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Chapter - III Japanese Buddhist Iconography - a Comparative Study Soon after Buddhism was introduced into Japan, it did not take a long time for it to become the central force of spiritual culture in Japan. As a natural embodiment different aspects of higher culture brought about enormous changes in the life of the people of Japan, Buddhism gave a new shape to the Japanese civilisation. The newly introduced art, iconc graphy, religion and other objects of civilisation had an immense growth following the introduction of Buddhism in the sixth century A.D. Different foreign influences on Japan especially the Sino-Indian influences, contributed to a great extent to the pattern of Japanese life and culture which was based mainly on Buddhism. As a part of Buddhist pantheon, the Brahmanical and Buddhist divinities found their way to Japan from the 6th century. Buddhism did not enter into Japan directly from Indie. It had to pass through China and Korea and later this religion did strongly set its roots in Japanese soil. It is quite obvious that when Buddhism passed through the two countries it had absorbed many indigenous ideas already prevalent in those countries. Buddhism which was nourished in China and later found its way to Japan through Korea had developed a new flovour of its own, that was in some respect deviated from the original Buddhism of India.

86 55" Buddhism came to Japan from Korea in 538 A.D. ! when this religion had already flourished in China as an important social order. From that very time the Japanese tried their best to adopt the Buddhist culture in their own soil. During the Asuka period (A.D. 538 645 A.D.), Prince Shotoku established communication with China. The official contact with China continued upto 894 A.D. During the early Heian . period (A.D. 794 897 A.D.) Emperor Kammu sent eight great monks (Nitto Hakk鈽�) to China. Two of them were Kukai and Saicho. Kukai was posthumously known as Kobo-Daishi. Hui-Kuo, who taught the doctrine of Chen-Yen in China was the master of this Jepanese saint Kukai. The Chen-Yen doctrine was known as Shingon in Japan. In 806 A.D. Kobo-Daishi propagated the esoteric or Tantric doctrine which was the main essence of the Shingon doctrine. There are many legends and myths centering round the life and works of Kobo Daishi. It appears that China's cultural contact with India started from the 3rd or 2nd century B.C. From 70 A.D. Buddhism migrated from its motherland India to China and this religion became firmly established in the soil of China which was the land of Confucianism and Taoism². 1. According to some scholars the date of the beginning of Buddhism in Japan was 552 A.D. 2. Confucianism was the ancient religion of China. The worship of "Two centuries before the two years of the birth of the Christ the individualism divided itself into two branches Taoism and Confucianism'. Encyclopaedia of Religion and Ethics, Vol. IV p. 12.

i 87 From Northern China Buddhism entered into Korea where the Koreans accepted it not merely as an Indian Religion but as an embodiment of Chinese civilisation. The northern kingdom of Korea accepted this religion in 372 A.D. while the southern kingdom received it in 384 A.D. Buddhism established its stronghold in Korea that was instrumental in introducing Buddhist culture in Japan. The coming of Buddhist monks from Korea with the image of Sakyamuni had a great impact on the Japanese people who at that time could not conceive of any divinity superior to mankind. Thus the message of the Buddha had a great impact on the people of Japan. The Japanese found the Chinese civilisation much more superior to their own culture and thought themselves to be culturally poorer than the Chinese. Therefore, they tried to improve their ideas of art and other objects of culture by adopting the Chinese culture. They set themselves to modify and absorb the Chinese culture according to their own ideas and also social needs. Japan' accepted the Far-eastern culture in its own land. Gradually the Chinese civilisation influenced the entire nation and the life of the Japanese people was moulded by the higher culture with the dissemination of Buddhism 篓篓 throughout Japan, the Japanese art and architecture took a new shape and form. Many temples were erected. Buddhist philosophy and ethics were preached and these had a great

- 88 impact on the people in general. The refined form of rituals in the temples were introduced. People were highly impressed by the ritualistic aspect with which the people of the country were not familiar owing to the absence of such form of ceremonies in their indigenous cult of Shintoism. * Along with the growth of Buddhism, the literary, linguistic and artistic activities started in a scale that was unheard of in the past history of Japan. The pictures of Gautama and various episodes and legends concerning the life of Gotama (Gautama) were produced with great enthusiasm. Different Buddhist statues and carvings brought to Japan from Korea and China. In the field of architecture important changes also took place and new development can also be traced in the architectural art. Before the advent of new ideas from the continent, the dwelling houses and the Shinto-shrines appeared shabby looking. Even the ruling sakk class and the nobility used to live in those kind of houses. Now the Chinese style of construction of architectural objects came into existence. They used to follow mainly the Chinese architectural style and models. But in the later phase the Japanese developed their own typical style that had its own excellence as well as an asthetic value. The Japanese scholars learnt Chinese language and literature. Thus the Japanese were highly influenced by the Chinese. The Sanskrit texts were translated into Chinese by the Japanese priests. From the early period upto 94 A.D. emissaries of students, monks

