The paper makes a visual analysis of two statues of Buddha from different centuries, Bhaisajyaguru, and Seated Yakushi Nyorai.
Bhaisajyaguru Bhaisajyaguru is from the 8th century and belongs to Nara period, which is considered the most outstanding period of Buddhist art in Japan (Indian Influence on the Art of Japan 71). Buddhism was introduced in the country during the mid-sixth century. Looking at the sculpture of Bhaisajyaguru, the gray metallic tone of bronze lends it a dark and heavy look. The stocky body of Buddha sits on a circular pedestal that is carved with the lotus petals. The body of the statue is done in proportions and carries the demeanor of a great spiritual man. He wears dynamic clothes that flow along the contours of his body and are well draped. The skirt-like cloth wrapped around the lower body almost touches the lotus petals. The garment of Buddha falls gracefully in folds on his back. The folds of the garment are done neatly and draped loosely on the body.
The face of Buddha is typical and oval shaped with full cheeks. The skin looks smooth and carries well-proportioned features. The slightly up-angled eyes were characteristic of different statues that were created in the late Nara Period (Bhaisajyaguru 2016). The eyes are almost closed and this signifies that Buddha is in deep meditation. His eyebrows are arched like a bow les and nose is well proportioned and carries a sharp but smooth ridge. The lips carry a slight spout. The fully rounded and smooth cheeks make the face look plump and in good health. The ears are long and the lower lobes almost touch the line where the neck starts. His forehead is well-proportioned. There are fold of skin that circle his neck and this can be taken as a sign of good health.
The hair line is neat and makes a neat frame around the forehead. There is a small bun at the top and the hairline extends behind and males a neat line at the nape of the neck. He has small hands with tube-shaped fingers. His right hand is lifted and the palm facing outward toward the viewer in order to bestow his blessings. The curved fingers of the left hand show that it was created as a Yakushi Nyorai statue to hold a pot known as a Yakko (Bhaisajyaguru 2016).
When one looks at the statue of Buddha, they get a feel of peace and calmness. This is a beautiful statue that carries rough look but still spreads a feeling of meditative calm.
Seated Yakushi Nyorai Seated Yakushi Nyorai is made of wood and is from the 9th century period. The statue was worshipped at Nyakuôji Shrine in Kyoto. The entire piece is made of a singled piece of oak and depicts a distinctive technique that was used for wooden sculptures from the late Nara (Seated Yakushi Nyorai 2016). The statue has been painted, and this is what makes it look more colorful, although the paint has chipped off at most places.
Buddha sits in his meditate pose on a massive pedestal that can be said to be made of several layers. First, there are two circular bases in black followed by another shorter circular base that is carved and painted with dull yellow. However, as the paint has come off and has become old, it carries a rusty look. An elegant and simple design covers the curricular base that stems upwards to support another smaller circular base that is plain. After a small gap, there is another circular plate carrying carved lotus leaves. The circular base surges upward to support a huge lotus flower carrying big petals in four layers. At the top of the lotus flower, there is another circular base and it is on this base that the statue of Buddha sits.
The body of the wooden statue is done in proportion and Buddha sits in his typical pose, covered partly by a garment that makes several folds as it drapes and falls over the body. One can see his left foot places on his right leg. The face and body of the saint look plump as is evident from the folds of skin on his neck and the mid-section. The yellow and orange paint used for the statue is chipped off, thus giving the statue a weathered look.
The face is soft and carries full cheeks. The soft, full eyelids are made proportionately and the long, thin eyes are partly closed. One can see the large pupils gazing down. The deep gray eyebrows are thick, prominent and raised in an arch. The nose is sharp and the outline of the lips show them well defined and curved. There is a circular mark in the center of the forehead. The ears of the statue are unusually long and almost touch the neck. The hair style is typically done in top knot, but the sculptor covers the head in round ringlets carrying a tint of green. Some of the ringlets are missing from the head. From the backside, the garment covers the statue completely and falls in gentle folds. If one looks at the statue from the side, the plumpness of the face, cheeks and neck get even more prominent with those folds.
Buddha raises his right hand while keeps the left hand down, which is very typical in most of his statues. One can see the lines in his outstretched palms clearly. However, the fingers are missing due to damage. The Seated Yakushi Nyorai is a beautiful piece of art, and one can take several moments to observe its artistic details. The stylistic quality of this statue carries a unique expression and one of foreignness.
"Bhaisajyaguru." emuseum. 2016. Web. 2 May. 2016.
"Indian Influence on the Art of Japan." Northern Book Centre 1.1 (2010): 1-198. Print
"Seated Yakushi Nyorai." emuseum. 2016. Web. 2 May. 2016.