tailed discussion of their iconographies, the chapter has a robust discussion of one type of week-long ritual for removing curses, and another for safe childbirth that culminated with rites conducted on a boat on its fi nal night. Noteworthy here is that the painted mandala used for the rituals described in the chapter were not always the type Fowler catalogues, leading her to the conjecture that this may account for their rarity. Together, chapters 5 and 6 cover painted Six Kannon Mandala sets as well as painted Thirty-Three Kannon sets and Thirty-Three Kannon pilgrimage. Unlike the Six-Syllable Mandalas of chapter 4, in which the iconography is always contained within a single painting, these chapters describe a number of sets of paintings with one, or a few, Kannon in each painting or surface of a painted structure. In chapter 6, a handscroll, printed images, and sculpture appear as well. Chapter 6 also delves extensively into temple bells and Kannon imagery, a beautifully written and important contribution to the art historical study of Kannon and also a fascinating look into pilgrimage in the later Edo period. As Fowler indicates, by the eighteenth century, Thirty-Three Kannon pilgrimage had taken over the cult of Six Kannon, even though they remained imbedded in it. Fowler’s book is not only a heroic synthesis of diverse materials on Kannon veneration in Japan but also contains a remarkable number of new contributions to the fi eld of art history. The number and variety of primary sources consulted in the text is considerable, and the author’s deep scholarly engagement with every one of them, from challenging ritual texts to popular guidebooks, is commendable. Fowler manages to wrangle extant statuary in stone and wood, bells in bronze, portable shrines, painted hanging scrolls and handscrolls, and printed images into a coherent narrative. Around the periphery of these works, she accounts for a number of documented nonextant images and hypothesizes about the quantities of images in different categories that may once have existed. I highly recommend this complex volume to scholars in the fi eld of Japanese art history and in religious history.

中文翻译：

---

仪式化写作：古代日本的佛教实践和圣经文化 作者：Bryan D. Lowe

对他们的肖像进行了详细的讨论，本章对一种为期一周的消除诅咒的仪式进行了激烈的讨论，另一种安全分娩的仪式在最后一晚在船上进行的仪式中达到高潮。值得注意的是，本章中描述的仪式所用的彩绘曼荼罗并不总是福勒目录的类型，这使她推测这可能是它们稀有的原因。第 5 章和第 6 章的封面画了六套观音曼荼罗以及画了三十三套观音和三十三观音朝圣。与第 4 章的六字曼荼罗不同，其中图像总是包含在一幅画中，这些章节描述了多组画，每幅画或画结构的表面都有一个或几个观音。在第 6 章，手卷，印刷图像和雕塑也出现了。第 6 章还深入探讨了寺庙钟声和观音意象，这是对观音艺术史研究的重要贡献，也是对江户时代后期朝圣的迷人介绍。正如福勒指出的那样，到 18 世纪，三十三观音朝圣已经接管了六观音崇拜，尽管他们仍然嵌入其中。福勒的书不仅是对日本观音崇拜的各种材料的英勇综合，而且还包含对艺术史领域的大量新贡献。文本中查阅的主要来源的数量和种类相当多，作者对每一个来源的深入学术参与，从具有挑战性的仪式文本到流行的指南，值得称赞。福勒设法将现存的石头和木头雕像、青铜铃铛、便携式神龛、彩绘挂轴和手卷以及印刷图像整合成一个连贯的叙述。在这些作品的外围，她解释了许多记录在案的非下一图像，并假设可能曾经存在过的不同类别的图像数量。我向日本艺术史和宗教史领域的学者强烈推荐这本复杂的书。