Sculpture
In general, the sculpture of the 9th and 10th centuries, Early Heian Period, continued techniques from the late Nara Period. The figures have exaggerated mannerism with a heavy, brooding quality. The works often employ lacquer and are carved from a single, large piece of wood, a technique called ichiboku-zukuri.
In 823, by imperial decree, the monk Kūkai became head of Tōji temple. Kūkai put art to the service of religion. Through art, he preached, one could find enlightenment by fixating on the mandala and achieve Buddhahood in one’s own body instead of spending years studying sutras and having to die. He employed two dimensional mandalas with painting and three dimensional mandalas with sculpture. In the sanctuary of Tōji Temple is an important assemblage of sculpture. In a tandem, dual aspects of the single Buddha nature are portrayed. Bodhisattvas represent limitless compassion, while other assemblages portray yet another dimension of the central divinity, one that came to heightened prominence in Shingon practice, the fierce Myō-ō (Vidyaraja), or Kings of Bright Wisdom. (Myō-ō statues take on a ferocious appearance in order to frighten away evil spirits and to destroy ignorance and ugly passions. They are depicted with angry expressions, with a third eye in the middle of their foreheads, and surrounded by flames.)
Among the most commonly seen sculptures is Fudō Myō-ō, which is the full Japanese translation of “Wisdom King Acala.” Fudō Myō-ō is highly venerated in the Shingon, Tendai, Zen, Nichiren Buddhism, and Shugendō. Fudō Myō-ō is also highly revered amongst some Yakuza members, who oftentimes draw on his intense facial expression and demeanor. Since the Heian period he has been depicted as fierce, holding a vajra sword and a lariat. However his wrath is directed at the enemies of Buddhism. Fudō Myō-ō’s intensity reflects the dedication needed for enlightenment.
Like Esoteric Buddhism, Amidist sects enlisted iconography as an aid to worship. Since the primary focus was rebirth in the Western Paradise, paintings and sculptures depict Amida welcoming the souls of the dying. This is called raigō (Descent of Amida).
A fine example of raigō imagery is found in the Phoenix Hall (Hōōdō) at the Byōdō Temple. Viewed from the front, the building resembles a large bird with outstretched wings as in landing, an image suggesting Amida and his bodhisattvas who welcome the faithful into the Western Paradise. Within the sanctuary is a magnificent sculpture of Amida by Jōchō, the premier sculptor of the period.
The Jōchō Amida sculpture was a new style and technique in sculpting. Not only was the image serene and comforting, unlike the sculptures of the Early Heian Period, but also it was made out of many pieces of wood that had been carved and hollowed, then joined together and covered with lacquer cloth and gold leaf. This joined-block construction technique called yosegi-zukuri allowed for a lighter feeling showing images with a calm demeanor. It also supplanted the single-block construction method for a practical reason, the single-block sculptures tended to crack.
Jōchō, also known as Jōchō Busshi, popularized the yosegi-zukuri technique of sculpture. This style dominated Japanese sculpture for the next 150 years. Jōchō trained at the Kōfuku-ji in Nara. By 1020, he had a studio in Kyoto. Fujiwara Michinaga commissioned him to decorate Hōjō-ji, a temple that Fujiwara had founded. Jōchō’s efforts there earned him the title Hokkyō (Master of the Dharma Bridge). He also worked on sculpture for Kōfuku-ji, which earned him an even higher title, Hōgen (Master of the Dharma Eye). Jōchō and his studio formed the first example of a school of art being passed on by inheritance from father to son. Jōchō passed the knife and chisel to his son, Kakujo, who followed in his footsteps as did his grandsons, Injo and Raijo, his great-grandson, Kōjo, and ultimately Kōkei, the greatest sculptor in the Kamakura period.
The Kamakura Era (1185 – 1333) is particularly known for sculpture. This came out of necessity for during the Gempei War many religious sculptures were destroyed. The most notable sculptures were done by the Kei family in the 13th century, led by Kōkei and his son Unkei. Sculpture of the period is known for its blend of idealism as founded in the Nara period works and of realism from the Chinese Song dynasty sculpture, sometimes referred to as “Kamakura realism.” Sculptures had bulging eyes, protruding veins in the limbs, and theatrical poses, which was very popular with the Buddhist masses.
The finest Kamakura period sculpture used meticulously crafted and assembled pieces of wood. The joined-block method was used in much greater frequency. Effects were achieved through the coordination of skills and specialization within workshops was common. Sometimes the face of a sculpture was worked separately, like a mask, and then added to the body of the sculpture. Another innovation was inlaid crystal eyes backed by white paper colored as an iris and pupil.
Unkei’s works can be seen at Kōfuku Temple with his production of figures such as the famous disciples of the Buddha, Muchaku (Asanga) and Seshin (Vasubandhu).
Unkei’s son Kōshō (died 1237) created the famous sculpture of Kūya, the rugged old mendicant who advocated the unceasing repetition of the nembutsu prayer, is depicted realistically as determined and gnarly but with the fantastic grace note of a string of small Amida figures emerging from his mouth—a literal representation of his teaching at Rokuharamitsu-ji.
At Sanjūsangen-dō there are 1001 Kannon statutes. After the original building burnt down in 1249, the present one was completed in 1266. Most statues are from this period. It was a massive project, all the busshi (sculptors of Buddhist carvings) working in Japan at the time were commissioned to create them. The statues are covered in gold leaf, filling the dimly-lit hall with a mysterious golden light. Behind Senju Kannon are the figures of Fūjin, the god of wind and Raijin, the god of thunder. Raijin carries circular drums on his back and drumsticks in each hand and is depicted gazing down at the earth from heaven. He makes thunder by beating on the drums.
The Kamakura Era is considered by many to be the last significant period in the history of Japanese sculpture until modern times.