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Essay name: Buddhist iconography in and outside India (Study)

Author: Purabi Gangopadhyay
Affiliation: University of Calcutta / Department of Ancient Indian History and Culture

This work aims to systematically present the development and expansion of Mahayana-Vajrayana Buddhist iconography from India to other countries, such as China, Korea, and Japan. This study includes a historical account of Indian Buddhist iconography and the integration of Brahmanical gods into the Mahayana-Vajrayana phase.

Chapter 4: Japanese Buddhist Iconography (a Comparative Study)

Page:

67 (of 101)


External source: Shodhganga (Repository of Indian theses)


Download the PDF file of the original publication


Copyright (license):

Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0)


Warning! Page nr. 67 has not been proofread.

·151.
Japan this deity is known as Naraen-ten. According to
Japanese belief Visnu-Nārāyaṇa holds unusual strength. Ho
generally rides on Karura i.e. Garuda. The figure of
Naraen-ten generally has one face with two or three arms
or three faces with two arms. When he is three-faced, the
left face is of an elephant or lion and the right face
should assume the face of a boar. Sometimes he has four
or eight arms.
i
Different Japanese texts, such as the Kongō-kai-
Shichi-Shū, Shosetsu-Fudō-Ki provide different descriptions
of the god. According to these texts, the colour of the
body of the god is bluish-black and his hairs are red. The
deity has three faces. The middle face looks like that of
the face of the human being and it has three eyes. The
two side-faces are like those of the animals.
is blue and the right one is white.
The left one
In the Brahmanical texts, the Eghatsaṃhite, the
Vaikhāna sāgama, there are descriptions of Visnu and his
different forms of manifestations. Naraen-ten does not find
any important place outside the texts and the Mandaras in
Japan. The Japanese Naraen-ten has many feature in common
with Brahmanical Viṣnu.
In addition to our above descriptions we may add
that the iconographic concept of Viṣṇu-Nārāyaṇa developed
in China in an interesting manner. The Chinese Buddhist

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