【重要文化財】摩耶夫人および天人像（東京国立博物館蔵） / ColBase
Buddhist Statues in Japan (Asuka 〜 Kamakura periods)（Educational or Commercial use）
Transition of Buddhist statues in Japan
It is believed that the technology for producing Buddhist statues was introduced to Japan via China and the Korean Peninsula, and the construction of Buddhist statues in Japan began in the Asuka period (around the end of the 6th century). This section introduces a selection of representative Buddhist statues made from the Asuka period, the dawn of Buddhist statues in Japan, to the Kamakura period, when Buddhist sculptors of the Kei school including Unkei and Kaikei were active. Let's take a look at the characteristics of Buddhist statues from each period.
Buddhist Statues of the Asuka Period (592〜710)
The major techniques used to construct Buddhist statues in the early Asuka period involved gilt copper or bronze castings, or wood carvings made of camphor wood. In the late Asuka period, new materials and methods gained usage, allowing for the production of items, including clay statues, dry lacquer statues, and metal statues, the latter of which required a copper plate to be placed over a mold, while the image was hammered out. One of the most prominent Buddhist sculptors of this period was Kurano-Tsukurinotori (Tori-Busshi), who is mentioned in books, such as The Chronicles of Japan, as Japan's first full-fledged Buddhist sculptor. Born into a family of Chinese immigrants, Kurano-Tsukurinotori established the "Tori-style," which was influenced by the Northern Wei style. He is said to have produced many Buddhist statues, including the Shakyamuni Triad (statues of Buddha and two attendants) in the Golden Hall of Hōryūji Temple in Nara, and was a driving force in the early construction of Buddhist statues in Japan. The facial features of Asuka-period Buddhist statues include almond-shaped eyes and mouths with classical (archaic) smiles. In the late Asuka period, many Buddhist statues with child-like faces and bodies were produced, influenced by the sculptures of the Sui and Tang dynasties.
Seated Buddha
Here we see an image of a Buddha seated with garments spread wide. The style is very similar to the image of Sakyamuni at the Golden Hall of Hōryūji temple in Nara. The image at Hōryū ji was made in 623 by Tori, the first notable sculptor in Japan, and this work appears to reflect his style. The figure has large, almond-shaped eyes, arching eyebrows, a high-bridged nose, and a subtle smile. In addition to his long face and thin physique, these are all characteristics of Buddhist sculptures made during the Asuka period, between the end of the sixth century and first half of the seventh century.In contrast to the hands reaching forward, the body has far less presence and reflects an emphasis on symmetry. The statue is thus highly stylized while retaining a mysterious air of dignity. Moreover, the pleats around the stomach and legs form U shapes, giving this otherwise static work a sense of rhythmical motion. Overall, this style is based on the statuary of the Northern and Southern dynasties of China, and was transmitted to Japan via the Korean peninsula.
Standing Bodhisattva Kannon
This Bodhisattva stands atop a lotus blossom, holding up a wish-fulfilling jewel in both hands. The figure's robes spread outward to both sides, while the lack of depth in the depiction of the body suggests that it was meant to be observed from the front. Another distinctive feature of this sculpture is that it fits within the shape of an isosceles triangle when viewed from the front. These elements draw on the style of Tori, a Buddhist sculptor active at the beginning of the seventh century, in the early Asuka period.However, the hems of the robes flow slightly backwards, and the figure has a gentle, kind face. Both of these features reflect a stylistic development that builds upon the work of Tori. Moreover, this sculpture reflects a period of stylistic transition in the latter half of the Asuka period, when Buddhist sculptures began to take on more natural-looking physiques. The inscription engraved on the front of the pedestal reveals that this work was created in the year 652.
Queen Maya and Heavenly Beings
This unusual work depicts the moment Maya gave birth to the child who would become the Buddha. As queen of the Shakya clan, she visited a garden called Lumbini Grove when she was still pregnant. There she grasped a branch of a flowering Ashoka tree, and in that moment, her child was born, emerging from Maya’s right side. He is said to have immediately taken seven steps, and then declared that he had been born to save all the people of the world. One tradition tells that the gods Brahma and Sakra then poured aromatic water over Siddhartha and washed his body.Take a look at the sculptures on display. Maya holds her right arm upwards, her hand closed as if holding on to a branch. Her feet are placed firmly, and her left hand clenches the sleeve of her clothing, perhaps expressing the strength she is exerting as she gives birth. Looking at her right side, we can see the future Buddha being born, hands clasped in prayer. Around her are sculptures of celestial beings holding ewers and other items. These sculptures would have been used during the annual celebration of the birth of the Buddha on the eighth day of the fourth month. On this day, they would have been purified in a ceremony by having water and other liquids poured over them.
