Nara National Museum 'Sacred Mountains of Yoshino and Omine: Prayers and Beauty Dedicated to Zao Gongen' - A Gathering of 32 Zao Gongen Statues, Including the Secret Main Image from the Omine-san-ji Main Hall

A total of 167 items are on display, including 16 National Treasures and 38 Important Cultural Properties.The secret main image from the Omine-san-ji Main Hall, which stands on the summit of Mt. Sanjogatake where women are forbidden, is displayed alongside five 'Standing Statues of Zao Gongen' in a room filled with a total of 32 Zao Gongen statues for a mysterious experience??

'The exhibition catalog is 3,400 yen, that's expensive...' That's what I thought. Yet, by the time I left the exhibition room, I was standing at the register without hesitation. The Nara National Museum's special exhibition, 'Sacred Mountains of Yoshino and Omine.' It was filled with a 'heat of prayer' that silenced all logic.

The highlight is a space that feels like another world, crowded with the secret main image that descended from the women-forbidden summit of Mt. Sanjogatake and 32 Zao Gongen statues. However, the one that truly captivated my heart was the secret main image of Nyorin-ji Temple, the Seated Statue of Nyorin Kannon. It possesses a bewitching grace reminiscent of the Yang Guifei Kannon at Sennyu-ji Temple. Its 'meditative' pose, with a cheek resting on a hand, embodies deep compassion for saving all living beings, and holds the essence of Kamakura-period wood carving where the artisan's obsession transformed wood into a Buddha.

Yoshino, Omine, and Kumano Hongu Taisha are places where authorities and powerful figures have traveled from Kyoto, aiming for Kumano, and where treasures have been gathered in abundance.

The atmosphere of a sacred site that powerful figures from 1,000 years ago risked their lives to reach. I will report on a lineup that would steal the soul of any Buddhist statue lover.

At the center of Zao Gongen worship on Mt. Kinpu are two Zao-do halls, the upper and lower, namelythe Upper Zao-do (Omine-san-ji) standing at the 1,719-meter summit of Mt. Sanjogatake, and the Lower Zao-do (Kinpusen-ji),where a single Zao Gongen is enshrined as the secret main image in the inner sanctuary of the Omine-san-ji Main Hall, and a triad is enshrined as the secret main image in the Kinpusen-ji Zao-do.The secret main image of Omine-san-ji has traveled all the way down the mountain along with the five Zao Gongen statues housed in the main hall, and is being exhibited outside the temple for the first time (excluding one statue). The vibrant appearance of the secret main image is the finest among the many Zao Gongen statues, and while the circumstances of its creation are unknown, it makes one imagine that it is a statue with a special history.

First, a commercial!! (Special Exhibition 'Sacred Mountains of Yoshino and Omine: Prayers and Beauty Dedicated to Zao Gongen')

Update History

• 2026/04/26: Simple explanation added (https://artexhibition.jp/topics/news/20260424-AEJ2884502/)

• 2026/04/25: First edition

▼ Official/Media Information

• Official

  • Special Exhibition 'Sacred Mountains of Yoshino and Omine: Prayers and Beauty Dedicated to Zao Gongen' / April 10 (Fri) - June 7 (Sun), 2026 / Nara National Museum

  • Sacred Mountains of Yoshino and Omine - Nara National Museum

  • Special Exhibition 'Sacred Mountains of Yoshino and Omine: Prayers and Beauty Dedicated to Zao Gongen' [Official] YouTube Channel - YouTube

• Exhibition List

  • 202604_Yoshino_list_0327-2.pdf

• Flyer

  • 202604_yoshino_fpreflyer0321.pdf

  • yoshino_flyer_pre2.pdf

  • Copy of Yoshino_new-A3_Medium_2026.2.12_submission

  • Yoshino_PR_2026.4.2.pdf

• Media

  • National Treasure handwritten by Fujiwara no Michinaga and others to be exhibited for the first time after restoration... Nara National Museum to hold special exhibition next spring: Yomiuri Shimbun

  • Nara National Museum to hold special exhibition 'Sacred Mountains of Yoshino and Omine: Prayers and Beauty Dedicated to Zao Gongen' featuring National Treasures in Michinaga's own hand - Fashion Press

  • <Nara City> Special exhibition 'Sacred Mountains of Yoshino and Omine: Prayers and Beauty Dedicated to Zao Gongen' at Nara National Museum starting April 10, 2026 | Nara's local comprehensive information site Narakko!

〇 Tasuku Emoto, who played the role of Fujiwara no Michinaga in the NHK Taiga drama '#HikaruKimihe'

▼ Exhibition Overview

Chapter 1: Encountering En no Gyoja and Zao Gongen in the Legendary Land of Yoshino

It's full power from the start. An relentless barrage of En no Gyoja × Zenki and Goki, and then Zao Gongen!!

Chapter 2: Aiming for Kinpusen - Fujiwara no Michinaga's Buried Sutras -

Chapter 3: The Expanding World of Faith - Ascetics, Engi, and Mandalas -

From Yoshino to Omine, and then to Kumano!!

Chapter 4: Emperor Go-Daigo to Yoshino - The New Government on the Mountain -

In places of authority and power, there are National Treasures and Important Cultural Properties—or, perhaps too awe-inspiring to even be designated as such, Buddhist statues and treasures that carry the weight of Japanese history.

Chapter 5: Toyotomi Hideyoshi's Flower Banquet

Chapter 6: Yoshino and Nara in the Early Modern and Modern Periods

〇 Background Knowledge

→ Yoshino and Omine
Yoshino and Omine are sacred sites of Shugendo. The Zao Gongen faith developed centered around Kinpusen-ji Temple on Mount Yoshino, and Mount Omine developed as the fundamental training ground for mountain asceticism. It is a sanctuary where mountain worship, which regards nature itself as divine, fused with Buddhism, and it holds the tradition of being opened by En no Gyoja. Both are linked to Kumano as a single sacred site, and rigorous mountain entry training continued until the early modern period.

→ Zao Gongen
Zao Gongen is the principal deity of Shugendo worshipped on Mount Yoshino. It is a manifestation of the three deities—Shaka, Miroku, and Kannon—combined into one in a wrathful form. It is a symbol of the syncretism of Shinto and Buddhism unique to Japan, said to save mountain ascetics and bring worldly benefits and the fulfillment of sin eradication.

→ En no Gyoja and Zenki/Goki
En no Gyoja is considered the founder of Shugendo and is said to be the person who systematized mountain asceticism centered on Yoshino and Omine. Zenki and Goki, who followed him, are considered a married couple of demons, and are worshipped as beings who supported ascetics in the Omine mountains, taking charge of lodging and assisting in training. It should be noted that En no Gyoja was of the Kamo clan.

〇 Goods

'Gongen-kun Mascot Keychain' is limited to 600 pieces, with a limit of 3 per person. When I went, no one was buying them...

To repeat, the exhibition catalog costs 3,200 yen. I had decided not to buy it, but I ended up buying it.

▼ Impressions and Commentary on the Exhibition

For Buddhist statues, I will indicate my level of preference with the number of '★'. For items other than Buddhist statues, I will only add a '★' if I liked them or was captivated by them. Now, I will write my introductions and impressions for each temple and shrine in the format of 'Exhibition Number: Exhibition Name: Recommendation Level'.

Overseas: USA: #Los Angeles County Museum of Art (LACMA)

167: Standing Statue of Zao Gongen: Kamakura Period (13th Century): ★★★★★

The 'Standing Statue of Zao Gongen,' currently enshrined across the sea in Los Angeles, is a masterpiece that conveys the fervor of Japan's unique Shugendo tradition to the present day. Photography is permitted only here.

