10/27/2014

Vairocana Trinity

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Vairocana Trinity - Vairochana Trinity

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

. Twin Mandalas of Vairocana in Japanese Iconography .  
- Introduction -

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- quote
Vairochana becomes a trinity
with Fudo and Aizen,

by means of the symbol of the Chintamani jewel, whose mystic form is that of a circle striving to make itself a triangle--for life, it is said, never completes itself, but is for ever breaking through perfection, in its struggle upwards to the higher rounds of realisation.
...
In Japan the new philosophical standpoint was an advance upon the Hosso and Kegon schools which had taught the union of mind and matter, and the realisation of the Supreme Spirit, in concrete forms, for these thinkers went further than their predecessors, in the effort to demonstrate the idea in practice, claiming their own descent from direct communion with Vairochana, the Supreme Godhead, of which the Sakya-Buddha was only one manifestation. They aimed at finding truth in all religions and all teachings, each of them being its own method of attaining to the highest.
...
Art and Nature were now regarded in a new light, for in every object alike was contained Vairochana, the Impersonal-Universal, a supreme realisation of which was to be the quest of the believer.
...
It was under this influence that Buddhism acquired its great masses of gods and goddesses, alien to the faith itself, but made possible by the new teaching as manifestations of the supreme original Divinity. We find now a systematised pantheon, grouped around the idea of Vairochana, in four main subdivisions --
first Fudo, second Hosho, third Amida, and fourth Sakya,
as representations
(1) of Power, which is knowledge;
(2) of Wealth, which is creative force;
(3) of Mercy, which is Divine intelligence descending upon man; and
(4) of Work, or Karma, the realisation of the first three in actual life on earth, that is, Sakya-Muni.

- source : www.sacred-texts.com

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Trinity of Vairocana, Manjushri and Samantabhadra




This set of three paintings depicts the trinity of Vairocana Buddha (centre), flanked by Manjushri to his left, and Samantabhadra to his right. Vairocana Buddha is known as Dainichi Nyorai in Japan, and as Palushena in China, where as Mahavairocana he is identified as the dharmakaya Buddha who represents the ultimate principal of emptiness or sunyata. As the Primordial or Adi-Buddha Vairocana occupies the central position of the Five Buddha mandala, and the two principal 'womb-realm' (garbadhatu) and 'vajra-realm' (vajradhatu) mandalas of the Shingon tradition.

Vairocana Buddha is white in colour and sits in vajra-posture upon a sun and moon disc, an open pink lotus, and an eight-sided jeweled throne that is supported by lions. He is adorned with all manner of gold and jewel ornaments, divine silk garments, and a golden crown that bears the small images of the Five Buddhas. His ornate halo is ornamented with spheres and curving rays of rainbow light, and both his halo and radiant aura are encircled by a ring of fire. With his two hands he makes the bodhyangi-mudra, or 'gesture of enlightenment', with the fingers of his right hand enclosing the raised forefinger of his left hand. This gesture symbolizes both the union of the vajra (left forefinger) in the lotus (right fingers), and Vairocana encircled by the other four of the Five Buddhas (Akshobhya, Ratnasambhava, Amitabha and Ratnasambhava).

Manjushri is youthful and white in colour, and he displays his unique characteristic of the four crowning topknots of hair that represent the peak of his central abode at Mt Wutai Shan in China. In the posture of royal-ease Manjushri sits upon a sun and moon disc and an open pink lotus, with his left foot resting upon a small lotus pedestal. His lotus seat is supported by another lotus that rests upon the back of his ferocious tawny lion vehicle, which is adorned with jewel ornaments and a silk saddlecloth. Manjushri wears gold and jeweled ornaments, and divine silk garments. With his right hand he holds the vajra-hand of his iron wisdom sword, while with his left hand he holds a scroll text of the Prajnaparamita-sutra.

