Review of: Sherry D. Fowler, Accounts and Images of Six Kannon in Japan

Abstract

Accounts and Images of Six Kannon in Japan by Sherry Fowler is a wide-ranging study detailing how the cult of Six Kannon was adapted to Japan, evolved throughout the country, and incorporated into various beliefs and rituals in the premodern period. Revealing a rich fabric of complex interrelations among sculptural icons, paintings, and devotional practices, the author demonstrates the interminable significance of the cult even after its popularity was superseded by other beliefs. While the book is overflowing with specialized knowledge of Buddhist concepts and scholarly analysis of images, its clear-cut organization makes it easy for readers to follow the discussions, and the abundance of illustrations and photographs visually support and enliven her detailed descriptions and analysis. Chapter 1 begins with an examination of early textual references to belief in the Six Kannon, such as the sixth-century Chinese text Mohe zhiguan 摩訶止観, which includes the earliest descriptions of six kinds of Kannon. This text, as well as later Chinese religious stories, show that Six Kannon were considered to have powers to aid sentient beings trapped in the six realms and that each was responsible for one of the realms. The concept of Six Kannon was adapted to Japan and by the eleventh century had become associated with specific images: Shō, Thousand-Armed, Horse-Headed, Eleven-Headed, Juntei or Fukūkenjaku, and Nyoirin Kannon. The only known complete set of Six Kannon from the Heian period are the incised images appearing on a bronze sutra container preserved at Chōanji in Ōita; other Kannon images originally belonging to sets of six are