Japan, 18th century. These wooden figures are sculpted in the style of Japan’s Heian
period (794-1186). Although they appear ferocious, they are actually benevolent protectors.
Placed at the entrances to many Buddhist temples in Japan, these guards are emanations
of the Mahayana Buddhist bodhisattva Vajrapani. Agyo’s, open mouth pronounces the
Sanskrit vowel sound “ah,” representing the beginning or life, inviting good to enter.
Ungyo’s closed mouth pronounces “um,” representing the end or death, shuts out evil.
Agyo is commonly placed to the right and Ungyo to the left of the temple to protect
the space with the sacred syllables “ah-um” chanted during meditation as early as
the 5th through 2nd centuries B.C.E. Gift of Dr. Leslie Bundgaard, W-003.1 and W-003.2
Buddha
Kashmir, 19th century in 10th century Kashmir Style, Bronze. The Buddha sits with
his hands in dharmachakra (teaching) mudra. Gift of the Asian Cultural Exchange Foundation, M-001
Buddha
Thailand, 15th Century, Sukhothai style, Bronze. The Buddha stands with his hand in
the abhaya (fearlessness) mudra. Gift of Robert Klein, M-013
Scroll Painting of Seated Buddha
Korea, c. 1900. Flanked by soldiers, bodhhisattvas, and benevolent guardians, the
Buddha sits peacefully with his hands in the abhaya mudra gesture expressing fearlessness,
protection, and blessing. Gift of Robert Klein, P-005
Daruma
Japan, 20th century, Ivory netsuke. Daruma (Bodhidharma), a native of India, was the founder
of Ch’an Buddhism in China during the 5th or 6th century B.C.E. Here, he holds Buddhist prayer beads used during meditation. One legend
conveys his undying commitment to his mission: When Daruma was unsuccessful in attracting
followers, he sat before a temple wall and meditated for nine years. Ch’an Buddhism
(known as Zen in Japan and Son in Korea) teaches that enlightenment is attainable
through meditation and direct experience. Gift of Dolly Cohan, I-003
Brush-pot with Guanyin on the Ocean
China, late 19th century, Ivory. Guanyin, whose name means “Observing the Sounds of
the World,” represents compassion. According to legend, prior to attaining enlightenment,
Guanyin practiced meditation by the ocean, listening to the ebb and flow of the waves. From the Collection of Monroe Uris Sarezky, I-047
Guanyin
China, 19th century, Ivory. According to legend, Guanyin vowed to never rest until all sentient
beings were freed from the cycle of reincarnation. In order to assist, Amida Buddha,
gave Guanyin a thousand arms to reach out to all of the suffering. Gift of the Asian Cultural Exchange Foundation, I-001
Avalokitesvara
Tibet, 18th century, Gilt bronze. The four-armed aspect of Avalokitesvara is known
as Shadakshari Lokesvara. Shadakshari means “six syllables” and refers to the association
of the popular Tibetan mantra “om mani padme hum” with Avalokitesvara. The bodhisattva
sits in a yogic posture, harnessing the power of meditation. One pair of hands expresses
the anjali (veneration) mudra, while the others express warding off evil with karana
mudras. Gift of Mr. & Mrs. R. Austin Tydings, M-016
Buddhist Shrine with Meditating Kannon Bosatsu
Japan, late 19th century, Ivory. Kannon Bosatsu meditates in a lotus-adorned shrine
flanked by other devotees. Followers would recognize the lotus as the vehicle Kannon
employs to transport the deceased to the Amida Buddha’s Western Paradise, where people
are released from the suffering of life in this world. Pure Land Buddhism, popular
during Japan’s Kamakura period (1185-1333), teaches that all beings can escape the
endless cycle of death and rebirth through faith in Amida Buddha. From the Collection of Monroe Uris Sarezky, I-050
House Shrine with Meditating Kannon Bosatsu
Japan, 19th century Lacquered wood. Kannon Bosatsu’s right hand points earthward,
while the left holds a vase containing a lotus flower. The figure wears a crown of
eleven small heads—eight as a base, two positioned center-front in the second row,
and one at the very top. The top-most head is that of Buddha. Upon ten of these small
heads is an image of Amida Buddha on his diadem. Altogether these represent the sections
of the Vajra World (Kongokai, the World of Wisdom). The series of expressions on the
ten small heads represent the sections of the Garbha World (Taizokai, the World of
Reason). Gift of Mr. and Mrs. R. Austin Tydings in memory of Mrs. Elizabeth Howard Chapman
Tydings, W-013
Kannon
Japan, late 19th century, Bronze. Gift of Mr. & Ms. William E. Ward, M-045
Gwan-eum
Korea, 19th or 20th century, Bronze. Gift of Robert Klein. M-015
Izuna Gongen as Fudo Myo-o Surrounded by Demons
Japan, 18th century. Gongen is a Japanese term meaning “avatar” and generally refers to local
Japanese kami (deities) who are considered manifestations or reincarnated forms of
Buddhist divinities that came from India, China, and Korea from the 6th century onward.
Myō-ō are Hindu deities adopted by Esoteric Buddhism to vanquish blind craving. Izuna
Gongen has wings and rides a fox with snakes coiled around its legs. Here, Izuna Gongen
manifests as Fudo Myo-o, a deity venerated especially by the Shingon sect of Esoteric
Buddhism. Fudō Myo-o converts anger into salvation, carrying a devil-subduing sword
in the right hand and rope to catch and bind up demons in the left hand. The flames
of fire represent the purification of the mind through the burning away of all earthly
desires. Purchase made possible by the National Endowment for the Humanities, P-019
Guanyin
Guanyin is one of the few bodhisattvas that became an independent deity and attracted a following.
Guanyin originated as the Sanskrit Avalokiteśvara and is known as Kannon in Japan
and Gwan-eum in Korea. Guanyin was originally depicted as a male bodhisattva but has
more often been depicted as a female over the years. The Lotus Sūtra indicates that
Guanyin can transform as needed (to male, female, adult, child, human or non-human)
to relieve suffering. Many consider Guanyin to be androgynous.
