12/31/2015

ENTER ... Fudo Myo-O

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.. .. .. .. Welcome to the Fudo Myo-O Encyclopedia
.. .. .. .. and the Japanese Deities!

お不動さま、不動明王にようこそ! 


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Carved by 西村公朝 Nishimura Kocho in 1975
in a keya tree (Torreya nucifera)


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Fudō Myō-ō 不動明王 Fudo Myo-O
- Acala Vidyârâja - Vidyaraja

Who is he? - Introduction


Fudoo Myoo-Oo / Acala Vidyârâja 不動明王
Fudoo Myoo-Oo - Japanese   

19 Characteristic Signs of Fudo Myo-O . 不動十九観

Three Most Famous Fudo . 三大不動尊 Sandai Fudo Son

Fudo Myo-o. Explanation in German. auf Deutsch


CLICK for more photos CLICK for many more photos CLICK for english information


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. - Latest Updates - .

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- - - - - other names

Acalanaatha, Acalanatha, Ācalanātha, Acala-Natha

Aryacalanatha, Āryācalanātha 阿奢羅曩 "immovable Lord"

Fudoo Son, Mudoo Son 不動尊 - 無動尊 Fudo Son, Mudo Son

Fudoo Shisha 不動使者 "Messenger Fudo"
in the sutra 不空羂索神変真言経
- - - - - (messenger of Dainichi Nyorai)
Mudoo Shisha 無動使者

Candacala, Candamaharoshana, Candaroshana, Mahakandaroshana
- as an emanation of Buddha Akshobhya (Tibetan connection)

jigo kongoo - Jigo Kongo, "diamond guardian of compassion"

joojuu kongoo. Jōjū Kongō 常住金剛 joju kongo
"eternally abiding diamond",“eternal and immutable diamond”

Trailokyavijaya

Vajrabhishana, Vajrabisana


- - - - - Sometimes he is even called
不動明はデビルマン Devil man

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There are so many names of temples, people and special Fudo statues, they need a list of their own.

. - ABC LIST - Introduction - .

- AAA - / - BBB - / - CCC - / - DDD - / - EEE -

- FFF - / - GGG - / - HHH - / - I I I - / - JJJ -

- KK KK - / - LLL - / - MMM - / - NNN - / - OOO -

- PPP - / - QQQ - / - RRR - / - SSS - / - TTT -

- UUU - / - VVV - / - WWW -

- XXX - / - YYY - / - ZZZ -



- - - - - as of June 2014
. Contents from A to P .

. Contents from Q to Z .



This is a growing list, please come back!
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My Fudo Myo-O Photoalbum
. . . FLICKR albums . . .

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納め不動、成田山 Osame-Fudo
CLICK for more photos
The Last Fudo Fire Ritual of the Year, Narita-san






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..... Japanese Deities


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12/30/2015

Japanese Deities

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Japanese Buddhas and Deities


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.................. Introducing Buddha Statues


History of Buddha Statues in Japan 仏像の歴史



.. .. .. .. .. .. .. The Nyorai Group 如来


Amida Buddha 阿弥陀如来

Dainichi Nyorai 大日如来 The Great Sun, Center of the Universe

O-Take Nyorai お竹如来

Shaka Nyorai 釈迦如来  Gautama Buddha

Yakushi Nyorai 薬師如来、Buddha of Medicine


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.. .. .. .. .. .. .. The Bosatsu Group 菩薩

. Bosatsu 菩薩  Bodhisattva Group .


Daigen Shuri Bosatsu 招宝七郎大権修理菩薩
monastery-protecting spirit (gogaranjin 護伽藍神)
and temple Anryu-Ji 安竜寺


Fugen Bosatsu 普賢菩薩(ふげんぼさつ) (Samantabhadra)
and the white Elephant


Hoki Bosatsu, Hooki Bosatsu 法起菩薩 ... "Hoodoo Sennin" 法道仙人, Temple Bodaiji 菩提寺, Saint Tokudo 徳道上人



... ... ... Jizo Bosatsu 地蔵菩薩
- with more details -

Ajimi Jizo 嘗試地蔵 and Kobo DaishiKoya san

Jizo as Jigoku Bosatsu 地獄菩薩, Namu Jigoku Daibosatsu
南無地獄大菩薩

Asekaki Jizoo, the Sweating Jizo 汗かき地蔵

Gote Jizoo ごて地蔵 Gote Jizo , Osaka, Kita-Ku
曽根崎警察署の裏

Hadaka Jizoo Naked Jizo 裸地蔵

Hooroku Jizoo ほうろく地蔵 with an earthen pot on his head
(Horoku Jizo 焙烙地蔵)

Miso Jizoo 広島のみそ地蔵

O-Bake Jizoo 化け地蔵 the monstrous Jizo statues Nikko

Omokaru Jizoo, Heavy or Light Jizo おもかる地蔵、重軽地蔵

Shinpei-Ji 心平寺 地蔵  Kencho-Ji, Kamakura

Shioname Jizo 塩嘗地蔵 Salt-tasting Jizo in Kamakura

Yonaki Jizo and babies crying at night 夜泣き地蔵



... ... ... Kannon Bosatsu 観音菩薩

Batoo Kannon, Horseheaded Kannon 馬頭観音

Hakodate 33 Kannon Pilgrimage 西国移土三十三観音, 函館市湯川寺

Hatakiri Kannon はたきり観音さん, Shikoku Henro 10

Jundei Kannon, Juntei Kannon 准胝 観音 Mother of all Buddhas
准胝仏母(じゅんていぶっぽ)

Maria Kannon マリア観音 Christians in Nagasaki

Nyoirin Kannon, Wishfulfilling Kannon如意輪観音
..... Seiryuu Gongen, Dragon Deity Zennyo 清瀧権現

O-Shichi Kannon お七観音 at temple Tanjo-Ji in Okayama 誕生寺 (Tanjooji)

Senju Kannon, with 1000 Arms and Juuichimen Kannon with 11 heads 千手観音, 十一面観音

Shichimen Kannon 七面観音 Nichiren and Mount Minobu
Shichimen Daibosatsu 七面大菩薩

Usuzumi Kannon, Light Charcoal Cherry Tree Kannon 薄墨観音




Kokuuzoo Bosatsu 虚空蔵菩薩 Kokuzo Bosatsu
Akashagarbha Bodhisattva.
Bodhisattva of Wisdom and Memory



Maso Bosatsu, Senrigan and Junpuji 媽祖菩薩, 千里眼, 順風耳

Memyo Bosatsu 馬鳴菩薩. Ashvagosha

Miroku Bosatsu 弥勒菩薩 Maitreya

Monju Bosatsu 文殊菩薩 Manjushri

Myoken Bosatsu (Myooken Bosatsu) 妙見菩薩
and Star Shrines in Japan, Hoshi Jinja 星神社


Seishi Bosatsu 勢至菩薩 Mahasthamaprapta


Sengen Daibosatsu 浅間大菩薩 Deity of Mount Fuji



Daibosatsu is a term of Buddhist origin, and refers to a "great kami that has awakened to the Way of the Bodhisattva."


