Lauren Rizzo
2/9/04
M. Rhie
Sho Kannon at Nara
The statue stands on a double set of lotuses which represent ascension and transcendent purity. One of the lotuses is only just beginning to open, while the other is already open. This could perhaps mean a double ascension, an ultra godliness or a figure that requires much respect. Between the two lotuses, an octagonal-shaped platform with scrollwork legs at each corner and a jewel surrounded by pearls on each leg elevates the figure further, giving it an increased height, which might be a further sign of respect, as if the statue is life-sized, with the double lotuses and the platform, the statue would tower over the onlooker in a benevolent, godly fashion. The figure is, of course, barefoot, as are so many of the images in Buddhism.
The statue itself is quite proportional, though the neck and face are slightly chubbier than the form of the body might lead you to believe. The body is not blocky or squared in the Tori style, but is instead pleasantly rounded at the shoulder and through the arms, lending a softer presence to the figure. The limbs seem to be proportional to the body and head, as do the hands. The face of the statue has almond eyes that nearly seem to be closed. The features are sharp, such as the nose which juts out with such force from the face and such planar dimensions that one might call the face abstract. There is a quite smile to the mouth which is also formed with sharp planes, but the mustache around and under the mouth is formed with such soft, smooth curves that the onlooker is willing to accept the harsher traits of the figure’s face. The statue, like Buddha has a mark on the forehead (where Buddha’s curl of white hair would be), and this appears to be an amber jewel in the place commonly associated with the third eye for seeing. Later research showed that this was the Bodhisattva Sho Kannon Bosatsu who normally danced attendance on Amida Nyorai, or the keeper of the “WesternPureLand”. This was the man who promised not to become Buddha until all other creatures on earth became Buddha first. Sho Kannon is the God/Goddess of mercy, often seen (like this particular statue) with hands in the Vitarka Mudra position, reflecting an invitation for discussion or teaching.
The form of the statue itself is covered from the waist down in flowing cloth that plasters itself to Kannon’s legs, showing the shape through the cloth of the skirt. Kannon is bare-chested, but has ribbons and strips of cloth flowing diagonally across his lightly muscled chest from shoulder to waist, wrapped around the body, and then draped over either arm and slung over the waist. There is a small stylized bow on the statue’s left which is most likely where the ribbons originate. One could assume that since the bow is on the side of the body, that the robe is not worn in the Chinese style. The skirt-robes of Kannon fall in pleasant, flat, pleats which end in slightly C-shaped sections, but the shape is both simplistic and flat. Each pleat is planed and like a step, but shows the statues legs through the cloths. All of the skirt pleats seem to be held in place with a complicated belt that appears to be jeweled and hung as if it is pleated or hanging off the body in beautiful petals, perhaps a reflection of the lotus. The jewels appear to be more pearls, but it is difficult to tell, as the statue is entirely bronze.
The two necklaces Kannon wears are one of simple pearls, and one that appears to be made of the vines of honeysuckle, with leaves and flowers hanging off. This further softens the angular appearance of Kannon’s face. Ornamentation is taken even further on the head, where the hair is drawn up and forward in a representation of Buddha’s Ushnisha, and both sides are framed by a pattern of metal vines that could be ornamental.
The image Kannon projects is one of strong security and thoughtfulness. He lends an almost protective feel to the triad, and though he’s just a side image, he conveys a certain strength that ensures that the viewer will look at him, just as thoughtfully as one looks at Amida.