With its right leg raised high and a face filled with wrath, the figure is full of dynamism, as if it has just leaped out from the rugged, rocky terrain of Yoshino. The powerful muscular expression characteristic of Kamakura sculpture and the sharp, piercing gaze retain a spirit that continues to overwhelm viewers even after several hundred years.

What does this guardian deity, which practitioners must have looked up to in the deep mists of Yoshino, have to say under the modern light of California? Even far from its homeland, its powerful 'will' to repel evil and save all living beings continues to stir people's souls across time and borders.

Nara Prefecture: #Kinpusen-ji

2: Seated Statue of Zenki and Seated Statue of Goki: Kamakura Period (13th Century): ★★★★★

The seated statues of Zenki and Goki shine with the aesthetic beauty of the Kamakura period. They convey the dignity of the guardian deities of Kinpusen-ji and the strength that supports ascetic practice. Their tightly focused eyes are reminiscent of the Ryutoki at Kofuku-ji, possessing an intensity that makes one think, 'This must be the Kei school!' The muscular physique and sharp gaze speak to the techniques of 13th-century Buddhist sculptors, and one can feel a tremendous life force within the silence. Zenki and Goki from the Kamakura period are rare.

9: Gilt Bronze Samaya Five-Pronged Bell (Important Cultural Property): Heian Period (12th Century)

It is characterized by the 'Samaya-gyo' (symbolic forms) representing ritual implements such as five-pronged and three-pronged vajras on the shoulder of the bell, and its delicate decorations convey the splendor of Esoteric Buddhist rituals of that time.

10: Gilt Bronze-Mounted Oi (Important Cultural Property): Muromachi Period (15th Century): ★★★☆☆

This is a cabinet-like tool used by Shugendo practitioners to carry sutras, Buddhist implements, and clothing on their backs. The wooden body is carefully decorated with gilt bronze fittings. While it is a practical tool, it possesses the high status of a craft object, one that could be called a 'portable altar' for practitioners walking through sacred lands. Perhaps because it was actually used for many years in the rugged mountains of Omine, it is a masterpiece that condenses the fervor of mountain worship and the aesthetic beauty of the time within its well-worn texture.

The next photo looks similar.

31: Seated Statue of Shakyamuni Buddha: Heian Period (10th Century): ★★★☆☆

Although it is a small statue with a height of about 50 cm, it is a single-wood seated statue of Shakyamuni Buddha with a thick physique and a gentle expression. While retaining the archaic sense of volume, the calm and approachable facial features well represent the stylistic characteristics of the Heian period, which was transitioning from Tempyo sculpture to the Japanese style.

The facial features are particularly noteworthy, with impressive large eyes and a well-defined nose, making one wonder if it is undergoing downtime. It is also interesting that it gives a different impression when viewed from below. It radiates a strong presence while maintaining the simplicity typical of a local Buddhist sculptor. The unrefined modeling creates a sense of humanity and familiarity, which is a great charm of this statue.

This statue is considered an important sacred image related to the 'Kinpusen Sosoki,' which conveys the founding legends of Kinpusen-ji, and it is an existence that touches upon the very origins of the temple, transcending the status of a mere Buddhist statue. It is currently enshrined in the three-storied pagoda and is quietly worshipped within the sacred space of the mountain.

In a mountain of ascetic practice centered on Zao Gongen, the presence of Shakyamuni Buddha is rather unusual, making it a valuable example that tells of the multi-layered nature of Yoshino's faith since ancient times.

41: Line-Engraved Zao Gongen Mirror Statue (Important Cultural Property) (Excavated from Kinpusen Sutra Mound): Heian Period (11th–12th Century)

The 'Line-Engraved Mirror Image of Zao Gongen' at Kinpusen-ji Temple is a masterpiece from the Heian period, unearthed from a sutra mound that Fujiwara no Michinaga himself visited. The Zao Gongen, engraved with sharp lines onto the mirror surface, is filled with a sense of dynamism, with its right leg raised high and holding a vajra. Despite the thin lines, the figure is powerful, and the fervent faith of the people of that time, who wished to 'convey the Buddha's teachings to the future' amidst the spread of Mappo thought, is condensed into the pure mirror.

50: Lotus Sutra and Kanfugen Sutra in Gold on Navy Paper (Excavated from Kinpusen Sutra Mound), by Fujiwara no Michinaga @ National Treasure: Heian period, 4th year of Choho (998) / 51: Amitabha Sutra in Gold on Navy Paper (Excavated from Kinpusen Sutra Mound), by Fujiwara no Michinaga @ National Treasure: Heian period, 4th year of Kanko (1007): ★★★★☆

This is an extremely valuable National Treasure written by the Heian period power broker Fujiwara no Michinaga himself. Copied in the 4th year of Choho (998) when Michinaga was in his mid-30s, the neat characters written in gold ink on deep navy paper convey his extraordinary faith and a tenacity-like strength in his desire for his family's prosperity. Having been protected for over 1,000 years in the harsh environment of the Kinpusen sutra mound, this scroll has regained its original brilliance through conservation and repair.

Is this a video of a different exhibition? Please use it for reference!

52: Lotus Sutra, Muryogi Sutra, and Kanfugen Sutra in Gold on Navy Paper (Excavated from Kinpusen Sutra Mound), by #FujiwaraNoMoromichi @ National Treasure: Heian period, 2nd year of Kanji (1088): ★★★★☆

This is a National Treasure hand-copied by the Regent Fujiwara no Moromichi, who was the great-grandson of Fujiwara no Michinaga. In the 2nd year of Kanji (1088), at the age of 27, Moromichi visited Kinpusen and buried it alongside the sutra mound of his great-grandfather, Michinaga. The characters, carefully written one by one in gold ink on deep navy paper, seem to reveal a neat and serious personality compared to Michinaga's free-spirited brushwork. It is a treasure of immense historical and artistic value, telling the story of how, three generations after Michinaga, the family's prosperity, devotion to Buddhism, and the strong will to 'leave the sutras for the age of Mappo' were inherited.

57: Sutra Box with Gold and Silver Plated Pair of Birds and Treasure Flower Patterns (Excavated from Kinpusen Sutra Mound) @ National Treasure: Heian period (11th-12th century) / 58: Gilt Bronze Sutra Box with Heron-Legged Stand (Excavated from Kinpusen Sutra Mound) @ National Treasure: Heian period (11th-12th century) / 59: Gilt Bronze Sutra Box with Cat-Legged Stand (Excavated from Kinpusen Sutra Mound) @ Important Cultural Property: Heian period (11th-12th century)

Omitted.

76: Kinpusen Sosoki (Record of the Founding of Kinpusen): Muromachi period (15th-16th century)

This is a valuable record from the Muromachi period that documents the founding legends of Yoshino and the history of Shugendo. It details the origins of the sacred site of Yoshino, such as En no Gyoja's realization of Zao Gongen and the revival by Shobo. The content, which weaves together historical facts and legends, is a first-class historical document that conveys the nature of mountain worship held by the people of that time, and is a key volume for unraveling the identity of Yoshino.

80: Yoshino Mandala: Kamakura period (14th century) / 83: Yoshino Mandala: Muromachi period (15th century)

※I will write the details in the section on Saidai-ji Temple mentioned later.

113: En no Gyoja with Zenki and Goki, and Eight Great Doji Statues: Muromachi period (15th century)

I will describe this in '112: En no Gyoja with Zenki and Goki, and Eight Great Doji Statues' at Saidai-ji Temple, which I will mention later. They look exactly the same.

