The decaying corpse, kusozu, was a tool depicted in scrolls during the medieval period in Japan that was first mentioned in the Buddhist sutras, first appearing in the Sutra on the Samadhi Contemplation of the Oceanlike Buddha. Between the 12th and 19th centuries, it had both a religious function within the Buddhist faith as well as a gender function, as its meant to erase impure, sensual thoughts - particularly a documented device amongst Buddhist monks. This kind of self-discipline is central to the Buddhist doctrine, based on Prince Siddhartha’s (Buddha) austere emphasis on personal discipline and spiritual growth. It displays the developing views of women during the medieval era, especially during development of the Pure Land Buddhist …show more content…
The Raigoji version of the stages of a decaying corpse was one of a set of fifteen hanging scrolls whose content and inscriptions through reference to the Essentials of Salvation by Genshin – the ‘promulgation of Pure Land Buddhist Belief’. These depicted the six realms of existence (gods, demi-gods, humans, animals, hungry ghosts and hells), promoted by Genshin. Images of the corpse were often shown during the Festival of the Dead, forcing devotees to consider their destinies and the wheel of transmigration. These six realms were juxtaposed with the bliss of the Western Pure Land in order to encourage this hope for salvation: a major part of this distinction between the holy and humanity was the impurity of human decay. The Raigoji images of decay were housed in the Shoju Raigoji Tendai Buddhist temple, and, although they did not directly show the six realms of existence and Genshin did not refer to nine stages, the nine stages portray Genshin’s encouragement to contemplate the impurity of the human realm. The provocative imagery of kusozu emphasises the grotesque nature of decay, inspiring devotion and therefore encouraging the viewer to aim to achieve nirvana – the realisation of the nature of impermanence and the expulsion of …show more content…
The Raigiji kusovu is individual in its inclusion of a landscape, showing how this imagery is a ‘skilful means’ for teaching the doctrine of impermanence to the laity. Because of the civil war in Japan, combined with natural disasters and the belief in mappo (age of degeneracy), the fragility of human life became a common theme in paintings. Based on the Su Tongpo poem, which draws many parallels between a body’s decay and the changing of the seasons (‘a beautiful face quickly fades as flowers in the third month’), the Raigiji stages show a tree at different seasonal stages. A cherry blossom, the flower of the famous female poet Komachi, is shown in the second stage of decay, representing spring. A pine tree is shown in the third image, representing summer. Meanwhile, a maple tree is shown in the fourth stage as blood exudes from the corpse. This metaphor for the passage of time encapsulates the circular and ephemeral nature of life, especially within the six realms of existence, and, as seasons do, when one life ends another will form. Known for her beauty, poetry and IGNORANCE OF MEN? in her youth, Ono no Komachi is meant to be the inspiration for the aristocratic and attractive woman in the Raigoji version. The message of transience is confirmed in this way, as, although an admired woman in the 9th century who was placed above many, death is inescapable. Komachi is the
The statue that will be the focus of this paper portrays the figure “Amida, the Buddha of Infinite Light.” Like many other statues of the Buddha, this Amida Buddha was portrayed to be deep in meditation, sitting cross-legged. A viewer could observe that the Amida Buddha is making a hand gesture while in deep meditation. These gestures, also known as “mudras,” are symbolic in the Buddhist religion, and they are used to convey certain ideas (O’Riley 70). In this case, the Amida Buddha is making the mudra of appeasement (“Amida”). More physical observations could be made by pointing out the “balanced form, divine features, and flowing drapery” (“Amida”) of the Amida Buddha. Those qualities represent the nature of the Buddha, revealing him as “transcendent, graceful, and compassionate” (“Amida”). Features common to other Buddha sculptures show up on this Amida Buddha, like the elongated earlobes, the mole on his forehead, and patterned hair. At first glance, the Am...
Yu, Han. “Memorial on Buddhism”. Making of the Modern World 12: Classical & Medieval Tradition. Trans. Richard F. Burton. Ed. Janet Smarr. La Jolla: University Readers, 2012. 111-112. Print.