- 89 and various scholars were sent to China at different times. So it is clear that for the study of Japanese Buddhist art and culture the impact of foreign influence on Japan is an important aspect. A living example of Indian influence can be traced in the existing belief in the image of Bodai-Daruma, who was none else than Bodhidharma of India. But here he is regarded as special deity. General legend says that Bodai-Daruma (Bodhidharma) reach the Chinese soil in 527 A.D. and there he spent more than eight years in medi. tation staring blank at a wall. At that time he cut off his upper eye-lids in order to remain awake and thereby to avoid sleep, which may act as an hinderance to his meditation. As he remained seated for a prolonged period in a stationery position the lower limbs of his body became weaker and finally lost all strength and, therefore, he could not move his body. In Japan, images of Daruma which has no legs were made to represent this particular state of the body of Daruma. The eyes of Daruma image are kept white, i.e. the eyes are not painted. When some one wishes to have his desire fulfilled, he paints one of the eyes of the image and when his wishes are actually fulfilled he paints the other eyes of Daruma Another example of Buddhist influence in the folk and urban life of Japan is to be found in one of the aspects 1. The very word 'Daruma' is derived from Sanskrit word Dharma. But in Japan the significance of 'Daruma' dolls are quite different. Here the deity is worshipped as the bestower of success and fulfilment of wishes. Daruma is regarded as the introducer of Zen Buddhism in China.

- 90 of New Year celebrations in Japan. In the similar way, the examples of Buddhist influence in Japanese social life can also be studied from the concept of Zeniarai Benten or coinwashing Benten. Sarasvati is called Benten or Benzai-ten in Japan. But in the concept of Coin-washing Benten there has occured a fusion of Shintoism and Buddhism. Due to the great distances between the two countries and the immense difficulty of travelling thousands of miles by sea and hostile lands the people of Japan did not have any direct acquaintance with India or the Indians. But the Japanese had a great desire of maintaining relationship with their religious motherland, India. They tried their best to come in contact with the Indians. It can also be referred in this connection that the several Indian deities who were little known or forgotton in China or India are still popular in Japan. The images of shoden or sho-ten or Kangiten, or Ganesa, Kichijo-ten or Laksmi, Benten or Sarasvati and the Gods of Fire Ka-ten or Agni etc. are the well known Buddhist deities 路 in Japan. Moreover, the great disciples of the Buddha, and the great Buddhist scholar monks such as Rahula, Ananda, Nagarjuna, Bodhisena, Amoghovajra, Vimalakirti, Bodhidharma of India and many other monks of China and Japan have also been deified and worshipped in Japan and the images of these disciples were included in the broader section of the religious art of Japan.

- 91 Although there were no direct contact between Japan and India, in a senge Indian influence on every field of Japanese culture had been immense. Prof. B.H. Chaberlain says that "Buddhism brought civilisation" and question of Indian influence on Japan "is vast and somewhat obscure" 1. As it appears it was with the introduction of Buddhism in Japan that the essence of Indian Philosophy and culture as a natural embodiment of that great religion cast a profound influence on Japanese way of life. It would not be exaggeration to say that amazingly Japan is a living museum of Indian gods known as 'Ten' or 'Devas'. In every corner of Japan Brahma, Visnu, Siva, Sarasvati, Leksmi, Surya, Soma and other Brahmanical gods are often enshrined with different Buddhist gods. The late Nara period witnessed the creation of some of the most beautiful Buddhist statues. For this reason the late Nara period is usually considered to be the golden age of Japanese sculptural activities. Previously, the sculptors had worked mainly with wood and bronze, but now they began also to use clay, lacquer and lesser degree stone. The main stylistic development can immediately be seen by 'comparing the Fuku-Kensaku Kannon in the Hokke-do (middle of the 8th century A.D.) with Sho-Kannon (Nilakantha Avaloki- tesvara), Yakushi-ji. This Sho-Kannon is the example of the 1. IJ, p. 246. Q

92 The mature style of T'ang, which display Indian elements. image has six arms and three eyes like that of the Hindu Siva. (PL.V, Fig. 2.) It is to be noted here that the sculpture or for that matter the art of the early period was tinged with the style of Gupta period art of India. Almost all the sculptures of the Hakuho or the early Nara period bear a strong resemblance with the Gupta period sculptures of India. Actually, the Japanese sculptors of that period imported the T'ang style of depiction which was, however, influenced by the Gupta style of Indian art. The characteristics of the Gupta style was brought to China by Hiuan-Isang and Wang-Huan-ts _ who travelled to India and brought back with them Buddhist images and various Buddhist texts. The style of Gupta dynasty exerted a strong influence in the oriental sculpture and Buddhist art as a whole was at that time developing in a purely Indian style. During the T'ang dynasty metamorphosis occured in the style because a fountain head for the Buddhist art of Japan. If we look at the Gupta period sculptures what shall appear prominently on those are erectness of body, fullness of form, plastic quality, rythmic well-proportioned composition, handsome faces, broad chest and hip, construction of waist, fine straight legs, wet-clothing pattern of despery, with beautiful curved lines. These features of the T'ang art are but the characteristics of the Gupta style of Indian art 1. Pageant of Japanese Art (Sculpture), p. 16.

- 93 especially of the sculptures of the Gupta period. Besides the Sho-Kannon image mentioned earlier the rich and powerful modelling of the Gupta style are also pieces of sculptures including a copper displayed in dhist triad preserved in the Horyu-ji repose images of Nara. The bronze image of Sakyamuni Buddha of the Jindal-ji also bear a strong resemblance with the Indian images of the Gupta period.