116 & 117: Prince Shotoku and Two Attendant Statues @ Important Cultural Property: Kamakura period, 11th year of Bun'ei (1274) / Votive Objects Inside the Prince Shotoku Statue @ Important Cultural Property: Kamakura period (13th century): ★★★★★

These are enshrined in the rear altar of the Zao-do Hall, the symbol of Kinpusen-ji Temple.
Prince Shotoku standing in the center is depicted in the form of the 'Sixteen-Year-Old (Koyo Taishi)' praying for the recovery of his father, Emperor Yomei. At a time when faith in the Prince was rising nationwide, this is a symbolic example showing that its influence had reached deep into Yoshino, a base for mountain worship. The realistic sculptural beauty characteristic of the Kamakura period shines throughout, and the sharp yet compassionate gaze using crystal eyes (gyokugan) exudes an overwhelming presence that seems to pierce the viewer. It has the same composition as the Prince Shotoku statue (formerly in the Gokuraku-bo collection) handed down at Gango-ji Temple in Nara, but clear differences in style can be observed.

A notable point of this statue is that it is accompanied by the Prince's eldest son, Prince Yamashiro no Oe, and his half-brother, Prince Eguri, as attendants.

While the Gango-ji statue is a neat and intellectual expression by the sculptor Zenshun, who was deeply involved with Eison of Saidai-ji Temple, the Kinpusen-ji statue possesses a more dynamic and powerful sense of reality. Therefore, the theory that the creator of this work is a member of the Kei school, which followed the lineage of Unkei, such as Koen who was active mainly in Nara at the time, or a Kei school sculptor in his circle, is considered influential.

Finally, the Prince Shotoku statue faces forward, but the pedestal is slanted, which is a hidden viewpoint that stirs the imagination.

119: Thousand-Armed Thousand-Eyed Kannon Statue @ Important Cultural Property: Kamakura Period (13th Century)

Skipped.

121: Mandala of the Two Realms (Heian Period (12th Century))

There are two types, the Diamond Realm and the Womb Realm, but I think people who came for the National Treasure exhibition will just walk past them.

132: Kinpusen Himitsuden (Secret Traditions of Kinpusen): Northern and Southern Courts Period (14th Century)

The 'Kinpusen Himitsuden,' written during the turbulent Northern and Southern Courts period, is a valuable document that systematizes the mysteries and traditions of Shugendo in Yoshino. As its importance as a political and religious hub grew, one can see the obsession of the time to establish a unique world of faith. It is an essential volume for discussing the spiritual history of Yoshino, sealing the mystery that the sacred site has protected into text.

136: Nio-mon Gate Wind Bell (Futaku) @ National Treasure: Muromachi Period, 2nd year of Kosho (1456)

The 'wind bell' (futaku) that adorns the National Treasure Nio-mon Gate of Kinpusen-ji Temple is a valuable piece of metalwork bearing an inscription from the 2nd year of Kosho (1456) in the Muromachi period. Hung from the eaves as a charm against evil, its solid construction and aged appearance convey the architectural style of medieval Yoshino to the present day.

137: Standing Statue of Kongo Rikishi and Items Found Inside @ Important Cultural Property: Northern and Southern Courts Period, 4th year of Engen (1339): ★★★★☆☆

The National Treasure 'Standing Statue of Kongo Rikishi' standing at the Nio-mon Gate of Kinpusen-ji Temple is one of the largest statues in Japan, created in the 4th year of Engen during the Northern and Southern Courts period. Its overwhelming muscular dynamism and furious expression symbolize the energy of the time, when people tried to live powerfully through an age of war.

The vast number of items found inside the body contain the earnest prayers of the people who were connected to the creation of this giant statue, making it a masterpiece representing Yoshino that combines the strength of the exterior with the delicate faith of the interior.

The Nio-mon Gate is undergoing repairs, so it has been in the Buddhist Statue Hall for the past few years. Isn't it about time for it to return? Photography is allowed.

138: Seated Statue of Yakushi Nyorai @ Created by Kosei: Northern and Southern Courts Period, 2nd year of Bunna (1353): ★★★☆☆

The 'Seated Statue of Yakushi Nyorai' handed down at Kinpusen-ji Temple was created in the 2nd year of Bunna (1353) during the Northern and Southern Courts period and is a Buddha that has watched over the rough waves of history. It was once enshrined at the 'Mine no Yakushi-do' on Mount Yoshino.

From the ink inscription inside the body, it is known that the creator was the great Buddhist sculptor Kosei. Kosei is the son of Koshun, who is considered a candidate for the creator of the aforementioned Nyorin-ji main image and is a sculptor who also worked on the giant Kongo Rikishi statues at Kongobu-ji Temple on Mount Koya.

151: Zao-do Hall Wind Bell (Futaku): Azuchi-Momoyama Period, 2nd year of Keicho (1597)

The year 1597 coincides with the completion of the reconstruction of the Zao-do Hall by Toyotomi Hideyoshi. The dignified construction of this wind bell conveys the dynamic and gorgeous energy unique to the Azuchi-Momoyama period. The wind bell has the role of warding off evil and purifying the sanctuary with its tone.

Bonus: Private viewing and memorial service by Kinpusen-ji Temple

Meanwhile, there is also a special opening at the temple!! I am also doing night visits limited to those staying at Yoshino inns and daytime visits.

→ My NOTE: World Heritage! Yoshino Stroll 'Kinpusen-ji' Must-See Frog Jumping Event! Shugendo! Zao Gongen! [Yoshino Series] | Yanmaa

Nara Prefecture: #Omine-san-ji Temple

The first public exhibition outside the temple of Zao Gongen statues, including the secret main image!! But this is quite a feat. In a sense, the logistics team that brought the Buddhist statues down from the mountain look like Shugendo mountain ascetics themselves.

32: Secret Main Image 'Standing Statue of Zao Gongen': Heian to Kamakura Period (12th-13th century): ★★★★☆

This statue, passed down at Omine-san-ji Temple (at the summit of Mt. Omine), is a masterpiece from the late Heian to Kamakura period that has been enshrined in a harsh sacred site at an altitude of approximately 1,700 meters. Furthermore, the fact that it has been protected and passed down as the secret main image of the main hall highlights the special nature of this statue.

Zao Gongen is considered to be a manifestation of the three deities—Shaka, Senju Kannon, and Miroku—who appear in a wrathful form to save sentient beings. Its posture, with the right leg raised high and a sankosho (three-pronged vajra) brandished, is extremely dynamic, embodying the severity of mountain worship. In particular, the expression of the left arm clenching a fist is rare, creating a sense of tension as if power is condensed within, rather than just a simple threat.

33 & 34: Standing Statues of Zao Gongen x 31 ◆ Standing Statue of Zao Gongen: Heian to Kamakura Period (12th-13th century) ◆ Standing Statue of Zao Gongen: Heian to Kamakura Period (12th-13th century): ★★★★☆

The corner featuring 5 statues that have a presence despite their small size, and 26 Zao Gongen statues protected in glass cases, is a masterpiece. First, please take a look at the photo that captures the atmosphere. It is said that people carried them down the mountain on their backs, and together with other Zao Gongen statues kept by the Nara National Museum, 32 statues are gathered in one place for the first time in about 40 years.

It is a Zao Gongen festival of 31 statues that, while protecting the style and form of the 32nd main image, have their left arms in a peace sign. At the same time, I thought there might have been a specialized Buddhist sculptor for Zao Gongen, but it seems that is not the case as the expressions and techniques differ. Or perhaps there was a Zao Gongen Buddhist statue school? Or maybe they were carved by authorities, powerful people, and Shugendo practitioners with prayers?

There is a photo of 5 statues in the middle.

35: Seated Statue of Nyorai (Important Cultural Property) (Excavated from Omine summit ruins): Heian Period (10th-11th century) / 36: Seated Statue of Bodhisattva (Important Cultural Property) (Excavated from Omine summit ruins): Heian Period (10th-11th century): ★★★★☆

These are small Buddhist statues excavated from the Omine summit ruins, and they are so small that I think it might be difficult for those with presbyopia. But don't worry! There are enlarged photos.

