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Reposted by Buddhas in the West Material Archive

Buddhas in the West Material Archive @buddhasinthewest.bsky.social · 13h

The Taiyū-in Shrine, in Nikko, is the final resting place of shōgun Tokugawa Iemitsu, one of the "Great Unifiers" of Japan.

The compound is punctuated by several ornate gate houses, including the one here known as Yashamon for the Buddhist guardian figures protecting it. 🧵
🗃️ 📜 #Japan #夜叉門

The image depicts a traditional Japanese structure known as the Yashamon gate at the Nikko Buddest Temple. The architecture features an intricately designed gate with a large, curved, sloping roof adorned with ornate wooden carvings and colorful patterns in gold, red, blue, and green. The gate is flanked by two columns, each with a statue placed inside a niche. The entrance has a pair of elaborately decorated doors, closed shut. In the background, lush greenery and trees surround the temple area, providing a serene natural setting. There are additional smaller structures visible on either side of the gate, creating a harmonious architectural ensemble.

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Buddhas in the West Material Archive @buddhasinthewest.bsky.social · 13h

The fierce white-skinned yakṣa on the right is Kendara who carries a weapon on his shoulder.

Due to the warrior nature of these images another name for this gate was sometimes used in turn-of-the-century guidebooks: the Demon Gate.
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The image depicts a traditional sculpture of a fierce-looking figure placed within an alcove. The figure stands with one arm raised, holding an object resembling a rod or weapon. It features exaggerated facial expressions, with an open mouth and intense eyes, contributing to its fierce appearance. The body is robust, with a pronounced midsection, and it is clothed in draped garments with visible folds and textures. The statue's coloration is a combination of earthy tones with hints of green and red.

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Buddhas in the West Material Archive @buddhasinthewest.bsky.social · 13h

As one walks through Taiyū-in Shrine, the Yashamon is first seen atop a flight of steps, but if you cross the threshold and turn around, two yakṣa peer back at you.

The blue figure on the left is Umarokya holding a bow and arrow. 5/6

Image shows a closer view of the carved and painted sculpture set within an ornamental archway. The structure features a detailed figure standing prominently in the center. This figure appears to be a humanoid form with distinct features. Its skin is painted in pale blue, and it wears a garment adorned in orange, green, and white hues.

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Buddhas in the West Material Archive @buddhasinthewest.bsky.social · 13h

Not as grand or sophisticated as Nikko's main attraction, Tōshō-gū, the Taiyū-in Shrine still displays highly skilled craftsmanship.

Looking closely, the Yashamon is covered with delicately carved peonies (painted light blue on the photo), and thus is also called Botanmon, or the Peony Gate. 4/6

Image shows a closer view of the roof brackets and delicate carving of the peonies.

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Buddhas in the West Material Archive @buddhasinthewest.bsky.social · 13h

This photograph was taken in the late 1880s or 1890s and most likely represents one of the many Japanese-owned photography studios that catered to foreign visitors. 3/6

Image shows the photograph, curling at its edges, on top of a wooden table.

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Buddhas in the West Material Archive @buddhasinthewest.bsky.social · 13h

Completed in 1653, Iemitsu's mausoleum blends both Shinto and Buddhist architectural styles and elements.

The Yashamon is the third gate within the compound and houses four icons of weapon-wielding yakṣa (J. yasha) who have history in Buddhist Asia as temple guardians. 2/6

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Buddhas in the West Material Archive @buddhasinthewest.bsky.social · 13h

The Taiyū-in Shrine, in Nikko, is the final resting place of shōgun Tokugawa Iemitsu, one of the "Great Unifiers" of Japan.

The compound is punctuated by several ornate gate houses, including the one here known as Yashamon for the Buddhist guardian figures protecting it. 🧵
🗃️ 📜 #Japan #夜叉門

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Reposted by Buddhas in the West Material Archive

Buddhas in the West Material Archive @buddhasinthewest.bsky.social · 2d

Nōfuku-ji, a Buddhist temple in the port city of Kobe, Japan, was reportedly founded by the monk Saichō in 805.

A thousand years later, the colossal Hyōgo Daibutsu was built on temple grounds in 1891, but the statue did not survive beyond World War II. 🧵
🗃️ 📜 #Japan

The image depicts a colossal statue of Vairocana Buddha sitting in a meditative pose, with detailed curls on the head and serene facial features. The statue is positioned on a pedestal and surrounded by rocks and foliage. To the left of the Buddha, there is an ornate vertical column topped with a golden ornament. A red postage stamp is affixed to the upper left corner. The sky is a gradient of soft blue and orange hues, colored by hand.