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.. .. .. .. .. .. .. The Myo-O Group 明王の部

Aizen Myo-O  愛染明王

Daigensui 大元帥明王 Taigen (Atavaka)

Daiitoku Myo-O 大威徳明王 Yamaantaka


. . . . Fudo Myo-O ... see above


Goosanze Myo-O 降三世明王 Gosanze Trilokavijaya


Kujaku Myo-O 孔雀明王 The Pheasant Wisdom King 

Ususama Myo-O 烏瑟沙摩明王
Ucchusma, deity of the toilet

Zao Gongen 蔵王権現


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.. .. .. .. .. .. .. The Ten Group, Tenbu 天部 Deva, Devas

Many of them are devas are deities coming from India and some have shrines with a torii 鳥居entrance gate dedicated to them. The division between Shinto and Buddhism is difficult here, ecpecially since many sanctuaries were erected before the separation of the two religions in Japan in the Meiji period.


Ashura, Asura (あしゅら) 阿修羅


Benzaiten 弁財天, Benten 弁天 Benzai-Ten
..... Benten and the Gods of Water


Bishamonten、Tamonten 多聞天 (Vaishravana) 毘沙門天、毘沙門の使ひ

Bishukatsuma 毘首羯磨 (Vishvakarman ヴィシュヴァカルマン)
自在天王・工巧天・巧妙天

Daikoku Ten 大黒天 Daikoku sama

Dairokuten Ma-O ... 第六天魔王, 大六天 Take Jizaiten 他化自在天

Dakiniten, Dakini Ten (Vajra Daakini) 荼枳尼天

Datsueba 奪衣婆 or 脱衣婆 the Old Hag of Hell

Ebisu ... 夷 恵比寿 恵比須 えびす、エビス God of Good Luck

Enma Ten, Enma Oo (Emma): The King of Hell閻魔天、閻魔王
..... The Ten Kings of Hell, Juu Oo 十王


Gigeiten 伎芸天 Daijizai Tennyo 大自在天女 and
Daijizai Ten 大自在天 (Shiva)

Gohoojin 護法神 Protectors of the Buddhist law


Hotei 布袋 Pu-Tai

Idaten 韋駄天 (Skanda)

Juuni Shinshoo 十二神将 Twelve Heavenly Generals,
12 Warrior Generals

Kankiten (Ganesh) Elephant-headed deity

Kichijoten 吉祥天 Kichijooten (Lakshmi, Shri Mahadevi)

Kishibojin 鬼子母神, Kishimojin, Kangimo, Kariteimo 訶梨帝母

Madarajin, Matarajin, Matara Shin 摩多羅神 Mathara, Mahakala

Mao son 護法魔王尊 Gohoo Maoo Son
and the three sonten 尊天 of Kurama mountain temple

Marishiten 摩利支天 Marishi Ten

Nio, Deva Kings 仁王 (Nioo, Niou)


. Ototen 乙天 Bishamonten .


Shakudaijin 石大神 - near Ogisu, Suzuka-gun, Kyoto
- reference -


Shomen Kongo 青面金剛 Shoomen Kongoo


Taishakuten, Taishaku Ten 帝釈天
Indra, Sakra Deva, Shakra Devanam Indra
and the Koshin Cult (kooshin 庚申, ka no e saru)


The Gods of the four elements 風水天地の神様
水神 Suijin, 風神 Fuujin, 地神 Chijin, 火神 Kajin


Seven Gods of Good Luck 七福神 Shichifukujin 


. Wakaten 若天 Fudo Myo-O .

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Saints and holy figures


Binzuru 賓頭盧 (Pinzuru)

. MORE Fellow Pilgrims .


. Memorial Days of Poets .


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Hibutsu ... 秘仏 ... Secret and hidden Buddha statues

Temples and Shrines of Japan



Busshi 仏師 ... Buddhist Sculptors Gallery




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.. .. .. .. .. .. .. Shinto Deities 神道の神様


. - - - kami 神 Shinto deities - ABC-list - - - .


- - - - - The Gods of Japan and Haiku (kami to hotoke)


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quote
Shingō 神語
A "divine title" affixed to the name of a kami.
A wide variety of titles have come into use in accordance with the unique characteristics of kami, and as a result of historical changes in the way kami have been understood. In the ancient period, the title mikoto was used, while expressions such as myōjin ("shining kami"), daibosatsu (great bodhisattva), and gongen (avatar) came into use as a product of kami-buddha combinatory cults (shinbutsu shūgō). During the Edo period, the title reisha ("spirit shrine") was applied to the departed spirits of human beings.

The title mikoto, written variously with the characters 命 or 尊 was used in ancient classics such as Kojiki and Nihongi as a title of respect for both kami and noble persons. It is believed that mi represents an honorific prefix, while koto means "thing," "event," or "word"; together, the reading mikoto has been interpreted as referring to a "noble personage," "minister" or "medium" (mikotomochi), and "noble child" (miko; see mikogami).

Nihongi differentiates between the usage of characters 尊 and 命 for mikoto, stating that the earlier character is used to refer only to kami of the utmost dignity with direct linkage to the imperial descent, while the latter character is used for all other kami.

The title myōjin 明神 as applied to Japanese kami is believed to evolved from an earlier term myōjin 名神 ("eminent kami"), which was used in ancient works like Engishiki to refer to kami of particularly noteworthy power. Under the influence of the homophonic myōjin 明神 ("shining deity") found in Chinese and Buddhist texts, the latter character combination came to be applied to indigenous kami as well.

Daibosatsu is obviously a term of Buddhist origin, and refers to a "great kami that has awakened to the Way of the Bodhisattva." The title daibosatsu is first seen in 781, when the kami Hachiman was honored with the title Gokoku Reigen Iriki Jintsū Daibosatsu ("Great Bodhisattva of National Protection and Marvelous Spirit Power"). From that time, the title daibosatsu has been applied to numerous other kami, including Fuji Sengen Daibosatsu and Tado Daibosatsu.

