A Brilliant Exploration of Kukai and the Pan-Asian Travels of Esoteric Buddhism at Nara National Museum: KUKAI: The Worlds of Mandalas and the Transcultural Origins of Esoteric Buddhism

Kukai, 9^th century founder of esoteric Shingon Buddhism (Shingon Mikkyo) in Japan, was a peripatetic and socially heroic figure who roved far and wide assisting with infrastructure projects, excelling in the divining of water, and sculpting and painting icons… Or so the mythology that surrounds him would have us believe. He may not have accomplished all the social and artistic projects that are attributed to him, though the attributions are testament to the effect he had on Japan’s historical imagination, but he did indeed travel, as did the type of Buddhism he adopted and introduced to Japan, and the Kukai exhibition at Nara National Museum does a wonderful job of producing a map of Mikkyo, tracing the complex journey of esoteric Buddhism from India to Japan, and then some of its trajectory throughout various regions of Japan under the custodianship of Kukai. Kukai’s life involved monastic training in Xi’an, China, residency at Takaosanji temple and tenure at Toji temple (both in Kyoto) and life at mountain-based Koyasan in Wakayama where he founded his own community. The exhibition traces the stages of his career within the broader Asian context. One place represented where he did not play a role is Indonesia, but the revelation provided by a large number of astonishing artefacts excavated from a site there – and never before displayed in Japan – suggests an impersonal yet significant link.

One magnificent piece (of the many historically important, visually striking, and physically huge works on display) is the twelfth century “Blood Mandala”, the earliest extant polychrome copy of the mandala Kukai brought back from T’ang China with him to Japan in the 9^th century. Mandalas, the information panel explains, “convey how the worlds of the universe are conceived within the esoteric Buddhist tradition”. These mysterious diagrammatic paintings are used in complex visualizations by initiated practitioners as a means of accomplishing a state called “Buddhahood [or enlightenment] in this very Body” which is why, while the paintings are crammed with information, they present prescribed iconography and can be decoded. The esoteric psycho-physical cosmos is understood as having a “Diamond” aspect and a “Womb” aspect, which make up a non-dual whole.

On the other hand, there are some striking decorative elements, which demonstrate how these diagrams – which are made and used throughout the Buddhist world – exhibit cultural tastes, such as the delicate, brightly coloured blossoms flowering in the outermost margins. And this reminds us too that these are works of art as much as they are ritual implements. Before each mandala is set an altar equipped with implements for the rituals for each mandala, and nearby is a late 9^th century statue of a seated blue-haired and gold skinned Dainichi Nyorai, the principal deity in Japan’s esoteric Buddhism who appears in prime places in both mandalas. Keeping as close to Kukai’s time as possible, a set of Five Wisdom Buddhas (also from the 9^th century) represent a key section of the mandalas. All of this together creates a display of the key pieces of esoteric Buddhist ritual: icons, instructive diagrams, and altar. The only element missing is Kukai the ritualist, but his presence is felt throughout the show, and not only as practitioner but as intellect, writer, traveler, community-builder, and religious leader as well.

This leads us into another of the major exhibits: the East Javanese Nganjuk mandala of the 10th century which was made up of numerous small bronze figures of buddhas and bodhisattvas excavated in the early 20th century. These are arranged inside a circular room with walls marked with the stars, presumably to press home the point that what we are dealing with is an esoteric cosmos. The identities and arrangement of the icons that make up this unusual 3D mandala show that the esoteric practices in Java were essentially the same as those brought to Japan by Kukai (there are varieties of esoteric Buddhism). There are also some striking differences. The Javanese icons all display Hindu characteristics, a reminder that esoteric Buddhism developed from Indian traditions, which contrast with the icons that Japan created. Drawing heavily on Indian prototypes, the headdresses, facial features, and the curvaceous female deities distinguish the entire set from its Japanese counterparts.

Of the many notable artefacts, works of painted and sculpted art, and ritual tools on display, the magnificent Takao Mandala is also a must-see. Kukai was based at Takaosanji temple (after which the mandalas are named) in Kyoto for a short period. This is another piece from the 9^th century, and it is being exhibited for the first time since its six-year long conservation. This beautiful, delicate (and gigantic) pair of mandalas are painted with thin gold line on black backgrounds – simple yet stunning.

A highly recommended show, excellently curated, and overflowing with masterpieces that include works rarely seen in Japan.

Exhibition Information (NNM website)

Apr 13 (Sat) 2024-Jun 9 (Sun) 2024

Hours: 9:30-17:00