. the tji lecture hall statue mandala 979
be based on Kūkai’s works, such as the Daigoji and Tōji “Benevolent
Kings Five Directions Illustrations.”
The four ritual platforms prescribed by the Ninnō nenju giki and
shown in the Kakuzenshō are illustrated in another source that
illustrates the performance of the rite within the Tōji Lecture Hall
itself. The Ryakuōgonen ninnōkyōbō zakki ,
a Momoyama-period copy of a record for a performance of the Rite
of the Benevolent Kings Sūtra in the Lecture Hall in 1342 (color pl
13), shows the Lecture Hall karma mandala of statues in a manner
consistent with the 922 Fukanreitōki diagram; there are four ritual
dan (platforms), two large and two small, deployed across the altar
for the rite.^55 This is the earliest representation known of the Rite of
the Benevolent Kings Sūtra associated with Amoghavajra’s translation
performed within the Tōji Lecture Hall. It is possible that this tradi-
tion developed late in the history of Tōji; we have also noted that the
markings on the 922 drawing may be later additions.
One fascinating clue to the possibility of an earlier performance in
the hall, which would substantiate the traditional assertions that the
rite was performed at Tōji from 825, is found in unpublished reports
from recent excavations. When the central five buddhas were moved
for repairs begun in 2001, charred remains typical of a goma plat-
form were found at the Heian-period levels of packed earth in the
altar below the Dainichi statue at the center.^56 There is no record of
a goma ritual enacted before the altar was completed and the statues
emplaced, but it appears that goma rites were conducted at the center
of the hall. I do not believe that goma rites occurred only once, likely
first at the consecration of the hall, but that the Lecture Hall served as
a ritual focus for the whole of Tōji until the Kanjōin was completed
around 843 under Jichie.
The Lecture Hall sits at the exact center of the plan of the early
Heian-period monastery. The intention of the altar, thus interpreted,
is a karma mandala (form/activity) that addresses particular levels of
understanding gained by its multiple audiences and their expectations.
(Ninnōkyō-jō, Kakuzenshō 2: 688) for the opening of the Shiki mandara. For the
Fukanreitōki 55 drawing, see BZ 46: 228 (Ninnōkyō-jō, Kakuzenshō 2: 716).
Mitsukoshi honten. Daigoji ten: Hideyoshi, Daigo no, hanami 400-nen; Inori to bi
no denshō 56 1998, 120, figure. 93; 189–90.
Discussion with Mr. Ono of the Office for Cultural Affairs, Tokyo, December 5,
2001, London. Findings as yet unpublished.