History of Japanese Buddhism
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Caution! Under Construction
Please be aware that this tag is still under construction and as such is missing information and may be changed or removed at any time. For all the content under consideration for this tag, see the “History of Japanese Buddhism” folder on Google Drive.
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In the poetic commentary Nameless Notes (1211–1216), the poet-priest Kamo no Chōmei explains that unlike prose, a poem “possesses the power to move heaven and earth, to calm demons and gods,” because, among other attributes, “it contains many truths in a single word.”
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A collection of gilt panels at The Met depicting non-Buddhist themes was discovered to have adorned the abbot’s residence at Ryōanji Temple in northwest Kyoto in 1606.
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In response to Shintoist criticism of Buddhism in the early 1930s, a group of prominent Buddhists and Buddhologists wrote articles on Buddhism and Japanese spirit for a special issue of Chūō Bukkyo in 1934. They highlighted historical connections between Japanese Buddhism and the state, and drew correspondences between Buddhist doctrines and various Shinto and Confucian concepts that were central to discourses on Japanese culture and the imperial system in the early-Showa period. In drawing those doctrinal correspondences, they aligned Japanese Buddhism with main components of the imperial ideology at that time.
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Women bundled together and stitched their hair into the most sacred parts of the image—the deity’s hair or robes and Sanskrit seed-syllables—as a means to accrue merit for themselves or for a loved one.
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Yuishin, however, chooses to present Rāhula’s six-year gestation period as a “miraculous sign” (霊瑞), a decision that is in keeping with the kōshiki’s broader goal of praising Rāhula as a divine being.
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