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Shinnyo

The archetypal buddha of Esoteric Buddhism, Mahavairochana is said to unify all emanations of Buddhism, as well as divinities of other religions. Five depictions of this figure were placed by Shinjo in the circular portion of the aureole surrounding the Great Nirvana Image. “Tathagata” is a title meaning “one who comes and goes thus” and is used only for supremely enlightened buddhas.

Tathagata Mahavairochana (Diamond Realm)

Another of the five Mahavairochana images on the aureole of the Great nirvana Image. The pairing of esoteric and exoteric Buddhist images expresses Shinjo’s own fusion of the two belief systems. The Womb Realm symbolizes the nurturing aspect of the universe.

Tathagata Mahavairochana (Womb Realm)

The Amitabha images on the aureole of the Great nirvana Image are a mixture of High, Middle and Low Caliber figures and as such hold their hands in different positions, or mudra, with their index, middle, and ring fingers respectively touching the thumbs.

Tathagata Amitabha (High Caliber)

An archetypal buddha of exoteric Buddhism, Amitabha means “infinite light”and symbolizes mercy and wisdom. Amitabha is central to the Pure Land Japanese and Chinese Buddhist orders, which base many visualization practices upon it. One of the main differences between exoteric and esoteric Buddhist streams—which Shinjo unconventionally fuses through his combination of Amitabha and Mahavairochana figures—is that while exoteric teachings are based upon logic and formally transcribed sutras, the esoteric school is accessible only through initiations by a master.

Tathagata Amitabha (Middle Caliber)

The Amitabha and Mahavairochana figures that Shinjo placed on the halo of the Great nirvana Image were originally reliefs, then later replaced by figures such as this.

Tathagata Amitabha (Low Caliber)

After deciding to create the large nirvana sculpture in 1956, Shinjo calculated its dimensions according to the traditional measurement used by Buddhist sculptors throughout East Asia.  He then made a one fifth scale model and commenced work on the large statue in January, 1957. Due to the shortage of clay, he divided the image into three sections, reusing leftover clay from each section in the next. He finished the plaster figure in only three months. After the death of his wife and spiritual partner Tomoji, Shinjo revised the left ear, left hand, and drapery. Finally he cast the work in bronze and gilded it with gold leaf, which is how the statue appears today.

nirvana Image (Original Preparatory Model for the Great nirvana Image)

The facial expression of this sculpture seems initially to suggest Bodhisattva Avalokiteshvara’s compassionate smile. It is, however, a portrayal of the Buddha Shakyamuni, and a part of the Great nirvana series of works. The carved inscription behind the head says, “To commemorate the completion of the Great nirvana Image. October, 1960,” indicating that Shinjo molded it immediately upon completion of the third Great nirvana Image, which was intended for the central Tokyo branch temple. Shinjo occasionally made small-scale commemorative images such as this, after finishing a large work for a branch temple.

Head of Shakyamuni

Shinjo often taught that the Buddha Shakyamuni’s birth was not just a significant historical event, but should be interpreted as reflecting every Buddhist’s potential for spiritual rebirth. Buddhist sutras describe the birth of Shakyamuni as an unusual event, the Buddha being born from the side of his standing mother rather than from between her legs. According to legend, immediately after his birth, Shakyamuni took seven steps, pointed to the sky with his right hand and at the earth with his left, and said, “I alone am honored in heaven and on earth.” This sculpture portrays that event, and was made to be paired with a sculpture of Queen Maya for use in the annual celebration of the Buddha’s birth.

Newborn Shakyamuni

Queen Maya (Mahamaya) was the Buddha’s birth mother. Legend says that while returning to her hometown to give birth, she paused at Lumbini (present-day Nepal), and reached out with her right hand to rest against a tree. Shakyamuni was then born, emerging from her side. In his sculpture, Shinjo sought to depict the moment of birth inspired by ancient Greco-Buddhist sculptures, which idealized the beauty of the human form. The compassionate expression, emphasizing Queen Maya’s maternal qualities, demonstrates Shinjo’s mastery of the ancient sculptural style.

