Buddhist Statuary

Tathagata Mahavairochana (Diamond Realm)

大日如来坐像(金剛界)(Dainichi Nyorai [Kongokai])

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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 (Womb Realm)

大日如来坐像（胎蔵界）(Dainichi Nyorai [Taizokai])

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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 Amitabha (High Caliber)

阿弥陀如来坐像(上品)(Amida Nyorai [Jobon])

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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 (Middle Caliber)

阿弥陀如来坐像(中品)(Amida Nyorai [Chubon])

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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 (Low Caliber)

阿弥陀如来坐像(下品) (Amida Nyorai [Gebon])

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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 Mahavairochana (Womb Realm)

大日如来坐像 (胎蔵界) (Dainichi Nyorai [Taizokai])

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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 (High Caliber)

阿弥陀如来坐像(上品) (Amida Nyorai [Jyobon])

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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.

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

涅槃像(大涅槃像原型) (Nehan Zo)

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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.

Head of Shakyamuni

釈迦 (Shaka)

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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.

Newborn Shakyamuni

誕生仏像 (Tanjobutsu)

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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.

Queen Maya, Shakyamuni's Mother

摩耶 (Maya)

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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.

Shakyamuni Emerging from the Mountains

出山の釈迦像 (Shutsuzan no Shaka)

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At the age of 29, Shakyamuni left royal life in search of enlightenment. Buddhist lore recounts his long search, study with teachers, and a near-fatal stint of asceticism in the mountains of India. Learning that deprivation and self-mortification do not lead to liberation, he gave up such extreme practices.

The genre of artworks portraying the Buddha during this period is known as “Shakyamuni emerging from the mountains.” Shinjo broke with tradition to depict Buddha as stalwart and fit, standing firmly in a stiff wind, rather than as gaunt and emaciated. Perhaps he chose a healthy body in order to symbolize the Buddha’s renewed resolve to attain complete enlightenment.

Bust of Shakyamuni

釈迦 (Shaka)

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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

釈迦 (Shaka)

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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.

Avalokiteshvara

聖観音立像 (Sho Kannon)

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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.

Tathagata Shakyamuni

釈迦如来坐像 (Shaka Nyorai)

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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.

Bodhisattva Samantabhadra

普賢延命菩薩坐像 (Fugen Enmei Bosatsu)

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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 Sarvapayajaha

滅悪趣菩薩坐像 (Metsuakushu Bosatsu)

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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.

Ucchushma

烏枢沙摩明王坐像 (Usu Sama Myo-o)

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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.

Mahakala

大黒天像 (Daikokuten)

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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.

Ebisu

恵比寿像 (Ebisu)

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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.

Prince Shotoku (Infancy)

聖徳太子像(童形)(Shotoku Taishi)

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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 (Seven Years Old)

聖徳太子7歳像 (Shotoku Taishi)

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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.

Great nirvana Image

大涅槃像 (Dai Nehan Zo)

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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 (head detail)

大涅槃像 (Dai Nehan Zo)

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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.”

Achalanatha

不動明王坐像 (Fudo Myo-o)

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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.