the title of chapter 3, “Buddha as Exemplar.” Her biography of the Buddha is notable for including a chapter on the founding of the fi rst order of nuns, which had been neglected in Japanese biographies of the Buddha for several hundred years (pp. 109–11), and a chapter on the slaughter of the Śākya clan, probably for the sake of the lesson about karmic causality it presents (pp. 111–12). Chapter 4, “Buddha as Fraud,” delves deeply into the work of Hirata Atsutane (1776–1843), who demythologized the Buddha through critical analysis of classical Buddhist texts. Atsutane called Buddhist scripture lies and forgeries, mocked all the supernatural elements in previous biographies, and presented the Buddha “as he had really lived and preached . . . within the context of the India he inhabited” (p. 119). In chapter 5, “The Buddha as Character,” Auerback traces further developments in historical approaches to Buddhism used by anti-Buddhist Christians and also by neutral European scholars whose research was based on Sanskrit texts. Efforts to rebut those writers’ criticisms of the orthodox teachings sputtered and eventually the idea of the historical Buddha as a great man was embraced in Japan. One format in which this phenomenon occurred was painting. Okakura Kakuzō (1863–1913) inspired painters to travel to India in search of authenticity for their paintings of scenes from the life of the Buddha, and the resultant work was surprisingly important in the development of modern Japanese painting. The weight of most overviews of the history of Buddhism in Japan falls on the development of the various denominations in the Heian and Kamakura periods and the later cultural contributions of Zen. Auerback’s unusual angle led him to an emphasis on Buddhism in the Edo and Meiji periods. It seems that the most Japanese of the many Buddhas uncovered in this book was the one found in otogizōshi tales and puppet plays. The Buddha in Japan today is the same Buddha the whole world now knows.

中文翻译：

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Sherry D. Fowler 对日本六尊观音的描述和图像

第三章的标题，“佛为榜样”。她的佛陀传记着名的是包括一章关于第一级尼姑建立的章节，这在日本佛陀传记中被忽视了数百年（第 109-11 页），以及一章关于屠宰的章节Śākya 氏族，可能是为了它所呈现的业力因果关系的教训（第 111-12 页）。第 4 章“佛是骗子”，深入探讨了平田热根 (1776–1843) 的工作，他通过对古典佛经的批判性分析来消除佛陀的神话。Atsutane 称佛经是谎言和赝品，嘲笑以前传记中的所有超自然元素，并呈现佛陀“如他真实的生活和传教。. . 在他居住的印度的背景下”（第 119 页）。在第五章“佛为性，” Auerback 追溯了反佛教基督徒和中立的欧洲学者所使用的佛教历史方法的进一步发展，他们的研究基于梵文文本。反驳这些作家对正统教义的批评的努力失败了，最终日本接受了历史上佛陀作为伟人的想法。发生这种现象的一种形式是绘画。Okakura Kakuzō（1863-1913）激发了画家前往印度寻找佛陀生活场景绘画的真实性，由此产生的作品在现代日本绘画的发展中具有惊人的重要性。对日本佛教历史的大多数概述的分量都落在平安和镰仓时期各宗派的发展以及后来的禅宗文化贡献上。奥尔巴克不寻常的角度使他在江户时代和明治时代更加重视佛教。在这本书中发现的众多佛像中，日本人最多的似乎是在耳土造物故事和木偶剧中发现的佛像。今天日本的佛就是全世界都知道的佛。