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ART AND ARCHITECTURE OF THE JAPANESE NARA PERIOD

Introduction

Japanese Nara period is a remarkable era in the entire Japanese history. It is the time when

Buddhism was having a strong influence on Japan's politics, culture, as well as art and

architecture. Moreover, the Chinese T ' ang Dynasty too had a great influence on every aspect

of Japan.

The main focus of this report is on the art and architecture of the Nara period. Moreover, an

attempt has been made to show how the techniques and styles developed throughout the

period with Buddhism and Chinese influence. This contains a brief description on the

historical background of the era allowing the reader to have better understanding about the

subject matter. Since there are many artifacts created during this period, I have attempted to

pick some of the important creation from every possible category such as art, architecture,

masks and sculpture. There is a total of nine creations and each are described under physical

properties, formal elements, subject matter as well as an overall analysis. The report is

concluded with a discussion including my personal opinions as well an overall conclusion of

the facts, details and ideas presented in the report.

Historical Background

Japan is an East Asian country which holds a grand and proud history. Along the timeline of

the Japanese history, the Nara period which dates from AD 710 - 794 plays a major role: It is

the period where Japan's first permanent capital was established. Though "Heijo-kyo" is

considered as the capital which marks the emergence of the Nara period, throughout the era,

the capitol was moved to "Nagaoka-kyo" as well as "Heian-kyo". According to historians, the

name "Nara" is said to be derived from the Korean word for 'country' (Nara Period nurtures

Chinese culture. 2010).

The Chinese "T 'ang" Dynasty was flourishing at this era, and therefore, had great influence

over Japan's cultural, social, economical and religious development. As a result, the Nara

period's political system was formed according to the "Ritsuryo" system. The emperor was

considered as the ruler of the country; Emperor "Shomu" and "Shotoku" are important figures

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in this period. There were eight ministries which the 'Grand Council of State' controlled,

while the country being divided into provinces connected by roads and controlled by

governors. As society was highly agricultural during the Nara period, the land was a major

economic factor. Therefore, the land was allocated to people based on taxation.

Buddhism was introduced to Japan by China, and it became the state religion of this period

and was highly flourishing. Buddhism was so much strongly stabilized during this era, that it

even influenced the political system including the culture and art. As a result, huge

landscapes were reserved for temples; hundreds of temples were built in enormous sizes

(some seven-storied) Old stones (The Monuments of Art History. n.d.).

The T 'ang dynasty influence was also on the art and architecture. Art was highly used for

religious and cultural works: Therefore, the state sponsored for art and this marked the

flourishing of the "Tempyo" culture. Most works were bronze or wooden. Traditional

Japanese art techniques were established during this period: They used silk-like/soft paper

and drew with ink, watercolors, and sometimes even used silver. The drawn art was arranged

into hand-scrolls (Nara Period nurtures Chinese culture. 2010).

Yet, several natural disasters as well as poverty due to high taxation occurred and eventually

resulted in the downfall of this era.

Todaiji Temple

This is a significant landmark in Nara and is considered as the head temple of all provincial

Buddhist temples: built by Emperor Shomu with the intension of strengthening Buddhism in

Japan. It consists of several buildings that are spreaded around a vast area with 57m length

and 50m width. "Daibutsuden" or Todaiji's main hall is considered as the world's largest

wooden building. Moreover, this building houses a bronze statue of Lord Buddha, which is

considered as the largest in Japan. The "Nandaimon Gate" is found at the entrance of the

temple, which is guarded by 28 foot tall, two statues representing 'Nio Gardian Kings'.

Records indicate that it was built by 2,600,000 people, and at that time its height was only

second to the Egyptian pyramids. (Figure - 01) (Todaiji Temple. n.d.).

Great Buddha (Daibutsu)

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This great statue is situated in the Daibutsuden of the Todaiji Temple. This 16m (52feet) tall,

70m circumference bronze statue is considered as Japan's largest bronze statue. The statue

depicts the Vairocana of Lord Buddha. Japanese refer Vairocana as the bliss the body of Lord

Buddha as well as the concept of emptiness in Buddhism. This statue went through several

conflicts and warfare, and therefore partly destroyed. Moreover, two Bodhisatva statues can

be seen on the right and left. After later reconstruction, the only original parts remaining are

the lotus petal throne and a drapery part of the left side. Ancient records say that a bankruptcy

in the era was created due to excessive use of valuable material from the state property.

