Seated Statue of Shakyamuni Buddha and Two Attendant Bodhisattvas (Displayed in Kamino)

Basic Information

Catalog ID: 201
Item ID: 237
Category: Sculptures
Country: Japan
Period: Heian Period
Date designated: March 31, 1953
Prefecture: Nara
Location: Nara Prefecture
Owner: Hōryū-ji Temple

Source: Excerpted from the National Designated Cultural Properties Database (https://kunishitei.bunka.go.jp/bsys/index)

Overview

This wooden sculpture dates to the Heian Period and is housed in the Kamino (Upper Hall) at Hōryū-ji Temple, located in Ikaruga Town, Nara Prefecture. The statue is a tisan (three-figure grouping), featuring Shakyamuni Buddha as the central figure, flanked by two attendant bodhisattvas: Manjushri Bodhisattva and Kṣitigarbha Bodhisattva. It is designated a National Treasure for its outstanding representation of Buddhist art from the mid-Heian Period. While usually closed to the public, it is specially opened annually from November 1 to 3.

Historical Background

Hōryū-ji Temple retains strong cultural ties to Prince Shotoku (Seitoku Taishi) and displays the culture of the Asuka Period. However, this Shakyamuni Buddha tisan was created during the Heian Period. The late 10th century (mid-Heian Period) marked a significant shift in Buddhist sculpture. Artists began moving away from the powerful continental styles toward incorporating Japan’s own gentle aesthetic sensibilities. The Kamino itself is situated on an elevated platform north of the main hall of the Saiin Precinct, and while its establishment is traditionally linked to Prince Saibō (Shotoku’s son), the current statue is believed to have been erected during the reconstruction following a fire in the 10th century. This tisan is an extremely important example, demonstrating the transition from Asuka Period styles to the sophisticated techniques unique to the Heian Period.

Features and Appeal

The appeal of this three-figure grouping lies in its gentle expression and harmonious proportions, characteristic of the mid-Heian Period.

Gentle Expression: Unlike the severe, archaic smile found in earlier Asuka Period Buddhist statues, or the mystery and imposing aura of the early Heian Period, the statue features a compassionate and humane expression that seems to envelop the viewer gently.
Single-Block Technique: The sculpture was carved from a single piece of Hinoki cypress wood (ichiboku-zukuri). This technique allows it to maintain a sense of solidity while depicting flowing robes and delicate physical forms, showcasing the pinnacle of contemporary Japanese woodworking skill.
Harmony of the Tisan: The spatial composition—with Shakyamuni Buddha in the center, flanked by Manjushri and Kṣitigarbha Bodhisattvas—embodies the ideal serenity found within Buddhist cosmology.
Pioneer of Wayo Style: Its relatively shallow carving depth and graceful curves make it a masterpiece that marks the establishment of Japan’s unique “Japanese style” (Wayo) sculpture, leading toward the refined Jōchō school style (seen in the main figures of Byōdoin Hōō-dō) completed in the 11th century.