The Western Paradise

The Western Paradise: Depictions of Amida Nyorai in Japanese Pure Land Buddhist Art and Ritual Pure Land Buddhism was one of the most widely practiced school of Buddhism practiced in Japan, and remains popular even today. Small icons like the Amida Buddha to the right are widespread and used in rituals that involve the chanting of the Buddha's name in order to be admitted to his Pure Land paradise, where they can focus solely on meditating and learning in order to achieve enlightenment. But how did this school of thought was not always the dominant form of Buddhism in Japan. Amida had been present in Japanese art since hte introduction of Buddhism to Japan, but the accesibility of the rituals of Pure Land Buddhism made Amida a much more frequent depiction in Japanese art and ritual. [2] Amida Buddha revealing the law Mural detail from the Golden Hall of Horyu-Ji late 7th century Ikaruga, Nara, Japan [8] Paintings such as this depiction of the Amida trio were common in the Horyu-Ji. These murals were likely completed either by Chinese painters or under their direction. Unfortunately, much of these murals were lost in a fire in 1949. The paintings were intended to provide depictions of sacred truths that would work with the sculptures of Buddhas. Generally, the painted images would display the Buddha in his most enlightened position in their nirvanic paradise. Therefore these images would help transform the Buddha's hall into an extension of their paradise, making it a sacred place for veneration. [9] Buddhism was introduced to Japan during the Asuka Period (538-710 CE). Leading the movement, Prince Shōtoku Taishi (574-622 CE) made it his mission to assimilate Buddhist practices into Japanese religious thought. By the end of his lifetime, there were over forty Buddhist temples in Japan. The best example of the remaining temples is Hōryū-Ji. The oldest wooden buildings in the world, Hōryū-Ji is a small complex of temples located outside the city of Nara. Certain temples were dedicated to ancestral worship for prominent clans in the area. Hōryū-Ji shows the early mixture of native Shinto beliefs with the newly introduced Buddhist imagery. [3] Horyu-Ji The Golden Hall and Five Story Pagoda of Horyu-Ji Ikaruga, Nara, Japan [4] Sculpture of Amida Triad at the Horyuji Gilt bronze statue from Lady Tachibana's Shrine late 7th century to early 8th century [5] This statue draws on imagery prominent in Chinese Buddhist art. Icons such as this emphasize the veneration of Amida as early as the 7th century, even without the formalized Pure Land sect emerging until later. It shows influence from late Tang China, indicating the increasing influence from the continent on Japanese arts. Much of the later Buddhist art would reflect these influences on their grandeur. [6] The other two sculpted figures are his two Bodhisattva disciples, Kannon and Seishi. It is common for the three to be depicted together. [7] Painting of Amida triad and banner holding boy at the Hokke-Ji "Amida Buddhism" Pure Land Buddhism would develop from a praise of Amida originating from the Indian Shin Buddhism. In Shin Buddhism one would not need to renounce their lay life in order to pursue enlightenment. Instead, they could meditate on images of and say sutras to Amitabha (Translated to Amida in Japanese). In turn, they would be reborn in his Pure Land paradise where they would be able to begin their monastic life with him there. While unpopular in India, it became widespread in Tang China and consequently was introduced to Japan. During the Nara Period (710-794) and the Heian Period (794-1185), Amida veneration would become common practice on the archipelago eventually culminating in the development of Pure Land Buddhism at the end of the Heian Period. [10] Colored ink on silk: center piece of three 11th century Nara, Nara, Japan [11] This banner is just one of three, the other two containing depictions of the bodhisattva attendants to Amida. Banners like this were not a permanent source of ritual practice like the wall murals in Horyu-Ji. Instead they were often kept in storage used as a temporary shrine where statues were not capable of travelling or being placed. [12] Descent of Amida with Divine Attendants Paint on silk: Three piece banner 1oth to 11th century University of California, San Diego, CA [13] A three-piece silk scroll with Amida and his two Bodhisattva attendants in his Pure Land Paradise. Most paintings from the early Heian period were lost to fire or other destructive forces. Therefore, most of the paintings that remain are from late Heian. Amida's rise to prominence in the Buddhist pantheon becomes evident in the artwork of this time through depictions of his paradise as a common motif. [14] Amida Nyorai Photograph of: Gilted wood statue Byodo-in, Kyoto, Japan 1053 [15] Jocho (?