Gongen (avatar) is likewise of Buddhist origin, a term deriving from the doctrine of honji suijaku ("original essence, manifest traces"). According to this belief, buddhas may provisionally manifest themselves in this world in the form of kami or deities indigenous to various locales. Some well-known kami bestowed with this title include Kumano Gongen, Kasuga Gongen, and Hakusan Gongen.

The title reisha originates with the Yuiitsu Shinto school of the Yoshida family, which first used the term to refer to a shrine erected over the grave of the school's founder. Mano Tokitsuna's Kokin shingaku ruihen describes reisha as "a general term referring to shrines devoted to the spirits of human beings," but the term was also later used as a title for the kami themselves. Within Yoshida Shintō, the titles reijin reisha and myōjin were all applied to deceased human spirits, and this usage influenced the use of the terms in other schools as well, including Yoshikawa Shintō and Suika Shintō, where they were applied to persons who had mastered the deepest imports of the religion. Some of these individuals included Yoshikawa Koretari, posthumously titled Miaredō Reisha, and Yamazaki Ansai, who was titled Suika Reisha.

Another unusual example of the attribution of shingō to humans is that of Sugawara Michizane, who was titled tenjin or "heavenly deity."
source : Sato Masato, Kokugakuin 2005


More details :
. shinbutsu 神仏 kami to hotoke .
shinbutsu shūgō 神仏習合 syncretism - shinbutsu bunri 神仏分離 separation


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CLICK to look at Japanese Buddha Statues


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My Books in German

Buddhistische Kultgegenstände Japans
by Gabi Greve
(Buddhist Ritual and Ceremonial Tools, butsugu, hoogu)


Ich widme dieses Buch, in grosser Dankbarkeit, einem grossen Sensei, Dietrich Seckel.
Okayama Pref., Japan 1996



Buddhastatuen ... Who is Who,
Ein Wegweiser zur Ikonografie von japanischen Buddhastatuen
by Gabi Greve
1994
(All about Japanese Buddhastatues)
With a Review by Dietrich Seckel


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The best ONLINE introduction !

THE FACE OF BUDDHISM &
SHINTOISM IN JAPANESE ART


! Mark Schumacher !
(I am contributing to this site too.)



Article:
Buddhism and Shinto
Michael Hofmann, March 2010


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Buddha Statues and Japanese Deities by
. Master Carver Enku 円空 .
[1632?~1695]



Shinto deities and haiku by
. Matsuo Basho 松尾芭蕉 - Archives of the WKD .



The first visit or ceremony for a deity is often a KIGO!
. WKD : New Year Ceremonies





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12/29/2015

Fudo Myo-O Introduction

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Who is Fudo Myo-O, the Wisdom King ?

Fudō Myō-ō, Fudoo Myoo-Oo , Fudou Myou Ou 不動明王 Fudo Myo-O
Acala Vidyârâja - Vidyaraja

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- quote
Acala (Skr.: Acala, Achala अचल; "immovable" one)
is a guardian deity primarily revered in Vajrayana Buddhism in Japan, China and elsewhere.

He is classed among the vidyārāja and preeminent among the Five Wisdom Kings of the Womb Realm. Accordingly, his figure occupies an important hierarchical position in the pictorial diagramatic Mandala of the Two Realms. In Japan, Acala is revered in the Shingon, Tendai, Zen and Nichiren sects.



Overview
Descriptions of his physical appearance derive from such scriptural source as the Mahavairocana Tantra (Dainichikyō (『大日経』)) and its annotation.

His face is expressive of extreme wrath, wrinkle-browed,left eye squinted or looking askance, lower teeth biting down the upper lip. He has the physique of a corpulent (round-bellied) child. He bears a sword in his right hand, and a lariat or noose (kensaku (羂索)) in his left hand. He is engulfed in flame, and seated on a "huge rock base" (banjakuza (盤石座)).

Acala is said to be a powerful deity who protects All the Living (sattva, shujō (衆生)) by burning away all impediments (antar-aya, shōnan (障難)) and defilements, thus aiding them towards enlightenment.

In Japanese esoteric Buddhism, according to an arcane interpretive concept known as the "three wheel-embodiments(ja)" or san rinjin (三輪身) Acala and the rest of the five wisdom kings are considered kyōryō tenshin (教令輪身 "embodiments of the wheel of injunction"), or beings whose actions constitute the teaching of the law (the other embodiments teach by word, or merely by their manifest existence). Under this conceptualization, the wisdom kings are ranked superior to the Dharmapala (gohō zenshin (護法善神)), a different class of guardian deities. Nevertheless, this distinction sometimes fails to be asserted, or the two are openly treated as synonymous by many commentators, even in clearly Japanese religious contexts.

The Sanskrit symbol that represents Acala is hāṃ हां ( conventionally transliterated kān (kaan) (カーン)).
However, it has been confounded with the similar glyph (हूं hūṃ), prompting some commentators to mistakenly identify the Acala with other deities. (The Sanskrit symbol is called siddham, bonji (梵字)), or "seed syllable" (zh: bīja, Ja: shuji (種子)).

Some of the other transliterations and variants to his name are Ācalanātha, Āryācalanātha, Ācala-vidyā-rāja. The Hindu form of the deity may also be known as Caṇḍamahāroṣaṇa or Caṇḍaroṣaṇa "the violent-wrathful" one.

History
Originally the Hindu deity Acalanātha (अचलनाथ),
whose name in Sanskrit signifies ācala "immovable" + nātha' "protector, Acala was incorporated into esoteric Buddhism (late 7th century, India) as a servant of Buddha. In Tang Dynasty China, he became Budong (pinyin: Búdòng; Middle Chinese: /pǝw dungx/- 不動, "immovable"), a translated-meaning-name derived from Acala. In turn, the deity was imported into Japan as Fūdō (不動) "immovable") by the priest Kobo Daishi Kūkai (died 835) who was studying in China as a member of the Kentoshi mission, and founded the Shingon sect of Japanese Buddhism.

As the deity's importance waned in India and China (as did the religion itself), the iconic image remained popular throughout the Middle Ages (and into modern times) in Nepal, Tibet and Japan, where sculptural and pictorial representations of them are most often found. Much of the iconography comes from Japan, where a popular cult especially devoted to him has developed.

In Tibetan Buddhism and art, the buddha Akshobhya, whose name also means "the immovable one", presides over the clan of deities to which Ācala belongs. Other sources refer to the Acala/Caṇḍaroṣaṇa as an "emanation" of Akshobhya, suggesting further assimilation.

Acala in Japan
Fudō-myōō (不動明王) is the full Japanese name for Acala-vidyaraja, or Fudō (o-Fudō-sama etc.) for short. It is the literal translation of the Sanskrit term "immovable wisdom king".