Queen Maya, Shakyamuni's Mother

Shakyamuni Emerging from the Mountains

The thick wavy hair, youthful expression and draped garments of this piece recall Greco-Buddhist sculpture of Gandhara. Shinjo uses the backing nimbus to further express the theme of the work: the left side showing the Buddha in the gesture of touching the earth, a sign of triumphing over demons to attain enlightenment, and the right, the Buddha in tranquil meditative equipoise. This depiction of three images of Buddha in a single bust is unique. Shinjo intended to convey two principal aspects of the path to enlightenment—the subjugation of delusive passions and the transformative power of meditation.

Bust of Shakyamuni

This is the plaster prototype of the bronze Shakyamuni bust. Shinjo refined his plaster molding techniques from the mid-1950s onward, learning from the experience of remodeling busts of his two deceased sons, originally crafted by renowned artist Keiho Kimura.

In Japan, this is the most widely depicted form of the bodhisattva Avalokiteshvara (Sho Kannon), who is said to have emanated 33 different manifestations of compassion in response to the varying needs of sentient beings. This piece by Shinjo resembles a sculpture at the Toin hall of Yakushiji, created during the Nara period. It shares such distinctive features as the the posture, the flowing robe, and the placement of the left foot as if the figure were walking. Shinjo gives his bodhisattva a royal air about him, suggesting a refined, aristocratic demeanor.

Avalokiteshvara

The enlightened Buddha gave his first teaching—the “first turning of the dharma wheel”—to five disciples at Deer Park in what is now Sarnath, India. Shinjo had long considered sculpting Shakyamuni delivering this teaching, but only commenced work after an inspirational visit to India in 1966. He based this piece largely on a sculpture in the Sarnath Museum entitled Shakyamuni Giving the First Teaching. While faithfully reproducing the posture, halo and pedestal of the Sarnath original, Shinjo changed the figure’s facial expression to the benevolent countenance he preferred.

Tathagata Shakyamuni

Samantabhadra is the archetypal buddha central to the longevity prayers in esoteric Buddhism. While many statues of this deity portray him with 20 arms and astride an elephant, in this work Shinjo seats him on an ordinary lotus pedestal. Multi-armed pieces are obviously difficult to sculpt, but here Shinjo has achieved an almost perfect balance in his placement of the arms. The jeweled crown contains the images of the five Buddhas of Wisdom. Samantabhadra is also the central deity of the “All-Tathagata Adamantine Lifespan Dharani Sutra,” which Shinjo recited daily—a practice that apparently inspired this work.

Bodhisattva Samantabhadra

Sarvapayajaha is a bodhisattva who purifies the myriad karmic defilements that all sentient beings unknowingly commit, and is part of the Diamond Realm Mandala. The deity is also the primary buddha figure in the Metsuzai esoteric rite at Daigoji monastery, where Shinjo achieved the rank of Acharya, or master. This connection may have led Shinjo to create this work. Due to the difficulties involved in determining a sculptural composition from two- dimensional imagery, Shinjo spent much time studying the iconography of Sarvapayajaha.

Bodhisattva Sarvapayajaha

This distinctive Ucchushma image has six arms and a snake wrapped around its body, yet with the exception of the protruding teeth, its face appears to be well proportioned and almost human, rather than the fierce visage of a wrathful deity. Ucchushma, (Jpn. Usu Sama Myo), is believed to have the power to burn away all impurities and spiritual hindrances. In the Tendai school of esoteric Buddhism, Ucchushma replaces Vajra-yaksha (Jpn. Kongo Yasha Myo), in the traditional grouping of the Five Great Vidya-rajas. In the Zen sect, there are many images of this deity enshrined in temple lavatories as a representation of the purifying aspect of enlightenment.

