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Religious Studies Review • VOLUME 46 • NUMBER 1 • MARCH 2020 the National Academy of Sciences of the Republic of Korea. Given the vastness of the subject, Yun’s discussion naturally remains succinct throughout. Following some introductory reflections vis-à-vis Korean religious history, he employs a chronological structure—the ancient times; the Three Kingdoms including Unified Silla; Koryŏ; as well as Early and Late Chosŏn. Sub-sections are largely dedicated specifically to the situation/development of Buddhism and Confucianism in these periods/areas. Whereas Daoism later receives a little bit more attention as well, new religious developments during Late Chosŏn are glanced at on merely two pages; notably, a discussion of Korean Christianity is completely omitted. Occasionally, Yun adds instructive comparative notes. Moreover, general contextual links to non-Korean traditions are interspersed. Overall, this book is aimed at a general audience rather than scholars of Korean religions. Lukas Pokorny University of Vienna ATLAS OF RELIGION IN CHINA: SOCIAL AND GEOGRAPHICAL CONTEXTS. By Fenggang Yang with assistance from J. E. E. Pettit. Leiden and Boston: Brill, 2018. Pp. xii+247. Hardback, $275.00. In this truly impressive volume, Yang maps at the national, provincial, and county level the entire religious landscape of the People's Republic of China (PRC), presenting what he aptly describes as a “bird’s-eye view of the religious landscape in China.” Utilizing his “triple market theory” of religion in China, Yang divides each religion that operates in the PRC into one of three groups. He, therefore, begins by profiling and nationally mapping the “red market” religions: the five religions that are officially recognized and allowed to operate in the PRC—Buddhism, Daoism, Islam, and both Catholic and Protestant Christianity. He then nationally maps and profiles the “semi legal grey market religions”—Confucianism, folk religion, house churches, underground Catholic churches, and the Mao Cult. His final category—the illegal “black market”—consists of a rather impressive, despite the acknowledged lack of research and extremely fluid geographical boundaries, a national mapping and profiling of sixteen religions that are not currently legal in the PRC: ranging from the comparatively famous Fǎlún Gōng ᦡ㏀‫ ڕ‬to the comparatively uncommon Cold Water Sect (Lěngshuǐ jiào ‫᤟׳‬ᐮ). The main crux of the volume is a thorough religious mapping of each province. Despite facing multiple “political restrictions and practical obstacles,” Yang has succeeded in bringing together a plethora of census and survey data, scholarly studies, and news sources in order to present an utterly remarkable visualization and description of both the geographical location of religious sites of all three “markets,” but also the social location of the respective followers. I believe that this volume shall prove to be nothing short of invaluable to those interested in Chinese religion, or indeed those interested in modern day China. More potently, I am confident that Yang has compiled an atlas that will act as a priceless tool to further the study of religion in China. Joseph Chadwin University of Vienna Buddhism TSONG KHAPA’S ILLUMINATION OF THE HIDDEN MEANING, PART I: MAṆḌALA, MANTRA, AND THE CULT OF THE YOGINĪS. Translated by David B. Gray. Treasury of the Buddhist Sciences. New York: American Institute of Buddhist Studies, 2017. ISBN: 978-1935011095. Pp. 449. Hardback, $59.95. Series editor Robert A. F. Thurman aptly summarizes the significance of Gray’s translation of the first half of Tsongkhapa’s fifteenth-century commentary to the Cakrasaṃvara Tantra as “providing primary source evidence on which religious studies scholars interested in Tantra can base their interpretations.” In particular, this text builds on Gray’s 2007 translation of the influential eighth-century tantra by giving English-language scholars access to the Tibetan Geluk founder’s interpretation of its “Unexcelled Yoga Tantra” practice of Heruka. Perhaps most significant for scholars of historical Tibetan Buddhism is the window Tsongkhapa’s commentary provides onto his “radical” and “ingenious” reformulation of the root tantra’s gnostic “secret” from the bliss of sexual union to the union of nonsexual bliss and emptiness—a pivotal element of his integration of tantric ritual into the institutional context of monastic discipline which he so staunchly promoted. Like earlier translations of Tsongkhapa’s tantric works by series editors Thurman and Thomas F. Yarnall, Gray’s work counters common mischaracterizations of Tibetan Buddhist tantrism and scholasticism as dichotomous expressions of yogic and clerical religious streams by demonstrating just how committed Tsongkhapa was to their synthesis within the monastic praxis of the ideal Geluk “scholar-practitioner.” Of Gray’s two audiences—“scholars interested in the history of Tibetan Buddhism and practitioners interested in [Tsong Khapa’s] views on one of the key Yoginī Tantras”—the former will relish Gray’s HAN’GUG’ŬI CHONGGYO’HWA CHONGGYOSA 묻픦 홓묞퐎 홓묞칺 [KOREAN RELIGIONS AND RELIGIOUS HISTORY]. By Yun Yi-hŭm 퓲핂. Sŏul 컪풆: Pangmunsa 짣줆칺, 2016. Pp. 558. Hardback, ₩ 40.000. A PhD graduate from Northwestern University (1979) and, later, a professor of Religious Studies at Seoul National University, Yun