Walking into the Hall of the Buddhas, there was a sense of peace and guidance lingering inside me. The seated Bodhisattva, of the Northern Wei dynasty (386-534), CA.480, from the Yungang, Cave xv, Shani Province, made of sandstone, guarded the entrance. At first, I thought it was a time to be disciplined, but the transcending smile from the statue was a delicate fixed gesture that offered a feeling of welcome. It was not a place to confess your wrongdoings; neither was it a place for me to say, “Buddha I have sinned.” It was a room to purify the mind, the mind that we take for granted without giving it harmony. There was a large mural decorating the main wall called “The Paradise of Bhaishajyaguru”(916-1125). I sat down wandering if the artist of the portrait knew that his work would one day be shared on this side of the world, in my time. Much like Jesus Christ and his followers, the mural is a painting of healers and saviors. It was a large figure of the Buddha of medicine, (Bhaishajyaquru) surrounded by followers of Bodhisattvas, Avalokiteshvara, and Mahosthamaprapta with twelve guardian generals who have pledged to disseminate the Buddha’s teaching (Tradition of Liao 916-1125, Metropolitan Museum wall plaque).
The Art Institute of Chicago houses a sculpture that epitomizes Shingon Buddhism in Japan. Born from an influence of Chinese esoteric Buddhism and the Indian God Shiva, the deity Fudo Myo-o, or “The Immovable One”, is one of the most important figures in Japanese Buddhism. The deity first appears in the Heian Period during the ninth century and is made to help followers of Buddhism with any adversity faced. During the Kamakura Period from the 12th-14th centuries the figure of this guardian king developed into a more realistic sculptural form. Fudo Myo-o is unique to the Shingon Buddhism of Japan with qualities that distinguish him from most any other deity, qualities that embody his vicious compassion, wisdom, and wrath.
24 Amore, Roy C. and Julia Ching. The Buddhist Tradition. In Willard G. Oxtoby, Ed. World Religions: Eastern Traditions. P. 221
The five Eastern religions of Hinduism, Buddhism, Confucianism, Daoism, and Shinto have some similarities when it comes to the their beliefs on death. Hinduism and Buddhism both believe in karma and reincarnation, while Daoism and Shintoism revolve their beliefs around nature. Confucianism chooses not to focus on things we do not know, so their beliefs on death are limited. In deciphering the different beliefs on death associated with each religion, it is important to understand the different belief systems and their origins. While some religions merged the views of the other religions, some came from the views of an originating founder. Each religion has their own view on life after death and whether or not their followers should be concerned
...uare Temple at Eshnunna; both very different mediums of art. Although the mediums are different, both are greatly significant in understanding the cultures of the past. Within each of these works of art the theme of immortality is prevalent. One states the theme very plainly, whereas the other has acquired this theme as time has passed. Never-the-less the theme of immortality is important in understanding each of these works of art. It is this theme of immortality which connects these works of art to our modern day and the dream a lot of us have of living forever. Although many hold this dream, I think the artist Freddie Mercury said it best in his song “Who Wants to Live Forever” when he said “This world has only one sweet moment set aside for us.” Our life is very fleeting in the grand scheme of things, it’s this same fact that gives our life such great importance.
Kakinomoto begins by describing the history of the land and the rulers and then shifts his gaze to the physical ruin emphasizing the effect and return of nature in the place where the palace once stood. “Where now spring grasses Choke the earth in their rife growth, and mists rise up” (31-33). We see a reversal of the meaning of nature, whereas in princess Nukata’s poem she uses nature to symbolize both death and rebirth, Hakinomoto uses it to emphasize the inevitability of loss. This emphasis on nature further showcases the cultural awareness of time and its inevitability. It’s this awareness of loss that seems to affect the poet’s perception of the past and what exactly is lost. The poet laments, speaking the grandness of the palace and the rulers who were located there only to be reminded that even the most beautiful palace and sage rulers eventually fade away. While the Kakinomoto acknowledges this loss, he is still emotionally moved, “Where once the mighty palace stood, And it is sad to see.” (35-36) It’s also important to note that this questioning of values and meaning in relation to the inevitability of time is a very prominent theme that’s surfaced throughout the ages even in today’s modern western literature. Further questions are posed or implied while observing life through the context of loss as in the Man 'yōshū. For example, with the
In Hagakure, a great emphasis is placed on the samurai ideology surrounding death. The samurai should live his life as though his body has already passed, and through this “he gains freedom in the Way”. His whole life will be without blame, and he will succeed in his calling”. This detachment is of fundamental importance to the samurai, and this relationship with death is influenced heavily by Buddhism. Zen Buddhism influenced the samurai by lending him his unique respect for life and death.