　The biggest feature is the unusually high purity of 90% gold. Unlike ordinary gilt-bronze statues, the fact that they are made of material close to pure gold shows the status of the faith at that time. These statues, made of gold that does not decay, were excavated about a thousand years later, conveying the purity and reality of the faith of that time to the present.

So, it seems that burying things in the ground in Yoshino, as Michinaga did, was a trend from long ago.

38: Eight-lobed Mirror with Auspicious Flowers and Mandarin Ducks (Important Cultural Property) (Excavated from Omine summit ruins): Heian Period (11th-12th century)

This eight-lobed mirror excavated from the Omine mountain summit ruins is a craft that symbolizes the refined aesthetic sense of the Heian period. Auspicious flowers and a pair of mandarin ducks are precisely depicted, reflecting the longing for the Pure Land and prayers for peace in this world within the aristocratic society of that time.

39: Zao Gongen Mirror Image, Important Cultural Property (Excavated from Omine mountain summit ruins): Heian period (12th century)

The Zao Gongen engraved on this Heian-period mirror seems to radiate the spiritual energy of the sacred site through its powerful incised lines. The way the fierce expression sharply emerges within the harmonious form of the circular mirror is a masterpiece. It is a superb piece that conveys the depth of prayers dedicated to the harsh mountain summit directly across time through the metal surface.

40: Treasure Pagoda Door, Important Cultural Property (Excavated from Omine mountain summit ruins): Heian period (10th–12th century)

The delicate design carved into the heavy bronze door conveys the magnificence of the treasure pagoda that once towered over the summit. It is a mysterious relic that coexists with the strength that endured harsh winds and snow to guard the entrance to the sanctuary, and the refined aesthetic sense of the Heian period, making one dream of the Pure Land that spreads beyond the door.

43: Zao Gongen Statue, Important Cultural Property: Heian period (11th–12th century) / 44: Zao Gongen Statue, Important Cultural Property: Heian period (11th–12th century)

These two Zao Gongen statues, which harbor the spirituality of the late Heian period, possess a presence that condenses the severity of the sacred site despite their small size. The raised right leg and the fierce expression are filled with the resilient faith cultivated on the harsh, snow-swept Mount Omine, making them masterpieces filled with sharp yet deep compassion that pierces the hearts of viewers even after 1,000 years.

47: Chutai Hachiyo-in Mandala Mirror Image, Important Cultural Property: Heian period (11th–12th century) / 48: Yoshino Mandala Kakebotoke (Hanging Buddha): Heian–Kamakura period (12th–13th century)

Omitted.

158: Seated Amida Nyorai Statue: Edo period (17th century): ★★★☆☆

It has a round face just like the full moon and Doraemon, both made by Enku, and it is smiling!! It is enshrined behind the main hall.

It is said that Enku went deep into Mount Omine around the 3rd year of Enpo (1675) and performed the rigorous 'wintering' ascetic practice. What was he thinking when he carved this Amida in the temple hall on the summit, which was closed off by snow?

Nara Prefecture: #Yoshimizu Shrine

1: Seated Statue of En no Gyoja and Two Attendant Demons: Muromachi period (15th century): ★★★★★

The En no Gyoja in the 'seated statue' style, sitting on a chair, realistically conveys the intensity of an old immortal who gained supernatural powers through many years of rigorous training, with deeply carved wrinkles and a sharp gaze.

What is particularly noteworthy is the presence of the two demons waiting by his side. Zenki holding an axe and Goki holding a water jar. This triad format, which visualizes the legend that the demons who once tormented people were moved by the virtue of the ascetic, repented, and became faithful servants, represents the teachings of Shugendo itself. In particular, the 'red eye' expression applied to the crystal eyes is reminiscent of the dramatic realism peculiar to the Kei school, which can also be seen in the Ryutoki and Tentoki statues (by Koben) at Kofuku-ji (my NOTE). Those eyes, which look as if they are bloodshot, make one feel a tremendous 'will' that mixes the ascetic's inner fury and compassion.

The photos are as follows.

7: Shakujo Staff Head (Attributed to En no Ozunu): Kamakura–Muromachi period (14th–15th century)

It makes one imagine the sound that must have echoed against the rock surfaces of Yoshino time and again, along with the footsteps of the ascetic walking through the mountains. The powerful design of the ring seems to embody the severe determination of Shugendo to ward off evil and save all living beings. It is a masterpiece that continues to emit a sharp spiritual energy and dignity, as if still cutting through the silence of the sanctuary, wrapped in the weight of tradition.

130: Ryokai Shuji Mandala: Northern and Southern Courts period (14th century) / 131: Ryokai Shuji Mandala Inscription: Muromachi period, 5th year of Meitoku (1394)

The expression that excludes the form of the Buddha and encapsulates its essence in a single Sanskrit character elevates the viewer's imagination to the extreme. The specific date of 'Meitoku 5' engraved on the back is a testament to the earnest prayers of people living in an era of turmoil who sought the unwavering order of the universe as they faced this mandala. It is a masterpiece that allows one to feel the depth of a spirit that transcends time within its abstracted beauty.

133: Nosaku-sei Hoju (Jewel of Wish Fulfillment): Date unknown / 134: Gondo Dokko-sho (Bronze Vajra): Heian period (12th century) / 144: Celadon Large Vase with Peony and Scroll Design: China, Yuan dynasty (14th century)

Omitted.

→My NOTE: World Heritage! The Strongest En no Gyoja Triad at Yoshimizu Shrine, a Famous Cherry Blossom Spot

Nara Prefecture: #Sakuramoto-bo

3: Standing Statues of the Eight Great Doji of Omine: Nanboku-cho period (14th century): ★★★★☆

The Eight Great Doji are sometimes depicted in the Yoshino Mandala. Although the coloring is obscured by soot from offerings, experts say it remains.

The figures are here.

They are a group of figures full of vitality, racing through the mountains of Omine as messengers of Zao Gongen. Characterized by the powerful modeling typical of the Nanboku-cho period, the freshness of the Doji and the dignity of the gods and Buddhas coexist. The rich expressions and dynamic poses of each of the eight figures evoke a sense of reliability in protecting those undergoing harsh ascetic training, and they are so vivid that it feels as if they might jump out of the deep forest at any moment.

I compared them with the Eight Great Doji of Koyasan, but realized that the names of the Buddhist statues are different in the first place. I might do a feature on the Eight Great Doji.

11: Seated Nyorai Statue @ Important Cultural Property: Asuka period (7th century): ★★★☆☆

This is an extremely valuable bronze Buddha, one of the oldest in Yoshino. The 'eternal silence' held by the smile of antiquity. The first thing that strikes the heart when facing this statue is the 'archaic smile' peculiar to Asuka-period Buddhas. The geometric folds of the robe, which are nearly symmetrical, and the slightly long, intellectual expression convey to the present day the clear and pure form of faith from the time shortly after Buddhism was introduced to Japan.

I feel a deep sense of emotion at the fact that it has been protected for 1,300 long years in the high-altitude land of Yoshino. The bronze skin has taken on a deep antique color over time, but from its silhouette, one can vividly feel the breath of the time when Japan absorbed the cultures of the continent and the Korean Peninsula while simultaneously sprouting its own unique aesthetic sense.

46: Mirror Image of Zao Gongen: Heian period (12th century)?

The 'Mirror Image of Zao Gongen' from the Heian period (12th century) is a relic that tells of the deepening of mountain worship, with the figure engraved in sharp lines on the surface of a round mirror.

A dynamic, wrathful face emerging in the serene space of a mirror. The earnest prayers of people who sought salvation amidst the Mappo thought are condensed into fine lines without a single moment of hesitation.