-1057) Sculpture also began to increasingly venerate Amida, however mainly through large wooden statues like Jocho's icon of Amida. These icons were more austere and emphasized the worshipers’ demure position to the Buddha. [16] The placement of these statues in certain temples, limited the elite classes of Japanese society to be able to engage them and to achieve the stage of enlightenment worthy of rebirth in his parade. [17] Pure Land Buddhism Reverence of Amida began to spread when the monk Genshin (942-1017) moved out of the temple at Mt. Hiei to begin a smaller temple dedicated to Amida. His teachings at this temple opened up reverence of Amida to less connected aristocracy and elite citizens. Pure Land Buddhism emerged as a school through the teachings of Honen (1133-1212). He also left the monastery at Mt. Hiei, but established himself in Kyoto as a teacher of Buddhist thought. He gained popularity and followers. His teachings removed the exclusivity of Amida veneration present in Japan, opening it up to anyone who wished to obtain entry to Amida's Pure Land paradise. Enabling anyone to achieve enlightenment removed the necessary component of relinquishing a layperson life in order to live in a monastery. His ideas were continued after his death by his disciple, Shinran (1173-1262). Shinran focused on the "other power" of the Buddha's image that would transfer positive merit to the devotee, enabling them to be reincarnated to the Amida's paradise in their next life. However, many of these ideas failed to spread across Japan because of the political instability accompanying the breakdown of the Heian court, instead a mix of his ideas were spread in conjunction with previous beliefs concerning Amida. [18] Amida Nyorai Cypress wood statue with traces of gold leaf mid to late 13th century Asia Society Museum, New York, NY [19] Smaller statues like this become more commonplace during the Kamakura period, military rule stemming from the ephoneous city outside of Tokyo. Likely used similiar to the temporary banners, smaller statues would be used in conjunction with larger statues in tmeples, or for travelling monks. They could also be used in household altars thus, as Pure Land belief spread, there would be an increase in production of smaller figurines. [20 ] Descent of Amida across the Mountains Hanging painting on silk Kamakura period (1185-1600) University of California, Sand Diego, CA [21] Similar to the previous scrolls used in temples, scrolls such as this continued their non-permanent ritual usages. As the Pure Land school spread, so did scrolls' ritual use. Certain scrolls called raigo were frequently used in death rites. Bringing raigo to the dying would allow for contact with Amida in their final moments, thus strengthening their chances for entrance to his paradise. The imagery of this scroll reinforces this use through Amida looking over the mountains from his paradise on the moral world. [22] This silk banner is a reproduction of the mandala in Taima-dera, a temple north of Nara. Reproduction of the Taima mandala began in the 13th century. Mandala are essentially prayer maps This mandala represents Amida's Pure Land in the center with stories about faith in and worship of Amida that reinforce certain behaviors considered beneficial to be reincarnated into his paradise. Therefore, with the increased aims at spreading Pure Land Buddhism to the masses, the Taima mandala would frequently include chants that should be said while meditating in its presence. Such practices include the nembutsu, which is a series of chants of the Amida's name that help ensure rebirth into his paradise. [24] Ink, color, and gold on silk banner 13th century Metropolitan Museum of Art, New York, NY [23] Taima Mandala Depictions of Amida in the Edo Period Pure Land Buddhism was splintered in its development with the political instability associated with the Kamakura Period but in 1600 Tokugawa Ieyasu unified Japan under a central government in Edo (modern day Tokyo) beginning the peaceful Edo Period (1603-1868). Beliefs associated with the sect did not raise any concern among the newly established military rulers; in fact they were fairly well aligned with the increasing Confucian thought the military regime was adopting. Pure Land Buddhism became common at both village and urban levels, among almost all classes. It was harder for women to obtain entry to the Pure Land paradise, because of the preexisting societal roadblocks that made their lives more difficult. However, because of Pure Land's seemingly equal footing and accessibility, it became the most practiced form of Buddhism in Japan in the Edo Period, and it continues to be such today. [25] Buddha Amida wood statue laquered with gold 18th century Originally from Dairen-Ji, Osaka, Japan Currently in the British Museum, London, UK [27] Amida Buddha wood figurine laquered with gold 1686 The British Museum, London, UK [26] Likely used in the same fashion as earlier statues and mandala as a means of connecting with Amida while reciting his name or sutras in order to attain enlightenment and entry to his Pure Land Paradise. The proliferation of smaller figurines suggests more adherents to these Pure Land practices during the Edo Period. Kawahara's painting shows a pilgrim travelling with a shrine honoring Amida in his painting. The visual representation shows how travelers and pilgrims would use these smaller icons of Amida. The child running towards the image of Amida further emphasizes the wide array of followers Pure Land Buddhism had. Painting 1820s-1830s The British Museum, London , UK [28] Kawahara Keiga (19th century) untitled Amida Buddha Wooden figurine with laquer and gilding n.d. The Trout Gallery, Dickinson College, Carlisle, PA [1] Works Cited