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Buddhas in the West Material Archive @buddhasinthewest.bsky.social · 2d

The statue was dismantled under the Ordinance on the Collection of Metals issued as part of Japanese war efforts during WWII.

In 1991, one hundred years after the original was complete, a new Hyōgo Daibutsu was consecrated and remains today at Nōfuku-ji.
#Buddhasinthewest

Image shows detail of the collotype print, including the application of hand coloring.

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Buddhas in the West Material Archive @buddhasinthewest.bsky.social · 2d

Like the Kamakura Daibutsu, the outdoor setting allowed visitors an easy opportunity to have photographs taken in front of the colossal statue. 4/5

Image shows a magnifying globe highlighting a man sitting in the temple grounds.

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Buddhas in the West Material Archive @buddhasinthewest.bsky.social · 2d

Guidebooks in the early 20th century refer to Nōfuku-ji as a worthy tourist destination when traveling through Kobe.

Equally, Japanese postcard companies often used imagery of the Hyōgo Daibutsu; here we see a card made by Ueda Photo, one of the largest publishers during the late Meiji era. 3/5

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Buddhas in the West Material Archive @buddhasinthewest.bsky.social · 2d

Commissioned by a local paper merchant, the bronze icon stood just under 15 meters (48 ft.) in height, but remained exposed and uncovered by a shrine hall.

The Hyōgo Daibutsu represented Vairocana Buddha, the same figure enshrined at Tōdai-ji, in the ancient capital of Nara. 2/5

Image shows the postcard on top of a wooden table.

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Buddhas in the West Material Archive @buddhasinthewest.bsky.social · 2d

Nōfuku-ji, a Buddhist temple in the port city of Kobe, Japan, was reportedly founded by the monk Saichō in 805.

A thousand years later, the colossal Hyōgo Daibutsu was built on temple grounds in 1891, but the statue did not survive beyond World War II. 🧵
🗃️ 📜 #Japan

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Reposted by Buddhas in the West Material Archive

Buddhas in the West Material Archive @buddhasinthewest.bsky.social · 4d

Writing in 1790, William Hurd noted the icons of Ceylon were "fantastic and monstrous," while one, "formed like a giant," was called "Buddu."

The accompanying engraving of the Buddha shows a curious bearded figure with a tall crown and sword held aloft in his right hand.🧵
🗃️ 📜 #SriLanka

The image is a detailed engraving showing a religious ceremony. Central to the scene is a statue of a deity, depicted standing on a raised platform. The statue is adorned with a crown and holds a sword in its right hand. Surrounding the platform, a group of people are engaged in worship, gesturing and offering items towards the statue. On the left side, a person kneels, extending an offering. The setting appears to be an ornate room with religious imagery and weaponry on the walls.

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Buddhas in the West Material Archive @buddhasinthewest.bsky.social · 4d

Despite Hurd's caption citing the "ceremonies of adoration paid to the idol Buddu," the illustration reflects much of the confusion over Buddhism at the time.

The original engraving made for Van Spilbergen, held by the Rijksmuseum, can be viewed here: tinyurl.com/msxm74bu
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Image shows detail of the engraving., including the fine line work to render the icon’s face.

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Buddhas in the West Material Archive @buddhasinthewest.bsky.social · 4d

The king’s image with crown and sword were reprinted in Theodor de Bry’s Petit Voyages in 1605, but by the following century, possibly under the editorial hand of Picart, the image was treated as the Buddha.

Supplicants with offerings were added to the scene to exemplify a religious setting. 4/5

Image shows a magnifying globe highlighting offerings being presented to the icon.

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Buddhas in the West Material Archive @buddhasinthewest.bsky.social · 4d

Key elements of the iconography are seen in an engraving from documents prepared by Joris van Spilbergen, member of the first Dutch embassy to Ceylon in 1602.

According to Van Spilbergen, the image was part of King Vimaladharmasūriya's "coat of arms," and thus depicted the Ceylonese royalty. 3/5

Image shows a magnifying globe highlighting the sword held aloft.

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Buddhas in the West Material Archive @buddhasinthewest.bsky.social · 4d

Hurd's engraving was not original, it was copied from Bernard Picart's widely circulated Ceremonies and Religious Customs published between 1723–1743.

