In the Tōindō Hall is enshrined the famous standing figure of Shō-kwannon in bronze, produced in the early Nara Period. (See page 77 and Fig. 30)
9. HŌRYŪ-JI, THE OLDEST BUDDHIST MONASTERY IN JAPAN
The Hōryū-ji monastery stands on a flat ground, about 6 miles southwest from Nara and 1 mile north from the Hōryū-ji station. (Fig. 322)
Fig. 320. Yakushi Triad (N.T.)
Yakushi-ji, Yamato
It was founded by the Empress Suiko and the Crown Prince Shōtoku Taishi in the year 607. It comprises about thirty buildings and one hundred articles of artistic merit, which were produced in different periods and are now protected as national treasures. However, we are especially interested in the buildings, which date from the time of its foundation, and in the Buddhist statues and other objects of art that were produced in the early days of Japanese Buddhism and have been housed in these sacred buildings for a period of thirteen centuries.
Fig. 321. Grape Design on the Pedestal of Yakushi
Yakushi-ji, Yamato
The present Hōryū-ji monastery is divided into two enclosures, the East Enclosure (Tō-in), and the West Enclosure (Sai-in). The latter is the original main site of the monastery and contains the Golden Hall (Kondō), Five-storied Stupa, Chūmon Gate, and the Galleries. These buildings are the oldest wooden architecture in Japan.
The Golden Hall and the Five-storied Stupa stand in the square enclosure formed by galleries, broken in the center of the south side by the Chū-mon Gate, and on the north by the Lecture Hall (Kō-dō). The spacious and commanding excellence of the arrangement of these buildings and the flat clean-white sanded enclosure arouse a feeling of peace and sublimity in the hearts of visitors.
The Golden Hall, or the hall for worship, stands upon a stone platform of two levels. (Fig. 323) It has a façade of five spans and a side of four spans with an irimoya roof covered with tiles. Early in the Nara Period the first story was encircled with a "skirting roof," with the idea of protecting the precious statues and fresco paintings, but the angle supports of the upper roof, which are entwined with the sculpture of dragons, were of much later addition in the Yedo Period. These later additions have unfortunately injured the proportions of the original building. But in spite of them, the extraordinary grace and refinement of the work compel a profound admiration.
Fig. 322. Entrance of Horyu-ji Monastery
Yamato
The columns taper toward the top in a way which suggests the Doric order of Greece: their delicate entasis is remarkable; they support graceful brackets of the so-called "cloud form." The whole aspect of the building presents a vigorous and daring spirit. The interior is furnished with a clay dais in the center, upon which are placed various Buddhist figures and shrines. The surrounding walls are decorated with famous fresco paintings representing Buddhas and Bodhisattvas. They were painted in the early eighth century. Red oxide of iron was used to paint the inside and outside, but the curved ceiling is ornamented with lotus-flower designs in colors.
A criticism on the Golden Hall by R.A. Cram is worth quoting here:
"Here at Horyu-ji the technical details are almost beyond criticism. The plan of the Kondo is of the simplest type: a central space open to the cornice and covered by a ceiling of wooden beams, flat, except for a delicate coving at the sides. The clear story—if it may be called so, since it is without windows—is supported by cylindrical columns of wood; the whole, surrounded by an aisle with a sloping roof. Everything is absolutely constructional, and such ornament as there is, is applied only to the constructive details. The columns have a delicate entasis and the spacing is most refined; the bracketing is straightforward and constructional; the distribution of wood and plaster carefully studied; the vertical and lateral proportions, and the curves of the roofs and ridges are consummate in their delicacy." (Impressions of Japanese Architecture p. 34)
Fig. 323. Golden Hall (N.T.)
Hōryū-ji, Yamato
The fresco painting of the Golden Hall is a unique example in the history of Japanese painting. The long band of frescoing is divided into twelve sections, four of which are larger than the others; and each measures about 10 feet in height and 8.5 feet in width, forming a quadrangular composition. Each of these four walls has a painting representing a Buddhist Paradise with a Buddha seated in the center; and the other eight smaller walls have Bodhisattvas in a standing posture. Those four Buddhas painted on the four larger walls seem to be pictorial representations of the Buddhas mentioned in the Konkwomyosutra which was then one of the most popular sutras, often recited in many state monasteries in the capital as well as in the provinces.
