Fudo Myoo Analysis

This sculpture of Fudo Myoo was created during the Heian period and is housed at the Asian Art Museum in San Francisco. Fudo was a Buddhist deity. He is depicted here holding a sword and a rope, and wearing a very angry expression. According to the Asian Art Museum’s website, Fudo was intended to protect Buddhists. In “History of Japan”, Perez states that by the time Buddhism made its way to Japan, it had evolved so that it was no longer a religion where “salvation [. . .] could be accomplished independently”, but rather a religion guided by “holy men”. (“History of Japan”: 17) As Buddhism was now more “complex”, people did not need to rely on their own actions to save them, as they now had leaders and deities to protect them. Fudo’s

fierce appearance implies strong protection; to have such a mighty protector on your side—one who, as the Asian Art Museum website notes, “purifies evil”—would be a great comfort. In Professor Edwards’ lecture, she mentioned that the elite often held religious ceremonies in order to solidify their respect within a community. The commoners who attended these rites would likely find their leaders very desirable if they had a connection to Fudo.

When I first saw this statue, I was very taken by the flames leaping up behind Fudo. In our society, it is uncommon to find fire incorporated into sophisticated art. Also, Fudo’s face is twisted into an almost frightening expression, one that could certainly not be considered beautiful in our society, which tends to view only softer and more “attractive” countenances beautiful. That being said, I really do like this statue. I think the position of his feet (soles flat and facing upwards in lotus position), the real rope strung through his hand, and the bright flames are amazingly detailed elements, and I could see how such features could easily be found beautiful by the same people who could analyze a person’s temperament by the details of their calligraphy, as noted by Ivan Morris. (“Cult of Beauty”: 185)