National Treasures & Important Cultural Properties
of National Institutes for Cultural Heritage, Japan

　　This painting depicts a Juichimen Kannnon (Skt. Ekādaśamukha-avalokiteśvara) facing towards the viewer’s left. The deity’s right hand, held at waist level with a Buddhist rosary (juzu) around the wrist, is in the hand gesture symbolizing the fulfilling of desires (Yogan’in); the left holds a vase containing a red lotus flower. The eleven heads atop the image include three with faces like those of bodhisattvas (bosatsu men), three with angry expressions (sinnu men), three with fangs protruding upwards (kuge joshutsu men), one laughing face (daisho men), and on the very top, the face of a buddha (chojo butsu men). The iconography is based on the form of the Juicimen Kannon discussed in the Heart Sutra of the Divine Incantation of Juichimen Kannon (Juichimen Shinju Shin kyo), translated into Chinese by the priest Genjo, during the Tang dynasty. Unlike esoteric iconic depictions, in which the image faces directly forward, Kannon here is turned slightly diagonally suggesting the artist’s attempt to create a more naturalistic space. Kannon is not portrayed in formal meditation posture but with his right foot relaxed. This stylized pose, as well as the ornate details of the large floral canopy (kagai) and the aureole that resembles openwork carving, make this painted image appear to be a rendition of an actual Buddhist sculpture. The body of the image is painted in a light pink hue with a dark vermillion outline creating a soft, rounded effect. Delicate cut gold leaf (kirikane), overlaid on the ground patterns (ji monyo) and the main motifs, adorn the intricate layers of his robe. Decorating the dais and canopy are designs created in cut gold leaf and gradations of silver (gin guma) arranged gentians with bamboo-like leaves patterns (sasa rindo mon). This motif of gentians and that of the chrysanthemum rings (kikka dan mon) in cut gold leaf are thought to have been introduced from the Sung dynasty of China. Painted silver ink (gindei), with the lotus stem visible within, the vase that Kannon holds resembles Sung glassware. Sumptuous and splendid, these elements typify the gorgeous forms characteristic of Buddhist painting of the Heian period (794–1185). This work was passed down until modern times in Hokkiji Temple. Located nearby is Horyuji Temple, which owns fragments of Heian period Buddhist paintings that display a similar pattern of strong gradation of pigments. This raises the possibility that the Juicimen Kannon took its inspiration from classical paintings like those on the murals in the Kondo Hall of Horyuji Temple.