Page 144 - JAPAN THE SHAPING OFDAIMYO CULTURE 1185-1868

able by the miniature pagoda that Bisha- 1201 for a raigde ceremony. Also extant at
monten characteristically holds on his Jódoji, founded by the priest Shunjóbó
upturned left palm while brandishing a Chógen (1121-1206), who restored Tôdaiji
weapon in his right hand. of Nara in the Kamakura period, are
Pursuant to their protective function, twenty-five of the original twenty-seven
images of the Four Heavenly Kings were bodhisattva masks made at the same time
usually placed at the corners of a temple for the same ceremony. In Jódoji's Amida
altar whose center was occupied by Bud- Hall is a colossal wooden Amida triad, also
dhas and bodhisattvas. In a central altar by Kaikei. Jódoji was an Amidist temple
triad, Bishamonten would often flank an founded by the enormously influential
image of Sakyamuni Buddha, with the monk Shunjóbó Chógen, who supervised
goddess Kichijóten, also of Hindu origin, the restoration of Tôdaiji in Nara after its
on Sakyamuni's other side. In time Kichi- destruction during the civil war of 1180-
jóten came to be regarded as Bishamon- 1185, and who became both patron and re-
ten's wife. As a principal image, ligious mentor of the sculptor Kaikei.
Bishamonten would himself be flanked, as Raigd-e is a ritual that reenacts the de-
here, by Kichijóten and Zennishi Dôji, a scent of Amida Buddha from his Pure
young boy regarded as the divine couple's Land (Jôdo; popularly called Western Para-
child (and sometimes as an incarnation of dise because it was believed to be in the
Bishamonten himself). The best-known western part of the cosmos), accompanied
example of the Bishamonten triad, dating by the bodhisattvas Seishi and Kannon
from the late Heian period, is at Kurama- and often by a heavenly host of lesser dei-
dera in Kyoto. ties, to take the soul of a dying devotee to
An inscription on the tenon connect- the Pure Land of immeasurable bliss,
ing the left foot of Bishamonten with the where it awaits rebirth to a high state of
base records that this triad was made by being. This Amida image was probably
the great priest Tankei, with the rank of dressed in an actual costume and placed
hdin (Seal of the Law). Tankei, the first son on a wagon leading a procession of people
of Unkei (d. 1223), was born in 1173 and par- wearing the bodhisattva masks to repre-
ticipated with his father around 1212 in sent the heavenly host. An armature
sculpting the Buddhist images for the Ho- would have been inserted inside the image
kuendó of Kôfukuji in Nara. In 1213 he was to support it during the procession. The
given the rank hdin, the highest honor deity's hands form the gestures icono-
two figures. The main part of each image awarded to sculptors of Buddhist images. graphically specific to the "welcoming de-
is made of two separate pieces, one for the In 1254 he made his best-known work, the scent." The names of the contributors are
front and one for the back; the hair and wooden Senju Kannon (Thousand Armed written inside the image, as well as An
eyebrows are painted. SH Kannon) for Myóhóin in Kyoto. (Sanskit), followed by Amidabutsu, the
Each of the figures in this triad is nat- Buddhist name of Kaikei.
urally posed and has small, well-modeled Kaikei was active in the early Kama-
77 Bishamonten with two attendants features. Bishamonten's build is formida- kura period, along with Unkei (d. 1223) and
Tankei (1173-1256) ble, his stance unyielding, and his expres- others, in the restoration of the Nara tem-
polychromed wood sion adamant, but he is in no respect ples. His earliest extant work is a wooden
h. Bishamonten, 168.0 (66Vs); contorted or grotesque. The expressions statue of Miroku Bosatsu (Bodhisattva of
Kichijóten, 79.2 feíVs); Zen'nishi Dôji, of Kichijóten and Zennishi are calm and the Future), which is dated 1189 (Museum
71.2(28) mild. In all these respects the figures are of Fine Arts, Boston). There are approxi-
Kamakura period, i3th century typical of Tankei's style. Each of the im- mately forty extant works by Kaikei, mak-
Sekkeiji, Kôchi Prefecture ages is made of Japanese cypress (hinoki). ing him especially important for the study
Important Cultural Property The right and left halves of Bishamonten's of the history of Japanese sculpture, since
head and torso were carved from separate it is possible to trace the continuous devel-
Bishamonten is one of the Four Heavenly hollowed-out blocks, as were the back and opment of his style. His most typical work,
Kings (Shitennô) who guard the Buddha's front halves of the other two figures. The known through many versions, is the
Law in the four quarters of the universe, eyes are inlaid crystal. Bishamonten's ped- standing statue of the descending Amida
the north being Bishamonten's special re- estal is a small earth demon whom the de- Nyorai, which is noted for its refinement
sponsibility. The Shitennô originated in ity is often shown subduing. The pedestals and detailed idealization.
India as Hindu deities, were early ab- for Kichijóten and Zennishi Doji are later Made in 1201, the work exhibited here
sorbed into the Buddhist pantheon, and additions. SH dates approximately to the middle stage in
were transmitted with the faith to Central Kaikei's stylistic development. Although a
Asia, China, and Japan. In the course of portion of the surface is damaged, most of
this eastward passage they acquired their the original gilt lacquer remains intact.
military characteristics: armor and weap- 7 8 Amida Nyorai Parts of Amida's halo have been restored.
ons in the style of China's Tang dynasty Kaikei (active c. 1185-1223) SH
(618-907), and expressions and gestures of lacquer and gold leaf on wood
fierce determination or even menace. Of h. 266.5 (!04 / )
7 8
the Four Heavenly Kings, Bishamonten Kamakura period, 1201
(also called Tamonten) is the most power-
ful, possibly because East Asian geomancy Jódoji, Hyógo Prefecture
makes the north the direction of greatest Important Cultural Property
danger; he is also the only one worshiped
independently. Images of Bishamonten This is the 8-shaku (approximately 240-
that have not lost their arms are identifi- centimeter, or 8-foot) image of Amida de-
scribed in documents as made by Kaikei in

131