The sword, unexpected for a buddha’s iconography, is not addressed in Picart's text, moreover, we now know the image has a non-Buddhist origin. 2/5

Image shows the engraving on top of a wooden table.

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Buddhas in the West Material Archive @buddhasinthewest.bsky.social · 4d

Writing in 1790, William Hurd noted the icons of Ceylon were "fantastic and monstrous," while one, "formed like a giant," was called "Buddu."

The accompanying engraving of the Buddha shows a curious bearded figure with a tall crown and sword held aloft in his right hand.🧵
🗃️ 📜 #SriLanka

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Reposted by Buddhas in the West Material Archive

Buddhas in the West Material Archive @buddhasinthewest.bsky.social · 7d

Located in the mountains of Yunnan, China, the Qiongzhu Temple houses a collection of fantastic Buddhist statues.

This Thousand-Armed Guanyin icon is surrounded by over 200 arhat disciples, comprising part of a Five Hundred Arhat image collection over a century old. 🧵
🗃️ 📜 #Sinology #筇竹寺

The image shows a black and white photograph of a Guanyin statue with multiple arms, centrally placed within a room. The statue is elaborate, with several radiating arms each holding different objects. It stands on a pedestal in front of an intricate backdrop that appears to include swirling cloud-like patterns. Surrounding the central figure are smaller statues or carvings located on two tiers of platforms resembling a theater or gallery setting. The upper tier seems to contain seated figures in rows, while the lower level hosts standing figures clothed in traditional attire. The room appears to be part of a temple or monastery, characterized by wood and stone structures.

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Buddhas in the West Material Archive @buddhasinthewest.bsky.social · 7d

Records reveal the images were made by an artist from Sichuan, Li Guangxiu, who along with several assistants crafted the arhat icons over a period of seven years (1883-1890).
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Image shows detail of the halftone print.

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Buddhas in the West Material Archive @buddhasinthewest.bsky.social · 7d

In addition to the main hall, the arhat statues were further divided between two halls on temple grounds, each constructed with three rows of shelving to hold the numerous icons.

Each painted statue is about one meter in height. 5/6

The image shows a page from the magazine article highlighting two photographs featuring assemblies of Buddhist arhats. The upper section depicts a group of monks, dressed in traditional robes, seated and standing in various poses, with expressions ranging from contemplative to animated. The monks are closely positioned, creating an intimate grouping within a dimly lit setting. The bottom section displays another group of monks, also in robes, positioned both seated and standing. This group includes monks holding objects such as staffs, further enriching the scene with a sense of activity. The entire composition is monochromatic, emphasizing contrasts in light and shadow, and is part of a historical art piece.

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Buddhas in the West Material Archive @buddhasinthewest.bsky.social · 7d

The French text cites the Samaññaphala Sutta to give context to the arhats, who are the Awakened disciples of the Buddha.

In East Asian, the arhats are often shown as having curious physical characteristics; here we can spot one arhat with a long, craning arm reaching up to hold the moon. 4/6

The image comprises a vintage newspaper page featuring two black-and-white photographs and extensive text. The left photograph depicts intricately carved dragons and Buddha figures inside a temple. The figures are large, ornate, and appear to be made of wood with detailed artistry. The dragons wrap around the pillars, and several Buddha statues are visible in the background. The right photograph displays a group of arhats portrayed in a lively manner, one as if reaching towards celestial elements above them. The scene is dramatic, with dynamic postures suggesting movement or divine interaction. The surrounding text is in French and details the historical context and description of the images.

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Buddhas in the West Material Archive @buddhasinthewest.bsky.social · 7d

The photos seen here were printed in L'Illustration, reputedly the first international illustrated magazine published out of Paris.

This issue was released in December 1927, containing what the editor believed were otherwise unpublished photographs of Qiongzhu Temple. 3/6

Image shows the cover of the magazine with two men in military attire shaking talking to each other in a large building.

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Buddhas in the West Material Archive @buddhasinthewest.bsky.social · 7d

While the temple was founded in the 13th century, a devastating fire allowed major reconstruction and expansion projects under the Qing Emperor Guangxu.

Three new buildings, completed in the 1880s, were used for housing newly commissioned clay statues of the Five Hundred Arhats. 2/6

Image shows the halftone print on top of a wooden table.

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