Ucchushma

Mahakala, known popularly in Japan as Daikokuten, is shown here standing on bales of rice with a sack over his shoulder and a small mallet in his hand. Originally regarded in India as a fierce god of war, the deity became closely identified in Japan with the Shinto earthly deity Okuninushi No Mikoto, with emphasis placed on his nature as a god of happiness and prosperity.

Mahakala

Ebisu, revered in Japan as the god of maritime safety, holds a fishing trident in his right hand and a carp in his left. From the Edo period onwards, both Mahakala and Ebisu were part of the prospering folk worship of the “Seven Gods of Good Fortune.” Shinjo intentionally sculpted the Ebisu and Mahakala statues for viewers to touch and relate to on a basic human level. In Japanese culture the two deities are ubiquitous symbols evoking great affection, and are instantly recognizable even when viewed from behind. On a biographical note, the two images pictured here strongly resemble the tile carvings of Mahakala and Ebisu that Shinjo and Tomoji received as a wedding present from Shinjo’s mother.

Ebisu

Shotoku Taishi (Prince Shotoku, 574–622) is revered in Japan as the father of Japanese lay Buddhism: he popularized the religion and encouraged the founding of many temples and monasteries. His life was mythologized after his death; his posthumous renown peaked in the Kamakura period, with many sculptors creating likenesses of him at different ages from infancy to adulthood. Shinjo’s regard for the Prince is clear in his meticulous execution of it—notably the slightly extended right foot, as if the Prince were taking his first steps as a toddler.

Prince Shotoku (Infancy)

This is a later version of the statue commissioned by the western Japanese city of Ashiya for its sister city of Montebello, California. Shinjo found it a challenge to choose a subject that would resonate with Americans, but he finally settled on Prince Shotoku as a fitting symbol of the universal wish for peace. Among his many achievements, the Prince composed a 17-article constitution which instructed, “Harmony is most precious, above all else.” As the statue was intended for display in a public park, Shinjo portrayed the Prince as a child, readily approachable and with his message of peace conveyed through his hands being folded in prayer.

Prince Shotoku (Seven Years Old)

This work portrays the Buddha Shakyamuni prior to his entry into complete nirvana (nirvana). He has raised himself on one arm to deliver his final teachings to his followers. Shinjo was aware that, realistically, the statue should depict an old man. Yet he was struck by the image of the Buddha attaining enlightenment: “He had transcended all suffering and the four trials of human life: birth, illness, aging, and death,” he wrote. “He attained a state beyond mundane life and death, and can thus be perceived as still ‘alive’ today. That is why I gave this image a young face.”

Great nirvana Image

Great nirvana Image (head detail)

In the Shingon school of esoteric Buddhism, Achalanatha is considered to be an emanation of Tathagata Mahavairochana, who personifies the unchanging principles of the Dharma. It was Shinjo’s 1935 encounter with a medieval Achalanatha figure, reportedly carved from wood during the Kamakura Period, that started him on his path to enlightenment. This piece, modeled after that ancient statue, is gilded and presented together with the unusual addition of a dharma wheel set inside the flaming aureole. The facial expression mirrors the ancient Achalanatha statue, and the torso is reportedly modeled after the Takeda Achalanatha, a sculpture enshrined in Erinji, a temple in Yamanashi prefecture where Shinjo was born.

Achalanatha

Buddhist Statuary

Shinjo created numerous busts during his lifetime and devoted the utmost care to each work, always mindfully considering his friendship and connection to his subject. Kaigyoku Okada, who eventually became the 97th Chief Abbot of the Daigoji monastery, had acted as an advisor to Shinjo during his training period there, leading to a long and productive friendship. Shinjo and his wife Tomoji would later pledge their support for the rebuilding of the Jundei Kannon Hall at Daigoji, a project the Chief Abbot had long-cherished. Unfortunately, Okada did not live to see the completion of either this sculpture or the Jundei Kannon Hall restoration, the dedication of which was held some two years after his death.

