Early European histories of India frequently reflected colonialist agendas. The idea that Indian society had declined from an earlier Golden Age helped justify the colonial presence. It was said, for example, that modern Buddhism had fallen away from its original identity as a purely rational philosophy that arose in the mythical 5th-century BCE Golden Age unsullied by the religious and cultural practices that surrounded it. In this book Robert DeCaroli seeks to place the formation of Buddhism in its appropriate social and political contexts. It is necessary, he says, to acknowledge that the monks and nuns who embodied early Buddhist ideals shared many beliefs held by the communities in which they were raised. In becoming members of the monastic society these individuals did not abandon their beliefs in the efficacy and the dangers represented by minor deities and spirits of the dead. Their new faith, however, gave them revolutionary new mechanisms with which to engage those supernatural beings. Drawing on fieldwork, textual, and iconographic evidence, DeCaroli offers a comprehensive view of early Indian spirit-religions and their contributions to Buddhism-the first attempt at such a study since Ananda Coomaraswamy's pioneering work was published in 1928. The result is an important contribution to our understanding of early Indian religion and society, and will be of interest to those in the fields of Buddhist studies, Asian history, art history, and anthropology.

Post-Enlightenment notions of culture, which have been naturalized in the West for centuries, require that art be autonomously beautiful, universal, and devoid of any practical purpose. The authors of this multidisciplinary volume seek to complicate this understanding of art by examining art objects from across Asia with attention to their functional, ritual, and everyday contexts. From tea bowls used in the Japanese tea ceremony to television broadcasts of Japanese puppet theater; from Indian wedding chamber paintings to art looted by the British army from the Chinese emperor's palace; from the adventures of a Balinese magical dagger to the political functions of classical Khmer images - the authors challenge prevailing notions of artistic value by introducing new ways of thinking about culture. The chapters consider art objects as they are involved in the world: how they operate and are experienced in specific sites, collections, rituals, performances, political and religious events and imagination, and in individual peoples' lives; how they move from one context to another and change meaning and value in the process (for example, when they are collected, traded, and looted or when their images appear in art history textbooks); how their memories and pasts are or are not part of their meaning and experience. Rather than lead to a single universalizing definition of art, the essays offer multiple, divergent, and case-specific answers to the question ""What is the use of art?"" and argue for the need to study art as it is used and experienced.