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Buddhism brought to Japan heian culture
Buddhism brought to Japan heian culture
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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.
At a mere 16 3/8 inches, the Fudo Myo-o at the Art Institute at Chicago is not the first object in the Japanese collection to catch your eye. Yet, when you pass by it will stop you in your tracks. The Fudo Myo-o is like nothing you’ve ever seen. His bulging eyes fasten onto your own, a gaze so vicious you cannot tear away from it. His piercing stare draws you in and his stance seems to beckon you to come forth. His furrowed brow and protruding fangs created a facial expression so intense it feels almost as if he is trying to tell you something. His arms seem to have, at some point, been holding something and they are open as if they are welcoming you and offer some kind of promise. Fudo sits upon a rectangular foundation, which gives the impression that his is some kind of deity or god-like figure. The Fudo Myo-o has fabric draped over his left shoulder and is wearing lavish jewelry reminiscent of a Bodhisattva. His jewelry also hints to the viewer that he must have some level of nobility. He also has shell li...
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...icago. The Art Institute of Chicago, 2011. Web. 12 Oct. 2011.
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Image and Text.” Japanese Journal of Religious Studies 33.2 (2006): 297-317. Jstor. 12 Oct 2011.
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The Buddha was and is an important figure in several different cultures, and his influence has spread over large areas. Across these different cultures, many forms of art portrayed him in different ways. In Japan, one of the Buddha’s titles stood out as the “Amida Buddha.” The statue that this paper will be detailing portrays “Amida, the Buddha of Infinite Light” (“Amida”). The statue is located in the Dayton Art Institute’s Japanese Art Gallery 105 with the acquisition number 1935.1. Created in the thirteenth century during the Kamakura period, this statue stands out in the Dayton Art Institute as a prominent Buddha figure. It is made of wood with lacquer and gilt, and it was built to be approximately the size of a normal person.
Oxtoby, Willard Gurdon. "Jewish Traditions." World religions: western traditions. 1996. Reprint. Toronto: Oxford University Press, 2011. 127-157. Print.
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).
Western Tradition, Seventh Edition, Volume 1. Ed. Sarah Lawall and Maynard Mack. New York: W.W. Norton and Company, Inc., 1999. 18-35.
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
Keene, Donald. Seeds in the Heart: Japanese Literature from Earliest Times to the Late Sixteenth Century. New York: Columbia University Press, 1999.
Japan has been a home for Shinto and Buddhist religions for centuries. The Christian missionaries during the 16th, 19th and 20th centuries worked hard to evangelize the Japanese nation but could not get desired success. There efforts in past failed partly due to sanctions imposed by the local rulers. The Jesuits missionaries traveled with Spanish and Portuguese traders to many areas of America and Asia-Pacific and established their churches and religious missions. They were funded, sponsored and trained by their respective governments in order to spread Christianity. At several places they preached the Christian faith by force but the aboriginal population did not accept it wholeheartedly. Initially the Jesuits targeted the elite class of the country and a large number was converted. The rulers also forced their subject to embrace the same faith. About 300,000 Japanese were converted in the first phase. Later on, Christianity was prohibited as the rulers started seeing them as a threat to their authority. Following a change of regime, the ban was lifted and missionaries were again allowed to enter Japan. Like many Native American tribes, the Japanese also resisted the new religion. As a result, presently Christians form only 1% of the total population in Japan. This paper is focused on how the Christian religion was introduced in Japan, the evolution of evangelism, establishment of churches, the restrictions and hurdles faced by the missionaries and priest of the new religion and the response of Japanese nation towards an alien faith. All these queries are answered in detail given as follows.
On a Saturday evening, the seventh of November, I visited the Norton Simon Museum in Pasadena to absorb the cultures and history it had to offer me. While there, I gravitated towards the Asian collection that attracted me the most. Stepping down the stairs into the area of the Asian collection, I felt the serene vibe that the artwork exuded. The Buddhist art pieces radiated serenity and tranquility, which attracted me to two pieces, The Head of Buddha and the Eight Miraculous Events of the Buddhas Life. The Head of Buddha is from the eighth century, and the Eight Miraculous Events of the Buddhas Life is a later piece from the thirteenth century. Both of thee pieces told a serene story. As I continued vewing distinct scultupres, I came across
Oo, Zigmund Sun, trans. "Archive for ‘Life of the Buddha (Version 1)’." BuddhistMythology.Net. WordPress, 2 Apr. 2009. Web. 18 Feb. 2014. .
Eastman, Roger. The Ways of Religion: An Introduction to the Major Traditions. Third Edition. Oxford University Press. N.Y. 1999
MacWilliams, M.W. (2000). Japanese Comics and Religion: Osamu Tezukas Story of the Buddha. T. J. Craig (Ed.). Armonk, N.Y: M.E. Sharpe
At first glance, the Mbole Ofika figure looks like an ordinary sculpture that anyone can encounter at the local museum, but these figures were made and hold a great value to Mbole society. Also, the figure is tougher to find than one may imagine. The Yela people also have Mbole sculptures but the only difference between their sculpture compared to the Mbole is that theirs has a rounder face, whereas the Mbole’s sculpture has more of a heart shape face. The Mbole Ofika Figure is a 3-dimensional wooden figure that was made in the Democratic Republic of the Congo in central Africa. The University of Iowa happens to have one in its collection. When viewing the figure’s composition it is very hard not to notice the placement and visual elements of its head. The repetition and contrasted elements of the figure’s head are interesting because of the convex and concave patterns with an added spotlight of white pigment. The eyes and the nose are very narrow and the nose of the figure is protruded in the shape of a triangle. Ofika figures are small, light in weight and can be held by just about anyone. The balance of the figure is great and the figure easily stands in place on its two legs when placed down. The contrast in the figure varies from medium to dark brown and sometimes can be as dark as black. The University of Iowa has a black Ofika figure in their
... autographed. The poet’s career and restoration of the ware point that it was likely made during the mid-19th century, and is even potentialy molded by the poet herself. Other than that, the ware also hints us of the culture, the mindset, and the religion of the back grounding environment. After further research we are able to find more about the time in which it was restored, the Meiji restoration was a defining moment in Japan’s history telling us how the deteriorating system of feudalistic Japan broke only to be restored with more to show. The once broken yet repaired to further glory of Meiji ruled Japan not only reflects the nature of the ceramic container the paper focused on, it also defined the history of Asia in the 20th century. From the view of a historical enthusiast, 19th century Japan can be represented in the form of one beautiful piece of porcelain.
Deal, William E. 2006. Handbook to Life in Medieval and Early Modern Japan. Facts on File, Inc., 2006. eBook