The Buddha Amida Triad and Two Priests
This sculpture depicts the Buddha Amida flanked by the Bodhisattvas Kannon and Seishi, with the upper bodies of two praying priests visible in the gaps between the sacred beings. This sculpture was made by placing a thin copper plate onto a copper mold in relief, then carefully hammering the plate to transfer the image. The process is known in Japanese as oshidashibutsu, and it was often used in the manufacture of Buddhist sculpture in Japan between the mid-seventh and mid-eighth centuries. Because one mold could be used to create multiple sculptures, images made with this process were primarily used for private worship.The Collection of Hōryūji Treasures includes 11 oshidashibutsu works, with this one showing the most sophisticated technique. During the hammering process, it was easy to end up with wrinkles or cracks in the copper, but this work has very few such defects, and each element was painstakingly expressed, including the detailed decoration in the halos. Although the copper is thin, the image creates a feeling of depth, and an incredible sense of softness can be felt in the facial expressions and layered garments of the Buddha and Bodhisattvas. The copper has rusted, but this image was originally gilded, while the hair, eyebrows, mouths, and beards were painted in vivid colors. Also, the openings around the edge suggest that this work would have been affixed with nails to the inside of a zushi, or miniature shrine.
Bodhisattva
The form of this work is based on gilt-bronze sculptures brought from mainland Asia, while the use of camphor laurel reflects Japanese beliefs in the sacred properties of this wood."This valuable work dates back to the 7th century and the dawn of Japanese Buddhist sculpture in the Asuka period.The garments display a left-right symmetry when viewed from the front. The head is quite large and the body seems surprisingly thin when viewed from the side. These are all characteristic features of Asuka-period Buddhist statues, which incorporated the latest trends from China and the Korean Peninsula.From the appearance of bronze statues produced at this time, we can surmise that a large crown-like decoration once adorned this statue's head. A closer look reveals dark-blue rust in the folds of the garments and traces of gold foil from the ears down to the neck. When it was first created, it seems the body was covered with gold leaf and the clothes decorated with vivid colors. It may have left a very different impression at that time.Incidentally, this statue is made of wood. Most extant Asuka-period Buddhist statues are made of bronze, so this is a very rare example. It uses wood from the camphor tree. Though hardly any Buddhist statues made of camphor wood were found in China or the Korean Peninsula, ones in Japan were commonly made from this wood up until the Nara period, which lasted from 710 to 794. Camphor trees, which grow to very large sizes, were every now and then revered as holy trees where the gods resided. Perhaps this work represents an attempt to portray the holiness of the camphor tree in the form of a Buddhist statue. As we view this statue, we ponder how it was embraced by the Japanese people at the time, which was around the time Buddhism first arrived on these shores.
Bodhisattva with One Leg Pendent
This bodhisattva sits contemplatively with legs half-crossed. This was believed by many to be the form Maitreya would take when he appeared in the future to save all living beings.This Buddhist figure sits with one leg crossed, resting his right elbow on his knee and his chin in his hand. His slightly rounded back, tilted head, and the way the fingers of his right hand just barely touch his cheek lend the statue an air of naturalness.His armlets and the way his hair is gathered into a bun on top of his head tell us that he is a bodhisattva. In Japan, statues posed contemplatively with one leg crossed and one leg pendant, like this one, often depict the bodhisattva Miroku, who was worshipped in Japan as a bodhisattva who would save humanity.This gilded bronze statue was excavated from a sutra mound at Mt. Nachi, a famous sacred mountain in Wakayama Prefecture. A sutra mound is a place where cylinders containing sutras, mirrors, Buddhist statues, or other similar artifacts are buried in the earth. In the late Heian period (794–1192), it was widely believed that Buddhist teachings would decline 2,000 years after the death of the buddha Shaka. Many people of the time believed that the bodhisattva Miroku would appear in 5,670,000,000 years to save humanity. People made sutra mounds to preserve Buddhist teachings until that time. You could say that this statue was put in a time capsule meant for people 5,670,000,000 years in the future.
Buddha
This is the only wooden Buddhist statue in the collection of Horyuji Treasures. We encourage visitors to see the rest of the collection in the Gallery of Horyuji Treasures.This wooden statue was made in the 7th century during the late Asuka period, not long after Buddhist statues first arrived on Japan's shores. It was originally passed down at Horyuji Temple in Nara.Only a few Buddhist statues still remain from that time. Those made of wood are particularly valuable. This statue is made from the aromatic wood of the camphor tree in accordance with teachings from India, which stated Buddhist statues should be made from fragrant wood.The child-like face contains a hint of sadness. From another angle, though, this enigmatic statue also appears to be an old man.Let's look at the statue from the side. The body is bent like an arrowhead, with the chest pulled in and the stomach pushed out. This is a characteristic pose of Buddhist statues from this era. The top of the head was once adorned with a large number of spiral curls but most have been lost with the passing of time.The left hand is held up with the palm facing out in a gesture that signals there is no need to be afraid. The right hand is held lower and is extended toward the viewer. This symbolizes the granting of wishes.
