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Fudo Myo-o: (Acalanatha Vidyaraja) in Art and Iconography of Japan

Sampa Biswas

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ISBN 10: 8124606048 / ISBN 13: 9788124606049
Published by D.K. Printworld Pvt. Ltd, 2012
New Condition: New Hardcover
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Shingon Buddhism -- esoteric Buddhism brought to Japan from China during the early ninth century -- inspired a new spiritual energy that found expression in varied forms, especially in art and iconography. A radical change occurred with the introduction of new deities, among them the Five Great Kings, the most important of them being Fudo Myo-o, the conqueror of all disasters and evil. This book is a study of the concept, iconography and decoction of Fudo in art. Beginning with a detailed account of the origin of Buddhism and its introduction into Japan, the book focuses on development of esoteric Buddhism in the country. It delves into the uniqueness of Shingon Buddhism rituals which try to evoke the vitality of the three mysteries in the body, speech and thought, the mysteries being transmitted orally from the master to the disciple. Describing Fudo Myo-o as discussed in Buddhist literary sources from India, it takes up his visual representation in painting and sculpture. It discusses the representation of his attendants in art and iconography, symbolic instruments associated with the god in his depiction and interpretations of the mudras (hand gestures, postures, emblems) carried by Fudo. It explains the esoteric meaning attached to various ideas and concepts represented in the visual images. Supported by numerous illustrations, this detailed and thorough study would enthral students and scholars of Buddhist art and iconography. Contents: Introduction Brief History of Buddhism in India Vajrayana Buddhism History of Buddhism in Japan Brief Study of Buddhist Art in Japan during Early and Classical Period Buddhism during Early Heian Period Art during Early Heian Period 1. Introduction of Buddhism in Japan and Expansion of the Sphere of Buddhist Art during the Heian Period (ce 794-1185) Introduction of Buddhism in Japan Nara Period (ce 645-794) Contribution of Saicho and Kukai to Buddhism during the Heian Period (ce 794-1185) 2. Representation of Fudo Myo-O in Literature and Visualisation in Mandalas Dhyana of Acalanatha in Sadhanamala and Nishpannayogavali Theories of the Original Buddha of Acala Kukai`s Theory Garbhadhatu Mandala or Womb Mandala (Jap. Taizokai Mandara) The Quarter of Vidyadharas The Mansion of the Mantra Holders Description of Fudo (Acalanatha) The Iconography of Fudo in the Genzu Mandala The Symbolic Instruments of Fudo The Disciples and Servants of Acala The Original Seeds (Jap. Shuji) of Acala Other Mandalas of Acalanatha Vidyaraja Mudra (Symbolic Gestures) of Acala Representations and Images of Acala Five Great Power Bodhisattvas and Protection of the Country 3. Visualisation of Fudo Myo-O in Painting Background Paintings One Brush Ink-Painting 4. Sculptures and Woodblock Prints of Fudo Myo-O Woodblock Prints 5. Conclusion Appendix: historical chronology of japan Glossary Bibliography Index Printed Pages: 248. 23 x 29 cm. Bookseller Inventory # 31896

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Bibliographic Details

Title: Fudo Myo-o: (Acalanatha Vidyaraja) in Art ...

Publisher: D.K. Printworld Pvt. Ltd

Publication Date: 2012

Binding: Hardcover

Book Condition: New

Edition: First edition.

About this title

Synopsis:

Shingon Buddhism -- esoteric Buddhism brought to Japan from China during the early ninth century -- inspired a new spiritual energy that found expression in varied forms, especially in art and iconography. A radical change occurred with the introduction of new deities, among them the Five Great Kings, the most important of them being Fudo Myo-o, the conqueror of all disasters and evil. This book is a study of the concept, iconography and decoction of Fudo in art. Beginning with a detailed account of the origin of Buddhism and its introduction into Japan, the book focuses on development of esoteric Buddhism in the country. It delves into the uniqueness of Shingon Buddhism rituals which try to evoke the vitality of the three mysteries in the body, speech and thought, the mysteries being transmitted orally from the master to the disciple. Describing Fudo Myo-o as discussed in Buddhist literary sources from India, it takes up his visual representation in painting and sculpture. It discusses the representation of his attendants in art and iconography, symbolic instruments associated with the god in his depiction and interpretations of the mudras (hand gestures, postures, emblems) carried by Fudo. It explains the esoteric meaning attached to various ideas and concepts represented in the visual images. Supported by numerous illustrations, this detailed and thorough study would enthral students and scholars of Buddhist art and iconography.

About the Author:

Dr Sampa Biswas has done her Ph.D. in Art History from Kala Bhawan, Santiniketan, West Bengal. She is the author of scholarly papers and studies on Japanese Art, Central Asia, including the book Indian Influence on the Art of Japan (2010). At present she is teaching Art of China and Japan, Buddhist Art of Central Asia, and Art of South-East Asia in the Department of History of Art, National Museum Institute, New Delhi, as a visiting scholar.

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