Reliefs

Achalanatha

不動明王坐像 (Fudo Myo-o)

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Wishing to express the firm determination necessary to maintain one’s efforts on the Path, Shinjo began work on this relief of Achala (“immovable one”) just before the onset of the Dharma Crisis in 1950. Later, he handed out copies to practitioners to use at their home altars in order to encourage them to cultivate an unwavering resolve no matter what obstacle they might face, signing them Shinnyo Ito.

Achalanatha

不動明王半跏像 (Fudo Myo-o)

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This statue of Achalanatha is accompanied by Chetaka-Kumara and Kimkara-Kumara, two of his eight principal attendants. Such triad statues of Achalanatha became common in Japan after the “Nineteen Contemplations of Achalanatha” were established in the 10th century. Of special note is the depiction of Garuda phoenix on the halo of flames.

Face of the Tathagata (Shakyamuni)

如来 (Nyorai)

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The central image on this disk is the Buddha Shakyamuni, with a smaller image of Tathagata Mahavairochana positioned above him. Buddhist art rarely portrays the historical Shakyamuni next to the Mahavairochana (the archetypal buddha of esoteric Buddhism, who is believed to dwell at the center of the universe), but Shinjo’s treatment here stems from his belief that all archetypal buddhas are essentially different emanations of Shakyamuni’s enlightenment. Also of interest is that, minus the crown, the face of this figure closely resembles that of the Nirvana Image.

nirvana Image

涅槃像 (Nehan Zo)

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Images of the nirvana Buddha were a lifelong theme in Shinjo’s work. He created an extraordinary number of pieces relating to this iconography, as well as reliefs such as this one. Each piece was created individually, not just processed from a single mold.

nirvana Image

涅槃像 (Nehan Zo)

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The smaller versions of the nirvana Buddha are based on the large Great nirvana Image, although all feature subtle variations in their facial expressions and the treatment of their garments. On his many travels throughout Japan and to universities and religious groups worldwide, Shinjo presented many of these images to Buddhist temples and Christian churches. His artistic philosophy was always: “Use the soul, not technique.” The nirvana group of works is a testament to that belief.

Tathagata Mahavairochana (Diamond Realm)

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

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The Mahavairochana and Amitabha works that follow consist of “transfigured buddhas” (emanations) that were originally attached to the aureole of the Nirvana statues enshrined at various Shinnyo‑en branch temples. The Nirvana images themselves differ in each temple, in such details as the expressions of the surrounding emanations and the shape of their aureoles. In addition, though each of these small images is an emanation, they, too, have aureoles adorned with even smaller emanations.

Tathagata Mahavairochana (Diamond Realm)

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

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These Mahavairochana and Amitabha works consist of “transfigured buddhas” (emanations) that were originally attached to the aureole of the Nirvana statues enshrined at various Shinnyo‑en branch temples. The Nirvana images themselves differ in each temple, in such details as the expressions of the surrounding emanations and the shape of their aureoles. In addition, though each of these small images is an emanation, they, too, have aureoles adorned with even smaller emanations.

Tathagata Mahavairochana (Diamond Realm)

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

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These Mahavairochana and Amitabha works consist of “transfigured buddhas” (emanations) that were originally attached to the aureole of the Nirvana statues enshrined at various Shinnyo‑en branch temples. The Nirvana images themselves differ in each temple, in such details as the expressions of the surrounding emanations and the shape of their aureoles. In addition, though each of these small images is an emanation, they, too, have aureoles adorned with even smaller emanations.

Tathagata Amitabha

阿弥陀如来像 (Amida Nyorai)

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These Mahavairochana and Amitabha works consist of “transfigured buddhas” (emanations) that were originally attached to the aureole of the Nirvana statues enshrined at various Shinnyo‑en branch temples. The Nirvana images themselves differ in each temple, in such details as the expressions of the surrounding emanations and the shape of their aureoles. In addition, though each of these small images is an emanation, they, too, have aureoles adorned with even smaller emanations.

