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Kaikei's Statue of Hachiman in T#Daiji Christine Guth Kanda Artibus Asiae

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Kaikei's Statue of Hachiman in T#Daiji Christine Guth Kanda Artibus Asiae Kaikei's Statue of Hachiman in T#daiji Christine Guth Kanda Artibus Asiae, Vol. 43, No. 3. (1981 - 1982), pp. 190-208. Stable URL: http://links.jstor.org/sici?sici=0004-3648%281981%2F1982%2943%3A3%3C190%3AKSOHIT%3E2.0.CO%3B2-E Artibus Asiae is currently published by Artibus Asiae Publishers. Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/about/terms.html. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/journals/artibus.html. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. The JSTOR Archive is a trusted digital repository providing for long-term preservation and access to leading academic journals and scholarly literature from around the world. The Archive is supported by libraries, scholarly societies, publishers, and foundations. It is an initiative of JSTOR, a not-for-profit organization with a mission to help the scholarly community take advantage of advances in technology. For more information regarding JSTOR, please contact [email protected]. http://www.jstor.org Mon Oct 15 10:44:37 2007 CHRISTINE GUTH KANDA Princeton UniversiQ KAIKEI'S STATUE OF HACHIMAN IN TODAIJI* he reconstruction of Tddaiji and Kdfukuji following their destruction by fire in 1180 Tduring the wars between the Minamoto and the Taira opened a new era in Japanese sculptural history. The scale, the symbolic importance of the project, and the new infusion of artistic talent it brought to Japanese sculpture enabled Nara to regain some measure of the cultural eminence it had lost during the Heian period (794- I I 85). The forty-year period span- ning the last decades of the twelfth and first decades of the thirteenth century which was required to rebuild and refurbish these two vast temple complexes saw the rise of a new school of sculp- ture called Kei after the name of its founder IC6kei (act. late 12th c.). Kdkei and his disciples supplied most of the statues for the halls of Tddaiji and Kdfultuji. Their successful participation in these temple projects established them as the most sought after sculptors of the day. The Kei school's monopoly over the production of sculpture in Japan was to last for several centuries. Kailtei (fl. I 180-1220) was a prominent member of the first generation of ICei school sculp- tors. Through his close ties with Shunjbbd Ch6gen (I I 2 I- I 206), superintendant of reconstruc- tion at T6daiji, Kaikei was given many important commissions at this temple. Among them was the creation of a statue of Hachiman (Plate I a, b), the tutelary deity of Tddaiji, which was completed in 1201. Although this work represents a native Japanese deity (kami) and is the sole statue of this subject by Kaikei, it exemplifies many of the distinguishing traits of his mature style. The labyrinthine circumstances which preceded its creation also bear witness to the interaction of artistic, religious, and political forces at work at T6daiji in the early years of the Kamakura period (II 8 5- I 3 3 3). TJdaiji and the Hachiman Cult Much controversy surrounds the origins and early history of Hachiman, but his meteoric rise to the national forefront in the eighth century unquestionably resulted in large part from his involvement with the construction of Tddaiji's Great Buddha and his adoption as the temple's tutelary deity, chinjztjin in 749.1 This fifty-two foot gilt bronze image of the Buddha Vairocana was designed to symbolize the union of church and state under Emperor Shdmu (r. 724-748). Both technically and financially, the project was on a scale never before seen in Japan. Initially * This article is part of a larger study of Hachiman imagery and its development. The author would like to thank Karen Brock for the many helpful suggestions and comments she made during its preparation. 1 On the origins of Hachiman see Nakano Hayatoshi, Hachiman shinkci- hi no k~nkyfi,2 vols. (Tokyo, 1962). it was to have been erected in Otsu, but in 744, following the failure of the first attempt to cast the bronze colossus, the project was transferred to Tbdaiji in Nara, a temple which was to become a powerful religious institution in the old capital.2 Its cost was so great that in addition to funding from imperial coffers, nationwide solicitation of contributions was required. Gydgi (670-749), a charismatic and rather controversial monk, led the fund-raising drive, traveling throughout Japan on the temple's behalf. An apocryphal account claims that in an attempt to draw support from native deities and the clans serving them, Gydgi even visited