COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
ASIA.1979.205
amicoid
ASIA.1979.205
AMICA ID
false
AMICA Library Year:
1999
aly
1999
AMICA Library Year
false
Object Type:
Sculpture
oty
Sculpture
Object Type
false
Creator Nationality:
Asian; Far East Asian; Japanese
crc
Asian; Far East Asian; Japanese
Creator Nationality
false
Creator Name-CRT:
Japanese
crt
Japanese
Creator Name-CRT
false
Title:
Bodhisattva Avalokiteshvara in the Form of Chintamanichakra (Nyoirin Kannon)
otn
Bodhisattva Avalokiteshvara in the Form of Chintamanichakra (Nyoirin Kannon)
Title
false
View:
Full view
rid
Full view
View
false
Creation Date:
Kamakura period, early 14th century
oct
Kamakura period, early 14th century
Creation Date
false
Creation Start Date:
1300
ocs
1300
Creation Start Date
false
Creation End Date:
1333
oce
1333
Creation End Date
false
Materials and Techniques:
Cypress wood with pigment, gold powder, and cut gold leaf
omd
Cypress wood with pigment, gold powder, and cut gold leaf
Materials and Techniques
false
Creation Place:
Japan
ocp
Japan
Creation Place
false
Dimensions:
H. 19 1/2 in. (49.5 cm)
met
H. 19 1/2 in. (49.5 cm)
Dimensions
false
AMICA Contributor:
Asia Society
oon
Asia Society
AMICA Contributor
false
Owner Location:
New York, New York, USA
oop
New York, New York, USA
Owner Location
false
ID Number:
1979.205
ooa
1979.205
ID Number
false
Credit Line:
Asia Society: The Mr. and Mrs. John D. Rockefeller 3rd Collection
ooc
Asia Society: The Mr. and Mrs. John D. Rockefeller 3rd Collection
Credit Line
false
Rights:
orl
<a href="http://www.asiasociety.org"target="_new">http://www.asiasociety.org</a>
Rights
false
Context:
The introduction of Buddhism to Japan was one of the most important events in Japanese history and had a lasting effect on the development of its thought, art, and culture. According to Japanese sources, Buddhism was introduced from the Korean kingdom ofPaekche in either 538 or 552 as part of a series of diplomatic exchanges that also led to a broader awareness of the beliefs and material culture of China and Korea. The Bodhisattva Avalokiteshvara in the form of Chintamanichakra, represented in this sculpture, was introduced to Japan during the Heian period (794-1185) and became one of the six most common forms of the bodhisattva. The combination of weightiness and bold decoration help date this sculpture to the early 14th century, the closing years of the Kamakura period (1185-1333). The bodhisattva's body was covered with a paste of yellow pigment and gold powder (fundame), much of which has been lost. His eyebrows and mustache were drawn in black ink, and his lips and chignon were painted red.The posture and six arms help identify this as an image of Chintamanichakra. He would originally have held a flaming jewel (chintamani) in his middle right hand, and a wheel (chakra) would have been balanced on the index finger of his upperleft hand. The name of this form of the bodhisattva derives from these two attributes. The wheel symbolizes the Buddhist law, while the jewel of wisdom represents the bodhisattva's ability to grant any wish. His relaxed posture indicates that he is resting in his personal pure land on Mount Potalaka, which traditionally is said to be located in the sea south of India.