Tathagata Mahavairochana (Diamond Realm)

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

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These Mahavairochana and Amitabha works consist of “transfigured buddhas” (emanations) that were originally attached to the aureole of the Nirvana statues enshrined at various Shinnyo‑en branch temples. The Nirvana images themselves differ in each temple, in such details as the expressions of the surrounding emanations and the shape of their aureoles. In addition, though each of these small images is an emanation, they, too, have aureoles adorned with even smaller emanations.

Tathagata Amitabha

阿弥陀如来像 (Amida Nyorai)

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These Mahavairochana and Amitabha works consist of “transfigured buddhas” (emanations) that were originally attached to the aureole of the Nirvana statues enshrined at various Shinnyo‑en branch temples. The Nirvana images themselves differ in each temple, in such details as the expressions of the surrounding emanations and the shape of their aureoles. In addition, though each of these small images is an emanation, they, too, have aureoles adorned with even smaller emanations.

Paired Mahavairochana and Amitabha

大日如来像・阿弥陀如来像 (Dainichi Nyorai・Amida Nyorai)

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Mahavairochana is revered as the primordial buddha in Esoteric Buddhism, and Amitabha is the central figure in Pure Land Buddhism. Veneration of these buddhas is integral to the history of Japanese Buddhism. This work, which places the two Buddhas side by side, reflects the philosophy of Kakuban (1095–1143), a priest who initiated a new branch of the Shingon school that sought to unite the teachings of the two traditions. Mahavairochana of the Diamond Realm makes the gesture of supreme enlightenment, and Amitabha makes the gesture of meditation. The Japanese term joraku, which means “eternity and bliss,” appears in the center, linking the two images.

Ucchushma

烏枢沙摩明王像 (Usu Sama Myo-o)

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Ucchushma is a figure that symbolizes the cleansing of mundane impurities by fire. In Japan veneration of the figure goes as far back as the Heian period. At that time he was already a principal figure of veneration for Buddhists, his name being frequently mentioned in the diaries of court aristocrats. Five years after finishing this relief, Shinjo commenced work on a far more ambitious three-dimensional, multi-armed image of the deity.

Bodhisattva Samantabhadra

普賢延命菩薩像 (Fugen Enmei Bosatsu)

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Shinjo created various three-dimensional renditions of the bodhisattvas Samantabhadra and Sarvapayajaha, but their features differ from those we see on this piece and on the Sarvapayajaha figure. These bodhisattvas resemble the depictions found on the famous Takao Mandalas—the oldest extant mandalas in Japan—which are reproductions of the original mandalas brought from China by Kukai in the ninth century and which are kept at the Takao Jingoji monastery.

Bodhisattva Sarvapayajaha

滅悪趣菩薩像 (Metsuakushu Bosatsu)

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This work is of particular interest, as the figure of Sarvapayajaha is displayed alone, not, as is more usual, as one of a group of deities. Some commentators interpret this as a subtle reflection of Shinjo’s own, often overlooked maverick nature: that of the fundamentally free spirit who often worked best when outside the group.

Bodhisattva Samantabhadra in a compact case

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The lids of these round, palm-sized containers open to reveal a Buddhist image. The containers themselves can be used as incense holders or cosmetic compacts. In addition to sutras, Shinjo frequently gave these containers to intimate friends and members visiting from distant locales.

Bodhisattva Avalokiteshvara in a compact case

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The lids of these round, palm-sized containers open to reveal a Buddhist image. The containers themselves can be used as incense holders or cosmetic compacts. In addition to sutras, Shinjo frequently gave these containers to intimate friends and members visiting from distant locales.

Achalanatha

不動明王半跏像 (Fudo Myo-o)

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Achalanatha was a Buddha figure that inspired Shinjo throughout his life. This relief, Shinjo’s first sculptural work, was created during his training at the Daigoji monastery, at a time when he had had almost no artistic training and certainly did not possess professional wood-carving tools. Yet he persevered and the vigor he put into this piece is evident in its strong style.