Fugen Bosatsu (Samantabhadra)

In the Heian period (794-1192), the nobles of the imperial court patronized the Tendai sect of Buddhism. At the core of this sect was the Lotus Sutra, considered by many the greatest Buddhist text and famous for its teaching that all living beings, regardless of gender or status, are capable of enlightenment. The deity Fugen, being the protector of those who follow the Lotus Sutra, came to be worshipped fervently and depicted in countless paintings during this time.

This work is considered both a singular masterpiece among such paintings and a masterpiece among all Buddhist art of the Heian period. Experts believe this painting captures a particular moment described in the Samantabhadra Meditation Sutra, which is the concluding volume of the Lotus Sutra. In this moment Fugen appears from his paradise before followers of the Lotus Sutra, riding atop a white elephant with six tusks. The fine patterns of cut gold leaf on his robe exemplify a uniquely Japanese aesthetic that was cultivated in the Heian period, while other characteristics suggest influence from the painting of China’s Northern Song dynasty: the whiteness of his body, which in sutras is likened to a pearl; outlines that emphasize the delicacy of his build; and a vivid combination of green, red, and blue pigments. Japanese and Chinese aesthetics are thus seamlessly merged to create an exceptional sense of presence.