Reviewed by: Word Embodied: The Jeweled Pagoda Mandalas in Japanese Buddhist Art by Halle O'Neal Cynthea J. Bogel Word Embodied: The Jeweled Pagoda Mandalas in Japanese Buddhist Art. By Halle O'Neal. Harvard University Asia Center, 2018. 310 pages. Hardcover, $75.00/ £60.95/ €67.50. Word Embodied: The Jeweled Pagoda Mandalas in Japanese Buddhist Art is a lively, provocative, and ambitious study of a type of medieval Japanese icon that may, in general terms, be classified as "sutra art." Yet author Halle O'Neal does not rely on ready categories, nor does she build upon the methodologies of previous scholarship—studies she readily acknowledges and appropriately cites but characterizes as primarily concerned with formal and iconographic analyses. Hers is a broad exploration of the very nature of representation posited by icons that embody text and the transcription process, icons that demonstrate "word embodied." O'Neal aims to disabuse readers of the belief that paintings and what they signify possess no agency. The works in question are hanging scroll paintings produced in sets and referenced in Japanese as kinji hōtō mandara (literally, "gold-character jeweled pagoda [End Page 333] mandala[s]"). Only three complete sets are extant: a set of eight paintings from Ryūhonji in Kyoto, ten from Chūsonji in Hiraizumi, and ten from Tanzan Jinja in Nara, plus three additional lone paintings. All are attributed to the twelfth and thirteenth centuries based on style, technique, and documentation; on average they measure 111 cm × 58 cm. At the center of each painting, and at the theoretical core of O'Neal's expansive narrative, towers a pagoda formed without outline or shading and instead by the tentative but strategic unity of thousands of Chinese characters brushed in gold pigment. The architectural elements of the pagoda are represented in rows, swoops, and curves so as to depict a nine- or ten-storied structure replete with differing renditions of doors and a base with a staircase. The pagoda form on each painting represents and is represented by the transcription of one fascicle of a sutra, either the Lotus Sutra or, in the sole case of the set at Chūsonji, the Sutra of Golden Light. Each building is a complex structure of "word embodied": transcribed characters stacked as walls, laid on their sides to form the outline of hipped rooflines, fashioned into 3D rings that encircle the spire, and suspended from the rafters as dangling chimes in motion. Yet the graphs are neither faithful in all cases to the source text nor legible or predictably organized, even if the final effect is of a radiant organic whole. O'Neal's book explores all of this in rich detail. Word Embodied is copiously illustrated, beginning with figure 1.1 on the verso of the first page, which immediately places the reader close enough to the large paintings to grasp both their production technology and their intermedia reflexivity. At the same time, one of the author's key interpretive frameworks, "embodied performativity" as it refers to the transcriber and the viewer alike, cannot be conveyed by illustrations of the paintings or even the paintings themselves. O'Neal has bridged this gap between finished painting and process, between perception and action, by making available her exceptionally useful "Jeweled Pagoda Mandala Digital Project" (referenced in the book on page 247, note 5, and available at https://www.youtube.com/watch?v=wtYVZRQdVqk&t=2s). The brief video will greatly aid the reader of this review and the book. It shows from start to finish the astounding, gradual assembly of characters—albeit each wholly formed, not brushed stroke by stroke as each original character would be formed—to fashion one pagoda of one painting in the famous Ryūhonji set. O'Neal highlights her comparatively holistic reading of the mandalas and makes clear that she proceeds both from the context of the works and from "what the mandalas tell us that is all their own by analyzing the paintings as a salvific matrix of text and body" (p. 13; italics in original). This interpretive framework is at the core of her project, and the phrase in italics appears repeatedly in the book. The author...
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