This profusely illustrated quantity illuminates the primacy of icons in disseminating the worship of the medication grasp Buddha (J: Yakushi Nyorai) in Japan. Suzukis meticulous research explicates how the devotional cult of Yakushi, one of many earliest Buddhist cults imported to Japan from the continent, interacted and combined with neighborhood ideals, spiritual tendencies, and formality practices over the centuries, constructing its personal detailed imprint on eastern soil. Worship of the drugs grasp Buddha grew to become such a lot influential through the Heian interval (7941185), whilst Yakushis attractiveness unfold to various degrees of society and locales outdoors the capital. the big variety of Heian-period Yakushi statues discovered all throughout Japan demonstrates that Yakushi worship used to be an crucial element of Heian non secular practice.Medicine grasp Buddha specializes in the ninth-century Tendai grasp Saich (767822) and his own reverence for a status Yakushi icon. the writer proposes that, after Saichs loss of life, the Tendai university performed a serious position in popularizing the cult of this actual icon as a manner of memorializing its founding grasp and strengthening its place as an enormous college of eastern Buddhism. This booklet bargains a clean point of view on sculptural representations of the drugs grasp Buddha (including the recognized Jingoji Yakushi), and in so doing, reconsiders Yakushi worship as foundational to Heian non secular and creative tradition.
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Extra info for Medicine Master Buddha: The Iconic Worship of Yakushi in Heian Japan
Excavators at the Shin Yakushiji Kondō site found ﬁve small fragments of dry lacquer, ranging from one to four centimeters in length. Based on the patterning on these fragments, scholars determined that they had once comprised part of the drapery folds of Buddhist images, and believe that they came from the seven Yakushi statues. Furthermore, these fragments were found about ﬁ fty meters south of the area thought to have been the location of the front steps of the Golden Hall, and while dry-lacquer pieces had been unearthed previously at this site, this was the ﬁrst time that fragments clearly belonging to Buddhist statues were discovered.
Princess Inoe was one of the consorts to Emperor Kōnin, Kanmu’s father. She and her son, Prince Osabe (751–775), were accused of plotting against Kōnin and imprisoned in 772. 6, Kanmu ordered one hundred and ﬁfty Buddhist priests to recite the Sutra of Great Wisdom (S: Mahāprajñā-pāramitā-sūtra; J: Dai hannya-kyō) at the Shungūbō palace. 10 In his extended efforts to appease vengeful ghosts, Kanmu called on the famous Tendai monk Saichō to perform a keka ritual at the palace. 11 Saichō’s keka was also directed toward curing Kanmu’s persistent ill health, believed to be caused by Prince Sawara’s angry spirit.
Such priests must have been those who had trained in the Nara monasteries or at the Tendai headquarters at Enryakuji, who for one reason or another had left the Kinai region and traveled great distances to promote Buddhist teachings to the local populace. developments of the ninth century. Iconographical traits of Yakushi statues from the Hakuhō and Nara periods include a seated posture, the right hand raised in abhaya mudrā, and the left hand resting on (or slightly above) the left leg with the palm facing upward.