Used price: $30.00
Collectible price: $75.00
Xuanzang wrote some eyewitness accounts of these gigantic statues around 630AD, and this book is an important starting point to finding out more about these monuments and what they originally looked like.
This is not an academic book but more a detailed compilation of events connected with a personage with whom the author has obviously felt a close connection. The text is well sectioned with good maps and useful information, notes and an extensive bibliography that makes the work substantive (e.g., it highlights the wider territory of ostriches in the past). Xuanzang becomes a portal through which we view the art and history of a predominantly Buddhist India before she entered a chaotic phase to re-emerge as a Mughal and Hindu civilisation later.
There is staggering insight into the mentality of the Chinese and Kings at the time and the art they bestowed on the world. The importance of the Chinese civilisation is highlighted at a time when Europe was in the grip of the dark ages.
The book contains minor errors, could have been more critical and Xuanzang's feet on the cover need alteration. Leaving this aside, there is a stunning picture from Bamiyan and we can see what was lost as well as related paintings and statues which are quite exquisite (at least one of them lost from the Kabul museum since the destructive episode recently).
A book worth treasuring as written by a professional, well travelled and strong minded author (and she found the time).
I just wish there were longer direct quotes from his original book, so you could get a feel for his own writing. Also wish there was more discussion of his own spiritual journey or experience with the abbot of the Nalanda university, and the Yogacara/Vasubandhu philosophy.
Great pictures of Nalanda ruins. The story of Nalanda is really interesting in itself and the book gives you a good feel for what was happening there at its height.
All in all makes you want to read XuanZang's original book.
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While I feel that the book deserves five stars, it is not without problems, specifically:
1. It is extraordinarily difficult to keep the book
open to the desired pages when it is on a music
stand; spiral-binding would have solved this. This
may seem like nit-picking, but it's an important
shortcoming given the purpose of the book.
2. Right-hand fingerings are given for only a few of
the pieces; in many cases, choice of the proper
right-hand pattern can make a huge difference in
the ease of performing a piece.
3. While Noad gives full left-hand fingerings, he
does not give diagrams of hand-positions to adopt
for a passage, with fingers in place for the next
few notes.
Even taking these into account, however, it remains, in my opinion, the best book of exercises available to any but the most advanced classical guitarist.
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