Samantabhadra is white in colour and sits in sattva-paryanka posture at the centre of a pink lotus that rest upon another lotus supported on the back of his elephant vehicle. This crouching six-tusked white elephant holds a lotus stem in his trunk, and is adorned with jewel ornaments and a silk saddlecloth with a small cloud-borne lotus pedestal in front of it. Samantabhadra wears jeweled ornaments and divine silk garments, and he gazes peacefully downward with his hands palms-folded in front of his heart in the anjali-mudra of adoration.
-  text by Robert Beer
- source : www.tibetanart.com

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



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10/21/2014

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

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Jingū-Ji on Mount Fudaraku (present-day Nikko)
Founded by priest Shōdō

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More temples with this name in Japan
also written : 、神護寺、神願寺、神供寺、神宮院、宮寺、神宮禅院
- source : wikipedia

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- quote wikipedia Jingū-ji -
Until the Meiji period (1868–1912), the jingū-ji (神宮寺, shrine temple)
were places of worship composed of a Buddhist temple and a Shintō shrine, both dedicated to a local kami. These complexes were born when a temple was erected next to a shrine to help its kami with its karmic problems. At the time, kami were thought to be also subjected to karma, and therefore in need of a salvation only Buddhism could provide.
Having first appeared during the Nara period (710–794), jingū-ji remained common for over a millennium until, with few exceptions, they were destroyed in compliance with the Kami and Buddhas Separation Act of 1868.
Seiganto-ji is a Tendai temple part of the Kumano Sanzan Shinto shrine complex, and as such can be considered one of the few shrine-temples still extant.
... a main hall (honji-dō (本地堂)
... a betsu-in (別院, the monks' residence)
... a main priest shasō (社僧) or "shrine Buddhist monk"
- - - - - Kamo Jingū-ji (鴨神宮寺) in Kyoto and Kasuga Taisha Jingu-ji (春日大社神宮寺) in Nara.
Temple-shrine 鎮守社•鎮社, or tutelary shrine Chinjusha with tutelary kami (chinju (鎮守/鎮主)
Miyadera (宮寺, literally "shrine temple") like Iwashimizu Hachiman-gū-ji
Twenty-two Shrine System (二十二社, Nijūni-sha)
- much 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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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.
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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").
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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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. Pilgrimages to Fudo Temples 不動明王巡礼
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



. Sakaki Jinja 榊神社 Shrine - Joetsu, Niigata .
In honor of Yasumasa

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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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. kappa 河童 / 合羽 / かっぱ
Kappa water goblin - Kappapedia .





- source : ameblo.jp/cherryatsuko



- source : p.twipple.jp





A Kappa helmet carved from wood 河童の兜
From Horimasa, master carver
- source : horimasa2006




source : facebook




. . . CLICK here for Photos !


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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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. - 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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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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. . . CLICK here for Photos !

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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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manekineko beckoning cat

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manekineko 招き猫 beckoning cat Fudo Myo-O



. Beckoning Cats and Daruma 招き猫とだるま Manekineko .
- Introduction -


豪徳寺 Gotoku-Ji, Tokyo - see below
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CLICK for original LINK runtatta
painting by runtatta ルンタッタ / ふどうみょうおうにゃんこ

source : runtatta0429.blog8...

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- source : ねこて - nekotemori.blog

. kiri-e, kirie 切り絵 不動明王 paper-cutting .


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- source : 仏像ワールド facebook -
- CLICK for more Fudo photos !


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- source : 藤 直晴 Tou Naoharu


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- source : tukubaskecth.tsukuba.ch



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「不動三尊坐画」

- source : www.roux-art.com/butuga-ten

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. . . CLICK here for Photos !

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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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. Tokyo and Edo Folk Art and Amulets .

Gootokuji 豪徳寺 Gotoku-Ji

- quote -
Gotokuji is located in the quiet Setagaya Ward of Tokyo, away from the hustle and the bustle of the city.



While there are several legends about the origins of this manekineko cat charm, one of the widely known story regards Gotokuji as the place of origin.
Legend holds that the maneki neko originated back in Edo period, when a feudal lord from Hikone (a city in present-day Shiga Prefecture) passed by a temple in Edo. There, he met a cat that beckoned him to come into the temple. The lord followed the cat and decided to stop by the temple; soon after, a thunderstorm came by. The lord, who took shelter at the temple, became thankful of the cat’s deed; eventually, he collected enough funds to rebuild and claim the temple as his family temple, which eventually became Gotokuji.
As time went on, people began to offer maneki neko figurines to the temple as a sign of gratitude when their wishes came true.
- - - - - More photos
- source : tofugu.com/travel -


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