Iconography
Acala in Buddhist art since the Heian era has depicted him as angry-faced, holding a vajra sword and a lariat. In later representations, such as those used by the yamabushi monks, he may have one fang pointing up and another pointing down, and a braid on the one side of his head.

The sword he holds may or may not be flaming and sometimes described only generically as a hōken (宝剣 "treasure sword") or as kongō-ken (金剛杵 "vajra sword"), which is descriptive of the fact that the pommel of the sword is in the shape of the talon-like kongō-sho (金剛杵 "vajra") of one type or another. It may also be referred to as sanko-ken (三鈷剣 "three-pronged vajra sword"). However in some cases as in the Akafudo painting, the divinity is seen holding the Kurikara-ken, a sword with the dragon coiled around it.

The flaming nimbus or halo behind the statue is known as the "karura flame", after a mythical firebreathing birdlike creature, the garuda.

The two boy servants who is usually depicted in attendance to Acala are named Kongara (Kiṃkara) and Seitaka (Ceṭaka) though there are said to be eight such boy servants altoghether, and as many as forty-eight servants overall.

His seat, the banjakuza (盤石座 or "huge rock base")   is considered an appropriate iconographic symbol to demonstrate the steadfastness of" the Fudō.

Acala/Fudo Cult
In Japan, Acala became an idol of worship in its own right, and became installed as the gohonzon (本尊) or main deity at temples and outdoor shrines. A famous example is the Narita Fudo, a Shingon subsect temple at Narita-san.

At Shingon Buddhist temples dedicated to Ācala, priests perform the Fudō-hō (不動法), or ritual service to enlist the deity's power of purification to benefit the faithful. This rite routinely involves the use of the ritual burning ceremony, fire ritual or goma (護摩) (Skr.: Homa) as a purification tool.

Lay persons or monks in yamabushi gear who go into rigorous training outdoors in the mountains also often pray to small Ācala statue or talisman they carry, which serve as his honzon. This praciticed path of yamabushi's training, known as Shugendō, predates the introduction of Ācala, so at first adored idols such as the Zaō Gongen who appeared before the sect's founder En no Ozunu or the Vairocana. But eventually Ācala was added to list of deities most typically enshrined by the yamabushi monks, either portable, or installed in outdoor shrines (hokora). These statues would be often placed near waterfalls (a common training ground) and deep in the mountains and in caves.

Ācala also tops the list of so-called Thirteen Buddhas (jūsan butsu (十三仏)). Thus Shingon sect mourners assign the Fudo the "First Seven Days" (Shonanoka (初七日)) of service. The first week is an important observance, but perhaps not as prominently important as the observance of "seven times seven days" (i.e. 49 days) signifying the end of "intermediate state" (bardo).

Literature on Shinto Buddhist ritual will explain that such and such Sanskrit "seed syllable", or mantra or mudra is attendant to each of the "buddhas" for each observance period. But the scholarly consensus seems to be that the invoking of the "Thirteen Buddhas" had evolved later around the 14th century and became widespread by the following century, so this could not have been part of the original teachings by priest Kukai, but rather a later adaptation.
© More in the WIKIPEDIA !


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- quote
Acala Vidyârâja
is one of the Vidyârâjas (Myôô) class of deities, and a very wrathful deity.

He is portrayed holding a sword in his right hand and a coiled rope in his left hand. With this sword of wisdom, Acala cuts through deluded and ignorant minds and with the rope he binds those who are ruled by their violent passions and emotions. He leads them onto the correct path of self control. Acala is also portrayed surrounded by flames, flames which consume the evil and the defilements of this world. He sits on a flat rock which symbolizes the unshakeable peace and bliss which he bestows to the minds and the bodies of his devotees.

Purpose and Vows
Acala transmits the teachings and the injunctions of Mahâvairocana to all living beings and whether they agree to accept or to reject these injunctions is up to them, Acala's blue/black body and fierce face symbolize the force of his will to draw all beings to follow the teachings of the Buddha. Nevertheless, Acala's nature is essentially one of compassion and he has vowed to be of service to all beings for eternity.

Acala also represents his aspect of service by having his hair knotted in the style of a servant: his hair is tied into seven knots and falls down from his head on the left side. Acala has two teeth protruding from out of his mouth, an upper tooth and a lower tooth. The upper tooth is pointed downward and this represents his bestowing unlimited compassion who are suffering in body and spirit. His lower tooth is pointed upward and this represents the strength of his desire to progress upward in his service for the Truth. In his upward search for Bodhi and in his downward concern for suffering beings, he represents the beginning of the religious quest, the awakening of the Bodhicitta and the beginning of his compassionate concern for others.
It is for this reason that the figure of Acala is placed first among
the thirteen deities (juusanbutsu 十三仏).

His vow is to do battle with evil with a powerful mind of compassion and to work for the protection of true happiness. To pray for recovery from illness and for safety while traveling is to rely upon his vow and power to save. Acala is also the guide for the deceased, to help save them and assist them in becoming buddhas for the first seven days after death.

Read more about these 13 deities.
http://www.shingon.org/deities/jusanbutsu/fudo.html

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The 19 characteristics of Fudo Myo-O
... ... ... The 19 Signs ... ... ...


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Firmly Rooted: On Fudo Myoo's Origins
by Richard K. Payne
- source : pdf file on facebook


Read more on this extensive page about Buddha Statues
... Mark Schumacher ...

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12/28/2015

19 Signs

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19 Characteristic Signs of Fudo Myo-O

不動十九観 / 不動十九相観

Fudoo Juukyuu Sansoo
Fudo Jukyu Sanso

Just as Buddha Shakyamuni has 32 characteristic signs, Fudo Myo-O has 19.
They are described in documents of the Tendai sect like the following:

1 He is an incarnation of Dainichi Nyorai.
2 His Mantra has the four letters : a ro kan man .
3 He usually lives in a world of fire.
4 He has the figure of a fat young man, rather unpleasant.
5 He has seven knots in his hair and a lotus blossom on top of them.

6 On his left shoulder a plait of hair hangs down.
7 The wrinkles on his forehead look like water waves.
8 The left eye is closed, the right one wide open. - eyes
9 He bites his right upper lip with the lower teeth and his left lip protrudes.
10 He has his mouth shut strictly.

11 He carries a three-pronged sword in his right hand.
12 He carries a rope in his left hand.
13 He eats the leftover food of ascetic monks.
14 He stands or sits on a throne of stone.
15 His body color is of an unpleasant black-blue-green.