Duhkha, Buddhist clerics, and cremation rituals are the concepts of Buddhism that were mentioned in the Tale of Genji. Kami and spirits are the concepts of Shinto that were mentioned in the story. Duhkha was demonstrated in the Tale of Genji because Aoi was suffering and was near death while she was possessed by evil spirits and when she gave birth to her son. Duhkha includes Buddha’s Four Noble Truths which include the ideas that suffering exists in the world, suffering is caused by cravings and desires, and there is a way to end suffering and pain, and the Noble Eightfold Path. The Tale of Genji also mentions concepts of Buddhist clerics and cremation. The Buddhist clerics came to try to heal Aoi with poppy seeds but unfortunately it
Fourteenth century Japan was a time of peace for many people. Buddhism had just become a major part of Japanese culture due to the Shogun Yoshimitsu. He became ruler in 1367 at the sapling age of ten (Waley 21). Yoshimitsu needed to distinguish himself from his ancestors and he did this by being devoted to Buddhism, specifically the Zen Sect (21). “Zen Buddhism and the life and teaching of Shinran are popularly identified as typical Japanese Buddhism.” (Takeda 27) However Buddhism, in Japan, is different and unique from Buddhism in other countries because it is considered the “funeral religion” (27). This is mainly influenced by ancient Japanese beliefs of the onryo.
“In Tantric Buddhism, we are dealing with a misogynist, destructive, masculine philosophy and religion which is hostile to life – i.e. the precise opposite of that for which it is trustingly and magnanimously welcomed in the figure of the Dalai Lama.”[1] Within Tibetan Buddhism, there is an inherent contradiction regarding the status of women. Although in many aspects women are seen and treated as inferior to men, several of the ancient and fundamental values of Tibetan Buddhism, and more specifically Tantric Buddhism, emphasize equality of the sexes, universal compassion, and most importantly the significant and essential role of the woman. Tibetan Buddhist nuns have been trying to correct this contradiction for years to remove the inferior and degrading stereotype that defines them and to be seen as equal to men. Beginning with the emergence of Tibetan Buddhism from India until today, the status of women, both physically and symbolically has declined due to the patriarchal system adopted by Tibet. “The mystery of Tantric Buddhism consists in the sacrifice of the feminine principle and the manipulation of erotic love in order to attain universal androcentric power.”[2] In their patriarchal society, the symbol of the woman is used by men now as an instrument; manipulated by men in order to acquire control and power.
In his preface of the Kokinshū poet Ki no Tsurayaki wrote that poetry conveyed the “true heart” of people. And because poetry declares the true heart of people, poetry in the minds of the poets of the past believed that it also moved the hearts of the gods. It can be seen that in the ancient past that poetry had a great importance to the people of the time or at least to the poets of the past. In this paper I will describe two of some of the most important works in Japanese poetry the anthologies of the Man’yōshū and the Kokinshū. Both equally important as said by some scholars of Japanese literature, and both works contributing greatly to the culture of those who live in the land of the rising sun.
Although this extremely close connection of the individual with nature, the basic principle of Japanese gardens, has remained the constant throughout its history, the ways in which this principle has come to be expressed has undergone many great changes. Perhaps the most notable occurred in the very distinct periods in Japanese history that popularized unique forms of garden style—Heian (781-1185), and the Kamakura (1186-1393). Resulting from these two golden ages of Japanese history came the stroll garden from the former period and the Zen garden from the latter. As we shall see, the composition of these gardens was remarkably effected by the norms of architecture and the ideals of popular religion in these eras. Therefore, in understanding each garden style in its context, it is essential to also take into account the social, historical, and theological elements as well as the main stylistic differences.
Vetter, T. (1988). The Ideas and Meditative Practices of Early Buddhism. New York: E.J. Brill.