Shaka Triad

in the Kondo at Horyuji, Dated 623, Gilt Bronze, 46 inches tall.

Built during the Asuka Period, by Sculptor Tori Busshi, Prince Shotoku's sculptor.

Style: Tori Busshi had a distinctive linear and geometric quality of the facial features and body pose, and a particular fascination with the drapery of the robe. Style attributed to the buddhist scultpure of the Wei dynasties of Northern China in the late 4th to 6th centuries.

Visual elements: Sitting in double lotus position. Mudras of tranquility and a path to salvation. Long flowing skirts, "waterfall Drapery."  Hollow with The Seven Buddhas of the past, seven previous manifestations of the Buddha.  Buddha is flanked by two Bodhisattvas.

Yumedono Kannon

In the Yumendono (Hall of Dreams) at Horyuji, Nara Prefecture. Early 7th Cent. Gilt wood. 77 in. Asuka Period. 

Image of Kannon, the most popular Bodhisattva (in Sanskrit, Avalokiteshvara), Bodhisattva of Compassion. Often times has androgenous features, but here has a painted on mustache, depicting him as a handsome youth. 

The Yumedono was closed until the late 19th century, when it was opened by western scholars.  The statue was near perfectly preserved. 

Made of a single shaft of wood, except for the lowest ends of the drapery scarves and the lotus pedestal.

Karil called the drapery, "Christmas Tree Drapery"

Tamamushi Shrine

Made c. 650, Cypress and camphor wood, with Lacquer. 84 inch. From Horyuji, Nara Prefecture.

One of the most important surviving objects from the Asuka period, only example of buddhist painting from this time.

A portable shrine from the Great Treasure House at Horyuji, it is a miniature Kondo raised on a pedestal.  The sides of the Kondo are decorated with painitns of bodhisattvas, the Four Guardian Kings, and Buddhist Jataka Tales. Intricate metal work on the edges of the projecting upper and lower panels gives the shrine its name--made from pressing the wings of the Tamamushi Beetle into the metal work. .

Inside is the Amida Triad (733 CE) in Gilt Bronze, added much later.

Hungry Tigress Jataka panel, Detail from the Tamamushi Shrine.

c. 650 CE, Lacquer on wood with open metalwork borders, Horyuji Treasure House. Example of Asuka Painting. 

jataka tales are stories of previous incarnations of Shaka (Buddha), before the lifetime in which he attained enlightenment.

This Jataka is of the story of the Hungry Tigress, in which the Shaka sacrifices himself so that a Tigress and her cubs could eat.  It is a common theme of self-sacrifice among Jatakas.

Painted in a circular movement, the narrative is painted in a style that is much more similar to its contemporary Chinese paintings than that of the outdated sculpture of the Asuka period.

Tamonten

Wood with paint, c. 650 CE.  At Horyuji but created in the Hakuho period. 

Tamonten (aka Bishamonten) is the king of the north, holds a halberd and a reliquary stupa. All of the kings are made of a single block of wood, but stands on a conquered demon, which is a separate piece of wood.   The Crown and the strips of openwork metal attached to the halo and skirt of hte armor are made of cut gold.

Tableau of the Death of Shaka (aka Parinirvana of the Buddha)

North side of the five-storied pagada at Horyuji. 711 CE. Clay over wood and metal. Nara Period

A Tableau on the first floor of the Pagoda on the North side, belonging to the Nara period, but their technique used to manifacture (clay molded over wood) was coming into popularity in the last years of the Hakuho period.

The Sculptures in the pagoda are set against complex rock shapes, which were built up around the central heart pillar of the pagoda.

One of 4 tableau that recounts a particular Buddhist theme, the North Tableau depicts the Shaka's passing into nirvana (parinirvana).  The golden body of the Buddha lies on a table while onlookers gaze on close by, some content (bodhisattvas), while others grieve (unenlightened followers, acetics, disciples).

Amida Triad

Wall painting from the Kondo at Horyuji, c. 710, Horyuji Treasure House. Hakuho Painting

One of the fragments of a wall mural originally on the interior walls of the Kondo at Horyuji. This mural is of the Buddha of the west, one of the four Buddhas in the murals who are emanations of Birushana, to the four directions enthroned in their paradises of the four directions.

Here Amida sits on a high-backed throne decorated with jewels.  Present are the Bodhisattvas Kannon (on Buddha's left), and Seishi, who is normally paired with Kannon as an attendant of Amida buddha. 

Kannon frequently flanks the Amida buddha, as it is an emanation of Amida Buddha, and images of Amida buddha can be found in the crown.

Technique: plaster wall must be built up first using ever finer and finer layers of material, and allowed to dry. The design is transferred from cartoons onto the wall surface by the pouncing technique.  Pigment is then applied to the wall.

The book notes two specific techniques used in Buddhist wall paintings: one, the using of red to outline rather than black. and two, a type of line called " iron wire" that does not vary in width and has no caligraphic flourish.

Notice the strongly Indian elements in the hair and jewels, esp. the bodhisatvas.  The painting is similar to that on the Tamamushi shrine, in terms of the advanced naturalistic delineation of figures than the sculptures of the Hakuho period. It differs in the roundness of the Boddhisatvas (from the skinny ones on the T. Shrine), this is characteristic of paintings of the late 7th, early 8th cen.