16 His look is fierce and threatening.
17 He has a fiery Garuda bird on his halo.
18 A Kurikara Dragon is wrapped around his sword.
19 He has two child acolytes by his side.


05 - 06 . kami 髪 his hairstyle .
shichi shakei 七沙髻 / benpatsu 一弁髪

07 . suiha 水波相 wrinkles on his forehead .

08 . tenchigan 天地眼 "eyes of heaven and earth" .

09 . kiba 牙 the teeth of Fudo .

11 . gooma riken 降魔利剣 demon-subjugating sharp sword .

12 . kensaku, kenjaku 羂索 rope, lariat, noose .

14 . daiza 台座 seat, throne .

17 . koohai, kōhai 光背 mandorla, halo, Nimbus.

18 . Kurikara sword 倶利伽羅不動剣 .

19 . Sanjuuroku Dooji 三十六童子 36 Attendants .
Kongara 矜迦羅童子(こんがらどうじ)、
Seitaka 制迦童子(せいたかどうじ)

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天台僧 安然が、「不動立印儀軌修行次第」により不動明王を想い従うために唱えたもの

(1)大日如来の化身
(2)真言中に、ア・ロ・カン・マンの4字がある
(3)常に火生三昧(かしょうざんまい)に住んでいる
(4)肥満した童子の姿で、卑しい
(5)頭頂に七沙髻があり、蓮華をのせている

(6)左肩に一弁髪を垂らす benpatsu
(7)額に水波(すいは)のようなしわがある suiha
(8)左の目を閉じ右の目を開いている
(9)下の歯で右上の唇を噛み、左下の唇の外へ出している
(10)口を硬く閉じている

(11)右手に三鈷剣を持っている
(12)左手に羂索を持っている
(13)行者の残食を食べる
(14)大磐石の上に安座している
(15)色が醜く青黒

(16)奮迅して憤怒している
(17)光背に迦楼羅炎(かるらえん)がある
(18)倶力迦羅竜が剣にまとわりついている
(19)両脇に2童子が侍している
source : www.kyototsuu.jp



Buddha Shakyamuni
Signs of a Great Man 32 and 80

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10/21/2014

Jingu-Ji Fudo temples

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Jinguuji 神宮寺 Jingu-Ji

This refers to a temple within a shrine compound.

. Jinguuji 神宮寺 Jingu-Ji temples .  
- Introduction -

- - - There are some Fudo temples with this name:


82 - 神宮寺
. 足立百不動 100 Fudo Temples in Adachi .

25 - 持明院 金沢市神宮寺 - Ishikawa
. 北陸三十六不動尊霊場 Hokuriku - 36 Temples .

02 - 神宮寺 大獄不動 - Oita
. 九州三十六不動尊霊場 Kyushu - 36 temples .

24 - 丹生山 神宮寺 - Mie
. 東海三十六不動尊霊場 Tokai - 36 temples .


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Jingu-Ji 神宮寺
Hiroshima 広島県福山市駅家町
1186 Ekiyacho Oaza Kamiyamamori, Fukuyama, Hiroshima





- source : facebook

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Jinguji-temple Fuchu 広島県府中市栗柄町2987番地
is located at Kurihara-cho south of the city, called with the different name of "Ajisai-dera"(hydrangea's temple).
Roughly 3000 plants of 80 kinds of hydrangea are blooming in a hectare of the property.
Every year, Ajisai festival takes place from early June to late June. "Fuchu Folk Museum" in the property is exhibiting over 10.000 pieces of antiques and others.
- source : visithiroshima.net


another Jingu-Ji in Hiroshima
1206 Mukaishimacho, Onomichi, Hiroshima 722-0073


More temples with this name in Japan
- source : wikipedia

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. Pilgrimages to Fudo Temples 不動明王巡礼
Fudo Myo-O Junrei - Fudo Pilgrims .



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10/10/2014

Genzu Mandala

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Genzu Mandala 現図曼荼羅


- source : chinaalacarte.web

黄不動 Yellow Fudo
平安時代(12世紀) 京都・曼殊院 Manshu-In Monzeki


. Mandala 曼荼羅 and Fudo Myo-O .
- Introduction -


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The Iconography of Fudo in the Genzu Mandala
Fudo Myo-o: (Acalanatha Vidyaraja) in Art and Iconography of Japan
- source : Sampa Biswas - Book

"He is shown as a plump boy of vulgar appearance and with an angry face. The color of his body is red or yellow or black or blue. His hair is arranged in seven knots, these denote the seven kinds of illusions, and one knot hanging down is to represent his loving kindness for sentient beings. His face wears an angry expression and he shows his tusk-like teeth.
He sits upon a stone that represents his immovability and ability to conquer evil, around him are flames which signify the burning up of all the illusions of sentient beings. An eight-petalled lotus grows from the top of his head."

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- quote
Genzu mandala.
A version of the *Taizoukai mandara 胎蔵界曼荼羅 that is widely used today in Japan. The original version, brought to Japan from China by *Kuukai 空海 (774-835), was kept at Touji 東寺 (Kyoto), but because it began to show signs of wear in Kuukai's later years, a copy was made in 821 (Kounin 弘仁 12), this first copy is known as the Kounin version. The version presently used at Touji is the fourth copy, made in the Genroku 元禄 era (late 17c), and is known as the Genroku version.

In addition, three mandala *mandara 曼荼羅, fragments were discovered in 1954 in the attic of the treasure house Houzou 宝蔵 at Touji, and of these the so-called kouhon 甲本 (version A) is thought to be a fragment of the second copy of the Genzu mandara, made in 1191, while the so-called Einin 永仁 version is thought to be a fragment of the third copy, made in 1296 (Einin 4).

The Genzu mandara is considered to have been brought to completion by Kuukai's teacher, Huiguo (Jp: Keika 恵果, 746-805), and it represents the final form of the Taizoukai mandara, which evolved from the mandala of the DAINICHIKYOU 大日経 (Sk:Vairocanabhisambodhi-sutra via the *Taizou zuzou 胎蔵図像 and *Taizou kyuuzuyou 胎蔵旧図様. Its composition varies somewhat, but it consists of approximately 400 deities systematically arranged in 12 sections called Chuudai hachiyouin 中台八葉院, Henchi-in 遍知院, Jimyouin 持明院, Rengebu-in 蓮華部院, Kongoushu-in 金剛手院, Shaka-in 釈迦院, Kokuuzouin 虚空蔵院, Monju-in 文殊院, Soshitsuji-in / Soshitchi-in 蘇悉地院, Jizouin 地蔵院, Jogaishouin 除蓋障院 and Gekongoubu-in 外金剛部院.

