Interview with Matthew Welch

Curator of Korean and Japanese Art

1. Can you give us some background on this sculpture?

This sculpture represents Gyoki, a Japanese Buddhist priest who lived in the 8th century.(1) He traveled throughout Japan, raising funds for the construction of many temples, but also important public works like hospitals, dikes, and irrigation systems that greatly improved the lives of ordinary people. Ultimately, he became the spiritual advisor of Emperor Shomu, and played an important role in the creation of the colossal bronze Buddha of Todaiji. This was a national undertaking and united the country in support of Buddhism. At the time of his death in 749, Gyoki was one of Japan's most celebrated monks and the emperor himself proclaimed him to be a living bodhisattva.

2. So the colossal Buddha was created. Is it still around today?

The bronze Buddha took more than seven years to cast. In 752 the former emperor and empress held a dedication ceremony attended by some 10,000 monks, members of the aristocracy, and military officials. Bodhisena, an Indian monk who made the long journey from his homeland for the momentous event, performed the "eye-opening" ceremony in which he animated the sculpture by painting the irises of the great Buddha with a huge brush.

The colossal bronze Buddha still exists. The building itself burned twice in the course of Japanese history, and the colossal Buddha was severely damaged on both occasions. So the sculpture that one can see today is very different from the original. Still, it is an awe-inspiring sight that towers over 48 feet above its massive lotus pedestal.(2)

3. OK, so back to our sculpture here. Describe what sets it apart.

Unlike other depictions of Buddhist deities on display in this gallery, which are unnaturally calm and serene, this image of priest Gyoki is meant to represent an actual person. Consequently, the artist attempted to depict the features that distinguished him as an individual—like the unique way he knitted his brow.(2) Secondly, the artist tried to capture something of the priest's determined spirit. His stern, somewhat fierce stare certainly conveys something of his unwavering resolve to champion Buddhism in Japan.

4. So the challenge would have been about how to convey that unique combination—both human and heavenly.

That's right. Gyoki was considered a living bodhisattva, but he was also a very real person.

He also wears the robes of a monk. If you look closely, I think you can patches of black and red, even though some pigment has been lost. (4)

The pattern of black and red is meant to represent the priest's kesa (pronunciation: "KAY-sah"), or ceremonial stole. In the past, members of the aristocracy would donate their gorgeous, but worn, robes to Buddhist monasteries. The monks would salvage undamaged pieces of cloth and sew them together in patchwork fashion to create these kesa. In this way, they demonstrated their frugality.

5. It's a little jarring to see such realism in the midst of more stylized figures.

I agree. On the other hand, portrait sculpture and painting is an important part of Buddhist art in Japan. While images of Buddhas and bodhisattvas are the main focus of worship within a temple's main hall, many temples also have smaller halls dedicated to their founders. As a way of reminding young monks about the self-sacrifice and hard work of these great priests, they are often assigned to make offerings and pray before these statues every morning and evening. In this way, a young monk comes to know the priest, who may have lived hundreds of year earlier, in a very intimate way. The realism of the depiction—including facial imperfections, emaciated chest, and so on—helps remind everyone that the priest was, in fact, an ordinary human who achieved great things.

6. Buddhism seems to have been at a real high point in Japan when Gyoki was living.

That's right. By the Nara period—roughly the 7th and 8th centuries—Buddhism had become firmly established in Japan. As in other Asian countries, Buddhism also became a means whereby the ruler could unify the country. Rather than continuing to be a personal path to spiritual salvation—as it originally began—Buddhism, with its vast pantheon of powerful deities, became a means to protect entire nations and their rulers. Consequently, people devoted enormous resources to the construction of monasteries and temples, and in the case of priest Gyoki, to the construction of a colossal Buddha in the fervent belief that it would protect the Japanese from calamities ranging from invasion to devastating typhoons.

7. Tell us about what he's holding.

Gyoki is holding a kind of scepter, a symbol of authority, called a nyoi (pronunciation: "NYOY") in Japanese.(5) Buddhist priests typically carry nyoi while conducting formal ceremonies. Nyoi have a large, three-lobed head that is a stylized interpretation of the cloud-eared mushroom. Such mushrooms were believed to have potent medicinal properties and so became an auspicious symbol of long life. While nyoi can be made of a variety of materials, this one is of carved wood covered with black lacquer and gold leaf.

8. Gyoki lived in the 8th century, but this representation of him wasn't made until the 17th century. Why was there so much interest in Gyoki so long after his life?

The enormous building that held the bronze Buddha was destroyed in 1567 during a period of political unrest and civil warfare. Once the Tokugawa regime reestablished order in the country in the early 17th century, they set about supporting the reconstruction of lost or damaged temples. Consequently, people recalled the efforts of priest Gyoki who was responsible for creating the original Buddha in the 8th century. There arose a kind of cult devoted to Gyoki, whose members called upon his spirit to aid them in their efforts to repair the damaged Buddha and rebuild Todaiji temple. As a result, many small memorial halls were constructed throughout central Japan dedicated to Gyoki, and each of these was outfitted with a sculptural or painted image of the priest.

9. Does this help us see where mere humans fit in the Buddhist hierarchy?

In a way. Certainly such devotional images of high priests link the complex Buddhist pantheon to humankind. On the other hand, these men and women are considered paragons of the faith, whose efforts are so superhuman that they are considered living bodhisattvas—a divinity on earth. The most obvious example of this kind of person today is the Dalai Lama, who is also considered to be a living Bodhisattva.

10. Finally, how does this image of Gyoki compare with others?

This image is based on earlier examples. It is likely that images of Gyoki were created soon after he died, but the earliest image that I know about was created in the 1249 on the 500th anniversary of his death. That sculpture is owned by Toshodaiji Temple, in Nara, and it also has the distinctive inverted u-shaped expression on his forehead. So, although the artisans who created the museum's example lived nearly 1000 years after Gyoki's death, they were able to capture the specifics of his appearance by depending on earlier sculptures.