China has a long and complex history of interactions with the world around it. One of the most successful imports-arguably the most successful before modern times and the impact of the West-is Buddhism, which, since the first centuries of the Common Era, has spread into almost every aspect of Chinese life, thought and practice. Erik Zurcher was one of the most important scholars to study the history of Buddhism in China, and the ways in which Buddhism in China gradually became Chinese Buddhism. More than half a century after the publication of Zurcher's landmark The Buddhist Conquest of China, we now have a collection of essays from the top contemporary specialists exploring aspects of the legacy of Zurcher's investigations, bringing forward new evidence, new ideas and reconsiderations of old theories to present an up-to-date and exciting expansion and revision of what was arguably the single most influential contribution to date on the history of Chinese Buddhism. Contributors are Tim Barrett, Stephen R. Bokenkamp, Funayama Toru, Barend ter Haar, Liu Shufen, Minku Kim, Jan Nattier, Antonello Palumbo, and Nicolas Standaert.

This book is an annotated collection of English-language documents by foreigners writing about Japan's kabuki theatre in the half-century after the country was opened to the West in 1853. Using memoirs, travelogues, diaries, letters, and reference books, it contains all significant writing about kabuki by foreigners-resident or transient-during the Meiji period (1868-1912), well before the first substantial non-Japanese book on the subject was published. Its chronologically organized chapters contain detailed introductions. Twenty-seven authors, represented by edited versions of their essays, are supplemented by detailed summaries of thirty-five others. The author provides insights into how Western visitors-missionaries, scholars, diplomats, military officers, adventurers, globetrotters, and even a precocious teenage girl-responded to a world-class theatre that, apart from a tiny number of pre-Meiji encounters, had been hidden from the world at large for over two centuries. It reveals prejudices and misunderstandings, but also demonstrates the power of great theatre to bring together people of differing cultural backgrounds despite the barriers of language, artistic convention, and the very practice of theatergoing. And, in Ichikawa Danjuro IX, it presents an actor knowledgeable foreigners considered one of the finest in the world.