designs from paper to wall by piercing holes in the paper and push-
ing colored powder through the perforations (pouncing). As with the
Buddha triad (FIG. 8-8) at Yakushiji, the mature Tang style, with its
echoes of Indian sensuality, surfaces in this work. The smooth brush
lines, thoroughly East Asian, give the figures their substance and life.
These lines, often seen in Buddhist painting, are called iron-wire
lines because they are thin and of unvarying width with a suggestion
of tensile strength. As in many other Buddhist paintings, the lines are
red instead of black. The identity of the painters of these pictures is
unknown, but some scholars have suggested they were Chinese or
Korean rather than Japanese.
DAIBUTSUDEN, TODAIJIAt the Todaiji temple complex at
Nara, the kondo is known as the Daibutsuden (FIG. 8-11), or Great
Buddha Hall. Originally constructed in the eighth century, the
Daibutsuden was rebuilt in the early 18th century. The Nara period
temple housed a 53-foot bronze image of the Cosmic Buddha,
Roshana (Vairocana), inspired by Chinese colossal stone statues (FIG.
7-14) of this type. The commissioning of Todaiji and its Great Bud-
dha statue (Daibutsu) by Emperor Shomu in 743 was historically
important as part of an imperial attempt to unify and strengthen the
country by using religious authority to reinforce imperial power.
The temple served as the administrative center of a network of
branch temples built in every province. Thus, the consolidation of
imperial authority and thorough penetration of Buddhism through-
out the country went hand in hand. The dissemination of a common
religion contributed to the eventual disruption of the clan system
and the unification of disparate political groups. So important was
the erection of both the building and the Daibutsu that court and
government officials as well as Buddhist dignitaries from China and
India were present at the opening ceremonies in 752. Chinese Bud-
dhist monks also came to Japan in large numbers and were instru-
mental in spreading Buddhist teachings throughout Japan. Sadly, the
current building is significantly smaller than the original. Today the
Daibutsuden has 7 bays. The original had 11. Yet even in its dimin-
ished size, the Todaiji Great Buddha Hall is the largest wooden
building in the world.214 Chapter 8 JAPAN BEFORE 13338-10Amida triad, wall painting formerly in the kondo, Horyuji, Nara
Prefecture, Japan, Nara period, ca. 710. Ink and colors, 10 3 8 6 .
Horyuji Treasure House, Nara.
The murals of the Horyuji kondo represented the Buddhas of the four
directions. Amida, the Buddha of the Western Pure Land, has red iron-
wire lines and reflects Chinese Tang painting style.8-11Daibutsuden, Todaiji, Nara,
Japan, Nara period, 743; rebuilt
ca. 1700.
The Great Buddha Hall of the Todaiji
temple complex at Nara is the largest
wooden building in the world.
Constructed by Emperor Shomu
in 743, it originally had 11 bays
instead of the current 7.Amitabha;FIG. 8-10), the Buddha of immeasurable light and infi-
nite life, ruler of the Western Pure Land, sits enthroned in his para-
disical land, attended by bodhisattvas. The exclusive worship of
Amida later became a major trend in Japanese Buddhism, and much
grander depictions of his paradise appeared, resembling those at
Dunhuang (FIG. 7-15) in China. Here, however, the representation is
simple and iconic. Although executed on a dry wall, the painting
process involved techniques similar to fresco, such as transferring1 ft.