This volume is the first in a series of full-length English translations from one of the foremost classics in Daoist religious literature, the Zhen gao or Declarations of the Perfected. The Declarations is a collection of poems, accounts of the dead, instructions, and meditation methods received by the Daoist Yang Xi (330–ca. 386 BCE) from celestial beings and shared by him with his patrons and students. These fragments of revealed material were collected and annotated by the eminent scholar and Daoist Tao Hongjing (456–536), allowing us access to these distant worlds and unfamiliar strategies of self-perfection. Bokenkamp's full translation highlights the literary nature of Daoist revelation and the place of the Declarations in the development of Chinese letters. It further details interactions with the Chinese throne and the aristocracy and demonstrates ways that Buddhist borrowings helped shape Daoism much earlier than has been assumed. This first volume also contains heretofore unrecognized reconfigurations of Buddhist myth and practice that Yang Xi introduced to his Daoist audience.

This volume is the first in a series of full-length English translations from one of the foremost classics in Daoist religious literature, the Zhen gao or Declarations of the Perfected. The Declarations is a collection of poems, accounts of the dead, instructions, and meditation methods received by the Daoist Yang Xi (330–ca. 386 BCE) from celestial beings and shared by him with his patrons and students. These fragments of revealed material were collected and annotated by the eminent scholar and Daoist Tao Hongjing (456–536), allowing us access to these distant worlds and unfamiliar strategies of self-perfection. Bokenkamp's full translation highlights the literary nature of Daoist revelation and the place of the Declarations in the development of Chinese letters. It further details interactions with the Chinese throne and the aristocracy and demonstrates ways that Buddhist borrowings helped shape Daoism much earlier than has been assumed. This first volume also contains heretofore unrecognized reconfigurations of Buddhist myth and practice that Yang Xi introduced to his Daoist audience.

A work on Chinese concepts of the afterlife. It explores how Chinese authors, including Daoists and non-Buddhists, received and deployed ideas about rebirth from the third to the sixth centuries CE. In tracing the antecedents of these scriptures, it presents non-Buddhist accounts that provide detail on the realms of the dead.

From early times, Daoist writers claimed to receive scriptures via revelation from heavenly beings. In numerous cases, these writings were composed over the course of many nights and by different mediums. New revelations were often hastily appended, and the resulting unevenness gave rise to the impression that Daoist texts often appear slapdash and contain contradictions. A Library of Clouds focuses on the re-writing of Daoist scriptures in the Upper Clarity (Shangqing) lineage in fourth- and fifth-century China. Scholarship on Upper Clarity Daoism has been dominated by attempts to uncover “original” or “authentic” texts, which has resulted in the neglect of later scriptures—including the work fully translated and annotated here, the Scripture of the Immaculate Numen, one of the Three Wonders (sanqi) and among the most prized Daoist texts in medieval China. The scripture’s lack of a coherent structure and its different authorial voices have led many to see it not as a unified work but the creation of different editors who shaped and reshaped it over time. A Library of Clouds constructs new ways of understanding the complex authorship of texts like the Scripture of the Immaculate Numen and their place in early medieval Daoism. It stresses their significance in understanding the ways in which manuscripts were written, received, and distributed in early medieval China. By situating the scripture within its immediate hagiographic and ritual contexts, it suggests that this kind of revelatory literature is best understood as a pastiche of ideas, a process of weaving together previously circulating notions and beliefs into a new scriptural fabric.

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.

"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."

By the eleventh century, communities of religious practitioners in China had developed a theory and practice of meditative self-cultivation that combined the so-called Three Teachings. By the seventeenth century, Wu Shouyang created a synthesis of the various lineages of this “inner alchemy,” combining it with elements from Buddhism and Confucianism. By the late nineteenth century, his writings had become bestsellers in the genre and his became the standard account of this tradition. This first book-length English-language study of Wu Shouyang’s life and works introduces his remarkable life and formulates answers to fundamental questions about this important tradition.