The Buddha Shaka at Birth
This small statue depicts the birth of the founder of Buddhism, Sakyamuni. He was born around 2,500 years ago in Lumbini, a beautiful flower garden located in modern-day Nepal. Legend has it that after emerging from the right side of his mother, Lady Maya, Sakyamuni took seven steps, with lotus flowers springing up where his feet touched the ground. He then pointed to the heavens and intoned in a clear voice, "Holy am I alone throughout heaven and earth." With these words, he declared he had come to save all the people of the world.The Flower Festival is held in Japan every year on April 8 to celebrate the Buddha's birthday. On this occasion, people pour scented tea over small Buddhist statues like this. In doing so, they recreate the legendary scene of the infant Sakyamuni receiving his first bath, the water of which is said to have been poured down from the heaven. In Japan, this tradition dates backs to the Asuka period around the 7th century.In this statue, Sakyamuni is pointing to the heavens with his right hand and to the earth with his left. He is naked apart from a cloth wrapped around his waist, which makes it clear that this is as a depiction of the baby Buddha. Despite its small size, the statue radiates a sense of wisdom with its imposing brow and tightly-closed mouth, a befitting appearance for an object of veneration.At the end of the Asuka period, when this statue was made, childlike Buddhist statues became popular. These made Sakyamuni appear both solemn and adorable at the same time. We hope you are also charmed by this ancient gilt-bronze Buddha.
The Eleven-Headed Bodhisattva Kannon
This is a statue of Eleven-Headed Bodhisattva Kannon, or Ekadasamukha in Sanskrit. The many faces above the head watch out in all directions as this bodhisattva seeks to guide people to salvation.Let's look at the statue from the front first. The face resembles that of a young child. The body is standing upright, but the left leg is slightly bent to give the impression of subtle movement. A glance from the side shows the bodhisattva standing proud with his chest pulled in and stomach pushed out. These are all characteristics of Buddhist statues produced during the so-called Hakuho, or white-phoenix period that occurred during the late Asuka Period (593-710). This statue, together with other objects, was found in what was essentially a time capsule buried over 1,000 years ago to pass down Buddhist teachings to future generations."
Bodhisattva Avalokiteśvara
7世紀。三面宝冠の正面に坐化仏を現し、左手を垂下して水瓶を受ける観音菩薩立像。法隆寺献納宝物の銅造観音菩薩は持物を欠くがほぼ同形で、三山形に平たく結った髻（もとどり）、上下につまった面相と涼しげに微笑む表情、鬢髪（びんぱつ）の形、天衣のかけ方などをはじめとする服制など共通点が多い。ただし本像の方が小振りで、表現も簡略化されたものとなっている。
Kannon Bosatsu (Avalokiteśvara)
A transformed Seated Buddha (kebutsu) appears in the center atop its forehead and in the right hand it holds the beaded ornament. In contrast to the head and hands which are rendered on a relatively large scale, the body is slender. These proportions are characteristic of the Asuka period sculpture of the 7th century.
Standing Kudara Kannon (Avalokitesvara) (copy)
昭和8年(1933) 原品＝7世紀。原品は法隆寺蔵の国宝。近世の記録に百済から渡来の虚空蔵菩薩像といい、明治に阿弥陀化仏付きの宝冠が発見されて以来「百済観音」と呼ばれる。止利派とは異なる、軟らかな肉身表現や前後の動きへの関心は飛鳥後期につながる要素。原品の趣をよく伝える。
Buddhist Statues of the Nara Period (710〜784)
During the Nara Period, in the Tempyo era of Emperor Shōmu's reign (729-749), a gorgeous aristocratic culture (Tempyo culture) with a strong Buddhist flavor influenced by the Tang Dynasty developed. In the year 752, the construction of the bronze statue Rushanabutsu (the Great Buddha of Nara), the principal statue of the Golden Hall of Todaiji Temple, was completed and unveiled to the public, as part of a national project at the wishes of Emperor Shōmu. The production of Buddhist sculptures became more popular, and more realistic and lively statues were created in reference to the Tang style. The sculptural features of the statues changed from the simple, child-like appearance of the Asuka period, to mature adult-like faces with rich expressions, and well-proportioned physiques. In order to depict such detailed expressions, " kanshitsu (dry-lacquer : a technique of making sculptures using clay and hemp)" and "sozō (clay sculptures)", both of which are easier to produce, became the mainstream materials and methods for making Buddhist statues.
