in each case describing the current situation and connecting it to the role and changing facets of Daoism today, focusing in turn on dimensions of governance, economics, and culture.

A celebration of Taoist art traces the influence of philosophy on the visual arts in China.