Once dedicated to the summit of Omine and having slept for a long time in the earth, this mirror image is more than just an art object. The gaze hidden behind the green rust seems to still quietly pierce through the 'distractions of one's own heart' that the ascetics of the past reflected in the mirror. It is a miraculous masterpiece that has sealed in the heat of prayers from a thousand years ago just as they were.

78: Omine-chu Himitsu Emaki (Secret Picture Scroll of Omine) Volumes 1 and 2: Edo period, Tenmei 7 (1787)

I will omit this.

115: Mahaprajnaparamita Sutra: Kamakura period, 2nd year of Shoo (1289)

Omitted.

120: Statue of Fudo Myoo and Two Attendants: Kamakura period (13th century) / 149: Footed Tray: Muromachi period (16th century) / 150: Lacquerware Tray with Floral Design, Lacquerware Confectionery Bowl with Floral Design, Lacquerware Tiered Box with Floral Design: Edo period (17th-18th century)

Omitted.

→My NOTE: Shugendo 'Sakuramotobo' is a Buddhist Statue Temple in Yoshino [Yoshino Series] | Yanmaa

Nara Prefecture: #Chikurin-in

12: Seated Statue of a Male Deity (attributed to Emperor Tenmu): Heian period (12th century): ★★★★☆

Originally, this belonged to the aforementioned Sakuramotobo and its whereabouts were unknown, but it seems it has been found this time...Lately, I feel like there are too many of these 'It's been found! Revealed in a special exhibition!!!' moves.

It seems to quietly embody the weight of Yoshino's legendary history, where Prince Oama (Emperor Tenmu) is said to have gained a dream and vowed to make a comeback. In this era when the syncretism of Shinto and Buddhism progressed, the background of a real emperor being deified and shaped as an object of worship is largely influenced by the 'power as a sanctuary' that the land of Yoshino possesses. The soft curves carved into the wood grain possess a power to embrace the viewer, even while existing within the harsh nature.

82: Yoshino Mandala: Azuchi-Momoyama to Edo period (16th-17th century)

※Refer to Saidai-ji mentioned later

96: Kumano Honji Butsu Mandala: Nanboku-cho period (14th century)

This is a masterpiece that visualizes the abyss of Shinto-Buddhist syncretism by depicting the Buddhas (Honji Butsu) considered to be the true forms of the deities of the Kumano Sanzan. The figures of the Tathagata and Bodhisattvas arranged in an orderly manner on the screen show that the myriad gods dwelling in the harsh nature are actually incarnations of compassionate Buddhas. During the turbulent era of the Northern and Southern Courts, people must have found ultimate, unwavering salvation in this mandala where gods and Buddhas are united.

140: Seated Statue of a Child Deity (attributed to Prince Shotoku): Kamakura to Nanboku-cho period (14th century): ★★★☆☆

The 'Seated Statue of a Child Deity' is a noble yet adorable divine statue said to depict Prince Shotoku in his childhood. The plump cheeks and tied-up hair convey a youthful freshness. However, the intellectual brilliance dwelling in those eyes vividly tells of the extraordinary spirituality of the Prince, who understood the Buddhist law at a young age and built the foundation of the nation.

160: Illustrated Scroll of the Yoshinoyama Nigatsu-e Shito Ryaku Engi: Edo period (18th-19th century)

Omitted.

→My NOTE: Nara Yoshino 'Kizo-in' Frog Jumping Ritual! Yamato Three Great Gardens 'Chikurin-in' [Yoshino Series] | Yanmaa

Nara Prefecture: #Kizo-in

Kizoin is one of the sub-temples of Kinpusen-ji and has long served as a shukubo (temple lodging) supporting the practice and base of Shugendo. This exhibition features a selection of highly dense sculptures that symbolize the founders of Shugendo and the religious world of Yoshino.

Nara Prefecture: #Nyoirin-ji

70: Standing Statue of Zao Gongen @ Important Cultural Property: Kamakura Period, 2nd year of Karoku (1226) / 71: Zushi (Shrine): Kamakura Period (13th century): ★★★★★

Created in the 2nd year of the Kamakura period (1226), this 'Standing Statue of Zao Gongen' is a masterpiece that coexists with overwhelming destructive power and compassion, symbolizing Yoshino, the sacred site of Shugendo. The sculptor was Genkei, and the figure, with its right leg raised high and its right hand brandishing a vajra, seems to freeze the very moment of energy when it repels demons and attempts to pull lost sentient beings up from the edge of a cliff.

First, please take a look at the figure at 'Nyoirin-ji - Yoshino Mountain Tourism Association [Official Website]'.

Particularly noteworthy is the intensity of the 'wrath' expressed by the hair standing on end and the three wide-open eyes (sangan). The blue-black skin (now aged) is proof that deep compassion has turned into fierce anger. Practitioners training in the rugged mountains of Yoshino must have stood before this statue and gained the courage to shatter their own weaknesses. The fact that it is so well-preserved, despite being created 800 years ago, is likely because it was protected by a zushi (shrine).

On the back wall and doors of the zushi are the gods of Yoshino as depicted in the Yoshino Mandala. You can also see that the ceiling is beautifully decorated with patterns. The four sides of the doors represent the four seasons, and there are shikishigata (colored paper-shaped frames) at the top with text written on them, which is said to be the calligraphy of Emperor Go-Daigo.

125: Seated Statue of Emperor Go-Daigo: Muromachi Period (15th-16th century): ★★★☆☆

This is a precious sculpture that captures the figure of the turbulent monarch who established the Southern Court based in Yoshino, in a state of silence. Created in the Muromachi period, an era that still retained the echoes of the unification of the Northern and Southern Courts, this statue seems to embody the deep and sometimes severe spirituality of the Emperor, who died in Yoshino while dreaming of restoring royal power in this world.

This seated statue, enshrined in the treasure hall of Nyoirin-ji, was created in the Muromachi period (15th-16th century) to commemorate the virtues of Emperor Go-Daigo after his passing.

The most distinctive feature of this statue is that it is based on the tradition that the Emperor himself ordered, 'Carve this figure,' and it captures his appearance while he was alive. His dignified expression, dressed in court robes, possesses a power that borders on a kind of obsession, transcending mere portrait sculpture. In particular, the gaze of the inlaid crystal eyes seems to be staring from Yoshino, the place of his death, toward the sky of Kyoto that he dreamed of until the very end.

For Emperor Go-Daigo, Nyoirin-ji was a place he often visited during his lifetime and spent blissful moments. Beside the statue remains a door inscribed with the death poem of Kusunoki Masayuki, 'Thinking that I will not return, I leave my name among the number of those who are no more,' and the tragic fate of the Southern Court and the loyalty of the warriors still breathe in the silence surrounding this statue.

135: Seated Statue of Nyoirin Kannon: Kamakura Period, 3rd year of Enkyo (1310): ★★★★★

When standing before this statue, the secret main deity of Nyoirin-ji, everyone will first be captivated by its 'extraordinary grace.' The 'meditative' pose, with six arms and one knee raised with the cheek resting on a hand, perfectly fuses the sensual beauty unique to Nyoirin Kannon with the deep compassion of contemplating how to save sentient beings.

At first glance, it exudes a bewitching nobility that is reminiscent of the 'Yang Guifei Kannon' at Sennyu-ji Temple in Kyoto.

In terms of technique, delicate kirikane (gold leaf) and gold paint are used extensively, and the gorgeous stylistic beauty established by Kaikei is inherited strongly. What is noteworthy is its exquisite balance. Once you notice that the head is made slightly larger, you realize that this statue was designed on the premise of being looked up at from a close distance. If you actually take a little distance from a low position, you should be able to find the 'fateful spot' where your eyes meet the Kannon's.

