Exhibition Catalogue No.1
Inscribed Bronze Sculpture of the Asuka and Hakuho Periods
This catalogue is published in connection with the special exhibition “Inscribed Bronze Sculpture of the Asuka and Hakuho Periods” presented at the Asuka Shiryokan in the fall of 1976, and includes the eleven sculptures brought together for that event.
With the introduction of Buddhism into Japan in the sixth century, the history of Japanese sculpture was transformed. Japanese sculpture achieved its distinctive development under the influence of sculpture brought from China and Korea and through the actual experience of craftsmen who came to Japan. Before long Japanese sculpture reached its first great burst of activity in the Tempyo Period. Due to the fact that the eleven objects included in this show all bear inscriptions, their date of production and other details are clear. They have therefore become the standard works of the Asuka and Hakuho Periods: they represent the dawn of Japanese Buddhist sculpture.
This catalogue contains as much photographic and explanatory material as possible; we hope that it will be of some use to the public as a basic reference for Asuka and Hakuho Period sculpture.
1. Mandorla Tokyo National Museum
Gilt Bronze L. 25.1cm.
Seven Buddhas are affixed to a ground of flame motifs within a lotus petal-shaped mandorla, around which are heavenly beings playing musical instruments, all of which is surmounted by a pagoda. The inscription on the reverse side of the mandorla reveals that the Sakyamuni Triad, of which this was once a part, was made in 654 by O Enson for his parents. Today there remain only the holes which once held the tenons of the three figures.
2. Bodhisattva Tokyo National Museum
Gilt Bronze H. 41.5cm.
Both the figure and pedestal were cast together; gilt was then applied over the surface. Although its actual size is small, the figure projects a feeling of great presence. In its carefully designed details this statue shows its special character; although its style has been adopted from Korea or China, its refined beauty makes it stand out among other ancient bronzes. It is conjectured from an inscription engraved on the pedestal that the image was created in 606.
3. Sakyamuni and Attendant Horyu-ji, Nara
Gilt Bronze H. 22.4cm. (Sakyamuni), 15.15cm. (Attendant)
Originally a triad of Sakyamuni and two attendants backed by a large mandorla, today the attendant at Sakyamuni’s right and the pedestal are lost. This work is in the tradition of the Tori style of the Sakyamuni Triad in the Golden Hall, Horyu-ji. The front of the sheet bronze mandorla is engraved with a design of honeysuckle flowers and flames and five Buddhas, while the mandorla’s reverse side bears an inscription, dated in accordance with 628, which states that the statue was made for Soga no Oomi in that year.
4. Avalokitesvara Tokyo National Museum
Gilt Bronze H. 33.6cm.
Wearing a mountain-shape coronet incised with a line drawing of Amitabha, and a fin-like draped robe which is seen frontally and arranged in left-right symmetry, the figure stands erect holding a mani jewel in front of its stomach. The image is strongly frontal in orientation. Its clear understanding of form marks the statue as an early example of Japanese Buddhist sculpture. The statue is dated in accordance with 651, based on an inscription on the pedestal, and was originally in the collection of Horyu-ji.
5 Mandorla Nezu Museum, Tokyo
Gilt Bronze L. 16.3cm.
This mandorla is constructed of three layers of bronze, but the tenon for affixing it to the present pedestal is missing. The reverse side bears an incised seven line inscription. This mandorla was originally attached to then Amitabha of Kanshin-ji in Osaka, and the inscription relates that in 658 the wife of Omabiko had an Amitabha image made for her husband.
6. Maitreya Yachu-ji, Osaka
Gilt Bronze H. 30.9cm.
This small statue sits in a meditative pose, its head decorated with large ornaments while two fingers of the right hand lightly touch its cheek and its left foot only is placed on the pedestal. From the inscription it is known that the image was made in 666 as a prayer offering to Empress Saimei to speed her recovery from an illness. The statue holds together well overall and the modelling of the body is quite natural in appearance. This example displays well the special characteristics of Hakuho Period sculpture.
7. Hokke Sesso Bronze Plaque Hase-dera, Nara
Bronze H. 83.3cm. W. 75.0cm.
This bronze relief plaque, which is called also “Thousand Buddhas and Pagoda of Prabhuta-ratna” depicts a scene described in the Lotus Sutra. The plaque makes free use of various metal-working techniques, such as the applique Buddhas in the upper half and those inside the Pagoda, and the incised line drawings of heavenly beings playing musical instruments around the border of the lower section. According to the inscription on the lower section this piece was made at the order of Priest Domyo in 686 or 698 for Emperor Temmu. It is said to have been enshrined in a stone room at west side hill in Hase-dera.
8. Avalokitesvara Gakuen-ji, Shimane
Gilt Bronze H. 94.9cm.
The figure holds a water jar in its left hand, its left leg bent slightly. Its coronet and chest ornaments are adorned with lively decoration. The figure and pedestal were cast together in one casting. It is known from an inscription on the pedestal that this statue was made for his parents by Wakayamatobe no Omi Tokotari of Izumo-no-Kuni (present-day Shimane Prefecture) in 692. Izumo faces on the Japan Sea and is thus geographically close to the Korean Peninsula, so that from early times there have been close ties between the two. This figure displays direct influence from the Korean Peninsula and its provincial flavor is also noticeable.
9. Bronze Plaque with Inscription Relating to the Making of a Statue Horyu-ji, Nara
Gilt Bronze L. 23.1cm.
This plaque once went with an Avalokitesvara image but today only the plaque remains. On the front side are three lines of writing, on the reverse side oneline. According to the inscription, three priests, descendants of a naturalized citizen, had this image made in 694 for their parents.
10. Avalokitesvara Hase-dera, Oita
Gilt Bronze H. 39.4cm.
The figure stands upright atop a lotus flower pedestal. Its appealing form is distinctly Hakuho Period in feeling; its robe is also characteristic. Attached to the bottom half of the pedestal is a separately cast section on which is incised an inscription which gives the date of manufacture as in accordance with 702. This statue is an attractive example of provincial workmanship in this period.
11. Amitabha Triad Tokyo National Museum
Gilt Bronze H. 30.7cm. (Amitabha), 25.1cm. (Avalokitesvara), 25.2cm. (Mahasthamaprapta)
A sitting Amitabha, flanked by two Bodhisattva standing on lotus blossoms which extend up from the base, make up this Amitabha Triad. This work consists of several separate pieces -- including the Amitabha, the two Bodhisattva and the base -- which were individually cast and then assembled together. It is thought that the inscription carved on the back of the base reading “Yamada-dono-zo” is closely connected with Soga no Kura no Yamada no Ishikawamaro. This Triad is a work of the latter half of the seventh century and was originally in Horyu-ji.
昭和五十一年九月二十日発行
飛鳥・白鳳の在銘金銅仏
