This title documents the remnants of the rich Buddhist cultural heritage of Cambodia after centuries of wars and destruction culminating with the genocide and cultural annihilation of the Khmer Rouge.

These delightful, beautiful and sought-after paintings depict scenes from Buddha's life or the Jataka tale. With lavish illustrations throughout, the authors study both the religious meaning of the paintings as well as their artistic merit.

The study of Cambodian religion has long been hampered by a lack of easily accessible scholarship. This impressive new work by Ian Harris thus fills a major gap and offers English-language scholars a booklength, up-to-date treatment of the religious aspects of Cambodian culture. Beginning with a coherent history of the presence of religion in the country from its inception to the present day, the book goes on to furnish insights into the distinctive nature of Cambodia's important yet overlooked manifestation of Theravada Buddhist tradition and to show how it reestablished itself following almost total annihilation during the Pol Pot period. Historical sections cover the dominant role of tantric Mahayana concepts and rituals under the last great king of Angkor, Jayavarman VII (1181–c. 1220); the rise of Theravada traditions after the collapse of the Angkorian civilization; the impact of foreign influences on the development of the nineteenth-century monastic order; and politicized Buddhism and the Buddhist contribution to an emerging sense of Khmer nationhood. The Buddhism practiced in Cambodia has much in common with parallel traditions in Thailand and Sri Lanka, yet there are also significant differences. The book concentrates on these and illustrates how a distinctly Cambodian Theravada developed by accommodating itself to premodern Khmer modes of thought. Following the overthrow of Prince Sihanouk in 1970, Cambodia slid rapidly into disorder and violence. Later chapters chart the elimination of institutional Buddhism under the Khmer Rouge and its gradual reemergence after Pol Pot, the restoration of the monastic order's prerevolutionary institutional forms, and the emergence of contemporary Buddhist groupings.

This pioneering study of the fate of Buddhism during the communist period in Cambodia puts a human face on a dark period in Cambodia’s history. It is the first sustained analysis of the widely held assumption that the Khmer Rouge under Pol Pot had a centralized plan to liquidate the entire monastic order. Based on a thorough analysis of interview transcripts and a large body of contemporary manuscript material, it offers a nuanced view that attempts to move beyond the horrific monastic death toll and fully evaluate the damage to the Buddhist sangha under Democratic Kampuchea. Compelling evidence exists to suggest that Khmer Rouge leaders were determined to hunt down senior members of the pre-1975 ecclesiastical hierarchy, but other factors also worked against the Buddhist order. Buddhism in a Dark Age outlines a three-phase process in the Khmer Rouge treatment of Buddhism: bureaucratic interference and obstruction, explicit harassment, and finally the elimination of the obdurate and those close to the previous Lon Nol regime. The establishment of a separate revolutionary form of sangha administration constituted the bureaucratic phase. The harassment of monks, both individually and en masse, was partially due to the uprooting of the traditional monastic economy in which lay people were discouraged from feeding economically unproductive monks. Younger members of the order were disrobed and forced into marriage or military service. The final act in the tragedy of Buddhism under the Khmer Rouge was the execution of those monks and senior ecclesiastics who resisted. It was difficult for institutional Buddhism to survive the conditions encountered during the decade under study here. Prince Sihanouk’s overthrow in 1970 marked the end of Buddhism as the central axis around which all other aspects of Cambodian existence revolved and made sense. And under Pol Pot the lay population was strongly discouraged from providing its necessary material support. The book concludes with a discussion of the slow re-establishment and official supervision of the Buddhist order during the People’s Republic of Kampuchea period.

How do the people of a morally shattered culture and nation find ways to go on living? Cambodians confronted this challenge following the collective disasters of the American bombing, the civil war, and the Khmer Rouge genocide. The magnitude of violence and human loss, the execution of artists and intellectuals, the erasure of individual and institutional cultural memory all caused great damage to Cambodian arts, culture, and society. Author Boreth Ly explores the “traces” of this haunting past in order to understand how Cambodians at home and in the diasporas deal with trauma on such a vast scale. Ly maintains that the production of visual culture by contemporary Cambodian artists and writers—photographers, filmmakers, court dancers, and poets—embodies traces of trauma, scars leaving an indelible mark on the body and the psyche. Her book considers artists of different generations and family experiences: a Cambodian-American woman whose father sent her as a baby to the United States to be adopted; the Cambodian-French filmmaker, Rithy Panh, himself a survivor of the Khmer Rouge, whose film The Missing Picture was nominated for an Oscar in 2014; a young Cambodian artist born in 1988—part of the “post-memory” generation. The works discussed include a variety of materials and remnants from the historical past: the broken pieces of a shattered clay pot, the scarred landscape of bomb craters, the traditional symbolism of the checkered scarf called krama, as well as the absence of a visual archive. Boreth Ly’s poignant book explores obdurate traces that are fragmented and partial, like the acts of remembering and forgetting. Her interdisciplinary approach, combining art history, visual studies, psychoanalysis, cultural studies, religion, and philosophy, is particularly attuned to the diverse body of material discussed, including photographs, video installations, performance art, poetry, and mixed media. By analyzing these works through the lens of trauma, she shows how expressions of a national trauma can contribute to healing and the reclamation of national identity.

Over 150 color photographs from temples, museums, historical sites, and private collections enhance this attractive survey of the Buddhist art of India, Central Asia, China, Korea, Japan, Nepal, Tibet, Sri Lanka, Burma (Myanmar), Indonesia, Cambodia, Thailand, and Vietnam. It presents the life story and teachings of Sakyamuni Buddha, founder of Buddhism, as shown in paintings, sculptures, and other works of art, and explores the major schools of Buddhism--Theravada, Mahayana, Vajrayana, Zen--and the styles and characteristics of the Buddhas, bodhisattvas, deities, and other images seen in their art. Everyone interested in Buddhist art and its enduring significance will find this volume a useful reference for the study and appreciation of the various gestures, poses, and artistic elements seen in Buddhist art though the ages.

Buddhist temples in Southeast Asia are centers for the preservation of local artistic traditions. Chief among these are manuscripts, a vital source for our understanding of Buddhist ideas and practices in the region. They are also a beautiful art form, too little understood in the West. The British Library has one of the richest collections of Southeast Asian manuscripts, principally from Thailand and Burma, anywhere in the world. It includes finely painted copies of Buddhist scriptures, literary works, historical narratives, and works on traditional medicine, law, cosmology, and fortune-telling. Buddhism Illuminated includes over one hundred examples of Buddhist art from the Library’s collection, relating each manuscript to Theravada tradition and beliefs, and introducing the historical, artistic, and religious contexts of their production. It is the first book in English to showcase the beauty and variety of Buddhist manuscript art and reproduces many works that have never before been photographed.