What I need to appreciate Buddhist statues. The premise is that the altar is the stage and the statues are the performers.

My interest in shrines and temples grew from my love of Japanese history, which led me to think about the essence of religion and eventually to appreciate Buddhist statues.

Even if you call yourself a "Buddhist statue enthusiast," there are different types of people, and it seems they can be roughly divided into the following categories:
① Simply because of deep faith
② Wanting to elevate one's own spirit
③ Wanting to appreciate them as works of art
④ Simply because they are enshrined in famous places
⑤ Because there is a story behind the historical context of when they were made

In my case, ⑤ was the gateway that got me hooked on the world of Buddhist statues, but I feel there is more to it than that.

In particular, I find myself imagining a theatrical story unfolding on the stage known as the altar, featuring a cast that includes the main Buddha, their attendants, guardian deities, Wisdom Kings, and demons.

Do not underestimate them just because they were made by human hands.
There is a solid story there, and it is a world where everything has a deeper meaning.
Once I realized that, appreciating Buddhist statues became much more fun.

I think everyone likes dramas.
So, have you ever thought about why people are drawn to dramas?

I believe the reasons are "empathy," "the release of emotions," and "experiencing the extraordinary."
There are similar "dramas" on the altars of history and temples, and they are packed with "lessons" that have been passed down through the ages since ancient times.

Aren't the dramas of history and the Buddhas one of the prototypes for the "stories" that connect to modern dramas?
I think many of the human dramas where various stories intersect are also based on stories that have been passed down through history and religion.

This time, I will focus on the supporting roles rather than the main characters like the Tathagata or Bodhisattvas, and summarize my own way of "viewing Buddhist statues."

I have an attachment to the oppressed

When you visit a temple and enter the hall, the All-Stars of Buddha, centered around the main deity, are usually lined up on a raised altar.
If you look closely at their expressions, standing postures, gazes, placement, and the distance between them and their attendants, you can even imagine their relationships.

Furthermore, the scene expressed on the altar is truly the climax of the story, the part they most want to show, so to speak.

By knowing the circumstances leading up to this scene and what happens afterward, even the individual personalities become clear to me.

Why are demons trampled upon?

A "demon" isa ghost or vengeful spirit that brings disaster to people.
In Buddhism, they are trampled by the Four Heavenly Kings or the Vajrapani (Nio), and the "demon" represents "evil," expressing how evil hearts are punished by the Buddhist law.

I am captivated by these demons.

It is a pity that I cannot provide photos because photography is usually prohibited, but their expressions—eyes bulging, mouths twisted or turned down—as they endure with all their might are irresistibly adorable.

In particular, the clownish expressions and postures of theTentoki and Ryutokiat the Kofuku-ji National Treasure Museum are so adorable that I am mesmerized, and I cannot believe they were originally considered symbols of evil as "demons."

Sometimes they are kicked, and other times they are supporting heavy roofs with all their might; it is as if they are being oppressed in the background like slaves.

Visually, it just looks like bullying the weak, and I find myself unable to tell who is in the right.

Why does the Trailokyavijaya Vidyaraja trample on two people?

For example, the Trailokyavijaya Vidyaraja, one of the Five Great Vidyarajas, tramples on two people: Maheshvara and his consort, Uma.

The name "Trailokyavijaya" means to conquer the three times of past, present, and future or the three worlds of the desire realm, form realm, and formless realm and it signifies controlling people's "desires" not just in the present world, but extending into the past and future.

The trampled Maheshvara (the Hindu god Shiva) and his consort, Uma, represent the defilements themselves—known as the "three poisons" of desire, anger, and ignorance—and show the Trailokyavijaya Vidyaraja, an incarnation of Mahavairocana, forcibly guiding them toward the teachings of the Buddha.

This act of forcing them against their will looks like violence to me, but apparently, this is "compassion."
If so, perhaps he is a "passionate instructor."

To be frank, it seems to me that the couple Maheshvara and Uma merely symbolize the desires that any human might possess.
Can it really be called "compassion" to violently suppress them?
Is it necessary to trample and kick them to guide them to the world of the Buddha?