Compared with the approximately 120 deities mentioned in the DAINICHI-KYOU this represents a more than threefold increase in the number of deities. The term genzu 現図 (current depiction) was first used by Godai-in Annen 五大院安然 (841-889/898?) of the Tendai 天台 sect. Later, in his SHOSETSU FUDOUKI 諸説不同記 a detailed comparison of the iconography of the deities depicted in the Taizoukai mandara, the imperial prince and Buddhist priest Shinjaku 真寂 (886-927) used the term to designate the orthodox Taizoukai mandara as transmitted by Kuukai in contradistinction to that brought to Japan by Shuuei 宗叡 (809-884) and that preserved in the Tendai sect, and it subsequently passed into general usage.

The term genzu should therefore be used to refer to the current depiction of the Taizoukai mandara. There are, however, some art historians who use the term Genzu Kongoukai mandara 現図金剛界曼荼羅 to refer to the current depiction of the *Kongoukai mandara 金剛界曼荼羅, viz. *Kue mandara 九会曼荼羅, but this usage is inappropriate. To date examples of the Taizoukai mandara that have been discovered are slightly different than the Shouei versions and Tendai version alluded to by Shinjaku, but the differences between these versions and the Genzu mandara are not as marked as those between the Genzu mandara and the Taizou zuzou and Taizou kyuuzuyou and they may therefore be regarded as variants of the Genzu mandara in a broad sense?.
- source : JAANUS

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Twin Mandalas Of Vairocana In Japanese Iconography
Lokesh Chandra / Nirmala Sharma

The mandalas or psycho—cosmograms reached Japan through great Indian teachers like Vajrahodhi, Amohavajra and Subhakara.. The Japanese Twin Mandalas represent innate Reason and primal Enlightenment. harmonising in Compassion and Dynamis. Herein the sadhaka identifies himself with the forces that govern the universe, and collects their thaumaturgical powers within himself. The Light that burns within spreads out and is diffused, guiding towards noble paths.

As pointed out above, the iconography pertains to the Twin Mandalas of the Mahakaruna— garbha—mandala and the Vajradhatu-mandala, which were taken to Japan by Kobo Daishi 774-835) from China, where he had gone in search of the Transcendental Path of Mantrayãna. Kobo Daishi inherited the Tantric tradition of Amoghavajra (705—774) “the Master of Eloquence and Wide Wisdom”, whose genius was responsible for the translation of the Vajradhan texts on the contemplative system of Esoteric Yoga, which was visualised in the iconics of the present mandalas.Kobo Daishi was initiated by Hui-kuo (746-805) who was a direct disciple of Amoghavajra. In 806 Kobo Daishi returned to Japan, with profound Gods born unto him, with homa consuming baser passions, his total being illumined by a new vision.

While Kobo Daishi carried the sutras expounding the Vajradhatu, he also took along with his Pictorial representation in the form of two mandalas. Hui-kuo had them drawn, for the sake of Kobo Daishi, in accordance with the Tattva-samgraha, by the famous painter Li-chên assisted by more than ten other artists. These Twin Mandalas found their efflorescence and fruition in Japan. The mandalas brought by Kobo Daishi are now lost, but from them were painted the Takao Mandalas in AD 824 in gold and silver lines on purple damask silk in polychrome. The present woodkut version goes back to the Takao Twin Mandalas through Ken-i’s monochrome copy drawn in AD 1035 on the 200th anniversary of the nirvana of Kobo Daishi.
snip
A fundamental work for the philosophic and artistic understanding of the theory and graphic representation of the mandalas in general and especially in the Shingon tradition of Japan. Details the philosophy, patriarchs and sacred canon of Mantrayana. its ulterior development into two branches in Japan, the nature and different kinds of mandalas, as well as their classification and essential principles. The twin mandalas of Vairocana based on the Mahãvai rocana-sutra and the Sarvatathãgata-tattva-sangraha are detailed in all aspects: their basic ideas, their interrelationship and differences in character, their configuration and symbolism.
The iconography of all the deities is given at length from the root text, from the Hizoki of Kobo Daishi, and from the graphic representation which is the prime theme of the work. The work ends with the doctrine of Shingon (Mantrayana), its differences from exoteric or “popular” Buddhism, the three universals, the triple mystery, the four kinds of dharmakãyas, the stupa of five circles, the five knowledges, the three degrees of Tantric abhiseka (empowerment), bodhicitta and so on. It is a sine qua non for the comprehension of the history, iconography and aesthetics of niandalas with their inexhaustible Olympus of divine beings symbolising the mystic experience in the plenitude of ecstasis.
snip
The nine submandalas of the Vajradhãtu-mandala were put together by Hui-kuo to correspond to the imperial city of Ch’ang-an. Nine has played a crucial role in Chinese perceptions: the Imperial Palace had nine halls, the celestial sphere has nine divisions, both in Buddhism and Taoism, heaven is ‘nine enclosures’ (chiu ch’ung). The Imperial metropolis was sanctified by this novenarian mandala. It represents the six mandalas of the first section of the Sarva-tathagata-tattvasamgraha (STTS, nos.1-6), two mandalas of its second section of ferocious divinities (nos.8, 9), with the naya-mandala (no.7) of the anuttara-yoga tantras in between. The first six mandalas pertain to two kramas: (i) utpanna-krama and (ii) sampanna-krama.

The above has been summarised below for clear comprehension:
Six mandalas of section 1 of the STTS:
Utpanna-krarna (emanation of the divinities)
1. basic mandala
2. dhãrani-mandala of consorts (represented in the Sino-Japanese graphic representation as symbols, because the Chinese emperor could not worship goddesses).
3. karma-mandala, same as no.1, but the divinities are metallic for ritual (karma) unctions.
4. dharma-mandala, divinities addorsed by a vajra. Sampanna-krama (merge into the primordial unity of Vairocana in two steps)
5. caturmudrã-maiilala (merge into the four Buddhas)
6. ekamudrã-maiala (all merge into Vairocana) Anuttara-yoga tantra
7. naya-mandala of concupiscent Vajrasattva accompanied by four nayikas
Two mandalas of section 2 of the STTS
8. Trilokyavij aya-karma-maiiçlala for ritual (karma) of ferocious manifestations of the divinities of no.1. Trilokavijaya Vairocana is the central Tathagata of the mandala, while the ferocious emanation of Akobhya is Trailokyavijaya. The STTS consistently calls this the Trilokavijaya-mahãmaiidala (and not Trai°)
9. Trilokavijaya-samaya-maiidala has the symbols (samaya) of no.8

The pair of the mandala was made by Hui-kuo, the seventh patriarch of Esoteric Buddhism. Kobo Daishi inherited it from him and designated them Genzu mandala or prevalent version, as contradistinguished from the other versions transmitted by the ãcãryas i.e. Subhãkarasithha and Amoghavajra. The colored illustrations are reproduced in this volume from the two hanging silk scrolls of the Muromachi period (1336-1568) preserved at the Kongobu-ji monastery, Koyasan. Both are 204.4x159.Scm in size, magnificent in the sunyata of their subdued colors of contemplative silence.

