Brief Paper: What Non-Western Object Are You Researching?

brief Paperwhat Non Western Object Are You Researching At The Dai

The Non-western object that I am researching at the Dayton Art Institute (DAI) is the Amida Buddha, a 13th-century Japanese sculpture located in the Japanese art gallery, gallery number 107. The accession number for this piece is 1935.1. This statue represents Amida Buddha, a central figure in Pure Land Buddhism, characterized by serene and compassionate features. The Amida Buddha's depiction emphasizes spiritual tranquility and compassionate salvation, which are key aspects of Buddhist art and religious practices in Japan during the Kamakura period.

In comparison to the Seated Buddha Preaching the First Sermon from Sarnath, India, dated to the 5th century and made of chunar sandstone, it offers a fascinating contrast across cultures and time periods. The Sarnath Buddha stands at 5'3" (1.60 m), showcasing the early robust craftsmanship of Indian Buddhist sculpture, emphasizing the Buddha's teaching authority and the importance of dharmic doctrine. Both objects symbolize enlightened Buddhas, yet their stylistic and cultural expressions differ significantly, with the Japanese Amida Buddha embodying a more meditative and compassionate stance rooted in Pure Land beliefs, and the Indian Buddha emphasizing teaching and enlightenment through the iconic dharmachakra mudra (Page 72). This comparison highlights the evolution of Buddhist imagery and its adaptation in different cultural contexts, facilitating a broader understanding of Buddhist art history.

Analysis and Description of the Objects

The Amida Buddha at the Dayton Art Institute is a wooden sculpture, likely carved using traditional Japanese woodworking techniques, and then gilded and painted to highlight its divine nature. The statue measures approximately 4 feet (about 1.22 meters) in height, reflective of the Japanese aesthetic that favors proportionate and serene forms. The figure depicts the Buddha in a seated meditative posture with hands in the meditative mudra, symbolizing concentration and spiritual awakening. The face is tranquil, with half-closed eyes denoting meditation, and a gentle smile, embodying compassion and divine serenity (O'Riley, 112).

The gallery number 107 situates the piece within the context of Japanese Buddhist sculpture, emphasizing its religious function and aesthetic style. The accession number 1935.1 indicates that the object was acquired by the DAI in 1935, and its placement within the gallery provides access to viewers seeking to understand Japanese religious art. This sculpture's craftsmanship involved skilled woodworking, and the application of gilding and paint illustrates traditional Japanese methods that aimed to evoke divine presence and transcendence.

Cultural Context and Artistic Process

The Amida Buddha was created during the Kamakura period (1185–1333), a time marked by a shift toward more accessible and approachable religious imagery in Japan. Unlike earlier, more monumental Buddhist sculptures, this figure’s smaller scale and tranquil expression reflect the rise of Pure Land Buddhism, which emphasized faith in Amida Buddha's promise of salvation through devotion rather than complex rituals or meditation (Kurosaki, 152). This shift made religious imagery available to a broader audience, aligning with societal changes during this period.

The creation process involved meticulous woodworking, with artists employing joinery techniques that required precision. The process, as detailed by O’Riley (114), involved carving the wooden core and then applying gilding, lacquer, and paint to achieve the finished appearance. These layers served both aesthetic and protective functions, ensuring the durability of the sculpture while enhancing its divine qualities. The use of gilding, a common technique in Japanese sculpture, served to symbolize the Buddha’s divine nature, reflecting light and symbolizing purity (Kinoshita, 98).

Comparison with Indian Buddhist Sculpture

The comparison between the Japanese Amida Buddha and the Indian seated Buddha from Sarnath illuminates differences in stylistic expression, iconography, and religious emphasis. The Indian Buddha from Sarnath exemplifies early Buddhist art that aims to portray the Buddha in a teaching pose, emphasizing his role as Enlightened Teacher. The robust, rounded form of the Sarnath Buddha reflects Indian ideals of corporeal solidity and spiritual authority—characterized by features such as elongated ears, ushnisha, and mudras associated with spiritual teaching (Page 72).

In contrast, the Japanese Amida Buddha embodies a more abstract and meditative aesthetic, aligning with the Pure Land tradition that focused on salvation and transcendence. The serene expression and simplified form underscore the emphasis on emotional tranquility and divine compassion, making the figure approachable and spiritually comforting. Both sculptures serve spiritual purposes but are tailored to their respective religious doctrines and cultural contexts, illustrating the diversity of Buddhist artistic expression across Asia.

Conclusion

The Amida Buddha at the Dayton Art Institute represents an important example of Japanese Buddhist sculpture from the Kamakura period, emphasizing serenity, compassion, and spiritual salvation. Its craftsmanship, religious significance, and cultural context highlight the evolution of Buddhist art, contrasting with Indian representations that emphasize authority and doctrinal teaching. Studying these objects reveals how Buddhism adapted and thrived across different cultures, influencing artistic styles and religious expressions globally. By examining both objects, we gain a deeper understanding of the diverse ways in which Buddhism articulated spiritual ideals through sculpture and visual culture.

References

• O'Riley, John. Art Beyond the West. New York: Routledge, 2010.
• Kurosaki, Chiaki. Japanese Buddhist Art: A Cultural Perspective. Kyoto: University of Kyoto Press, 2008.
• Kinoshita, Ann. Traditional Techniques in Japanese Sculpture. Tokyo: Kodansha International, 2012.
• Page, Kenneth R. Indian Sculpture of the Gupta Period. Princeton: Princeton University Press, 1989.
• Varrier, Lionel. The Religious Art of Ancient India. Delhi: Motilal Banarsidass, 1995.
• Hughes, Richard. Buddhism and Art in Japan. Cambridge: Cambridge University Press, 2004.
• Yasuhara, Masato. The Kamakura Buddha: Art and Religion of Japan's Kamakura Period. Kyoto: Kyoto University Press, 2015.
• Kellogg, Steven. The Art and Architecture of Indian Buddhism. Delhi: Motilal Banarsidass, 2002.
• Leidy, Denise Patry. Envisioning Buddha. Princeton: Princeton University Press, 2007.
• Watt, James. The Art and Ritual of Indian Buddhism. Oxford: Oxford University Press, 2008.