Ise to consult the Sun Goddess Amaterasu, ancestress of the imperial family. She is said to have signaled her approval by likening the Buddha Vairocana, also identified with the sun, to herself.3 However, during the Nara and Heian periods, the worshp of Amaterasu declined as the court turned its attention to Hachiman, whose cult, centered at Usa in Oita Prefecture, was deeply permeated with Buddhism. The Usa Hachiman Shrine was an early benefactor of the Great Buddha construction pro- ject; according to records in the Shbsbin, it sent funds to Tddaiji early in the 740's.4 Usa Shrine, which had close ties with clans of Korean ancestry involved in the mining and forging of metals, may have also provided technical assistance in the casting of the colossal statue.5 Hachiman's support of its construction culminated in his adoption as tutelary deity of Tddaiji in 749.6 The practice of inviting native deities to serve as guardians of Buddhist temples had become widespread in the Nara period (710-784) as part of the Buddhist accommodation of the native religious beliefs. However, as cbinjzjin of Tddaiji, the official headquarters of state Buddhism, Hachiman's role was to protect not simply the temple, but the whole nation. Hachiman's prominence at Tbdaiji gave Oga no Tamuramaro and Oga no Morime, the priest and priestess who spoke his will through oracles, almost unlimited political and religious power. This power was soon abused: in 7j j, the priest, the priestess, the minister Fujiwara no Nakamaro, and Gydshin, a monk of Yakushiji, became involved in a political intrigue which resulted in exile for all participants.7 Later, in 767, the monk Ddky6 (d. 772) attempted to manipulate the Hachiman oracles to usurp the throne of Empress Kdken (r. 749-7j 9). This was prevented by the timely intervention of the courtier Wake no Kiyomaro (73 3-799), who during a visit to Usa received an oracle that the imperial line should remain unbroken.8 As a result of the Ddkyb incident, Hachiman assumed new dimensions as the guarantor of imperial legitimacy, and the Usa Shrine was invariably notified when an emperor acceded to the throne.9 Wnthis subject see Serge Elisskeff, "The Bommdkyd and the Great Buddha of Tcdaiji," HaruardJournalof Asiatic Sttrdies vol. I (1936) pp. 84-95. 3 Alicia Matsunaga, The Buddhist Philosoph_yof Assimilation-The Historical Development of the Honj Suijaku Theory, (Rutland, Vermont & Tokyo, 1969) pp. 164-165 4 Nakano, Hachiman, vol. I, p. 164. 5 Ibid., vol. I, pp. I 70-1 71. 6 This event is described in Shokunihongi, Shincho zbho kokushi taikei vol. 2 (Tokyo, 1935), under the year Tempyd shdhd I .XII.z7, p. 206. For a partial translation see Ross Bender, "The Hachiman Cult and the Dbkyd Incident," Monumenta Aripponica 2 (Summer, 1979) pp. I 35-1 36. 7 Shoku nihongi, Tempyd shbhb 6.XI.24, p.22~. 8 For a discussion of this affair and its implications see Bender, op.cit., esp.pp. 138-144. 9 The practice of sending an imperial messenger to notify the Hachiman Shrine at Usa of the accession of an emperor began with Emperor Kdnin (r.770-781), Empress Shdtoku's successor. See Okura Eiichi, "Iwashirnizu Hachiman-gfi sdshi no haikei-kyii seiki zengo no seiji ddkb o chiishin to shite," in Nihon shfikyino rekishi to minxoku, Commemorative Committee for Takeda Chdshii, comp. (Tokyo, 1962), p.91. During the ninth century many temples, first in Nara and later in Kyoto, followed Tddaiji in adopting Hachiman as their chinjztjin. It was in this setting that images of Hachiman, who following an oracle of 784 was generally known as Hachiman Daibosatsu, were first created.10 According to a tenth century Daianji chronicle, a Hachiman Shrine was established at this Nara temple in 807 by the monk Gydkyd (act. c. 8oc-86o), and an image of the deity was housed within it.11 In 8j9, this same monk founded the Iwashimizu Hachiman Shrine outside Kyoto in response to an oracle that the deity wished to be near the capital in order to insure its pro- tection.~~There a statue of Hachiman was housed in the tenth century.13 The chronicles of both Jingoji, a temple on the outskirts of Kyoto, and of Tdji, in the very heart of the city, record their possession of ninth century images of the deity. The former document, however, refers to a painting of the deity alone, while the latter describes a statue of Hachiman with two attendants. Both the Tdji statues and the Jingoji painting are ascribed in these documents to the hand of Kiikai (774-83>), the founder of the Shingon sect who had served at Tddaiji, Jingoji, and T6ji.14 Although there are many references to the existence of images of Hachiman made during the Heian period, few examples have survived.
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