The method of painting consisted in drawing outlines and applying colors to the dry finish of the wall—a sort of stucco. The outline of the body was drawn first in red lines and afterward shaded in the same color. The colors used were black, vermilion, rouge, ochre, cobalt, and verdigris. Some secondary colors also were used, producing a good effect upon the general tone. The artists seem to have employed both brush and pencil. The same method seems to have been used in the wall painting of the Ajanta cave temple of India in the sixth century, as well as in the ancient Khotan of Western China. It first developed in the early T'ang Dynasty, influenced by the art of Central Asia, and was afterwards introduced into this country. The date of these paintings is therefore later than the founding of the Golden Hall and may safely be assigned to the early eighth century that is, about one century after the erection of the Hall.
Fig. 324. Wall Painting of Amida Triad (N.T.)
Golden Hall, Hōryū-ji
The expression of the Buddha and Bodhisattvas is Indian. It recalls that of the figures at Ajanta and adds more. The posture is dignified; and the hands and fingers are drawn in an especially realistic manner. The wonderfully harmonious combination of realism and idealism in the faces and postures of all the Budhas and Bodhisattvas, and the wonderful color scheme, the rich and deep dark claret and green colors of the garments, the reddish or purple flesh tones of their faces, and the gayer warm tints of the bodies, will fill the beholders mind with the beauty of humanity blended with spiritual ecstacy and joy. Of the four large wall paintings, the one depicting Amida's Paradise on the western wall leads the rest. (Fig. 324) When we study in detail all the artistic elements composing the picture and trace their historical significance, we shall realize what a high place they occupy in the history of Eastern Art. The middle figure sits cross-legged on a lotus throne, having both hands at the breast, in the attitude of turning the wheel of the law. (Fig. 325) This position of the hands can be seen in the Gandhara sculpture, as well as in the Gupta sculpture of Middle India, representing Shaka-muni; and the figure looks directly to the front with an immovable pose. On the palm of the right hand is depicted a chakra, the symbol of the wheel of the law, which originally belonged to Shaka-muni, the founder of Buddhism. With both hands in front of the breast and his body straight upright upon the immovable throne, the figure expresses absolute purity of mind and heart. If the figure were made of white marble, the worshippers would be chilled by his absolute serenity, but it is painted on a wall made of earth which is most familiar to humanity; and the outlines of his body, and the robe are colored red.
Fig. 325. Detail of the Fig. 324
The red color is the symbol of life and activity. In contrast to the red color, the lotus throne and head are colored blue and green, giving a feeling of the quietude of life. By thus harmonizing active power with meditative calmness, realism is attuned to idealism, and the absolute truth is personified in the figure of Amida.
The figures of Kwannon and Seishi on both sides of the main figure are much more human in their expression, and full of feminine beauty. (Fig. 326) They stand with hips a little swayed, disclosing the upper part of the body; the lower half is covered with filmy drapery revealing graceful body lines; and beautiful loose locks fall with wavy lines over the shoulders. Thus the two Bodhisattvas express the pulsating heart of humanity in harmony with the abs
olute mercy of Amida, the main figure.
The composition of the figures and their postures as well as their type are very similar to the Gupta sculpture representing a seated statue of Buddha, found in Sarnath of India (Fig. 327), and a seated figure of Buddha painted on the wall of Ajanta.
Fig. 326. Wall Painting Kwannon (N.T.)
Golden Hall, Hōryū-ji
Fig. 327. Seated Statue of Buddha
Samath, India
On the dais of the Golden Hall are enshrined three main Buddhist figures in bronze. One of them is the image of Shaka Triad, which is the most authentic work by Tori, because it has the original date and his name inscribed on its halo. (Fig. 328) This triune figure is of cast bronze still bright with gold. The main figure sits crosslegged, measuring 4 feet and 5 inches in height, and an attending Bodhisattva stands on either side. The figure represents the type of the earliest Japanese bronze work, that is, the Suiko type. It expresses archaic dignity, but its pose and lines are too stiff and very much conventionalized. Technically this figure by Tori shows his direct indebtedness to the Chinese North Wei stone sculpture. On the back of the halo is an engraved inscription, which shows not only the name of its sculptor and date, but a prayer that reveals the beliefs and motives in those early years of Buddhist faith in Japan.
