This book is a study of the writings of a group of Chinese Christian apologists in the seventeenth century, focussing on Xu Guangqi. Eleven of his shorter writings are included in Chinese and in translation. The first part of the book is devoted to a study of Latin Christian apologists within the Roman Empire to provide a comparison for the analysis of Xu Guangqi's work. Minucius Felix, Tertullian and Lactantius are shown to have faced, in regard to imperial power and Graeco-Roman culture, a situation comparable to that of Xu Guangqi, Li Zhizao and Yang Tinqyun in regard to imperial power and culture in the late Ming period. The final chapters of the book reconsider general issues of confrontation and adaptation in the inculturation of Christianity.

Using a contra-cultural model of social interaction, this book examines the interaction between Pagan and early Christian constructions of social order focussing on the Imperial Cult as it developed, together with shared metaphysical assumptions, "pari passu" with Church Order.

In recent years, art historians such as Johannes Deckers (Picturing the Bible, 2009) have argued for a significant transition in fourth- and fifth-century images of Jesus following the conversion of Constantine. Broadly speaking, they perceive the image of a peaceful, benevolent shepherd transformed into a powerful, enthroned Jesus, mimicking and mirroring the dominance and authority of the emperor. The powers of church and state are thus conveniently synthesized in such a potent image. This deeply rooted position assumes that ante-pacem images of Jesus were uniformly humble while post-Constantinian images exuded the grandeur of power and glory. The Art of Empire contends that the art and imagery of Late Antiquity merits a more nuanced understanding of the context of the imperial period before and after Constantine. The chapters in this collection each treat an aspect of the relationship between early Christian art and the rituals, practices, or imagery of the Empire, and offer a new and fresh perspective on the development of Christian art in its imperial background.

This book explores the aspiration to universal, imperial rule across Eurasian history from antiquity to the eighteenth century.

Through the close study of texts, Roman Imperial Identities in the Early Christian Era examines the overlapping emphases and themes of two cosmopolitan and multiethnic cultural identities emerging in the early centuries CE – a trans-empire alliance of the Elite and the "Christians." Exploring the cultural representations of these social identities, Judith Perkins shows that they converge around an array of shared themes: violence, the body, prisons, courts, and time. Locating Christian representations within their historical context and in dialogue with other contemporary representations, it asks why do Christian representations share certain emphases? To what do they respond, and to whom might they appeal? For example, does the increasing Christian emphasis on a fully material human resurrection in the early centuries, respond to the evolution of a harsher and more status based judicial system? Judith Perkins argues that Christians were so successful in suppressing their social identity as inhabitants of the Roman Empire, that historical documents and testimony have been sequestered as "Christian" rather than recognized as evidence for the social dynamics enacted during the period, Her discussion offers a stimulating survey of interest to students of ancient narrative, cultural studies and gender.

Western culture saw some of the most significant and innovative developments take place during the passage from antiquity to the middle ages. This stimulating new book investigates the role of the visual arts as both reflections and agents of those changes. It tackles two inter-related periodsof internal transformation within the Roman Empire: the phenomenon known as the 'Second Sophistic' (c. ad 100300)two centuries of self-conscious and enthusiastic hellenism, and the era of late antiquity (c. ad 250450) when the empire underwent a religious conversion to Christianity. Vases, murals, statues, and masonry are explored in relation to such issues as power, death, society, acculturation, and religion. By examining questions of reception, viewing, and the culture of spectacle alongside the more traditional art-historical themes of imperial patronage and stylisticchange, Jas Elsner presents a fresh and challenging account of an extraordinarily rich cultural crucible in which many fundamental developments of later European art had their origins. 'a highly individual work . . . wonderful visual and comparative analysis . . . I can think of no other general book on Roman art that deals so elegantly and informatively with the theme of visuality and visual desire.' Professor Natalie Boymel Kampen, Barnard College, New York 'exciting and original . . . a vibrant impression of creative energy and innovation held in constant tension by the persistence of more traditional motifs and techniques. Elsner constantly surprises and intrigues the reader by approaching familiar material in new ways.' Professor Averil Cameron,Keble College, Oxford

Picking up on Edward Said's claim that the historical experience of empire is common to both the colonizer and the colonized, Peter van der Veer takes the case of religion to examine the mutual impact of Britain's colonization of India on Indian and British culture. He shows that national culture in both India and Britain developed in relation to their shared colonial experience and that notions of religion and secularity were crucial in imagining the modern nation in both countries. In the process, van der Veer chronicles how these notions developed in the second half of the nineteenth century in relation to gender, race, language, spirituality, and science. Avoiding the pitfalls of both world systems theory and national historiography, this book problematizes oppositions between modern and traditional, secular and religious, progressive and reactionary. It shows that what often are assumed to be opposites are, in fact, profoundly entangled. In doing so, it upsets the convenient fiction that India is the land of eternal religion, existing outside of history, while Britain is the epitome of modern secularity and an agent of history. Van der Veer also accounts for the continuing role of religion in British culture and the strong part religion has played in the development of Indian civil society. This masterly work of scholarship brings into view the effects of the very close encounter between India and Britain--an intimate encounter that defined the character of both nations.