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Jûichimen Kannon,Eleven-Headed Kannon
 
Images
Parts
スライドショー
National treasure
1 hanging scroll
Color on silk
height 169.0cm width 90.0cm
Heian period, 12th century
Nara National Museum
1176(絵217)
This painting depicts a Jûichimen Kannon(Eleven-Headed Kannon, Skt. Ekadasamukha) facing towards the viewer's left. The deity's right hand, held at waist level with a rosary around the wrist, is in the hand gesture (Skt. mudra) symbolizing the fulfilling of desires (J. yogan'in); the left holds a vase containing a red lotus flower. The eleven heads atop the image include three with faces like those of bodhisattvas, three with angry expressions, three with fangs protruding upwards, one laughing face, and on the very top, the face of a buddha.

The iconography is based on the form of the Jûicimen Kannon discussed in the Heart Sutra of the Divine Incantation of the Eleven Heads (J. Jûichimen shinju shingyô), translated into Chinese by the priest Xuanzang (J. Genjô, 602-664) during the Tang dynasty (618-907). Unlike esoteric iconic depictions, in which the image faces directly forward, Kannon here is turned slightly diagonally suggesting the artist's attempt to create a more naturalistic space. Kannon is not portrayed in formal meditation posture but with his right foot relaxed. This stylized pose, as well as the ornate details of the large floral canopy and the aureole that resembles openwork carving, make this painted image appear to be a rendition of an actual Buddhist sculpture.

The body of the image is painted in a light pink hue with a dark cinnabar outline creating a soft, rounded effect. Delicate cut gold leaf (J. kirikane), overlaid on the ground patterns and the main motifs, adorn the intricate layers of his robe. Decorating the dais and canopy are designs created in cut gold leaf and gradations of silver arranged like bamboo leaves (J. sasa rindô). This motif of bamboo leaves and that of the chrysanthemum rings (J. kikka danmon) in cut gold leaf are thought to have been introduced from Song dynasty (960-1279) China. Painted silver, with the lotus stem visible within, the vase that Kannon holds resembles Song glassware. Sumptuous and splendid, these elements typify the gorgeous forms characteristic of Buddhist painting of the Heian period (794-1185).

This work was passed down until modern times in Hokki-ji Temple. Located nearby is Hôryû-ji Temple, which owns fragments of Heian period Buddhist paintings that display a similar pattern of strong gradation of pigments. This raises the possibility that the Jûicimen Kannon took its inspiration from classical paintings like those on the walls of Hôryû-ji's Golden Hall.