The inscription reads as follows:
"Saki-no Taikō (Mother of Prince Shōtoku) died during December of the thirty-first year of Hōkō-gwan (29th year of the reign of the Empress Suiko). On the twenty-second day of January in the following year, Jōgū Hō-ō (Prince Shōtku) fell ill. His consort also became ill because of the fatigue of nursing him. The consort, together with his sons and vassals in deep sorrow, united in prayer, and relied upon the Three Treasures: the Buddha, Doctrine, and Priests. They decided to erect an image of Shaka-muni which would be of the same stature as the prince, in the hope that by the power of their prayers the disease might be lifted and his life be prolonged and made happy on earth; but that he might ascend to the land of purity immediately on his demise if his life were already numbered. On the twenty-first day of the second month the Princess died, and on the next day the Prince. In the third month of the year Mizunoto-Hitsuji (31st year of Suiko) an image of Shaka-muni with his attendants and the appropriate furniture was completed in accordance with the original prayer. Depending on even this small merit of our faith, may we be happy in this world and serve the three sovereigns (the prince, his mother, and his wife) in the world to come, and may Buddhism flourish. May we all finally reach the Land of Bliss. May evil communication be avoided so that we may obtain a common Buddhist Enlightenment. Shiba-Kuratsukuri-no Owuto Tori-Busshi was commanded to make this image."
Fig. 328. Shaka Triad in the Golden Hall (N.T.)
Hōryū-ji, Yamato
On the left side of this triad is a figure of Yakushi of similar size, which was made in 607, a little earlier than the Shaka-muni triad of 623. The style of the image of Yakushi is so similar to that of the Shakamuni triad that it is attributed to Tori.
Over these bronze figures are suspended wooden canopies or baldachins from the ceiling. The baldachin is beautifully decorated with of angels and phoenixes carved from wood are attached to the outside in rows. The phoenix has a peculiar form; its wings are gathered together as if it has come down from heaven, and it is full of life and activity. (Fig. 329) The angels all sit on lotus cups, playing various musical instruments. It has curved lines gracefully moving like scented smoke in the air, in harmony with the musical notes played in praise of the absolute truth of Buddha. (Fig. 330) All these figures floral designs in colors, and small figures were covered with gesso over which were laid red and green colors; some colors still remain.
Fig. 329. Phoenix in the Golden Hall
Hōryū-ji, Tamato
At the back of these bronze figures on the same dais, stands a figure of Kwannon, one of the earliest examples of sculpture in wood.
Also on the same dais is a shrine in which is enshrined a unique example of a statuette representing Amida, grouped in a triad figure. (Fig 331) The triune figure is said to have been dedicated to the Buddha Amida by the mother of the Empress Kōmyō, in the later seventh century. At first glance, one's eyes will be moved by its beautiful line and form and will get a graceful feeling. The figures are still bright with golden color and are placed upon lotus thrones that grow with twisted stems out of a horizontal bronze pond.
Fig. 330. Angel in the Golden Hall
Hōryū-ji, Yomato
Amida, the main figure, measures 33 centimeters in height, and sits cross-legged on the largest lotus-throne in the middle, and is looking directly to the front, with both eyes slightly opened and full of loving mercy. (Fig. 332) His eyebrows are composed of delicate curved lines. Between the eyebrows is a hole in which byaku-gō, the urna, or the symbol of the "eye divine," probably made of a gem, was originally set.
As regards the divine eye, the following description is in the sutra called Amitâyur-dyâna (meditation on Buddha Amitâyus):
"I pray for this only that the Sun-like Buddha may instruct me how to meditate on a world wherein all actions are pure. At that moment, the World-Honored One flashed forth a golden ray from between his eyebrows. It extended to all the innumerable worlds of the ten quarters. On its return, the ray rested on the top of Buddha's head and transformed itself into a golden pillar just like Mount Sumeru, wherein the pure and admirable countries of the Buddha in the ten quarters appeared all at once illuminated." (Sacred Books of the East vol. 49. p. 166)
The byaku-gō, therefore, originated from the superhuman attribute ascribed to Buddha Gautama, the founder of Buddhism.
