Reveals dimensions of the interaction between Buddhism and Taoism in medieval China. This book demonstrates the competition and complementarity of the two great Chinese religions in their quest to address personal and collective fears of diverse ills, including sorcery, famine, and untimely death.

In 142 CE, the divine Lord Lao descended to Mount Cranecall (Sichuan province) to establish a new covenant with humanity through a man named Zhang Ling, the first Celestial Master. Facing an impending apocalypse caused by centuries of sin, Zhang and his descendants forged a communal faith centering on a universal priesthood, strict codes of conduct, and healing through the confession of sins; this faith was based upon a new, bureaucratic relationship with incorruptible supernatural administrators. By the fourth century, Celestial Master Daoism had spread to all parts of China, and has since played a key role in China’s religious and intellectual history. Celestial Masters is the first book in any Western language devoted solely to the founding of the world religion Daoism. It traces the movement from the mid-second century CE through the sixth century, examining all surviving primary documents in both secular and canonical sources to offer a comprehensive account of the development of this poorly understood religion. It also provides a detailed analysis of ritual life within the movement, covering the roles of common believer or Daoist citizen, novice, and priest or libationer.

Originally published in 1997, Religions of Tibet in Practice is a landmark work--the first major anthology on the topic ever produced. This new edition--abridged to further facilitate course use--presents a stunning array of works that together offer an unparalleled view of the Tibetan religious landscape over the centuries. Organized thematically, the twenty-eight chapters are testimony to the vast scope of religious practice in the Tibetan world, past and present. Religions of Tibet in Practice remains a work of great value to scholars, students, and general readers.

Folk and popular religion is a very significant part of Chinese religious life, especially in rural areas. Contemporary Religions in China focuses on the religious activities of the lay people of contemporary China and their ideas of what it means to be "religious" and to practice "religion". Throughout, the discussion is illustrated with case studies, textboxes, images, thought questions, and further reading, which help to capture what religion is like, how and why it is practiced, and what ‘religion’ means for everyday people across China in the twenty-first century. Contemporary Religions in China is an ideal introduction to religion in China for undergraduate students of religion, Chinese studies, and anthropology.

In The Columbia Anthology of Chinese Folk and Popular Literature, two of the world's leading sinologists, Victor H. Mair and Mark Bender, capture the breadth of China's oral-based literary heritage. This collection presents works drawn from the large body of oral literature of many of China's recognized ethnic groups--including the Han, Yi, Miao, Tu, Daur, Tibetan, Uyghur, and Kazak--and the selections include a variety of genres. Chapters cover folk stories, songs, rituals, and drama, as well as epic traditions and professional storytelling, and feature both familiar and little-known texts, from the story of the woman warrior Hua Mulan to the love stories of urban storytellers in the Yangtze delta, the shaman rituals of the Manchu, and a trickster tale of the Daur people from the forests of the northeast. The Cannibal Grandmother of the Yi and other strange creatures and characters unsettle accepted notions of Chinese fable and literary form. Readers are introduced to antiphonal songs of the Zhuang and the Dong, who live among the fantastic limestone hills of the Guangxi Zhuang Autonomous Region; work and matchmaking songs of the mountain-dwelling She of Fujian province; and saltwater songs of the Cantonese-speaking boat people of Hong Kong. The editors feature the Mongolian epic poems of Geser Khan and Jangar; the sad tale of the Qeo family girl, from the Tu people of Gansu and Qinghai provinces; and local plays known as "rice sprouts" from Hebei province. These fascinating juxtapositions invite comparisons among cultures, styles, and genres, and expert translations preserve the individual character of each thrillingly imaginative work.

History and art come together in this definitive discussion of the Chinese woodblock print form of nianhua, literally "New Year pictures." James Flath analyzes the role of nianhua in the home and later in the theatre and relates these artworks to the social, cultural, and political milieu of North China as it was between the late Qing dynasty and the early 1950s. Among the first studies in any field to treat folk art as historical text, this extraordinary account offers original insight into popular conceptions of domesticity, morality, gender, society, modernity, and the transformation of the genre as a propaganda tool under communism.