The Bodhisattva of Sunlight
This deity is one of the two attendants of the Buddha Bhaisajyaguru, who is thought to have miraculous powers of healing. The handsome face and realistic clothing are characteristics of an orthodox 8th-century style."This extremely valuable Buddhist statute dates back to the Nara period in the 8th century. The almond-shaped eyes and fresh, plump features are characteristic of Buddhist statuary from this period.The textures of the sculpture are also noteworthy. Take the way the hair is tied up fluffily on the top of the head, for instance, or the way the garments over the statue's legs and plinth cascade down gracefully with naturalistic folds. This soft, realistic expression is typical of the wood-core dry lacquer technique used to make this statue.This technique involves carving out a rough shape in wood and then applying a paste-like mixture of lacquer and wood pulp to refine the shape. Smaller features like the fingers have been fleshed out by applying this lacquer and pulp mixture to a wire core. The general structure of the statue can be observed by examining the damaged left arm. This technique combines the typically sharp features of a wood carving with the gentle, rounded softness of dry lacquer. However, the technique was costly and it involved a lot of time and effort, so it was not used much in later periods. This statue was actually part of a triad composed of Yakushi Nyorai, or Bhaisajyaguru in Sanskrit, flanked by Nikko Bosatsu, or Suryaprabha, and Gakko Bosatsu, or Candraprabha. The slight left tilt of this Nikko Bosatsu statue is probably because it was designed to lean close to the central image of Yakushi Nyorai.
The Buddha Yakushi
The suface of this sculpture was modeled by applying a putty-like mixture of lacquer and wood pulp onto a wooden core. This technique became popular in the Nara period (710–794).The Buddhist pantheon includes a variety of Buddhist deities with different names, appearances, and roles. “Buddha” means “one who has reached truth.” It originally referred only to the Buddha Shaka, the founder of Buddhism. As Buddhism developed after Shaka’s death, however, its followers came to believe that other Buddhas also exist.This is a statue of the Buddha Yakushi. The “yaku” in Yakushi means “medicine.” As his name suggests, he is believed to have the power to cure any disease. All buddhas share the same basic appearance, which can be seen in this statue. Its characteristics include a hair style with many small, round curls, three wrinkles at the base of the throat, and simple clothing consisting of only a plain cloth wrap.Note how the statue is modeled. It has an oval face with clean-cut features, and the folds of its robe are lightly and simply carved.The rough shape of this statue was carved from a single block of wood. Paste was then shaped over its surface. Based on recent research, the paste that forms the statues surface is thought to be a mixture including the inner bark of the elm tree, sticky substances, and wood dust. This process brings out both the thick solidity of the wooden model and the softness of the paste. On the other hand, it also requires a great deal of time, labor, and wealth. This technique was employed primarily during the Nara period (710–794). Buddhist statues from later periods feature thinner layers of paste on their surfaces and are classified as wooden.
Bhaiṣajya-guru
The whole body was cast by a single mold. The gilded surface of the statue is no longer extant because of the damage by fire in the past, and the right hand was repaired with wood. The contour line of the plump face, three deep lines across the neck, and the sturdy build of the body reflect the characteristics of the statues made during the mid-Tempyō era. The realistic description of the drapes hanging over the lotus seat indicates the influence of Chinese sculptures of the Tang dynasty.
Disciple (One of the statues of Hōryūji's pagoda)
The male figurine was seated squarely and his hands were crossed in front of the belly, expressed in the form of a prayer for departed souls. The body was made of clay adhered on the straw-coiled wood. This work constitutes the statue group enshrined on the first floor of five-storied pagoda in Hōryū-ji Temple, depicting the four scenes including Nirvāna.
Bodhisattva Avalokiteśvara
The sculpture is sublime, showing relatively large head. The sacred jewel was held on the right hand and the beaded ornament was drooped on the left hand. It is distinctive that the hem of inner garment (kun) was folded in triangle and the swirling robe was draped on the lotus pedestal. It is said to have come from Ishanain Temple in Mitoyo city, Kagawa Prefecture.
Standing Kannon Bosatsu (Avalokiteśvara)
This figure, which has been formed from cast bronze, represents Kannon bosatsu (Skt. Avalokiteśvara). It appears to have been a convex mold for creating repoussé images. This Kannon statue has a single large-scale transformed Buddha (kebutsu) atop its head and exhibits the pronounced realism of the Tang Chinese style. A repoussé Buddhist statue is produced by setting a malleable bronze plate over this type of convex mold and hammering out the form with a mallet.