(Figure - 02 ) (Japanese sculpture. n.d.).

Kofukuji Temple

This is one of the four great temples of the Nara period. This is originally a Fushjiwara clan-

Hosso Buddhist temple which was to pray towards the recovery of their clan leader's illness:

In 710 it was moved to Nara. It consists of a Three-story pagoda on the west and a Five-story

pagoda (Gojunto) on the on the East. The Five-story Pagoda is of 50.1m in height and is

considered as the second highest pagoda in Japan. Moreover, there is a The image yakushi

Nyorai (the Healing Buddha) is situated in the Eastern Golden Hall (Tokondo), which houses

the relic - wooden Monju (Bodhisatva of Wisdom). Furthemore, the two Octagonal halls are

an important part of this temple (Figure - 03) (Japanese sculpture. n.d.).

Shi-tenno (The Four Heavenly Kings)

She-tenno is also considered as the “Guardian kings” or “Directional Guardians” who

protects Buddhism from all evil coming from all four directions. This concept is originally

from India, which was then passed on to Tibet, Korea, and Japan.

These painted clay sculptures are of life size, and the expressions, attributes and dynamics are

shown subtly. Moreover, iconography and motifs are used very well: the guardians

movement trampelling on a demon signifies their mighty spirit; the swords of the guardians

symbolize the “Triple Gems” of Buddhism - Buddha, Dhamma, Sangha (Figure -04)

(Japanese sculpture. n.d.).

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Nikko and Gakko

These 746AD, 7 1/2 feet in height clay statues represent Brahma and Indra. Nikko

symbolizes Bodhisattva of Sunlight while Gakko symbolizes Bodhisattva of Moonlight.

Typically Nikkō is to the left and Gakkō to the right of the central statue. Nikko and Gakko

usually appear as attendants of Yakushi Nyorai (Buddha of Medicine and healing). Yet, it is

assumed that the two Bodhisatvas on the sides of Daibutsu (The Great Buddha) (Figure - 05 )

(Japanese sculpture. n.d.).

Shikkongo Shin

Shikkongo Shin, or Vajradhara, is a form of Indra. The name “Indra” denotes “Thunderbolt

Bearer." According to Japanese belief and history, Indra is considered to be the deliverer of

thunderbolt from his right hand in order to fight against the enemies of Buddhism.

The two Nio (Kongo Rikishi, or Vajrapani) which protect temple gates is the usual form of

Shikkongo Shin. Hence, sculptures of Shikkongo Shin in his single form, such as here, are

relatively uncommon.

This painted clay statue is approximately 5 1/2 feet tall, and times to 733. According to

ancient records, it was considered as a "secret image" (hibutsu) to be displayed only on

special occations. (Figure - 06 ) (Japanese sculpture. n.d.).

Kneeling woman

This sculpture was created in the Nara period (710-794), early 8th century. This is a part of a

bigger group of small clay figures in the five-story pagoda at the Horyuji, one of the initial

and most essential Buddhist temples in Japan. It is 22.9cm in height. The pagoda and some

other buildings at this location are said to have been built in the late 7th or early 8th century.

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Four descriptions of clay sculptures demonstrating important events in Buddhism are cited in

the first level of the pagoda. (Nara Period nurtures Chinese culture. 2010).

It has been recommended that this kneeling woman symbolizes either a mourner in the clay

sculpture display that illustrates the demise of Shakyamuni Buddha, which is in the north side

of the pagoda, or a fellow of the audience viewing a debate between an educated laymen,

Vimalakirti and the Bodhisattva of Wisdom, Manjushri, which is a graphic description from

the pagoda's east side. The figure is made of sandy white clay that is reinforced by an inner

wooden frame with wire coverings. Touches of white slip persist on the woman's face and

garments. This blunder was likely once painted over with colors as there are fragments of

black color in her hair (Figure -07) (Nara Period nurtures Chinese culture. 2010).