Kaigyoku Okada, 1890–1966 (The 97th Chief Abbot of Daigoji Monastery)

When Shinjo visited Thailand as a representative to the conference of the World Fellowship of Buddhists in 1966, the head of the Japanese delegation was Rosen Takashina, chief priest of the Soto Zen sect. The two became close friends and continued their association in Japan. This portrait of Takashina conveys the youthful vitality and indomitable spirit of the elderly monk, who visited Shinjo’s studio regularly during the sculpting of the work. He died peacefully at the age of 92, soon after it was completed.

Rosen Takashina, 1876–1968 (Superintendent of Soto Zen Buddhism)

Masatoshi Matsushita was a devout Christian and a former president of Rikkyo University. A friend and spiritual colleague, Matsushita spoke highly of Shinjo both as a religious leader and a human being. This is the second of two busts of Matsushita that Shinjo worked on.

Masatoshi Matsushita, 1901–1986 (President of Rikkyo University)

Shinjo Takenaka was a religious scholar and academic who also held positions as head priest of a Jodo temple and chair of the Jodo Shu Research Institute. He had been a professor at Taisho University when he met Shinjo Ito who was said to be greatly impressed by his lectures on Buddhism and the ego.

Shinjo Takenaka, Professor Emeritus of Taisho University (1913-1992)

Known in Japan primarily for his novel Oginsama, Toko Kon took the Buddhist vows and became a Tendai priest at the age of 33, later assuming the position of head priest at Chusonji, the Tohoku area head temple of the Tendai School. Like Shinjo, Kon was keenly interested in the Great Nirvana Sutra, and the two men enjoyed a deepening friendship based on their mutual appreciation of the text. Kon also held Shinjo in high regard for founding his own Buddhist order.

Toko Kon, 1898–1977 (Abbot of Chusonji Temple / Novelist)

Fumio Masutani was a Buddhist studies scholar and professor at Taisho University and Tokyo University of Foreign Studies, who later assumed the presidency of Tsuru University. In 1973, Masutani and his wife participated in the marriage ceremony of Shinjo’s third daughter, Masako, the current head of Shinnyo&#8209;en. Shinjo completed this sculpture the following year, no doubt prompted by his gratitude to Masutani.

Fumio Masutani, 1902–1987 (Professor Emeritus of Taisho University)

Shinjo created this bust of his father, Bunjiro, from memory. Bunjiro was a devout Soto Zen follower whom Shinjo regularly accompanied to Zen meditation sessions at Seikoji, the Ito family temple, where Bunjiro acted as general director of the lay followers’ group. The elder Ito also initiated his son into a form of divination that had been passed down through the family for generations. Shinjo was just 15 when he saw his father for the last time. After graduating from secondary school, he took a job on the far-off Japanese island of Hokkaido and it was here that he learned of his father’s untimely death. The long distance prevented him from returning home for the funeral.

Bunjiro Ito, 1867–1921 (Shinjo's Father)

Shinjo’s mother, Yoshie, was a devout follower of Tenrikyo, an offshoot of Japan’s indigenous Shinto faith. Hence Shinjo was educated in two different religious traditions—Zen from his father, and the Tenrikyo tenets from Yoshie. Both parents sensed that Shinjo was meant for a spiritual calling, and each hoped that he would follow their own religious path. However, neither pressured Shinjo to choose—raising him only to be kind, reverent and honest. This piece shows Yoshie in her final years—a stout-hearted woman who raised six children after losing her husband in her 40s.

Yoshie Ito, 1878–1965 (Shinjo's Mother)

Shinjo learned much about portrait sculpture from around 1953, when the renowned sculptor Keiho Kimura created busts of Shinjo’s two sons, who had died very young. Kimura’s completed works were not what Shinjo had envisioned, and with the master sculptor’s consent he made his own adjustments. This self portrait was made the year after Shinjo created a bust of his wife, Tomoji, and shows the artist-monk with his typically approachable countenance, sitting back in what might have been his favorite armchair.