Standing Sho-kannon Bosatsu (Avalokitesvara) (copy)
明治26年(1893)、原品＝7～8世紀。原品は、薬師寺東院堂の像で銅造。その鋳造技法や銅質などから、同寺金堂の薬師如来三尊像と同時期に造られたものと考えられる。細部の装飾などに、中国・唐時代の影響がみられる。当模造は、山田が木彫技法を使って模したものである。
Standing Komoku Ten (Virupakusa) (copy)
明治25年(1892)、原品＝8 世紀。原品は東大寺戒壇堂の国宝で、天平彫刻を代表する塑像の名作として知られる。竹内はその像を木彫技法で模刻している。剥落の進行によって、現在では失われてしまった天平の極彩色や切金文様なども模写されており、以前のさまをよく伝えている。
Standing Shitsukongo-shin (Vajradhara) (copy)
明治24年(1891)、原品＝8世紀。東大寺法華堂に所在し、毎年12月16日のみ開扉される秘仏の模造。原品は塑像であるが、竹内は木彫技法で模刻している。現状では見ることのできない原像背面やその後剥落の進行によって失われた彩色までよく伝えている。
Buddhist Statues of the Heian Period (794〜1185)
In the early Heian period, Saicho and Kukai, who had studied Buddhism in Tang, China, introduced Esoteric Buddhism to Japan, leading to the development of Esoteric Buddhist art centering on mandaras. Buddhist statues unique to Esoteric Buddhism, such as Dainichi Nyorai (Mahavairokana) and Fudō Myō-ō (Acalanatha), also appeared. In terms of statue-making techniques, "ichiboku-zukuri," in which the head and body are carved from a single piece of wood, became the mainstream technique. After the dispatch of Japanese envoys to the Tang Dynasty ceased in 894, Buddhist statues began to be made in the Japanese style from the mid-Heian period. Jōchō, a leading Buddhist sculptor of the mid-Heian period who produced the seated statue of Amida Nyorai (Amitabha), the principal figure of the Phoenix Hall of Byōdōin Temple, developed a graceful Japanese style of Buddhist sculpture known as "Jōchō style (Japanese style)". He also perfected the yosegizukuri technique, in which multiple pieces of wood are combined to make a Buddhist statue, and this technique has since become the basis of Buddhist statue- making in Japan. In the late Heian period, an end-of-the-world theory and faith in the Pure Land spread in the aristocratic society, and statues of Amida Nyorai, who guides people to the Land of Perfect Bliss, were actively produced. Buddhist statues in the Heian period are characterized by plump, stout bodies and gentle faces.
Bhaiṣajya-guru
This statue had been enshrined as a manifestation of the prime noumenon in Nyakuō-ji shrine in Higashiyama, Kyoto, until the government announced the separation of Shintoism and Buddhism in the first year of the Meiji period (1868). The whole body with the exception of the arms and the lotus seat were carved from a single piece of kaya (Japanese nutmeg) wood. The inside of the statue is not carved out. The body and the clothes are colored in yellowish white—the special coloring to emphasize the meaning of sandalwood statue. The shape of the head which stands out in the center, thick eye-lids which cast a shadow over the face, the ups and downs of the body lines, and sharply carved drapes of the costume reflect the typical one-piece carving style of the early Heian period.
Bodhisattva Cintāmaṇicakra
The legend said that this statue was discovered in the sea of Tango region. The carving technique of the early Heian period can be seen on the stern face with connected eyebrows, as well as the thick and broad body structure. The scarf-like cloth (jōhaku) was draped widely which is rare to see, it leads a theory that this statue belongs to the Tendai sect.
The Wisdom King Fudō
Wisdom Kings are fearsome deities who eliminate worldly desires. The face of this Wisdom King has an elegance unique to the 12th century.The buddhist pantheon includes a variety of buddhist deities with different names, appearances, and roles. In esoteric buddhism, a deity called Dainichi was believed to stand at the center of the universe. Wisdom kings are avatars of Dainichi who serve to promote stronger faith in Buddhism by displaying their furious expressions and menacing appearances. Many wisdom kings therefore have terrifying faces, red or blue skin, or hold weapons. The wisdom king Fudō is a typical example. He has been worshipped in Japan since the 9th century, during the Heian period (794-1192), and many renowned sculptures and paintings of him survive to the present day.This is a statue of the wisdom king Fudō. It is carved from cypress wood and its surface painted. The wisdom king strikes a powerful pose, with his right shoulder squared and his weight on his right foot. He holds a sword in his right hand and a rope called a pasha dangled from his left. These are not weapons for defeating enemies; they mean that the wisdom king cuts through worldly desires with his sword and saves people with his rope. The wisdom king Fudō has two basic appearances. In one, he is depicted with his hair swept back and the tied ends draped over his left shoulder, both eyes open and biting his lower lip with his upper lip. This sculpture represents the other type, with curly hair, the tied ends of which are draped over his left shoulder, his left eye closed and fangs protruding from between his lips. Refined taste is apparent in the central arrangement of the wisdom king’s facial features, his somewhat subdued expression and the orderly lines of his robes. The image also retains old styles, which is apparent in the fact that, although its interior has been hollowed out, its trunk, including the head and center of the body, is carved from a single piece of wood, and in the heavy build of the wisdom king’s lower body.
Vaiśravaṇa
The body was decorated with crown and dressed in a coat-like armor with chained decoration. The right arm was covered with shrimp-shaped gauntlet (ebigote). Mounted on the pedestal in the form of goddess (chiten'nyo) hands. These features were derived from the statue of Tobatsu Bishamonten which came from China to Tō-ji Temple in Kyoto Prefecture. This work was faithfully modeled after the original statue compared to other examples.