The upright pose of his head causes the nose to form part of a straight line extending from both ends of its ridge, and passing through the middle of the figure, the screen, the halo, and the lotus throne in a perpendicular direction; the upper end of the line finally reaches the highest point of the baldachin, and the lower end to the middle part of the stand. Indeed it is a guiding line of unity and harmony, making the whole construction preserve equilibrium. His mouth is opened softly and a peaceful smile perpetually lights up his face. The artistic comeliness of his head and the gentle arrangement of the hair in graceful spiral lines are quite in keeping with the merciful expression of his face. What is revealed as a whole by such perfect unity and harmony in all the parts of its face is but the absolute mercy and perfect peace of Amida, because no special stress is laid upon any of its members. The form of his body is likewise very graceful and rhythmically rotund; it is well suited to support such a dignified face. His right hand, raised in "abhaya mudra," the sign of fear not, and the left hand lightly touching the knee, are both highly expressive of his inner spirituality. His dress fits closely to the body and covers both shoulders. The lines representing its folds are beautifully curved, full of rhythmic movement and attuned to the expression of his face.
Fig. 331. Amida Triad in the Golden Hall (N.T.)
Hōryū-ji, Yamato
Fig. 332. Middle Figure of the Amida Triad in the Golden Hall (N.T.)
Hōryū-ji, Yamato
At the back of the head of the main figure is a unique halo in cast bronze, wonderfully symbolic and decorative. (Fig. 333) The body of this halo consists of three main members: the lotus center, the radial zone, and the border of floral scroll. The lotus flower in the center of the halo is exquisitely modeled in infinitesimal relief, so as to appear like an actual flower, and it has a circular seed pod in the center. The radial zone, surrounding border of the lotus flower, is made of wonderfully delicate crossed curves in open work. Next, in the broad circular band of the border is a floral scroll with most decorative and colorful curvature all around its circular zone also in open work. Finally at the outer rim are attached here and there burning flames ascending to heaven from the highest point of the rim.
Fig. 333. Halo and Screen of the Amida Triad in the Golden Hall
Hōryū-ji, Yamato
The beautiful halo, atta
ched to the upper middle part of the screen, occupies the place right behind the head of the main figure to symbolize the glory of the Buddha Amida. It is a noteworthy fact that this halo has a consecrated lotus flower in the center like all other Buddhist halos, quite different from the halo of Christ, in which the Cross always appears in the center. In the Buddhist iconography the lotus flower symbolizes the True Taw of the Universe, which Shaka-muni enlightened in his own personality. We see it blooming here in this halo of Amida, in which everything is concentric to the lotus center in a beautiful melody and finally ascends to heaven, symbolizing the human aspiration from the lower to the higher.
On either side of the main figure stands a Bodhisattva, Kwannon on the left, and Seishi on the right. The lotus thrones carrying both Bodhisattvas are subordinately smaller than that of the main figure.
The attitude of the hands of these attendant figures is similar to that of the main figure. The attendant figures stand instead of sitting. Moreover, their hips are gracefully swung sideways. Therefore their postures are expressive of something more active and more human than is shown by the main figure. The expression of loving kindness on their faces, the fillets decorated with flowers and the flowing lines of the sacred mantles retained by their forearms, all beautifully contribute to intensify the same feeling of spiritual activity.
Fig. 334. Detail of the Lotus Pond
Hōryū-ji, Yamato
The lotus pond, out of which the three lotus thrones of the triad figures grow, is represented on a gilded horizontal bronze plate in low relief and engraved lines. It is highly decorative and symbolic. The waves are represented in articulated lines and the lotus leaves float on the waters. Some of the leaves are wide open and others are curled up. The open leaves look like eight-petaled flowers, and each of them has eight radiating lines from the center, which symbolize the Infinite Light of Amida. (Fig. 334) The lotus in the pond, expressing purity unstained by the mud, offers its flowers as the thrones of Amida triad. Thus Amida who lives in the West End of the Universe, one thousand million miles away, is here brought down by the faith of man in terms of artistic form.
A History of Japanese Art Page 35
