Nara Period (710-794)

In the Nara period, the grave atmosphere that had characterized many of the Asuka-period Buddhist sculptures gradually disappears, and the expressions of Buddhist images become more rounded and, so to speak, childlike. More and more they seem to be giving play to "Japanese" sensibilities. The head of a cast-bronze image of the Healing Buddha Yakushi, now preserved at Kofukuji Temple in Nara, was produced in 685 before the Nara period began, but it nevertheless typifies much of the bronze sculpture of the period. Influences from early Tang-dynasty art are felt in its cheerful expression, the aesthetically pleasing arc of the brow, the narrow and elongated eyes, and the smiling lips. The tradition seen in this Kofukuji head is also seen in the bronze Amida Triad figures of the so-called Lady Tachibana Household Shrine at Horyuji. Though small in size, these sculptures are executed with great precision and realism.

The Yakushi Triad at Yakushiji Temple in Nara dates from the beginning of the 8th century and exemplifies the highest level of artistry ever attained in Japanese Buddhist images made of bronze. This work is outstanding, not only technically but artistically. The style may be said to be distinctively Japanese since nothing similar can be found in China, Korea, or India. Another work at Yakushiji, an image of Sho Kannon (Sanskrit: Arya Avalokitesvara), dates from around the same time and is also an outstanding piece of work comparable to the Yakushi Triad.

During the Nara period there were, in addition to works in bronze and wood, many sculptures made of clay or dry lacquer. Among well-known works in clay are the "hidden" image of Shikkongoshin at Todaiji's Sangatsudo in Nara and the images of the Four Deva Kings (Shitenno) displayed in Todaiji's Kaidan'in. Works in dry lacquer include the main object of worship at Sangatsudo, the Fukukensaku Kannon, and images at Kofukuji of the Buddha's ten main disciples and of the supernatural protectors of the faith known as the Eight Legions (Hachibushu). It seems that dry lacquer works were particularly favored in Japan at this time, and many excellent examples which fully utilize the unique qualities of the medium still exist today. However, because dry lacquer sculptures required great quantities of lacquer they were expensive, and by the end of the Nara period most Buddhist sculptures were being done in wood.

(1),(2) Interior of Sangatsudo Hall
Nara period, 8th century
Height of Fukukensaku Kannon 362 cm
(Todaiji Temple, Nara Prefecture)

This hall, also called Hokkedo, escaped the fires that destroyed most other Todaiji buildings during a time of violent political conflict at the end of the Heian period, and it preserves its original architecture as well as the remarkable Buddhist sculptures inside. The main object of reverence, an image of Fukukensaku Kannon, has a solid and heroic grandeur reflecting the style prevalent in other sculptures of the Tempyo era (729-49). The images of the bodhisattvas Nikko and Gekko, standing on either side of the main image, as well as the various other sculptures in the hall, are also typical of the Tempyo style. An image of Shukongoshin, a "hidden image" kept in a wooden case and opened for public viewing only one day each year (December 16), retains its original bright colors.

(3) Seated Image of Birushana Buddha
Nara period, 8th century
Height 303 cm
(Toshodaiji Temple, Nara Prefecture)

This is the main object of reverence in the main hall (Kondo) of Toshodaiji and is over 3 meters high. It is made of dry lacquer, utilizing special techniques developed in East Asia. According to the Bommo Sutra, this Universal Buddha fills the entire universe, while having 10 billion incarnations which preach the Buddhist Law. This image expresses the Bommo Sutra's world view in, for example, the so-called sembutsuko halo behind the head, which has representations of one thousand tiny Buddhas, and the small images of the Historical Buddha attached to each individual lotus petal on the image's pedestal. The entire image is covered with gold leaf, and the eyebrows, eyes and lips are colored. The august face and the overall majestic and strong-willed presence fully express the characteristic features of Tempyo-style sculpture from the mid-Nara period.