Heian Period
In 784, possibly to escape the power of the Buddhist priests in Nara,
the imperial house moved its capital north, eventually relocating in
794 in what became its home until modern times. Originally called
Heiankyo (“capital of peace and tranquility”), it is known today as
Kyoto. The Heian period (794–1185) of Japanese art takes its
name from the new capital. Early in the period, Japan maintained
fairly close ties with China, but from the middle of the ninth century
on, relations between the two deteriorated so rapidly that court-
sponsored contacts had ceased by the end of that century. Japanese
culture became much more self-directed than it had been in the
preceding few centuries.
ESOTERIC BUDDHISMAmong the major developments
during the early Heian period was the introduction of Esoteric Bud-
dhism to Japan from China. Esoteric Buddhism is so named because
of the secret transmission of its teachings. Two Esoteric sects made
their appearance in Japan at the beginning of the Heian period:
Tendai in 805 and Shingon in 806. The teachings of Tendai were
based on the Lotus Sutra,one of the Buddhist scriptural narratives,
and Shingon (True Word) teachings on two other sutras. Both
Tendai and Shingon Buddhists believe that all individuals possess
buddha nature and can achieve enlightenment through meditation
rituals and careful living. To aid focus during meditation, Shingon
disciples use special hand gestures (mudras) and recite particular
words or syllables (mantrasin Sanskrit,shingonin Japanese). Shin-
gon became the primary form of Buddhism in Japan through the
mid-10th century.
TAIZOKAI MANDARA Because of the emphasis on ritual
and meditation in Shingon, the arts flourished during the early
Heian period. Both paintings and sculptures provided followers
with visualizations of specific Buddhist deities and allowed them to
contemplate the transcendental concepts central to the religion. Of
particular importance in Shingon meditation was the mandara
(mandalain Sanskrit), a diagram of the cosmic universe. Among the
most famous Japanese mandaras is the Womb World (Taizokai),
which usually hung on the wall of a Shingon kondo. The Womb
World is composed of 12 zones, each representing one of the various
dimensions of buddha nature (for example, universal knowledge,
wisdom, achievement, and purity). The mandara illustrated here
(FIG. 8-12) is among the oldest and best preserved in Japan and is
located at Kyoogokokuji (Toji), the Shingon teaching center estab-
lished at Kyoto in 823. Many of the figures hold lightning bolts, sym-
bolizing the power of the mind to destroy human passion. The
Womb World mandara is one of a pair of paintings. The other de-
picts the Diamond World (Kongokai). The central motif in the
Womb World is the lotus of compassion. In the Diamond World the
central motif is the diamond scepter of wisdom. Both of the Toji
mandaras reflect Chinese models.
PHOENIX HALL, UJI During the middle and later Heian pe-
riod, belief in the vow of Amida, the Buddha of the Western Pure
Land, to save believers through rebirth in his realm gained great
prominence among the Japanese aristocracy. Eventually, the simple
message of Pure Land Buddhism—universal salvation—facilitated
the spread of Buddhism to all classes of Japanese society. The mostBuddhist Japan 2158-12Taizokai (Womb World) mandara,
Kyoogokokuji (Toji), Kyoto, Japan, Heian period,
second half of ninth century. Hanging scroll, color
on silk, 6 5 –^58 .
The Womb World mandara is a diagram of the cosmic
universe, composed of 12 zones, each representing
one dimension of Buddha nature. Mandaras played
a central role in Esoteric Buddhist rituals and
meditation.1 ft.