Among experts, while the involvement of the Kei school is assumed from its style, the theory that it is the work of Koshun, a sculptor of the Zen-en lineage who was deeply involved with Eison of Saidai-ji Temple, is considered influential.

Preserved through repairs in 1563 and 1714, this work can be called the essence of Kamakura wood carving technology, where the obsession of the craftsman turned wood into a Buddha. The soft texture of the fingertips touching the cheek and the intricate carving of the flowing robes possess a fluidity that makes one forget it is hard wood, and it continues to embody the 'reality of salvation' in Yoshino today.

Now, in fiscal year 2026, Keishun's Buddhist statues have been upgraded to Important Cultural Properties. The next statue feels like it belongs to the Unkei workshop, but the aforementioned Nyoirin in Yoshino feels like it belongs to the Kaikei workshop.

By the way, there are two Buddhist sculptors named Koshun, one from the Kamakura period and one from the Muromachi period... They are different people... My apologies... m(__)m

The former Nyoirin in Yoshino is by the Nara sculptor Koshun, and the latter is by the To-ji Temple Koshun... Since there is also a Jokei from the Kokei era and Unkei's second son Jokei, the second son is referred to as Higo Jokei. I wonder if they could do the same for this? Perhaps it cannot be helped since they belong to different schools. However, I will note that the Kei school, En school, and Zen school all trace their origins back to Jocho.

Since I'm at it, if I compare them, the Nara ones by Unkei and Kaikei give the impression of being favored by the samurai class, while the Kyoto/To-ji Temple sculptors feel like they would be favored by the court nobles.

→My NOTE: Yoshino 'Nyoirin-ji' Temple Main Hall's rear mountain 'Emperor Go-Daigo's Mausoleum' [Yoshino Series] | Yanmaa

Nara Prefecture: #KinpuShrine

53: Fujiwara no Michinaga Sutra Cylinder (Excavated from Kinpusan Sutra Mound) @ National Treasure: Heian Period, Kanko 4 (1007)

This National Treasure, the 'Fujiwara no Michinaga Sutra Cylinder,' was buried at the summit of Mt. Kinpu by Fujiwara no Michinaga himself, who was at the height of his power. What is overwhelming when standing before this sutra cylinder is the profound bronze luster that still radiates after a thousand years. On the surface, a prayer text, said to have been drafted by Michinaga himself, is engraved with a sharp chisel, and from those characters, one can feel not just a formal ritual, but Michinaga's raw 'prayer' and 'ambition'.

In an era when Mappo (the end of the Buddhist Law) thought was spreading and the end of the world was believed to be near, Michinaga entrusted the sutras to this cylinder to convey his merits to the Maitreya Bodhisattva who would appear 5.67 billion years later. This cylinder, cast with the highest level of technology and gold-plated, is not merely an art object. It is the crystallization of one man's terrifying attachment to life, who sought to make his own glory eternal and even monopolize salvation in the afterlife.

I feel like I've seen it three times in the last few years... So, perhaps there are many people who feel the same way? It wasn't that crowded.

• National Treasure Festival!! Nara National Museum 'Super National Treasure Exhibition' Impressions of the First and Second Terms | Yanmaa

• ★Buddhist Statue Exhibition★ MIHO MUSEUM 'Autumn Special Exhibition: Treasures and Gods/Buddhas of Mt. Kinpu' | Yanmaa

60: Silver-plated Sutra Box (Excavated from Kinpusan Sutra Mound) @ National Treasure: Heian Period (11th-12th century) / 61: Gilded Bronze Sutra Box Stand Fragment (Excavated from Kinpusan Sutra Mound) @ National Treasure: Heian Period (11th-12th century)

I will omit this.

→My NOTE: Yoshino deep mountains 'Kinpu Shrine' by car or bus? World Heritage 'Yoshino Mikumari Shrine' shrine building is wonderful [Yoshino Series] | Yanmaa

Nara Prefecture: #YoshinoMikumariShrine

100: Seated Statue of Saigyo: Edo Period, Tenmei 5 (1785): ★★★☆☆

It is enshrined in the worship hall of Yoshino Mikumari Shrine. This statue depicts the poet Saigyo, who lived through the turbulent times from the end of the Heian period to the Kamakura period and deeply loved the land of Yoshino as a wandering traveler. Its form is that of an old monk wearing a kesa (surplice), reminiscent of Saigyo in his later years.

What is particularly interesting is its unique expression. While many portrait sculptures stare straight ahead, this statue of Saigyo directs its gaze diagonally upward to the left. That look seems to follow the cherry blossoms blooming in the mountains of Yoshino or the moon floating in the sky, or perhaps it is lost in memories of his youth, inviting the viewer to engage in rich imagination.

Considering the history of Saigyo living in seclusion in the deep Okusenbon of Yoshino and leaving behind many famous poems while facing nature, this unique composition can be said to be a symbolic expression of his poetic sentiment and spirituality.

The stories are No. 101 and No. 102.

• 101: Agency for Cultural Affairs: Saigyo Monogatari Emaki (Kamakura period (13th century))

• 102: Osaka Hirokawa-ji Temple: Saigyo Monogatari Emaki, Summer Scroll, 1 scroll (Edo period (17th–18th century))

122: Lion and Komainu: Kamakura period (13th century): ★★★☆☆

The 'Lion and Komainu' that guard the sacred precinct of Yoshino Mikumari Shrine are masterpieces that gather the essence of Kamakura period sculpture techniques. It is worth noting that, in accordance with the shrine's characteristic building configuration,a total of 6 statues (3 pairs) of lions and Komainu still existtoday. The Mikumari Shrine has a triple structure consisting of a left hall, a central hall, and a right hall, and the fact that a pair of guardian beasts is present in each hall without any missing is an extremely rare case nationwide.

Thetwo statues in the central hallthat we are focusing on this time boast a particularly refined beauty of form among them. These statues strongly reflect the influence of the 'Song style' brought from the continent during the Kamakura period. The deeply undulating manes, the muscular expression of the limbs firmly gripping the ground, and the realistic yet stylized elegant features radiate an artistry that transcends mere guardian beasts.

152: Hanging Lantern: Edo period, 9th year of Keicho (1604)

Omitted.

→My NOTE:Is the 'Kinpu Shrine' in the deep mountains of Yoshino accessible by car or bus? The World Heritage 'Yoshino Mikumari Shrine' building is wonderful [Yoshino Series] | Yanmaa

Nara Prefecture: #KatteShrine

Oh, it seems it was destroyed by fire but has been restored. There was a photo of the shrine building. It is an ancient shrine identified as the 'Yoshino Yamaguchi Shrine' in the Engishiki.

123: Lion and Komainu: Kamakura period (13th century): ★★★☆☆

As if to symbolize the style of the 13th century, its body is overflowing with a sense of vitality. There is a powerful realism in the depiction of the sturdily protruding chest and the limbs gripping the earth with sharp claws. However, what makes this work extraordinary is that it does not merely emphasize the appearance of a fierce beast, but simultaneously embodies the solemnity of a guardian of the sacred realm and a refined 'elegance'.

The most characteristic feature of the design is thegesture of slightly tilting the headrather than staring rigidly straight ahead, by tilting the head slightly, it creates a scene as if it is not blocking the way, but rathergently questioning each visitorwho comes to visit. Its gaze combines a sharpness that seems to see through the heart of the viewer with a compassion that embraces everything, bringing about a quiet dialogue with the visitor.

These sculptural features, the delicate undulations of the muscles, and the expression of the fur are thought to be related to the famous examples of lions and Komainu handed down atNara Tamukeyama Hachimangu Shrinewhich is the guardian shrine of Todai-ji Temple. It is a valuable surviving example that tells the story of how the highest level of technology possessed by the orthodox Buddhist sculptor groups of Nanto was reliably transmitted to the Yoshino area and came to fruition as the guardian beasts of the god of Katte.

