The great Buddhist priest Kûkai (774-835) is credited with the introduction and establishment of tantric -or esoteric -Buddhism in early ninth-century Japan. In Ryûichi Abé examines this important religious figure -neglected in modern academic literatu

"The Weaving of Mantra embeds Kukai within the fabric of political and social life in ninth-century Japan and explains how esoteric Buddhism played a critical role in many societal changes in Japan - from the growth of monasteries into major feudal powers to the formation of the native phonetic alphabet, kana. As Abe illustrates, Kukai's writings and the new type of discourse they spawned also marked Japan's transition from the ancient order to the medieval world, replacing Confucianism as the ideology of the state."--BOOK JACKET.

Shingon Buddhism arose in the eighth century and remains one of Japan's most important sects, at present numbering some 12 million adherents. As such it is long overdue appropriate coverage. Here, the well-respected Mark Unno illuminates the tantric practice of the Mantra of Light, the most central of Shingon practices, complete with translations and an in-depth exploration of the scholar-monk Myoe Koben, the Mantra of Light's foremost proponent.

The first broad study of Japanese mandalas to appear in a Western language, this volume interprets mandalas as sanctified realms where identification between the human and the sacred occurs. The author investigates eighth- to seventeenth-century paintings from three traditions: Esoteric Buddhism, Pure Land Buddhism, and the kami-worshipping (Shinto) tradition. It is generally recognized that many of these mandalas are connected with texts and images from India and the Himalayas. A pioneering theme of this study is that, in addition to the South Asian connections, certain paradigmatic Japanese mandalas reflect pre-Buddhist Chinese concepts, including geographical concepts. In convincing and lucid prose, ten Grotenhuis chronicles an intermingling of visual, doctrinal, ritual, and literary elements in these mandalas that has come to be seen as characteristic of the Japanese religious tradition as a whole. This beautifully illustrated work begins in the first millennium B.C.E. in China with an introduction to the Book of Documents and ends in present-day Japan at the sacred site of Kumano. Ten Grotenhuis focuses on the Diamond and Womb World mandalas of Esoteric Buddhist tradition, on the Taima mandala and other related mandalas from the Pure Land Buddhist tradition, and on mandalas associated with the kami-worshipping sites of Kasuga and Kumano. She identifies specific sacred places in Japan with sacred places in India and with Buddhist cosmic diagrams. Through these identifications, the realm of the buddhas is identified with the realms of the kami and of human beings, and Japanese geographical areas are identified with Buddhist sacred geography. Explaining why certain fundamental Japanese mandalas look the way they do and how certain visual forms came to embody the sacred, ten Grotenhuis presents works that show a complex mixture of Indian Buddhist elements, pre-Buddhist Chinese elements, Chinese Buddhist elements, and indigenous Japanese elements.

One of the most precarious and daunting tasks for sixteenth-century European missionaries in the cross-cultural mission frontiers was translating the name of «God» (Deus) into the local language. When the Italian Jesuit Matteo Ricci (1552-1610) introduced the Chinese term Shangti as the semantic equivalent of Deus, he made one of the most innovative cross-cultural missionary translations. Ricci's employment of Shangti was neither a simple rewording of a Chinese term nor the use of a loan-word, but was indeed a risk-taking «identification» of the Christian God with the Confucian Most-High, Shangti. Strange Names of God investigates the historical progress of the semantic configuration of Shangti as the divine name of the Christian God in China by focusing on Chinese intellectuals' reaction to the strangely translated Chinese name of God.

“Singing is as human as breathing, and this book tells us why.” —Mark Guarino, contributing music writer, The Guardian Celebrated yogi-musician Girish opens new possibilities for transforming your life through song, combining the ancient art of singing mantra with twenty-first century neuroscience research. For as long as he can remember, Girish has created rhythm to accompany life. His first experience of music as sacred art came in college, playing with jazz bands. “During improvisational sessions,” he recalls, “there were these unexplainable moments of synchronicity and intuition that felt like magic.” This led Girish to an unexpected journey—a seeming detour to live as a monk in an ashram for five years that inadvertently nourished his musical artistry. Here, he studied Sanskrit as a means to understand the deeper meanings of ancient chants, which sparked a life-changing event that led him back to music—and to combine music with Sanskrit chants. Now he shares what he’s learned to help people of all ages, backgrounds, and traditions to transform body, brain, and life through mantra and music. With Music and Mantras, Girish has created an interactive toolkit—including more than ninety minutes of companion audio material—for personal transformation through singing, sharing his own experience as a musician, yogi, and former Hindu monk. Weaving simple, elegant mantras from ancient traditions with neuroscience, Girish shows us how to achieve greater peace of mind, clarity, calm, focus, and even improved health and wealth through the yogic art of chanting—an ideal practice for singing our way to happiness, health, and prosperity.

The long awaited print version of the popular Buddhist mantra website: visiblemantra.org. This is a celebration of the visual forms of mantra and other varieties of sacred speech, drawing on Buddhist traditions from India, China, Japan, and Tibet. The book includes all the mantras from the website, plus a few more. Each is presented in four scripts: Siddhaṃ (Bonji 梵字), Lantsa (aka Rañjana), Devanāgarī, and Tibetan (dbu can). Plus seed-syllables, dhāraṇī and Pāli chants. All accompanied by Jayarava's meticulously researched notes and comments, and background reading drawn from Jayarava's blog. An invaluable resource for Buddhist artists, calligraphers and practitioners.