One of the treasures that the professor discussed was the Yumedono Kannon, also known as the Guze Kannon 救世観音 which is also one of most mysterious statues in Japan. The Guze Kannon at Hōryūji was kept hidden for centuries inside the temple's Yumedono Hall 夢殿 or Hall of Dreams (hence the statue is also known as the Yumedono Kannon). Even the priests were forbidden from viewing the statue, which was wrapped in white cloth. The practice of maintaining Secret Buddha (Jp. = Hibutsu 秘仏) most likely originated among Japan's esoteric sects (Shingon & Tendai) during the Heian period. The statue was finally unveiled in 1884, when the Japanese government allowed Ernest Fenollosa (1853-1908) and Okakura Tenshin 岡倉天心 ( 1863-1913) to discover its secrets. Fenollosa thought it to be of Korean origin, but no consensus was ever reached. Scholars believe this statue was made in the image of Prince Shōtoku, one of the great patrons of Japanese Buddhism.
It is considered to be one of Japan's greatest art treasures. It still remains a Hibutsu at the temple, but for a small time every spring and fall it is open for viewing. Prince Shōtoku was, after all, like Shakyamuni (the Historical Buddha), a royal prince who renounced his inheritance in pursuit of spiritual ideals. Following Shōtoku's death in 622, his family continued to patronize Hōryūji Temple until 643, when his son and heir, Prince Yamashiro, was forced to commit suicide by the Soga clan leader, who was fearful of the threat that Yamashiro posed to Soga power. With this, the direct line of Prince Shōtoku came to an end. The temple survivied, however, in close association with the memory of Shōtoku. But as far as we can tell, the Yumedono Kannon was never seen by anyone from the time of its consecration in the eighth century until 1884, when the inquisitive American scholar named Ernest Fenollosa managed to unwrap it. Fenollosa survived the catastrophe predicted by the priests of Hōryūji, but even today, the Yumedono Kannon is on public view for only a few weeks every year.
Centuries of oral tradition confirm that this image is in fact a representation of Prince Shōtoku, now transformed into a saving Kannon. This association probably explains some very curious features of the statue. To begin with, the hands are overly large, and reach sensuously around what you may recall from the rooftop ornament: another reliquary, in effect, Prince Shōtoku seems to be holding his own remains. The face is equally unique, featuring a wide nose, prominent lips, and very narrow eyes, all said to be personal attributes of the prince himself. But there is a very different school of thought which sees the smile as oriented outward, a sinister leer which threatens more than it saves, particularly when seen from below.
This has led to the eerie interpretation that the Yumedono Kannon is not a gentle and grace-giving Kannon, but rather the restless angry ghost of Prince Shōtoku himself. In support of such a theory consider a comparison between the Yumedono Kannon and the famous Kudara Kannon statue (also found at Hōryūji). The point of the comparison lies in the haloes. Whereas the halo of the Kudara Kannon is supported by a slender bamboo pole (see above), that of the Yumedono Kannon is attached by a large nail driven into the back of the head (see right). This highly unusual method of attachment, it is argued, is just like the voodoo technique of sticking pins in dolls, an effort to subdue the spirit of Prince Shōtoku rather than save it. This might also help explain why the image was kept wrapped up for so many centuries. The remaining mystery, however, is why the revered Prince Shōtoku should be so angry. The most persuasive theory is that his ghost was angered by the termination of his family line in 643, when his son was forced to suicide by the Soga clan leader.
Details from the Site Japanese Buddhist Statuary
It is considered to be one of Japan's greatest art treasures. It still remains a Hibutsu at the temple, but for a small time every spring and fall it is open for viewing. Prince Shōtoku was, after all, like Shakyamuni (the Historical Buddha), a royal prince who renounced his inheritance in pursuit of spiritual ideals. Following Shōtoku's death in 622, his family continued to patronize Hōryūji Temple until 643, when his son and heir, Prince Yamashiro, was forced to commit suicide by the Soga clan leader, who was fearful of the threat that Yamashiro posed to Soga power. With this, the direct line of Prince Shōtoku came to an end. The temple survivied, however, in close association with the memory of Shōtoku. But as far as we can tell, the Yumedono Kannon was never seen by anyone from the time of its consecration in the eighth century until 1884, when the inquisitive American scholar named Ernest Fenollosa managed to unwrap it. Fenollosa survived the catastrophe predicted by the priests of Hōryūji, but even today, the Yumedono Kannon is on public view for only a few weeks every year. Centuries of oral tradition confirm that this image is in fact a representation of Prince Shōtoku, now transformed into a saving Kannon. This association probably explains some very curious features of the statue. To begin with, the hands are overly large, and reach sensuously around what you may recall from the rooftop ornament: another reliquary, in effect, Prince Shōtoku seems to be holding his own remains. The face is equally unique, featuring a wide nose, prominent lips, and very narrow eyes, all said to be personal attributes of the prince himself. But there is a very different school of thought which sees the smile as oriented outward, a sinister leer which threatens more than it saves, particularly when seen from below. This has led to the eerie interpretation that the Yumedono Kannon is not a gentle and grace-giving Kannon, but rather the restless angry ghost of Prince Shōtoku himself. In support of such a theory consider a comparison between the Yumedono Kannon and the famous Kudara Kannon statue (also found at Hōryūji). The point of the comparison lies in the haloes. Whereas the halo of the Kudara Kannon is supported by a slender bamboo pole (see above), that of the Yumedono Kannon is attached by a large nail driven into the back of the head (see right). This highly unusual method of attachment, it is argued, is just like the voodoo technique of sticking pins in dolls, an effort to subdue the spirit of Prince Shōtoku rather than save it. This might also help explain why the image was kept wrapped up for so many centuries. The remaining mystery, however, is why the revered Prince Shōtoku should be so angry. The most persuasive theory is that his ghost was angered by the termination of his family line in 643, when his son was forced to suicide by the Soga clan leader.
Details from the Site Japanese Buddhist Statuary
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