124: Seated Statue of Katte Myojin: Kamakura period (13th century): ★★★★★

This statue, said to have been made in the 13th century, combines the sharp realism peculiar to the Kamakura period with a divine elegance. The local Buddha is considered to beBishamontenand while it contains the power of a god of war, its presence is serene. Also, it has long been said to bea married couple deity with Tamayori-hime of Yoshino Mikumari ShrineIt is a supreme sacred image that tells the story of how the faith of this land was formed by the 'water' god who governs the mountains of Yoshino and the 'Katte' (entrance) god coming together.

147: Nuihaku (embroidery and gold leaf) with floral shoulder and hem pattern on white silk: Azuchi-Momoyama period (16th century) / 148: Noh masks of a young woman, young man, Shojo, and Tobide: Muromachi period

I will omit this.

→My NOTE: World Heritage! Yoshimizu Shrine, a famous spot for cherry blossoms. Will the strongest En no Gyoja triad at 'Sennyoin' be revived? 'Katte Shrine' [Yoshino Series] | Yanmaa

Nara Prefecture: #Seson-ji Temple

Seson-ji Temple is located on the site of Hiso-ji Temple, which is said to have been founded by Prince Shotoku, and this Kannon statue has gathered local faith, as depicted in the Genko-ji Engi Emaki (Illustrated Handscroll of the Origins of Genko-ji Temple).

17: Standing Statue of Eleven-faced Kannon (Nara period, 8th century): ★★★★☆

I thought it would become a National Treasure someday. Yes, it has a dandy face that leads to the Eleven-faced Kannon statue at Shorin-ji Temple (My NOTE) which is a National Treasure.

This is a wooden sculpture that conveys the breath of Tempyo culture from the time when Hiso-ji Temple in Yoshino (present-day Seson-ji Temple) flourished as a sacred site associated with Prince Shotoku. It is exhibited in Chapter 1, 'Legendary Land: Yoshino,' and can be said to be a symbol of compassion that has accepted people's prayers since ancient times in Yoshino, a place of rigorous ascetic training.

The standing statue of the Eleven-faced Kannon remaining at Seson-ji Temple is a giant statue 222 cm tall. It is carved from a single block of Japanese nutmeg wood and is considered to be the oldest wooden sculpture in the Yoshino region, dating back to the late Nara period. The head is a later addition, repaired in the 13th year of Genroku (1700) by the Buddhist sculptor Sacon Yashiro.

The texture of the wood, which has withstood over 1,200 years, and the well-proportioned, imposing physique embody both the strength and elegance characteristic of the Nara period. When facing it from the front, one is enveloped by an overwhelming sense of inclusiveness as the eleven faces quietly watch over all directions, and one can feel the deep spirituality of Yoshino, cradled by steep mountains, on one's own skin.

The details of Shorin-ji Temple are as follows.

18: Genko-ji Engi Emaki (Upper and Lower Volumes / 2 scrolls / Edo period, 17th century)

This is an important illustrated handscroll depicting the founding and origins of Hiso-ji Temple (Genko-ji Temple), the oldest temple in Yoshino District. It is also related to Tori Busshi and Prince Shotoku.

→My NOTE: The East Pagoda of Miidera Temple in Shiga is the pagoda here, 'Seson-ji Temple,' an old temple founded in the Asuka period, Yoshino-ji Temple! [Yoshino Series] | Yanmaa

Nara Prefecture: #Minamihokke-ji Temple (#Tsubosaka-dera Temple)

→My NOTE: Buddha Statue Wonderland 'Tsubosaka-dera Temple (Minamihokke-ji Temple),' the counterpart to Kyoto's Kiyomizu-dera Temple, 'Shigaku-ji Temple (Grave of Osato and Sawaichi)' [Yoshino Series] | Yanmaa

Nara Prefecture: #NaraNationalMuseum

8: Three-pronged Vajra (Excavated from the summit of Mt. Misen): Nara to Heian period

Omitted.

29: Iconography of Various Kannon Bodhisattvas @ Important Cultural Property: Heian period (12th century)

Omitted. I'm getting tired...

42: Excavated items from the Kinpusen Sutra Mound: Heian period (11th-12th century)

I will omit this.

73: Standing Statue of Zao Gongen: Heian period (11th century): ★★★☆☆

In contrast to the intense dynamism of the Kamakura period, this 11th-century Zao Gongen exudes a 'calmness and profound weight' characteristic of the late Heian period. While it adopts the composition of wrath, with the right leg raised and the right arm swung upward, the curves of its body are somewhat soft, creating a sense of embrace that not only intimidates the viewer but also gently envelops them.

What is particularly noteworthy is its expression. While the wide-open eyes and standing hair harbor divine wrath, the texture of the wood, carved from a single block, is warm and filled with deep compassion. It seems to tell the story of how the elegance of the Pure Land faith, which spread among the nobility of this era, quietly permeated even the appearance of the fierce deity of Yoshino.

You can see the figure on the Nara National Museum website!!

74: Standing Statue of Zao Gongen @ Important Cultural Property: Heian period (12th century): ★★★☆☆

While maintaining the basic composition of raising the right leg high, this statue is an example from the end of the Heian period that shows a smooth and elegant form overall. Even within its intense movement, there is a sense of controlled stillness, setting it apart from the rougher Zao Gongen of the Kamakura period.

Particularly noteworthy is its unusual expression, lacking a third eye and baring its upper teeth without opening its mouth, which are elements reminiscent of Fudo Myoo. Also, it is characterized by the fact that it does not wear the animal skin typically seen, and the left hand takes the form of five extended fingers rather than the so-called 'peace sign' shape.

From these points, this statue can be seen as an experimental form during the transition from the Heian to the Kamakura period, before reaching the standardized Zao Gongen image. It is a piece that possesses the unique charm of a transitional period, just one step before a perfected style.

You can see the figure on the Nara National Museum website!!

114: Seated Statue of En no Gyoja: Kamakura period, 9th year of Koan (1286): ★★★☆☆

This is a masterpiece of Kamakura sculpture that fuses the dignity of the founder of Shugendo with a thorough realism that speaks to the rigors of mountain asceticism. Utilizing the mature techniques of the late Kamakura period, the sculptor has carved with cold precision every detail, from the lean yet resilient physique characteristic of En no Gyoja to the deep wrinkles earned from enduring wind and snow. The sculptor is Keishun.

With its inlaid crystal eyes, holding a shakujo staff in the right hand and a sutra scroll in the left, the figure feels like a saint possessing supernatural powers, while simultaneously conveying the warmth of a human being who absorbs the sufferings of all living things—a quintessential En no Gyoja statue!!

You can see the figure on the Nara National Museum website!! (https://www.narahaku.go.jp/collection/1519-0.html)

118: Painting of the Thousand-Armed Kannon Appearing (Gyogo-zu): Kamakura period (13th century)

A masterpiece of Buddhist painting that depicts with precise brushwork the moment when Kannon Bodhisattva reveals their form (gyogo) before the people.

156: Kasuga Shrine Mandala: Kamakura period (14th century)

Omitted.

161: Seated Statue of Fugen Bodhisattva: Heian period (11th century): ★★★☆☆

162: Standing Statue of Fudo Myoo and Two Attendants: Heian to Edo period: ★★★☆☆

163: Standing Statue of a Heavenly King (Tenno): Heian period (11th century): ★★☆☆☆

Omitted.

166: Documents related to the transfer of ownership: 8th year of Taisho (1919)

Omitted.