Dr. Tajima has used the woodcut version of the Chokoku-ji (Hase-dera) monastery in Nara, the grand monastery of the Busan school, engraved by Hasegawa Toshuku in 1834, at the request of devoted monks and pious donors. The woodcut mandalas measure 1.63 x 1.36cm. They are based on a copy from the crypt of the school of the monastery (kangaku-in); whose period could not be ascertained. The original master who inspired this project was the Vinaya-ãcãrya Bankei of the Jiko-ji monastery, but he regretted that he had neither the resources nor the youth to accomplish it. He left it to his disciples with the hope that nothing will give him greater joy than the accomplishment of the design of the Two Mandalas for the conservation of Dharma. Acarya Bankei has the glorious fortune to know that his disciples carried it out, a hundred years thereafter Venerable Ryujun Tajima wrote on it in French so that the Dharrna is known to the Western world, and now we have translated it into English so that it becomes a global heritage. These mandalas are external signs of the mystery behind Being as well as the path leading to it. They are the traditional symbols to attune the mind to divine worlds by the inner experience of contemplation.

Mandala in the Atharvaveda Pratisakhya, Mahãbharata, Manu and Yajnyavalkya is a province, country, a neighbouring state with whom a king has to maintain political and diplomatic relations. From the political context it became the symbolic space of contemplation with inextricable complexity of philosophic depth, the insatiable embodiment of enlightened meditation to lift the veil of cosmical consciousness in the placid and threatening iconism of the divinities. Here are the sparkling mind waves of the Twin Mandalas of Mahãvairocana ‘The Great Sun’ in the graphic and philosophic formulations of the Sino-Japanese tradition.
Just as the Sun Vairocana fecunds the earth from his remote majesty, likewise “inspite of passions in this world, Bodhi is not far off, the paradise is well nigh”.
- source : www.exoticindiaart.com

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The Matrix and Diamond World Mandalas in Shingon Buddhism
Adrian Snodgrass
The Matrix and Diamond World Mandalas in Singon Buddhism surveys and re-interprets the vast work of traditional and modern Japanese scholarship on the twin Mandalas. Adrian Snodgrass of the University of Sydney (Australia) has spent several years of detail the iconography of each and every deity of these two Mandalas as well as to bring out their traditional symbolism that reflects the Tantric thought in its earliest phases. Tantrism or Mantrayana reached China and Japan earlier than it did in Tibet. Hence the great importance of Shingon, as Japanese Matrayana is known, for the history of Tantras and the earlier foundations of this philosophical system that blossomed into the overflow of art in Japan and Tibet, where it flourishes to this day.



The book presents the theories and practices connected with the two Mandalas as followed by the Shingon Sadhakas. It translates and paraphrases materials from three primary and three secondary sources: the Mahavairocana-sutra (Dainichikyo), the Vajra-Sekhara-Sutra (Kongochokyo), Subhakarasimha's (Zemmui's) Dainichikyosho ("Commentary on the Mahavairocana-sutra"), the Mikkyo-daijiten ("A Dictionary of Esoteric Buddhism"), the Bukkyo-daijiten ("A Dictionary of Buddhism") and Toganoo Shoun's Mandara no Kenkyu ("Studies in the Mandala").
snip
III. The Matrix Mandala:
12. The laying out of the Matrix Mandala.
13. The Subhakarasimha and Amoghavajra interpretations of the Matrix Mandala.
14. The Genzu Matrix Mandala.
15. The layers of the Mandala and the Buddha bodies.
16. The layers of the Mandala and the stages to awakening.
17. The three sections of the Matrix Mandala.
18. The central Dais Eight-Petal mansion.
19. The five Buddhas and the four Bodhisattvas of the central mansion.
20. The universal knowledge mansion.
21. The mansion of the Mantra holders.
22. The Avalokitesvara mansion.
23. The Vajrapani mansion.
24. The Sakyamuni mansion.
25. The Manjusri mansion.
26. The Sarva-nivarana-viskambhi mansion.
27. The Ksitigarbha mansion.
28. The Akasagarbha mansion.
29. The Susiddhi mansion.
30. The mansion of the external Vajra section.
snip
- source : www.vedicbooks.net

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Shrine with Mandalas of the Two Worlds
(Ryokai Mandara)

Kamakura period/13th century
Important Cultural Property



This board-painting-type Ryokai (Two Worlds) Mandala is enshrined in a small elegant shrine-like container called a Zushi, which has similar double doors on the front and the back so that the mandalas can be appreciated from either side.

The painting is done on a white pigment-applied cloth pasted on a cypress board and features elaborate details in each small section. The design follows that of the Genzu Mandala brought into Japan by Kukai. However, the Taizo-kai (Womb World) mandala differs from that of Genzu Mandala in that the Kokuzo-in is divided into upper and lower parts and the Senju Kannon and Kongozao Bodhisattva representations are relatively small in the upper part. This Ryokai Mandala excels in decoration, such as the use of kirikane (a technique to cut gold/silver leaf into strips or different shapes and paste it on designs) lines in dividing lines, halos, the clothing lines of the primary deity and the complicated ground patterns in the Taizo-kai mandala and in the mesh-like patterns surrounding the Shiinkai in the Kongo-kai (Diamond World) mandala.

The deities are painted in flesh color with shades of red and drawn with thin sumi lines. The clothes are painted in vermilion, red or aerugo, while the clothing lines are drawn in black. The petals of the lotus pedestal are painted in vermilion and red and outlined in white. The child-like facial expressions on the deities, the bright high-quality pigments and the beauty of the intricate kirikane patterns and the coloring all contribute to convey the atmosphere of the late Heian period. The year of creation must be after the early Kamakura period. The black lacquered small Zushi was created during the same period and represents the traditions of the late Heian period. This Manadala was originally owned by Shojuraigoji Temple.

- source : www.emuseum.jp

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Mandalas for Meditation
. Mandala Therapy - Introduction .

. Mandala of all kinds .


- further reference -

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. - Join Fudo Myo-O on facebook - Fudō Myō-ō .