Yi-hŭm 퓲핂/൝ϟᡟ (1940–2013) has been one of the chief figures in Religious Studies scholarship in South Korea. This posthumous work is a tour d’horizon of the religious history of the Korean peninsula from ancient times up until the end of Chosŏn Dynasty (1392–1910) with a particular focus on Confucianism and Buddhism. It was awarded the 2017 Excellent Academic Book Prize by 122 Religious Studies Review • VOLUME 46 • exhaustive treatment of Tsongkhapa’s Indian and Tibetan sources in over 1000 annotated footnotes. Although Geluk devotees for whom their founder was the second Buddha may be less inclined to pour over Gray’s catalogue of his scholarly shortcomings (e.g., translation errors related to ignorance of Sanskrit), Tsongkhapa’s commensurate criticism of previous Tibetan scholars in this text suggests greater methodological propinquity than divergence between author and translator. In any event, Gray’s account of Tsongkhapa’s Cakrasaṃvara commentary as “the work of a master scholar produced at the peak of his career” appears to be an equally befitting description of this meticulous translation. Christopher Emory-Moore Powell River, British Columbia NUMBER 1 • MARCH 2020 Inner Asia MARRIAGE AND THE LAW IN THE AGE OF KHUBILAI KHAN: CASES FROM THE YUAN DIANZHANG. By Bettine Birge. Cambridge: Harvard University Press, 2017. Pp. vii + 324; 5 halftones, 4 maps, 6 charts. Cloth, $56.50. Through extended Mongol conquests in the thirteenth century, much of Asia came under the rule of the Mongol Yuan empire, which encompassed people of diverse ethnicities, languages, and religions. Since cultural traditions as well as legal practices varied greatly across these multicultural populations, how did the Mongol rulers such as Khubilai Khan address their legal concerns? How were laws imposed and applied to different ethnic groups, especially when they have different marriage practices? Bettine Birge answers these questions through her meticulously annotated translations of the entire chapter on marriage in the Yuan dianzhang, as well as through her elegantly written explanations of their context and historical significances. In these seventy-five unique legal cases that have never been translated until now, we are able to see vivid sketches of social life in the Yuan. Quotations of plaints in lawsuits and witness testimonies provide rare sources for hearing the voices of common people, including women, the poor, the illiterate, and even the enslaved. Birge’s expert translations have skillfully addressed the unique linguistic challenges of Yuan-era documents (containing at the same time, classical bureaucratic Chinese, Yuan colloquial Chinese, and SinoMongolian) and have allowed us to “listen in” on the speech of Khubilai Khan and his close advisors. In this exciting addition to the scholarship on the Mongol Yuan empire, Birge reveals the workings of the Yuan bureaucracy in actual practice; how the government and the legal system struggled to reconcile competing legal traditions and cultural values; the lack of consistency and consensus within the Yuan government over the basic role of the state and the nature of governance; and the remarkable agency that women were able to assert within the marriage institution and the judicial system. This book is an indispensable source for both specialist and general readers who are interested in the social, legal, and gender history of the Mongol empire. The accessible and contextualized translations in this volume would also serve as fruitful primary sources for teaching history, comparative law, social life and marriage, ethnicity, and gender. Daigengna Duoer University of California, Santa Barbara THE INFLUENCE OF ZEN BUDDHISM ON THE ART OF GEORGIA O’KEEFFE. By Sharon M. Fitzgerald. The Art History Channel, 2016. Paperback, $7.99. Fitzgerald’s book on the influence of Zen Buddhism on Georgia O’Keeffe’s artwork is as much a biographical study of the artist as it is one of her greatest mentors: Alon Bement, Arthur Dow, Ernest Fenollosa, and Alfred Steiglitz, serving the argument that O’Keefe’s exposure to Japanese Zen Buddhism came indirectly through her teachers, some of whom were students, teachers, curators, and collectors of Japanese art and Zen Buddhist philosophy. Fitzgerald focuses on O’Keeffe’s life in the formative, yet understudied, period of 1912–1916 when she moved between Texas, New York, and Virginia teaching art, studying, and developing her own artist philosophy—forsaking realism to capture the essence of her subject in abstraction. However, the two large questions posed in the book’s introduction: (1) Was the transmission of Japanese Zen Buddhism an influence in American art? and (2) Was the artwork of Georgia O’Keeffe a manifestation of this influence? are never examined in full nor does Fitzgerald clarify the meaning or her intended usage of the term “influence.” Perhaps the more pertinent question asked, a bit delayed and not explicitly until chapter nine, is—“How does one see Zen in O’Keeffe’s work?” The texts shines not in contextualizing Zen’s placement in the American art world at the twentieth century, but rather in identifying and compiling conceptual similarities between Zen Buddhism and O’Keeffe’s art and method particularly in O’Keeffe’s early drawings including her Specials and Blue Lines series with nearly no mention of her later works. Justin McDaniel 123