What was the function of Buddhist art at the time Buddhism was a major religion in large areas of South, East, and South-East Asia? Can we establish what these sculptures and paintings meant to Buddhist believers living at a time when this art fulfilled important religious needs? These questions are discussed, not answered, in a volume about ‘Function and Meaning of Buddhist Art’ which contains the papers of a workshop on this theme held at Leiden University in 1991. While dealing with a variety of themes and subject-matter, sometimes in great detail, sixteen specialists focus on ritual and semantic aspects of Buddhist works of art from countries such as India, China, Japan, Tibet, Thailand, and Indonesia. Recent non-western art-historical publications show an increasing tendency to work with methodological frameworks developed by specialists on western art. Moreover, there are more similarities between Buddhist and other religious art ‘than, literally, meet the eye’. For this reason, two comparative studies are included in which parallels and universals are brought forward. Two main lines emerge in the results offered in this book, the one indicating a tendency to focus on intended meanings; the other concentrating on more than one level of reception of Buddhist art in a liturgical context.

The Handbook surveys the whole of Pali Theravada Buddhist literature (Ceylon, South East Asia). It reviews previous research in the field, and then concentrates on new methodological approaches and a treatment of later Pali literature (after the twelfth century).

This book presents a comprehensive socio-cultural history of crafts and crafts persons in pre-colonial Eastern India. It focuses on the technology of crafts as being integral to the traditional lives of the crafts persons and explores their cultural and social world. It offers an in-depth analysis of the complexities of craft technologies in the three sectors of cotton textile, sericulture and silk textile and mining and metallurgy in the regions of Bihar and Jharkhand in Eastern India in the seventeenth and eighteenth centuries. Apart from technology, the book discusses a range of socio-economic themes including craft production systems; marketing and financing patterns; impact of contact with the world market; craft persons’ identities in terms of caste affiliations and group divisions; negotiations for upward caste mobility; contestations and dissent of lower castes; power and social stratification; functioning of caste panchayats; gender division of craft labour; myths, beliefs and religiosity attributed to craft usages; social and ritual traditions; and contemporary craft traditions. Rich in archival and diverse sources, including oral traditions, paintings, and findings from extensive field visits and interactions with crafts persons, this book will be an essential read for scholars and researchers of crafts, medieval Indian history, social history, sociology and social anthropology, economic history, cultural history, science and technology studies, and South Asian studies. It will also interest government and non-governmental organisations, textile historians, craft and design specialists, contemporary craft industrial sector, and museums.

Religious icons have been a contested terrain across the world. Their implications and understanding travel further than the artistic or the aesthetic and inform contemporary preoccupations.This book traces the lives of religious sculptures beyond the moment of their creation. It lays bare their purpose and evolution by contextualising them in their original architectural or ritual setting while also following their displacement. The work examines how these images may have moved during different spates of temple renovation and acquired new identities by being relocated either within sacred precincts or in private collections and museums, art markets or even desecrated and lost. The book highlights contentious issues in Indian archaeology such as renegotiating identities of religious images, reuse and sharing of sacred space by adherents of different faiths, rebuilding of temples and consequent reinvention of these sites. The author also engages with postcolonial debates surrounding history writing and knowledge creation in British India and how colonial archaeology, archival practices, official surveys and institutionalisation of museums has influenced the current understanding of religion, sacred space and religious icons. In doing so it bridges the historiographical divide between the ancient and the modern as well as socio-religious practices and their institutional memory and preservation. Drawn from a wide-ranging and interdisciplinary study of religious sculptures, classical texts, colonial archival records, British travelogues, official correspondences and fieldwork, the book will interest scholars and researchers of history, archaeology, religion, art history, museums studies, South Asian studies and Buddhist studies.