Shinjo Ito, 1906–1989 (Self Portrait)

In 1960, Shinjo completed his third Great Nirvana image, intended as the primary Buddhist image at Shinnyo&#8209;en’s temple in Meguro, Tokyo. The following year, to commemorate the accomplishment, he completed busts of himself and Tomoji, his wife and indispensable spiritual partner. For this piece, Shinjo worked from a wide range of photographs, taken from different angles.

Tomoji Ito, 1912–1967 (Shinjo's Wife)

This bust of Shinjo’s first son, who died before his second birthday, is one of the artist’s most sensitive works, conveying an ethereal gaze that is at the same time distant and piercing. Originally crafted by a famous sculptor, it was later revised by Shinjo, who gave it a powerful sense of familial intimacy.

Chibun Ito, 1934–1936 (Shinjo's First Son)

In 1952, after losing his second son to illness at only 15 years of age, Shinjo asked the renowned Japanese sculptor Keiho Kimura (1912-1996) to create busts of both boys. Kimura completed the sculptures the following year, to commemorate the first anniversary of Yuichi’s death. The finished pieces, however, were not quite what Shinjo had envisioned, and with Kimura’s consent, he made his own adjustments. In addition to satisfying Shinjo’s own expectations, this work on Kimura’s models taught him valuable lessons in the creation of molds and the use of plaster. He subsequently created a number of busts based on Kimura’s work.

Yuichi Ito, 1937–1952 (Shinjo's Second Son)

Busts

Chiryu Gakuin is the name of Shinnyo&#8209;en’s dharma school for those aspiring to be ordained as priests. Shinjo opened this facility to train people to become dharma teachers.

Chiryu Gakuin (“Wisdom-Stream School”)

The word muge means “free of obstacles,” in the sense that underneath conditioned reality there is nothing to prevent one from overcoming any hurdle. Muge reminds practitioners of the path the Buddha took to freedom, of his unfettered mind and courage to let go of attachments, which led to his supreme enlightenment.

Muge (“Unhindered”)

Nyoze, also read kaku no gotoshi, is a profoundly meaningful expression that loosely translates as “It is thus.” After the death of Shakyamuni his disciples gathered to compile, clarify, and standardize the meaning of what he had taught. The results of such gatherings over the centuries formed the basis for the Pali Buddhist sutras, which began with the words, “Thus have I heard.” This opening line, included in many texts, expresses reverence and respect toward Shakyamuni’s teachings.

Nyoze (“It Is Thus”)

The term <em>horyu</em> literally means “dharma stream,” that is, the continuous lineage of Buddhist teachers. In the Shingon school of esoteric Buddhism, the dharma practice originating with the Tathagata Mahavairochana has been continually handed down from teacher to disciple for over 2500 years. This method of direct transmission is highly revered in the Shingon faith. Shinjo carved this work in 1968, the year that the new head temple of Shinnyo&#8209;en was consecrated, and the words symbolize his hopes that the chain of transmission will remain unbroken.

Horyu Kuon (“Eternal is the Dharma Stream”)

Master Shinjo carved this calligraphy of <em>shinnyo</em> in October of 1949. In May 1950, Master Tomoji completed her training and became the first successor of the Shinnyo dharma lineage, receiving the dharma name “Shinnyo.” The “Dharma Crisis,” during which the community was almost destroyed, erupted just three months later. Shinjo, Tomoji, and those who remained in the sangha resolved to overcome the difficulties, and make a fresh start. Shinnyo&#8209;en was the name given that renewal thanks to Shindoin, who used his spiritual faculty to help choose it. This carving later adorned the wall of Shinjo’s study, where he studied the Nirvana Sutra, wrote many articles, and created the prototype for the large Nirvana Buddha image.

