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My first impression of this Shaka Buddha was that it is very delicate.
Every element contributes to a feeling of delicacy-- the fingers, lips, eyelids
and folds of the drapery are slender, refined, and graceful. Their subtle
expression contributes to the feeling of courtliness that is characteristic to
the Fujiwara style, and the pot-belly and gentle curves of the face and neck
also add to the impression of courtly sensuality and refinement. The statue's
size is intimate, its presence in the room is one not of boisterousness or
monumentality, but of subtle weight and honor. The wood of the statue itself
is delicate in the thin mandorla and folds of the drapery, and the simplicity
of the surfaces accentuates this quality. The serenely closed eyes and subdued
expression communicate a profound feeling of enlightenment and peace. Even the
decorative embellishment on the mandorla and lotus-base are restrained in order
to balance the ceremonial holiness of the Buddha with a profound sense of peace
and enlightenment. The overall mood of the piece is one of refinement and
grace; the symmetry of the mandorla and lotus accentuate the orderliness of the
sculpture, as do the regular curls of hair covering the head. The folds of the
Buddha's robes are simplified and smooth, adding to the impression of order and
refinement.
What struck me most on first viewing this sculpture was the hands.
They are amazingly delicate, carved with skill and subtlety. Each is extended
in a graceful mudra, the middle finger inclined slightly toward the viewer.
They are not exact representations in terms of surface detail, having no
wrinkles or folds, but the expression captured by them is very obviously real.
The lack of texture in the hands and face, and the rather cylindric forms of
the head, neck and fingers show a connection with earlier, more archaic forms,
but the slight departure of the pose from a strict columnar or iconic form
indicates the exploration of the Heian period, and the overall courtliness
places it squarely in the Fujiwara phase. The lack of contrapasto in the pose
is another Fujiwara characteristic, since Fujiwara sculptors often eschewed the
sensuously curving bodies typical of earlier Nara sculptures.
The finish of this piece is also interesting. It is predominantly
brownish-grey now, but traces of the original paint can be seen. It is hard to
tell what the original effect of the sculpture was. It appears to have been
painted fairly realistically instead of gilded. The traces of paint seem to
indicate that the simplicity of the carved surface was carried over into the
finish of simple paint, reinforcing the feeling that the artist strongly
favored refined simplicity over ornateness. The construction of the statue is
interesting too-- the Buddha is carved from one piece of wood and the mandorla
and lotus base are attached to him. The mandorla has two holes in the back,--
one behind the body and one behind the head, and it seems that if the statue
was positioned with any light or a reflective source behind it, it would shine
a subtle halo around the body and head of the Buddha. This subtle effect would
seem to fit with the mood of the piece-- its emphasis on subtlety and
simplicity balanced with decorative elements fitting to the holiness of the
Buddha.
The emphasis on courtliness has a pronounced influence on the iconography of
the piece. The Buddha shows little familiarity with asceticism, and his
delicately folded robes seem to be a stretch from the traditional habit of
poverty favored by Shakyamuni. The restrained decoration of the mandorla and
lotus base, and the evidently simple painted finish are the only remains of the
tradition of humble poverty. Instead of this tradition, the serenity of
enlightenment is emphasized, giving the courtly viewer a hope that
enlightenment will be reached without poverty. This Shaka Buddha is a
marvelous testament to the Fujiwara style, which combined sensuous courtly life
with the teachings of Buddhism.
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