An image of the fierce-looking protective deity Fudo-myo-o enshrined within the temple in cocrejpn0030.
Kannon image in main hall.
This gravesite is dedicated to the deceased employees of Nissan Motor Company.
Just two of thousands of these little statues along the path to Okunoin.
This newer structure, adjacent to the mausoleum, houses thousands of lamps donated by faithful in memory of their loved ones. The hall surpasses in scale, but perhaps not in grace, the mound of statues to the right dedicated to the spirits of the unremembered.
This is the same mound in other photos viewed here from a distance.
The great statue of the Amida Buddha at Kamakura, cast in 1252. This image gives a good sense of the physical context in which one sees the sculpture today.
The Great Buddha (Daibutsu) at Kamakura, a representation of Amida Buddha, was cast in 1252. The wooden building that surrounded it was swept away by a tidal wave, but the figure of the Buddha was unharmed and it has withstood repeated earthquakes, fires, and other calamities. It is 13.5 m (about 44 feet) high, making it the second largest statue of the Buddha in Japan, after the Daibutsu of Todaiji, Nara. Built without imperial or shogunal support, completed entirely with donations from the faithful, it is all the more impressive in its heroic scale.
This image shows the center altar in the Miroku Hall at Muroji. The sculpture on the altar is a carved wooden figure of the Miroku Bosatsu, a sculpture that is perhaps 3 feet high, dating from the 8th century. Dr. Fowler points out that this sculpture almost certainly was not the original sculpture on the center altar, which would have been a figure of the Miroku Buddha, rather than a bosatsu. -- Although some of the ritual objects in Buddhist temples vary somewhat from one sect to another, some objects are used in all sects. In this image we see the cushion on which the celebrant would sit in formal Japanese sitting posture, knees bent, sitting on the ankles. The rounded bronze object to the right is a "bell," with its open end at the top; it is struck on the outside with a padded stick, which produces the rich, resonant sound that accompanies and punctuates Buddhist chants. Also evident are three items found at all Buddhists altars, namely, flowers, incense, and light (candles). Often, as here, there also are offerings of fruit.
This enlarged version of part of the image in file no. ecasia000001.jpg shows some of the lines engraved in the stone to depict an image of the Miroku Buddha. Again, the carving dates from 1207 or 1208, and is along the bank of the Muro River, along the approach to Muroji. The pattern of parallel curved lines in the image is stylistically interesting and might be compared with the linear pattern of the robe folds in the sculpture that is the central image in the kondo at Muroji, a sculpture that dates from the Heian period (image I.D. ecasia000007.jpg) or with the sculpture of the seated Shaka (ecasia000012.jpg), from the Mirokudo, Muroji, which dates from early Heian period.
Again, the Amida figure in the Hoodo, Byodoin, as seen at eye level. This image shows some of the apsara figures, high relief wood carvings, that are on the walls above and around the Amida figure. Also, in the lower left, the altar in front ot the Amida, with its symbolic offerings to the Buddha.
A close up of the head of the Buddha at his parinirvana, reclining peacefully on an ornate pillow, with his face toward his disciples and followers.
This female yakshi represents the auspicious fertility of the earth as she stands under the canopy of a fruit-laden tree, possibly mango. Auspicious symbols surround the entranceways to the caves, making these caves also auspcious places to dwell.
This depiction of a series of amorous couples in different poses brings the fertility and good fortune they represent into the minds of all who see them.
A brightly painted image on an inside pillar in the area outside the inner sanctum presents a lively image of the dancing Shiva Nataraj. In some parts of the temple, the ancient pigments seem to have been preserved, probably due to their placement in areas protected from the elements.
On a pillar of the temple, a lingam sits between the horns of a bull.
Photo of the largest buddha in China, overlooking the confluence of two rivers in Leshan, Sichuan.
This wall sculpture tells the story of Bhagiratha who practiced penance for eons to purify the sins of his ancestors.
Demonstrating the Jain practice of non-violence, this tirthankara is depicted with animals and insects at his feet. Near his right leg is a scorpion. Refusing to take life, even in microscopic forms, to make cloth, he lives throughout the year as a "digambara" monk, clothing himself with the sky. Bits of ancient red paint remain on this figure.
Underneath the tirthankara, Parshvanatha, is another image of himself over a chakra. At the foot of the image are lions, elephants, and his protective yaksha and yakshini, all positioned in perfect symmetry.
A carved jade bok choy (cabbage) in white and green jade.
All tirthankaras are depicted with a yaksha (male earth spirit) and yakshini (female). This yaksha, probably Matanga who is associated with Mahavira, guards one side of a large balcony entrance to the cave's expansive second floor with a central Mahavira shrine. On the other side of the balcony entrance is his female counterpart, the yakshini, Siddhayika. The yaksha, a powerful earth deity, sits on the strong elephant who acts as his throne. This yaksha is framed by a canopy formed by the leaves of a lush tree.
The yaksha guardian, Matanga, sits on a grand elephant who has knelt to offer his back as a seat for the yaksha. The sculptor has placed a lotus bud in the trunk of the elephant to show his docile nature in the presence of this yaksha protector.
Yishan Yining (1237-1317), known in Japan as Issan Kokushi (National Teacher), was an erudite priest of Chinese Rinzai Zen Buddhism who came to Japan in 1299 CE. This portrait of him is made of polychromed wood using Japanese cypress.
Exlanation of a cross-legged, sitting Buddha sculpture.