The term shinnyo translates as “suchness” and means “underlying nature” or “ultimate reality” as defined by Buddhism, while ichinyo, literally, means “oneness” and refers to the non-dualistic union with universal truth. To this concept, Shinjo added his own spiritual realization that to be one with truth means to behave as one with the spirit of a buddha and work at a practical level for the benefit of all sentient beings. Displayed at the Shinnyo&#8209;en head temple, facing the Great nirvana Image, the engraving is a reflection of the prayers imbued in that central devotional figure.

Shinnyo Ichinyo (“Oneness with Ultimate Reality”)

Shinjo carved the inscription senka ruiju on the lid of this box, in which he placed some old coins. Since he believed that some people are afflicted with greed and despair in relation to money, and that this suffering can become a root of misery and unhappiness, he created this way to pray for the alleviation of materialistic worries.

Senka Ruiju (“Collections of Old Coins”)

When Shinjo was in his early teens, his father passed down to him the family tradition of Byozei divination. He went on to hone these skills during his years as an aeronautical engineer, by attending lectures given by the Divination Association of Greater Japan. He received a teaching certification in the art of divination, but remained faithful to his father’s admonition to use his skills only if requested—and never for personal gain. This carving appears on the box in which he kept his divination tools. It is just one of the many engravings found on his wooden items—his inkstone box for calligraphy, the box for his carving tools and whetstone, and so on—that he used in daily life.

Jo Raku Ga Jo, Bampo Kiitsu (“Permanence, Bliss, Self, and Purity—All Teachings Return to Being One”)

These four characters represent the “four merits” or qualities of nirvana that are highlighted in the Nirvana Sutra. The term speaks of the state of enlightenment—realizing within one’s heart an ever joyful and pure self able to disengage from ego. It is also described as having constancy, serenity unswayed by emotions good or bad, absolute freedom, and clarity that sees beyond false views and superficial distinctions. Shinjo earnestly wanted to help people realize “Permanence, Bliss, Self, and Purity.” This is perhaps why such vigor infuses both the shape of the characters and his brush movements, while the work as a whole expresses harmony and balance.

Jo Raku Ga Jo (“Permanence, Bliss, Self, and Purity”)

From the richly drawn character ho (top right) to the distinctive signature,this example of Shinjo’s calligraphy reveals a typical sharpness and clarity. The work communicates a definitive sense of peace, with the characters optimally balanced within the white areas.

Through its powerful brush movements and thick strokes, this calligraphy projects strength. Yet the controlled nature of the more compact strokes neutralizes any potential heaviness. The artist’s signature also resonates with the main text, unifying the work with a satisfying degree of completeness and resolution.

Despite the fact that this work consists of just two characters, it exudes a subtle charm in the pliant give-and-take of the brushwork, and the balanced stroke placement. Although Shinjo never formally studied calligraphy, he gradually developed an effective method of working in the medium. He would first consider what he wanted to write and then contemplate the resonance of the words and characters before finally choosing a style that best suited his objective. As a work of art this piece is complete and fresh, with the left element of the second character nyo unifying the component parts into an organic, coherent whole.

Shinnyo (“Ultimate Reality”)

This calligraphy consists of a single character centered in a folding fan. The broad outline of the upper half is complemented by the lightly brushed lower half, which creates an effective use of the negative space. This is just one of many examples of Shinjo’s calligraphy on fans, poem paper, and other materials, which he produced as gifts.

Kotobuki (“Felicitations”)

The broad strokes of the character fu (top left) is an important element in this work—contrasting with the delicacy of the lower left character koku.The expression comes from the passage in the Great nirvana Sutra which states: “One who gives priority to making Buddha images and stupas, and takes great joy in doing so, is thereupon born in the Land Immovable (where determination no longer wavers).” Shinjo encountered the passage during extensive study of the Sutra in 1956, and it inspired him to create his original nirvana image.