Fukukenjaku Kannon

(Flanked by Gakko and Nikko) in the Hokkedo @ Todaiji. 740s. Dry lacquer with gold leaf. 142 inches.

The Fukukenjaku Kannon is the central figure in the Hokkedo at the Todaiji Compond.  (The Hokkedo was the other structure at the compound for important images, other than the Daibutsuden/Big Buddha Hall)

Name means "Kannon of the never-empty lasso." Significance of the imagery:

• eight arms, signifying the statue's textual referent of the compassionate Boddhisatva.
• The lasso is to bring to safety those who have been ensnared in delusion.
• Lotus blossom, in one of the hands, signifying the wisdom of the Buddha
• Pilgrim's staff, object that speaks to Kannon's acknowledgement of the people who make the pilgrimage to Todaiji (most likely).
• The halo is made of open work metal, consisiting of flame patterns to represent the golden light Kannon's body emits. 
• Crown, also openwork metal carries an image of Amida Buddha, of whom Kannon is a mannifestation.

Eight arms signifies the introduction of Esoteric/Tantric Budhhist teachings to the region. It will soon become hugely influencial in Japanese Buddhism.

Thought to have been commissioned by Emperor Shomu (dude after Prince Shotoku).

Tamonten

in the Kaidanin (ordination hall). Todaiji. Mid 8th cen. Clay with remains of paint. 64 inches.

Tamonten is one of the 4 Guardian Kings in the ordination hall, together known as the Shitenno.  They are all modeled clay over a woodne armature, and are roughly the same height, 6 ft.

The four statues, all wear armour over their cloth robes and no two are alike.  THey all stand in a hip-slung pose, which is a visual departure from the columnar poses natural to the single-beam wooden sculptures.

Each stand on a subdued demon. Good job.

Shukongonjin

in the Hokkedo (Sangatsudo), Todaiji. Nara. Mid 8th century (karil says 733). Painted Clay. 68 inces.

The Shukongonjin is another clay image in the Hokkedo, but was possibly not originally meant for this building. Originally associated with Roben's temple of Konshoji, in 733.

Story: Shukongojin is one of the lesser Guardian Kings, and is the embodiment of the power of the Enlightenment. When Roben prayed, the image glowed and the light was said to have reached Emperor Shomu in the city below. 

Slightly larger than the Four Guardian Kings, Shukongojin is clay with wood armature, clad in brightly colored robes and chinese armor. The Face is exaggerated, which is caracteristic of these deities. His pose is animated, and his scarves are in motion, all indicative a certain quality of Naturalism.

Birushana Buddha

in the Kondo, Toshadaiji. 2nd half of 8th century. Dry Lacquer with gold leaf. 120 inches.

Birushana Buddha was made at another important site of the Late Nara Period, Toshadaiji, built for the Chinese monk Ganjin.

At Toshadaiji there is a turn from the developing realism of other Late Nara Sculpture (Todaiji), towards a more "sober and stylized aesthetic."  The Birushana Buddha is an example of this turn.

(Description from book) The body is fully formed in 3 dimensions and espouses a stylized aethetic of heavy fleshiness.  This can be seen in the thick neck, the profile of the face curving up and outward.  The drapery is less abstract, and flows in an irregular pattern across the body. The wooden halo is covered with hundreds of little Buddhas. This emphasizes Birushana's position as the Universal Buddha, from whom all other Buddha's derive.

10 ft. tall, the sculpture is made using the dry-lacquer technique and is completely covered in gold leaf. 

It is stylistically unique for Nara statuary,

The Priest Ganjin

in the Miedo (founders hall) at Toshodaiji. 763. Dry Lacquer with paint. Height 31 inches.

This is the ealiest extant example of true portrait sculpture in Japan.

The dry lacquer medium is ideal for this sculpture, naturally depicting true planes of the face, musculature of the neck and ribs. There is a minumum of specific detail that makes for a very impressive pure form.

Plan of Heiankyo

(Kyoto as it was originally laid out.)

A rectangular grid plan for the new captial city of Heian, following in the tradition of Fujiwara, Heijo, and Nagaoka.

The Heian period (794-1185) was named for its capital which was established in 794 at Heian, or Capital of Peace and Tranquility.

The reason for the relocating of the seat of the emperor, is believed to be the desire of Emperor Kanmu to distance the seat of secular power from the centers of the Buddhist schools.

The site was chosen because it was in accordance with Chinese Geomancy: it was flanked on three sides by mountains, and in addition was bordered by two relatively large rivers.  It's location is a suburb of present day Kyoto. Kyoto would remain the capital until 1868 when the emperor moved it to Tokyo at the beginning of the "modern period" in Japan.

Plan: Heian is laid out in a rectangular grid 3 miles by 4 miles with wide avenues running north and south, and smaller streets crossing east and west. There was a distinct Palace Precinct and government sector in the very north of the city. The Commercial sector and the two Buddhist temples were relegated to the far south. Supposedly to spiritually guard the primary southern entrance to the city, but were also position to be as far away from the emperor and government as possible.

Compared to the Modern city of Kyoto, the city's growth shows a shift to the east and centers on one of the Rivers that originally bounded the city. The Palace complex has moved to a more centrally located position, and none of the original buildings in the palace compound still stands.

(This image is actually Ch'ang'an, from the Tang Dynasty in China, because Karil didn't have an image of Heiankyo that i could find.  They are similar in that they are both grid-planned cities. )