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

　This “Standing Juichimen Kannnon (Skt. Ekādaśamukha-avalokiteśvara)” used to be enshrined in the Kondo Hall in Shinyakushiji Temple in Nara Prefecture as a guarding attendant of the principal object of worship, “Seated Yakushi (Skt. Bhaiṣajyaguru).” Positioning its heads at two levels, the Juichimen Kannon holds a flower vase (kebyo) in its left hand with its elbow flexed forward and drops its right hand gently with the thumb and the middle fingers touching. This arm line and the standing posture on the lotus seat (rengeza) with its slightly twisted waist to the left are associated with quiet and slow movement. The features such as the long lower body, small eyes and nose on a small face, the slopping shoulders and the moderately fleshed body create an aura with a soft and elegant sprit. A statue with a similar posture can be found in the Nigatsu-do in Todaiji Temple, indicating that this is one of the styles of the Southern Capital (Nanto) from the late Heian Period. This type of wrap around skirt (mo), where the hem is in an M shape and the ankles can be seen, is often seen in statues from the early Heian Period and is thought to be revival style.
　This halo is a wood panel mandorla. In short, both head and body light is made of wood plates and the openwork technique is not used and the floral scrolls (karakusa mon) are drawn using pigments. Again, this form is often seen in Nanto.
　Part of the initial style remains in the rengeza.