cxd
The introduction of Buddhism to Japan was one of the most important events in Japanese history and had a lasting effect on the development of its thought, art, and culture. According to Japanese sources, Buddhism was introduced from the Korean kingdom ofPaekche in either 538 or 552 as part of a series of diplomatic exchanges that also led to a broader awareness of the beliefs and material culture of China and Korea. The Bodhisattva Avalokiteshvara in the form of Chintamanichakra, represented in this sculpture, was introduced to Japan during the Heian period (794-1185) and became one of the six most common forms of the bodhisattva. The combination of weightiness and bold decoration help date this sculpture to the early 14th century, the closing years of the Kamakura period (1185-1333). The bodhisattva's body was covered with a paste of yellow pigment and gold powder (<I>fundame</I>), much of which has been lost. His eyebrows and mustache were drawn in black ink, and his lips and chignon were painted red.The posture and six arms help identify this as an image of Chintamanichakra. He would originally have held a flaming jewel (<I>chintamani</I>) in his middle right hand, and a wheel (<I>chakra</I>) would have been balanced on the index finger of his upperleft hand. The name of this form of the bodhisattva derives from these two attributes. The wheel symbolizes the Buddhist law, while the jewel of wisdom represents the bodhisattva's ability to grant any wish. His relaxed posture indicates that he is resting in his personal pure land on Mount Potalaka, which traditionally is said to be located in the sea south of India.
Context
false
Related Document Description:
'Asian Art in American Museums.' Sculpture Review 33 (Fall 1984), pp. 16-17.
rdd
'Asian Art in American Museums.' <I>Sculpture Review</I> 33 (Fall 1984), pp. 16-17.
Related Document Description
false
Related Document Description:
Asia Society. Handbook of the Mr. and Mrs. John D. Rockefeller 3rd Collection. New York: Asia Society, [1981], p. 92.
rdd
Asia Society. <I>Handbook of the Mr. and Mrs. John D. Rockefeller 3rd Collection.</I> New York: Asia Society, [1981], p. 92.
Related Document Description
false
Related Document Description:
Jenkins, Donald. Masterworks in Wood: China and Japan. Portland, Ore.: Portland Art Museum, 1976, pp. 92-93.
rdd
Jenkins, Donald. <I>Masterworks in Wood: China and Japan.</I> Portland, Ore.: Portland Art Museum, 1976, pp. 92-93.
Related Document Description
false
Related Document Description:
Kurata, Bunsaku, ed. Zaigai Nihon no shiho (Japanese Art Treasures in Foreign Collections). Tokyo: Mainichi Shinbunsha, 1980, vol. 8, pl. 11, no. 9.
rdd
Kurata, Bunsaku, ed. <I>Zaigai Nihon no shiho</I> (Japanese Art Treasures in Foreign Collections). Tokyo: Mainichi Shinbunsha, 1980, vol. 8, pl. 11, no. 9.
Related Document Description
false
Related Document Description:
Lee, Sherman E. Asian Art: Selections from the Collection of Mr. and Mrs. John D. Rockefeller 3rd--Part II. New York: Asia Society, 1975, pp. 66, 100.
rdd
Lee, Sherman E. <I>Asian Art: Selections from the Collection of Mr. and Mrs. John D. Rockefeller 3rd--Part II.</I> New York: Asia Society, 1975, pp. 66, 100.
Related Document Description
false
Related Document Description:
Mayuyama: Seventy Years. Tokyo: Mayuyama and Co., 1976, vol. 2, no. 342.
rdd
<I>Mayuyama: Seventy Years.</I> Tokyo: Mayuyama and Co., 1976, vol. 2, no. 342.
Related Document Description
false
Related Document Description:
Rosenfield, John M. 'The Perfection of Japanese Sculpture.' Apollo (November 1983), p. 429.
rdd
Rosenfield, John M. 'The Perfection of Japanese Sculpture.' <I>Apollo</I> (November 1983), p. 429.
Related Document Description
false
Related Document Description:
Shimada, Shujiro, ed. Zaigai Nihon no shiho (Japanese Art Treasures Abroad). Tokyo: Mainichi Shinbun, 1981, vol. 9, fig. 9.
rdd
Shimada, Shujiro, ed. <I>Zaigai Nihon no shiho</I> (Japanese Art Treasures Abroad). Tokyo: Mainichi Shinbun, 1981, vol. 9, fig. 9.
Related Document Description
false
Related Image Identifier Link:
ASIA.1979.205.a.tif
ril
ASIA.1979.205.a.tif
Related Image Identifier Link
false