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. Pilgrimages to Fudo Temples 不動明王巡礼
Fudo Myo-O Junrei - Fudo Pilgrims .



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10/08/2014

Mitooka Hakusui

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Mitooka 水戸岡仏像彫刻研究所
Buddha Statues Store and Research


大阪市旭区高殿4-15-8
4 Chome-15-8 Takadono, Asahi-ku, Ōsaka

水戸岡伯翠 Mitooka Hakusui




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- source : www.m-butsuzou.com/


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Statue with Fudo holding his Kurikara sword

神代楠一木造 made from one piece of very old kusunoki 楠 camphor



- source : www.m-butsuzou.com


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from the collection of 徳原 Tokuhara Kensetsu
(水戸岡仏像彫刻研究所に通い始めてからの作品)



300 mm high




180 mm high

- source : www.n-109.com/series2

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模刻で学ぶ仏像彫刻 ―
興福寺・阿修羅像を主に法隆寺・百済観音、浄土寺阿弥陀如来による

水戸岡伯翠 Mitooka Hakusui

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Fudo Myo-O Junrei - Fudo Pilgrims .



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kabuto helmet

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kabuto 兜 / 冑 / かぶと helmet
and Fudo Myo-O 不動明王


. musha ningyoo 武者人形 Samurai Dolls in armour .  
- Introduction -
They are decorated for the Boy's Festival on May 5.
warrior dolls - kabuto ningyoo かぶと人形 "helmet dolls"


. yoroi Fudoo 鎧不動 Fudo on and in armour .

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- quote
Kabuto (兜, 冑) is a type of helmet first used by ancient Japanese warriors, and in later periods, they became an important part of the traditional Japanese armour worn by the samurai class and their retainers in feudal Japan.

Japanese helmets dating from the fifth century (long before the rise of the samurai class) have been found in excavated tombs. Called mabizashi-tsuke kabuto (visor-attached helmet), the style of these ancient helmets came from China and Korea and they had a pronounced central ridge.

The kabuto was an important part of the equipment of the samurai, and played a symbolic role as well, which may explain the Japanese expressions, sayings and codes related to them. One example is katte kabuto no o o shimeyo (lit. "Tighten the string of the kabuto after winning the war"). This means don't lower your efforts after succeeding (compare to "not to rest on one's laurels").
Also, kabuto o nugu (lit. "to take off the kabuto") means to surrender.

- - - - - Parts of the kabuto
datemono だてもの ( 立物 (たてもの)tatemono) - crest on the helmet
various crests worn on the top (kashiradate 頭立), back (ushirodate 後立), sides (wakidate 脇立) or front (maedate 前立) of a Japanese helmet (kabuto).
- source : wikipedia

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兜の前立ては倶利伽羅龍王
Kurikara Dragon Deity as front crest



From the Tokugawa clan of Kii 紀伊徳川家伝来
- source : nekoarena.blog31 -


. Kurikara 倶利伽羅 the Sword of Fudo Myo-o .


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不動明王の持つ三鈷剣をモチーフにした前立
sanko-ken 三鈷剣 "three-pronged vajra sword"



- source : fuhrinkazan.blog87


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mitsukuwa, mitsu kuwa 三ツ鍬形 / ken 劍
(kuwagata 鍬形 front piece)
劍 - sword of Fudo Myo-O



劍 (不動明王の象徴といわれている)を立てた鍬形
- source : www.kingyo-ya.com


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Helmet of 榊原康政 Sakakibara Yasumasa (1548 - 1606)
徳川四天王 one of the four famous retainers of Tokugawa Ieyasu



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不動明王。江戸期の兜 helmet from the Edo period




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with Sanskrit letters for Dainichi Nyorai 大日如来
政宗 Masamune




- source and more helmets : blog.goo.ne.jp/nf6ecvga


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く徳川四天王の一人榊原康政の兜
with the design of Yasumasa's helmet for a teeshirt or sweatshirt



- source : www.colors-ysn.com/products

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Tokugawa Shitenno 徳川四天王 four famous retainers of Tokugawa Ieyasu
Two of them have Fudo Myo-O's sword as helmet crest:


CLICK for more photos !

Honda Tadakatsu 本多忠勝 (1548–1610)
Ii Naomasa 井伊直政 (1561–1602)
Sakai Tadatsugu 酒井忠次 (1527–1596)
Sakakibara Yasumasa 榊原康政 (1548–1606)
- - - More in the WIKIPEDIA !

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. Pilgrimages to Fudo Temples 不動明王巡礼
Fudo Myo-O Junrei - Fudo Pilgrims .



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Rockefeller collection

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Rockefeller collection


- quote
Mr. and Mrs. John D. Rockefeller 3rd Collection of Asian Art



Fudo Myo-o (Achala Vidyaraja)
Japan; Heian (794-1185) to Kamakura (1185-1333) period, late 12th century
Cypress wood with traces of pigment and cut gold leaf
H. 19 1/4 in. (48.9 cm)

Fudo Myo-o ("Immovable Wisdom King")
is the most important of a group of five deities, each of whom represents the wrathful energies of a Buddha and has the power to convince the reluctant to accept the Buddha's teachings. Fudo Myo-o is an emanation of Dainichi (Vairochana), the Cosmic Buddha. This image of Fudo Myo-o was once part of a group of five sculptures and would have been placed in the center of the other four myo-o ("wisdom kings").

Fudo Myo-o's dark skin, fierce expression, fangs, and bulging eyes indicate his power to vanquish all demons. His sword cuts through delusion and the lasso he carries pulls even the most wayward beings toward the path of salvation. The statue was made of Japanese cypress (hinoki) using the joined woodblock method of construction. In this technique, different parts -- such as the head, hands, feet, and torso -- were carved from separate pieces of wood, the head and torso were hollowed out, and then the pieces were assembled. After joining, the sculpture was covered with a gessolike material and painted and decorated with cut gold and silver leaf (kirikane).

- source : www.asiasocietymuseum.org


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Fudo Myo-O Junrei - Fudo Pilgrims .



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kiri-e paper-cutting

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kiri-e, kirie 切り絵 不動明王 paper-cutting

kirigami 切り紙 "cut paper"
Scherenschnitt

. Kiri-E, kirie 切り絵 paper-cutting pictures 切り絵 .
- Introduction -


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- source : plaza.rakuten.co.jp/bakarin

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- source : ねこて - nekotemori.blog


. manekineko 招き猫 beckoning cat Fudo Myo-O .


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. Pilgrimages to Fudo Temples 不動明王巡礼
Fudo Myo-O Junrei - Fudo Pilgrims .



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