Each religious story is interesting, but as someone with little faith, I cannot help but feel skeptical about these actions.

However, this is also one aspect of the Buddha; perhaps it means that compassion is not just kindness, but that severity is also a form of compassion.

Great generals boasting ironclad defense

The Four Heavenly Kings protect the four cardinal directions

The name "Four Heavenly Kings" is often compared to the warlords of Japan's Sengoku period.
The most famous is the "Tokugawa Four Heavenly Kings." They are Tadatsugu Sakai, Tadakatsu Honda, Yasumasa Sakakibara, and Naomasa Ii.
Others include the
"Takeda Four Heavenly Kings," consisting of Masahide Naito, Nobuharu Baba, Masakage Yamagata, and Masanobu Kosaka. The
"Oda Four Heavenly Kings" are Katsuie Shibata, Nagahide Niwa, Kazumasu Takigawa, and Mitsuhide Akechi.All are known as the four heavenly kings who supported their respective golden ages.

These names, "Four Heavenly Kings," also originate from these Buddhist martial deities.

The Four Heavenly Kings of Buddhism protect the four sides of Mount Sumeru at its center, but they do not serve a specific person or Buddha; rather, they take on the role of protecting the order of the world and safeguarding people's lives and the nation.

Dhritarashtra, Virudhaka, Virupaksha, and Vaishravana (Bishamonten) are the four who make up the group, and each leads subordinates such as demons and attendants to protect the world from evil spirits and demons; they are, so to speak, the supreme security chiefs of the Buddhist law.

Each of them commands the following attendants:

・East: Dhritarashtra - Gandharva and Pishacha
・South: Virudhaka - Kumbhanda and Preta
・West: Virupaksha - Naga and Putana
・North: Vaishravana / Bishamonten - Yaksha and Rakshasa

By the way, there is a convenient mnemonic for their general order based on the first characters of their names, Ji, Zo, Ko, Ta in order from the east.

The Twelve Heavenly Generals protect all directions of the twelve zodiac signs

These are the twelve divine generals who protect the Medicine Buddha (Yakushi Nyorai) and those who believe in him.
Their primary role is to faithfully defend the teachings of the Medicine Buddha, who heals illnesses, through military might and supernatural power.
They protect from all directions, day and night, throughout the four seasons, and each leads thousands of Yaksha as their subordinates.
They are truly perfect great generals who not only remove illnesses and all kinds of disasters but also fulfill the role of bringing worldly benefits.

Also, their names are so cool!!
Rat: | Kumbhira - Leader type
Ox: | Vajra
Tiger: | Mihira
Rabbit: | Antira
Dragon: | Anila
Snake: | Sandila
Horse: | Indra
Sheep: | Pajra
Monkey: | Makora
Rooster: | Sindura
Dog: | Catura
Boar: | Vikara

Perhaps characters in movies and anime were also named with these as inspiration.

The temple hall is the theater, and the | altar (shumidan) | is the stage.

Stage plays and dramas only work because there are 'villains.'
They are necessary roles for the story to unfold, and that is precisely why the hero shines.
Furthermore, it is the 'supporting characters' that allow for a wide range of developments and make for an interesting plot.

In fact, I find these villains and supporting characters even more appealing; 'Jaki' (evil spirits) are currently my personal obsession, and their sculptural depictions have a humor that I truly admire.
When I look at them, I can even imagine their lines (lol).

The main deity is wonderful, but when you think about those who support the sides, the story seems to come to life in three dimensions, and the altar becomes a stage full of realism.

If you think of them as just idols, that's where it ends, but when you know the meaning and story behind them, each person's personality and role emerge as a character, which never fails to stir my imagination.

The Buddhas listed here are working tirelessly behind the main Nyorai and Bodhisattvas, enduring, or fighting, for the sake of the world and the people who live in it.

When I look at Buddhist statues, I cannot help but feel proud of their hard work.

Because I lack religious faith, I can accept these well-crafted stories at face value and let my imagination run free.
This is the foundation I need to appreciate Buddhist statues.