Sokusho Fudo Koku (“Thereupon Born in the Land Immovable”)

Shinjo wrote many short teaching poems, or sonouta, as an aid for explaining the more difficult and intangible Buddhist concepts. This particular verse refers to the concept of the “eternal Buddha,” meaning that although the physical body of Shakyamuni may have passed away, his teachings and spirit live on. Shinjo regarded this as one of the key principles of the Nirvana Sutra.

Sonouta Teaching Verse (“Unendingly will the Teachings of theEver-Present Buddha Reveal the Land of Bliss.”)

Calligraphy and Engravings

Wishing to express the firm determination necessary to maintain one’s efforts on the Path, Shinjo began work on this relief of Achala (“immovable one”) just before the onset of the Dharma Crisis in 1950. Later, he handed out copies to practitioners to use at their home altars in order to encourage them to cultivate an unwavering resolve no matter what obstacle they might face, signing them Shinnyo Ito.

This statue of Achalanatha is accompanied by Chetaka-Kumara and Kimkara-Kumara, two of his eight principal attendants. Such triad statues of Achalanatha became common in Japan after the “Nineteen Contemplations of Achalanatha” were established in the 10th century. Of special note is the depiction of Garuda phoenix on the halo of flames.

The central image on this disk is the Buddha Shakyamuni, with a smaller image of Tathagata Mahavairochana positioned above him. Buddhist art rarely portrays the historical Shakyamuni next to the Mahavairochana (the archetypal buddha of esoteric Buddhism, who is believed to dwell at the center of the universe), but Shinjo’s treatment here stems from his belief that all archetypal buddhas are essentially different emanations of Shakyamuni’s enlightenment. Also of interest is that, minus the crown, the face of this figure closely resembles that of the Nirvana Image.

Face of the Tathagata (Shakyamuni)

Images of the nirvana Buddha were a lifelong theme in Shinjo’s work. He created an extraordinary number of pieces relating to this iconography, as well as reliefs such as this one. Each piece was created individually, not just processed from a single mold.

nirvana Image

The smaller versions of the nirvana Buddha are based on the large Great nirvana Image, although all feature subtle variations in their facial expressions and the treatment of their garments. On his many travels throughout Japan and to universities and religious groups worldwide, Shinjo presented many of these images to Buddhist temples and Christian churches. His artistic philosophy was always: “Use the soul, not technique.” The nirvana group of works is a testament to that belief.

The Mahavairochana and Amitabha works that follow consist of “transfigured buddhas” (emanations) that were originally attached to the aureole of the Nirvana statues enshrined at various Shinnyo&#8209;en branch temples. The Nirvana images themselves differ in each temple, in such details as the expressions of the surrounding emanations and the shape of their aureoles. In addition, though each of these small images is an emanation, they, too, have aureoles adorned with even smaller emanations.

These Mahavairochana and Amitabha works consist of “transfigured buddhas” (emanations) that were originally attached to the aureole of the Nirvana statues enshrined at various Shinnyo&#8209;en branch temples. The Nirvana images themselves differ in each temple, in such details as the expressions of the surrounding emanations and the shape of their aureoles. In addition, though each of these small images is an emanation, they, too, have aureoles adorned with even smaller emanations.

Tathagata Amitabha

Mahavairochana is revered as the primordial buddha in Esoteric Buddhism, and Amitabha is the central figure in Pure Land Buddhism. Veneration of these buddhas is integral to the history of Japanese Buddhism. This work, which places the two Buddhas side by side, reflects the philosophy of Kakuban (1095–1143), a priest who initiated a new branch of the Shingon school that sought to unite the teachings of the two traditions. Mahavairochana of the Diamond Realm makes the gesture of supreme enlightenment, and Amitabha makes the gesture of meditation. The Japanese term joraku, which means “eternity and bliss,” appears in the center, linking the two images.