Gigaku Mask

This is specialized wooden mask, used for a dance drama. This is special to Japan to because

this mask is the first of its kind and is considered as one of the oldest version of masks in the

world. This mask was introduced to Japan as a result of introduction of the “Gigaku” play (an

outdoor play), imported from China by the musician Mimashi. The cultural invasion in Japan

is seen here, because this mask is created using a Chinese model. Like many sculptures of

this period, features of the face are immensely highlighted. Special characteristic of this mask

is that, the expressions of it gives out a comic effect. This effect is kind of rarely seen in the

Nara period. The Flourishing of this mask is seen in the Nara period (Figure – 08). (Origin &

India. 2010).

A Segment of a Daohokobutsu Kegongyo (Avatamsaka Sutra)

This is a fragment of a handscroll (24.8 x 53.7 cm) on the Avatamsaka Sutra (Kegongyo) of

the Todaiji temple, is evidence for the early practice of using precious material for

transcribing Buddhist texts. The letters are written in silver on indigo paper ( Indigo paper -

paper coated with rice paste and indigo dye). A unique style has been followed when writing

these: Thick downward strokes with exaggerated hooks. Since there was a belief that the

people who are involved in handscroll acquire spiritual merit, people wrote more handscrolls.

(Nara Period nurtures Chinese culture. 2010).

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Discussion

As mentioned in the introduction, the art and architecture of the Nara period were influenced

by Korea, China, India, previous Japanese eras and specially the T ‘ang Dynasty. This is

clearly seen in the style of shaping the eyes of sculptures: Though in the sculptures of earlier

eras the eyes were done in the shape of almonds, later it was shaped as long slit eyes as was

done inTang Dynasty. Yet, it is also seen that the artists and the architects of the Nara period

have tried to modify and come up with a unique style from the styles they acquired from

other dynasties and eras. This is clearly shown in the unique characteristic of expressing the

expressions, attributes, drapery, and dynamism: each aspect is well highlighted. For example,

in Shi-tenno, the warrior-like look is vivdly shown, while the position of hands and legs

shows strength and balance. Another example is the important parts of a temple: Pagoda, Shi-

tenno, Large Buddha statue and Nikko and Gakko. Another major aspect seen in these works

is that their main subject matter is a Buddhist concept. Moreover, the “Kneeling woman”

figure implies that apart from important characters in Buddhist context, they have also tried

the show the reality of the common people. Overall, most creations are done in Bronze, clay

or wood. Moreover, the immense use of color not just in art but in clay sculptures is a another

magnificent facts about the creations of this period

Conclusion

Creations of a magnificent era, is a source of highlighting the cultural, social, political and

creative aspects of the time. Moreover, it generates its techniques and styles to next era or

generation. The artifacts of the Nara period is an exemplification for this. When considering

all the facts in this report, it is clear that the art and architecture in the Nara period are

influenced by several neighboring countries, dynasties and previous eras, as well as

developed and flourished throughout the period by improvising their own ideas and

generating a unique style.

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Figure - 01 (Todaiji Temple) Figure - 02 (Daibutsu)

Figure - 03 (Kofukuji Temple)

Shi-tenno Figure - 04

Figure - 05 (Nikko and Gakko)

Figure - 06 (Shikkongo Shin)

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References

Japanese sculpture. (n.d.). the free encyclopedia. Retrieved from http://en.wikipedia.org

Figure - 07 (Kneeling Woman)

Figure – 08 (Gigakomask)

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Kōfuku-ji. (n.d.). the free encyclopedia. Retrieved from http://en.wikipedia.org

Nara Period nurtures Chinese culture. (2010). Retrieved from

http://heritageofjapan.wordpress.com

Old stones: The Monuments of Art History. (n.d.). Retrieved from http://www.art-and-

archaeology.com

Origin & India. (2010). Retrieved from http://www.onmarkproductions.com

Todaiji Temple. (n.d.). Retrieved from http://www.japan-guide.com