The Buddha Dainichi
In Esoteric Buddhism, Dainichi Nyorai (Mahavairocana) is said to be the source of all creation and the king of all Buddhas. He is portrayed like a member of royalty, which is unusual for Buddhas."The Buddhist pantheon features numerous deities, each with their own name, form, and role. Buddhas are beings who have understood the ultimate truth and attained enlightenment. Deities who are training to become buddhas are known as bodhisattvas. The central deity in Esoteric Buddhism is the Buddha Dainichi. He is said to be the source of all creation. In the 9th century, a Japanese priest named Kukai travelled to China to study Esoteric Buddhism. On his return to Japan, he began propagating this new belief. Dainichi subsequently became the subject of fervent devotion, with many sculptures and paintings of the deity produced thereafter. Buddhas are usually depicted wrapped in simple, thin robes with bowl-shaped heads and hair that appears tightly permed. Only Dainichi is portrayed with a high topknot, a crown, and ornamentation around the chest and arms. This type of depiction is usually reserved for bodhisattvas.This is a wooden statue of Dainichi. The body parts were sculpted separately and then fitted together, with gold leaf then attached to the surface and color applied to the face and hair. Both elbows are bent at the waist, with the extended index finger of the left hand wrapped in the clasped right hand. This unique pose and the bodhisattva garments are what reveals this to be a depiction of Dainichi Nyorai. He is portrayed with a gentle countenance and a thin body with little undulation. These characteristics were common to Japanese statues produced from the 11th to the 12th century. Most of the deity's lotus-shaped pedestal is also thought to have been created at the same time as the main statue.
Amitabha Buddha
【重要文化財】 12世紀。平安後期に造られた高さ3尺の阿弥陀如来像の優品。3尺の阿弥陀像は鎌倉時代に盛んに造られたが、平安時代に遡る作例は少なく貴重。温和な表情を見せる目鼻立ちや浅く流れるような衣文表現など、京都・平等院阿弥陀如来像を制作した定朝の様式を正統に受け継いだ仏師の制作と考えられる。
Bodhisattva Ekadaśamukha
This eleven-headed Kannon (Ekādaśamukha) on the lotus seat, stretching its right arm downward, holding a flower vase with its left hand, and twisting its waist slightly to the left, was originally kept in Shin-yakushi-ji temple in Nara as an attendant of the principal Buddha's image. The body and head parts were carved from a single piece of hinoki wood (Japanese cypress), which was then split into two parts (front and back) in order to allow the carving of the inside. The naked part of the body is coated with lacquer foil, and the garment is colored over a layer of white clay. Red color, which is extant on some part of the stole and the skirt, and the design of flowers painted on the front side of the skirt reflect the graceful way of selecting colors in the late Heian period. The modeling of this high statue with its small head, which emphasizes the tall body even more, the gentle face and smoothly curving lines of the drapes reflect the characteristics of sculptures in the late Heian period. The halo which is decorated with large arabesque vines, is also characteristic for the work done during the late Heian period.
The Guardian God Bishamonten
This is a statue of Bishamon Ten, or Vaisravana in Sanskrit. The deity is shown here holding a one-storied pagoda in one hand. As a member of the Shitenno, or the four heavenly kings who watch over the four directions, this deity is known as Tamon Ten, the guardian of the northern quarter. However, he also attracted many followers in his own right as Bishamon Ten.The image exudes an overall aura of calm and stillness. The deity's clothes have been painted with lavish green, blue, orange and red hues. Further inspection reveals how the entire surface has been decorated with intricate patterns formed from thin strips of gold leaf, a technique known as kirikane. This elegant, ornate decoration is characteristic of Buddhist paintings and statues from the late Heian period. However, some features foreshadow the more realistic Buddhist statuary that would grow popular in the following Kamakura period. These include the taut facial expressions and the use of inlaid crystal to make the eyes shine.110 prints featuring 513 depictions of Bishamon Ten were also found inside the statue. These were printed from a wooden block carved in the shape of the statue. Also found inside was a beautifully-colored Buddhist painting. The colors of the painted Bishamon Ten's clothes essentially match those of the statue. This suggests the painting was placed there when the statue was made. The statue must have inspired a lot of devotion for someone to individually stamp out so many images.
Zaō-Gongen
The face was expressed with anger and rage, the left foot stomped on the rock and the right leg was kicked up aloft. Because statues of Zaō gongen were often enshrined in the temples in mountains, most of the works were made from metal to survive in severe environments. The material was applied not only bronze, but also iron.
The Buddha Yakushi
The Buddha Yakushi has been worshipped since antiquity for his powers of healing. This image of him was modeled with a mixture of lacquer and wood pulp for a soft appearance.
Five Vidyārājas
This set of Godai Myōō constitutes a rare example of which few extant works remain. Considering the height of statues, these were probably not principal images in the particular Buddhist hall, but they were applied during private ceremonies. The iconography is similar to the one in the preaching hall of Tō-ji Temple in Kyoto Prefecture, however it is rare that the statue of Gundari myōō (Skt. Kuṇḍaī) raised a leg up.