Paired Mahavairochana and Amitabha

Ucchushma is a figure that symbolizes the cleansing of mundane impurities by fire. In Japan veneration of the figure goes as far back as the Heian period. At that time he was already a principal figure of veneration for Buddhists, his name being frequently mentioned in the diaries of court aristocrats. Five years after finishing this relief, Shinjo commenced work on a far more ambitious three-dimensional, multi-armed image of the deity.

Shinjo created various three-dimensional renditions of the bodhisattvas Samantabhadra and Sarvapayajaha, but their features differ from those we see on this piece and on the Sarvapayajaha figure. These bodhisattvas resemble the depictions found on the famous Takao Mandalas—the oldest extant mandalas in Japan—which are reproductions of the original mandalas brought from China by Kukai in the ninth century and which are kept at the Takao Jingoji monastery.

This work is of particular interest, as the figure of Sarvapayajaha is displayed alone, not, as is more usual, as one of a group of deities. Some commentators interpret this as a subtle reflection of Shinjo’s own, often overlooked maverick nature: that of the fundamentally free spirit who often worked best when outside the group.

The lids of these round, palm-sized containers open to reveal a Buddhist image. The containers themselves can be used as incense holders or cosmetic compacts. In addition to sutras, Shinjo frequently gave these containers to intimate friends and members visiting from distant locales.

Bodhisattva Samantabhadra in a compact case

Bodhisattva Avalokiteshvara in a compact case

Achalanatha was a Buddha figure that inspired Shinjo throughout his life. This relief, Shinjo’s first sculptural work, was created during his training at the Daigoji monastery, at a time when he had had almost no artistic training and certainly did not possess professional wood-carving tools. Yet he persevered and the vigor he put into this piece is evident in its strong style.

Reliefs

Light in the Morning

Shigeharu Yamamoto, Shinjo’s revered maternal grandfather, worked as a local school teacher and devoted his life to education. When he died in 1917 at the age of 69, the 14-year-old Ito decided to draw his portrait and assembled the necessary materials in a typically pragmatic fashion. After diligently saving money, Ito purchased expensive French-made conté crayons. Then, for a basic visual reference, Ito used a magnifying glass to enlarge his grandfather’s face pictured amidst the ranks of his students in a standard school class photograph. He then relied on memory for the details. To get the desired three-dimensional feel for the body, Ito hung a suit on a hanger to work as his model.

Shigeharu Yamamoto (Shinjo's Grandfather)

This etching of Ucchushma, a deity believed to consume all impurities with fire, includes an inscription of Ucchushma’s mantra with instructions to chant this mantra to transform even the most unclean of places.

Creating artwork depicting Achalanatha was a form of spiritual practice for Shinjo Ito and he created numerous images of the figure, many of which he gave to followers and close acquaintances. Each image is unique, reflecting the subtle differences in Ito’s thoughts when he created the image.

An Achalanatha image of the sort Shinjo often gave to followers and friends. Interestingly, later in life he sought the return of some of these early works— which he saw from his mature perspective as unaccomplished—but none of the recipients was willing to relinquish one.

This journal chronicles the happenings around the early Shinnyo&#8209;en congregation. Compiled by Shinjo around 1963, he gave special consideration to the events between 1935 and 1941. Despite having occurred more than two decades prior to their recording, Shinjo’s accuracy is attested to by his careful inclusion of photographs, receipts and other documentation from the period.

Daily Record

Shinjo had a craftsman’s attitude to the creation and maintenance of his artistic tools. For example, he designed his own sculpting spatula, switching from bamboo to boxwood on the advice of a professional sculptor, who taught him how boxwood separates more easily from clay. Whenever Shinjo was about to work on an engraving, his first step was always to hone his carving tools on a whetstone. For him, tools and artist were one—any compromise would prevent him from fully honoring what was in his heart. Hence, these tools were an integral part of his creative process.

The Art of Shinjo Ito

Buddhist Statuary

Busts

Calligraphy and Engravings

Reliefs

Photography and Drawings