"During the closing decades of the nineteenth century, approximately two dozen Protestant mission societies, which since 1812 had been sending Americans abroad to evangelize non-Christians, coordinated their enterprise and expanded their operations with unprecedented urgency and efficiency. Ambitious innovations characterized the work in traditional and new foreign mission fields, but the most radical changes occurred in the institutionalization of what contemporaries referred to as the home base of the mission movement. Valentin Rabe focuses on the recruitment of personnel, fundraising, administration, promotional propaganda, and other logistical problems faced by the agencies in the United States. When generalizations concerning the American base require demonstration or references to the field of operations, China—the country in which American missionaries applied the greatest proportion of the movement’s resources by the 1920s—is used as the primary illustration."

Lawrence Kessler uses the Jiangyin mission station in the Shanghai region of China to explore Chinese-American cultural interaction in the first half of the twentieth century. He concludes that the Protestant missionary movement was welcomed by the Chinese not because of the religious message it spread but because of the secular benefits it provided. Like other missions, the Jiangyin Station, which was sponsored by the First Presbyterian Church of Wilmington, North Carolina, combined evangelism with social welfare programs and enjoyed a respected position within the local community. By 1930, the station supported a hospital and several schools and engaged in anti-opium campaigns and local peacekeeping efforts. In many ways, however, Christianity was a disruptive force in Chinese society, and Kessler examines Chinese ambivalence toward the mission movement, the relationship between missions and imperialism, and Westerners' response to Chinese nationalism. He also addresses the Jiangyin Station's close ties to, and impact upon, its supporting church in Wilmington.

When General George C. Marshall was sent to China by President Truman in 1945 to mediate peace between the Chinese Nationalists and the Chinese Communists, Marshall chose Stuart as Ambassador to help with that mediation and to look after American interests in China. Stuart was the last to hold that post before the Chiang Kai-shek government's move to Taiwan.

Contrary to popular impressions, the days of the missionary are far from over. North American churches send more missionaries than ever before, and 90 percent of them are evangelicals who are not affiliated with the "mainline" Protestant mission boards. The first major historical treatment of the distinctly evangelical wing of twentieth-century American missions, Earthen Vessels truly breaks new ground. Covering territory that missions histories have scarcely explored yet, the distinguished historians contributing to this volume portray the North American (including Canadian) evangelical missionary enterprise from the Student Volunteer Movement to the very recent past. The book traces the influences of premillennial eschatology, the fundamentalist-modernist controversies, the rise of independent missions and conservative denominational boards, the role of World War II and America's rise to world power, the recent development of a distinctly evangelical theology of missions, and the growing influence of the Two-Thirds World's evangelical leaders. While this volume certainly does not contain the last word on these subjects, in a number of areas it does offer very nearly the first look. With its fresh subject matter and new historical interpretations, Earthen Vessels will interest church history scholars and students, missionaries and ministers, and any others who wish to know more about American missions.

Hugh Morrison argues that children’s support of Protestant missionary activity since the early 1800s has been an educational movement rather than a financial one and outlines how it has shaped minds and bodies for the sake of God, empire and nation.

This is the most comprehensive treatment ever written of the history of the Protestant Church in China over the last forty years. Philip Wickeri takes an unprecedented look at one of the most turbulent periods in Chinese history--the years from 1949 to the present. Wickeri explicates what Chinese Protestants have been saying about themselves in historical and theological perspective. His interpretation is based on one particular dynamic: how Chinese Protestants have sought to situate themselves in a socialist society within the unifying framework of the united front. After an overview of church, Marxism, and Christianity in China, Wickeri discusses the united front. He focuses on ideology, organization, and religious policy. Wickeri then explores the Three-Self Movement as both a Chinese and a Christian movement. His conclusion: the Three-Self Movement, despite problems, has made Christianity more accessible to the average Chinese and the church more acceptable to Chinese society.

"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."