The Wisdom King Fudō
The role of the fearsome deity Acalanatha is to convert stubborn unbelievers to Buddhism. This work is valuable as one of the earliest standing sculptures of him created in Japan.The Buddhist pantheon includes a variety of Buddhist deities with different names, appearances, and roles. In esoteric Buddhism, a deity called Dainichi was believed to stand at the center to the universe. Wisdom kings are avatars of Dainichi who serve to promote stronger faith in Buddhism by displaying their furious expressions and menacing appearances. Many wisdom kings therefore have terrifying faces, red or blue skin, or hold weapons. The wisdom king Fudō is a typical example. He has been worshipped in Japan since the 9th century, during the Heian period (794–1192), and many renowned sculptures and paintings of him survive to the present day.This is a sculpture of the wisdom king Fudō. This image of Fudō has his hair swept back and the tied ends draped over his left shoulder, with both eyes open while biting his lower lip with his upper lip. In the 9th and 10th centuries, the wisdom king Fudō was nearly always depicted sitting, but this sculpture is standing upright. It is valuable as an early example of a standing image of the wisdom king Fudō, a type which was mainly established in the 11th century.The trunk, including the head and torso, is carved from a single piece of wood, a technique called “ichiboku zukuri.” Most Japanese Buddhist sculptures are made of wood, and cypress and nutmeg were often used in them. This sculpture, however, is distinguished by the fact that it is made of cherry wood. Cherry is rarely used as a material for Buddhist sculptures because it is a dense-grained, hard wood that is not very suitable for carving such images.
Standing Kannon Bosatsu （Avalokitesvara）
12世紀。細身で頭部が小さく低い髻、なで肩、おだやかな顔、動きの少ない立ち姿、浅く繊細に刻まれた衣の襞など典型的な平安時代後期の像。こうした作風が11～12世紀の平安貴族に好まれた。肘から先の形、銅製装身具に違和感があるが、これらは後世の補修によるもの。
Seated Daiitoku Myōō (Yamāntaka)
The statue with six arms and legs mounted on the back of water buffalo. As one of the Five Great Myōō, it was sometimes placed in a westward direction, however it was more often enshrined as a single image. As an independent statue, it was applied as a principal icon during the Esoteric Buddhist ceremony, however many examples were produced to pray for victory.
Buddhist Statues of the Kamakura Period (1185〜1333)
In the Kamakura period, when the political power shifted from the aristocracy to the samurai warrior class, more dynamic and powerful Buddhist statues favored by the samurai appeared. With the trend of realism in Kamakura art and the maturity of wood carving techniques, Buddhist statues of this period pursued realistic expressions as if they were alive. The technique of using crystal eyes, in which crystals are inlaid in the eyes, became common, and many Buddhist statues were produced with detailed depictions of the human skeleton, muscles, and even blood vessels, based on the human body. In addition, the development of the yosegi-zukuri technique made it possible to effectively construct huge Buddhist statues. The representative Buddhist sculptors of the Kamakura period are Unkei and his disciple Kaikei, who produced the standing statues of Kongōrikishi in the great south gate of Tōdaiji Temple. The Kei school, led by Unkei and Kaikei, who established a new style of realistic and dynamic Buddhist statuary, had a great influence, not only on the sculpture circles in the Kamakura period, but also on later generations of Buddhist sculptures.
Bodhisattva
As this work shows, Buddhist statues in the Kamakura period (1192—1333) were created with a variety of materials, such as quartz for the eyes and lips, to achieve realistic effects."
The Bodhisattva Monju Riding His Lion, Accompanied by Followers
【重要文化財】 文永10年(1273)。獅子に乗る文殊菩薩が、合掌する善財童子とインド人僧の仏陀波利、獅子の手綱を引く優填王、頭巾をかぶる最勝老人という４人の従者をともなって海を渡る「渡海文殊」の群像をあらわす。銘文などから興福寺勧学院の本尊で康円作と分かっている。
Daihoonji Temple
Daihoonji, a Shingon Buddhist temple located in Kyoto, has a great number of Buddhist statuary in its possession dating from the Kamakura period (1185 - 1333). Particularly noteworthy are the statues of the Ten Great Disciples carved by Kaikei, famous for making the massive guardian statues that protect Nara’s Todaiji Temple. The Ten Great Disciples were formerly placed in the main worship hall, where they surrounded the seated Buddha statue that is the temple’s main votive object. The statues of the six forms of Kannon (bodhisattva of compassion) are by Jokei. Worship of the six Kannon became particularly popular during the Kamakura period and statues from this time display a realism that earlier statues lacked ? for example, muscled bodies and inset crystals for eyes. It’s rare for a set of six to be kept together over the centuries, and these are designated Important Cultural Properties of Japan. Both sets of statues are stored safely in the temple’s reihoden treasure house, where it is on permanent display.
Vaiśravaṇa
This work constituted as the one of the Four Guardian Kings and came from Kōfuku-ji Temple together with the Kōmokuten (Skt. Virūpāṣa) and the Zōchōten (Skt. Virūḍhaka). The waist was twisted rightward and the right hand was raised aloft holding the small pagoda, characterized a lively posture. The black eye was inlaid with different block of wood to emphasize the raging face.
Attendants of the Four Heavenly Kings
【重要文化財】 文永4年(1267)。他に類例のない四天王眷属像で、台座裏面の墨書銘から、文永４年（1267）に康円によって造られたことが知られる。もと奈良県天理市にあった内山永久寺の真言堂に安置されていた可能性が高い。これらと一具の像が靜嘉堂文庫とMOA美術館に分蔵されている。
The Monkey General, One of the Twelve Divine Generals
The Twelve Heavenly Generals are a group of deities charged with protecting Yakushi, a Buddha associated with healing. This statue depicts Shinshin, the Monkey General.This statue was carved from the wood of a cypress tree, with color then applied to the entire surface. He wears armor and he carries a sword in his right hand. His right leg is bent and he stands with right foot forward. This is a fitting posture for a military commander displaying his power. However, there is also something humorous about his facial expression, with eyes open wide beneath mountain-shaped eyebrows and a mouth that seems to be smiling. A monkey's face is carved onto the top of his head, but the general himself also seems like a monkey with his humorous expressions and red face.The body movements convey a sense of spatial depth. This, together with the realistic expressions and the sharp, refined shape, are characteristic features of statuary that emerged from the end of the 12th century, as epitomized by the works carved by Unkei, a famous Japanese sculptor. This statue seems to herald the start of a new era. The still-vivid colors provide a further highlight alongside the dynamic motion.This work was originally from a set of 12 Heavenly Generals. The other 11 statues are also still with us today. Like this example, they also wear depictions of creatures from the Chinese Zodiac on their heads. Tokyo National Museum is home to five of these statues. The number of generals corresponds to the 12 vows made by Yakushi Nyorai to save all sentient beings. Furthermore, it was customary in East Asia since ancient times to divide time or directions up into 12 units and then allocate a different animal to each one. The Chinese Zodiac is still familiar to many people today. The signs of the Chinese Zodiac were also assigned to the guardians of the Buddha Yakushi. In a sense, this symbolizes how the 12 generals continue to keep a close watch over all directions at all times.
Śākyamuni (Seiryō-ji type)
The statue of Śākyamuni which priest Chōnen brought back from China to Seiryō-ji Temple in Kyoto had been extensively admired, therefore many works were reproduced in the Kamakura period. The present statue constitutes one of the reproductions. The ink inscription was written on the pedestal, describing the date of fabrication as well as the name of prayer and sculptor.
The Buddha Amida
The Buddha Amitabha is shown here with his left foot forward. This subtle detail suggests that he is moving forward to greet a dying believer into his Buddhist paradise, the Pure Land."
The Bodhisattva Monju
Manjusri is shown here as a child, which symbolizes the purity of his wisdom. His withdrawn facial expression and the lucid form of his robe are similar to the style of Zen'en."
Rāgarāja
This statue was excavated from the Hachigatamine sutra mound on Iki island located in the Genkai-nada. The figure was carved from a single piece of talc rock. Sutra scrolls were contained in a square hole at the bottom of the statue, which means that this statue was made as a container for sutra scrolls—which is a rare case. An inscription is engraved into the surface of the statue between the shoulder and the hip part. The inscription begins with the statement of the date, which is 1071, and asserts that the Hoke-kyō (Lotus sutra) had been enclosed in this statue with the expectation that Miroku (Maitreya) would emerge in this world in the future. The figure's hair is curly. Both of its shoulders and arms are covered by the garment, and its hands display the Hokkai-jōin finger sign. The figure is seated cross-legged with its right leg on top. The lotus seat was made from a separate slab of talc rock. The leg part of this statue is small because talc had to be used economically. But the modeling of the body is by and large robust, revealing the characteristics of statues made during the first half of the late Heian period. One noteworthy aspect of this statue is that the symbols of the nine classes of people after death and the names of some people are carved into the top of the lotus seat, implying the mixture of the worship of Miroku and Amida (Amitābha).
Standing Bishamonten (Vaiśravaṇa)
This statue originally came from Iwashimizu Hachimangū Shrine in Kyoto Prefecture. The masculine expression suggests that the Buddhist sculptor who was influenced by Kei school made this work. Gold paint has been broadly applied and depicted more figurative motives such as cloud with dragon, phoenix and flower with leaf, instead of geometric pattern. The lappet of the helmet (Shikoro) was carved from a different wood and it was hooked by chains.
Related gallery
References
- 辻惟雄 監修,美術出版社
- 河野元昭 監修,平凡社
- 山本勉 [著],平凡社
- 薬師寺君子,西東社