Nara Prefecture: #The Museum Yamato Bunkakan

4: Complete Map of Mount Omine

The 'Complete Map of Mount Omine' is a single pictorial map drawn in the Edo period (18th century). It is exhibited in Chapter 1, 'Yoshino: Land of Legend,' and captures the entirety of 'Mount Omine,' the sacred site where En no Gyoja, the founder of Shugendo, is said to have perceived Zao Gongen. It is a valuable document that visually conveys the layout of training grounds and temples scattered across the rugged mountainous region, along with the spread of faith at that time. The Eight Great Doji are shown emerging from the rocks.

85: Statue of Komori Myojin

This is a work from the Nanboku-cho period (14th century) depicting the deity enshrined at Yoshino Mikumari Shrine in Yoshino, Nara. The principal deity of Yoshino Mikumari Shrine, Ame no Mikumari no Kami, was devoutly worshipped as 'Komori Myojin,' a deity of safe childbirth and child-rearing, because 'mikumari' was corrupted into 'mikomori' (child-rearing).

→Official Website: The Museum Yamato Bunkakan

Nara Prefecture: #Todai-ji Temple

Nara Prefecture: #Kofuku-ji Temple

5: Nihon Ryoiki, Volume 1: Heian Period (10th century): ★★★★★

It is said that En no Gyoja is of the Kamo clan!! I finally saw the real thing...

→My NOTE: Complete Conquest of the Fujiwara Clan's Kofuku-ji Temple and Kasuga Taisha Shrine [Nara] [Nara Series] | Yanmaa

Nara Prefecture: #Kasuga Taisha Shrine

67: Kasuga Gongen Genki-e (Kasuga Version), Volume 1: Edo Period, 4th year of Bunka (1807): ★★★★☆

This is a precise copy made in the Edo period based on the original (the version presented to the Imperial Court) painted by Takashina Takakane in the Kamakura period. The miraculous tales of the Kasuga deities are reproduced with great dignity through gorgeous colors that make extensive use of gold leaf and the delicate depictions of Yamato-e.

Particularly interesting is the tale that when the Retired Emperor Shirakawa headed to Mount Kinpu, he did not visit Kasuga Taisha Shrine, and as a result, he received divine punishment and fell ill. Although the Retired Emperor eventually visited Kasuga and was spared from further trouble, this composition can be read not just as a tale of divine miracle, but as a story emphasizing the authority of Kasuga (i.e., the Fujiwara clan).

In fact, by the 11th century, Kinpusen-ji Temple had become a sub-temple of Kofuku-ji Temple, and it cannot be denied that political and power-related intentions, rather than religious ones, may have been reflected in the background of such tales.

88: Wooden Yabusame (Horseback Archery) Statue: Heian Period (12th Century): ★★★☆☆

Although created in the late Heian period (12th century), the figure drawing a bow on horseback captures the atmosphere of an era where the refinement of the capital began to intersect with the spirit of the samurai. The simple texture of the wood carving accentuates the solemn atmosphere of the ritual, quietly sealing in the fleeting movement of a horse galloping through the wind. Even more impressive is the somewhat innocent, boyish facial expression, which evokes a mysterious purity amidst the bravery.

At first glance, the combination of Kasuga Taisha and a Yabusame statue seems unexpected, but this statue is a deity image from the Sanjuhassho Shrine, a sub-shrine. The Sanjuhassho Shrine originated from En no Gyoja inviting deities from all over Japan to Mt. Kinpu, and it is considered one of the faith networks that spread mainly in the Kansai region.

Yabusame has been dedicated to the gods in Yoshino and Nara. This statue, which gives three-dimensional form to that tense moment, tells of an era when martial arts themselves were a form of prayer. Despite being a small statue, the spirit it radiates is powerful, possessing the strength to pull the viewer back into the sacred realm of that time.

142: Folding Screen with Cherry Blossoms and Flowing Water: Edo Period (17th Century)

With its bold pattern of flowing water crossing the screen diagonally and the lovely cherry blossom petals scattered throughout, this work, which shines with the Rinpa-style design sense typical of the 17th century, presents a 'symbol of Japanese beauty' that transcends realism.

→My NOTE: Complete Conquest of the Fujiwara Clan's Kofuku-ji and Kasuga Taisha [Nara] [Nara Series] | Yanmaa

Nara Prefecture: #Yakushi-ji

Omitted.

→My NOTE: World Heritage! National Treasure! The Nanto Shichi Daiji 'Yakushi-ji' is a new yet old temple [Nishinokyo Series] | Yanmaa

Nara Prefecture: #Saidai-ji

79: Yoshino Mandala: Nanboku-cho Period (14th Century)

The Yoshino Mandala handed down at Saidai-ji is a visual resource that provides an overview of the mountain worship of Yoshino and Omine. The composition features mountains connecting from bottom to top, with various deities, including Zao Gongen, placed at key points. This is not merely a landscape, but can be said to be a visualization of the 'Nyubu Shugyo' (mountain entry training) process, where practitioners approach the world of Buddha by climbing through the mountains.

Furthermore, it is characterized by the depiction of temple buildings, training grounds, pilgrims, and mountain ascetics (yamabushi) in the mountains, reproducing the reality of the faith itself. In other words, this painting also expresses the space of Yoshino as a 'walking mandala'.

During the Nanboku-cho period, Yoshino was a special place that served as the base for Emperor Go-Daigo. The contrast between the deep green of the mountains and the golden gods and Buddhas manifesting there conveys the intense faith of the people of that time who viewed this land as a pure land in the present world.

Simply put, 'Yoshino Mandala = Zao Gongen + Omine Hachidai Doji + Gods of Yoshino'

• Gods of Yoshino

  • Konsei Myojin at Kinpu Shrine: The local deity of Mt. Yoshino (a male deity in court dress).

  • Gozu Tenno at the site of Gozu Tenno Shrine

  • Komori Myojin and Wakamiya at Yoshino Mikumari Shrine

  • Hachioji at Washio Shrine

  • Saho Myojin at Katte Shrine: An elder male deity.

  • Katte Myojin at Katte Shrine: A brave deity wearing armor.

  • Daijo Itoku Ten at Itoku Tenmangu: Sugawara no Michizane

108: Statue of Kosho Bosatsu: Kamakura Period (14th Century) / 109: Kongo Busshi Eison Kanshin Gakusho-ki (Important Cultural Property): Nanboku-cho Period, Enbun 4 (1359) / 110: Saidai-ji Shokoku Matsuji-cho (Record of Branch Temples in Various Provinces): Muromachi Period, Meitoku 2 (1391)

I will omit this.

→My NOTE: Nanto Shichidaiji! Todai-ji in the East! Saidai-ji in the West! A Buddhist statue school like Seiryo-ji or Hasedera!? The head temple of the Shingon Risshu sect [Nara Nishinokyo Series] | Yanmaa

Nara Prefecture: #Hasedera

104: Hasedera Engi Emaki (Illustrated Scroll of the Origins of Hasedera), Volume 1 (Muromachi period, 16th century)

Volume 1 of the 'Hasedera Engi Emaki' marks the beginning of a grand tale that recounts the origins of the sacred site of Hasedera in Yamato and the numerous miracles associated with its principal image, the Eleven-faced Kannon Bosatsu. This scroll, which was repeatedly produced from the Kamakura to the Muromachi periods, vividly depicts important episodes from the temple's founding era.

Particularly noteworthy in this volume is the mysterious connection between Sugawara no Michizane, renowned as the god of learning, and Hasedera. Michizane, who was also the patron of the origin text, once received a revelation in a dream from Zao Gongen, the guardian deity enshrined in the steep mountains of Yoshino. That dream message indicated that the land of Hatsuse (Hase) was a sacred site without equal.

This scene, where Zao Gongen, the symbol of Yoshino, leads Michizane to the Kannon faith of Hase, symbolizes how the world of Shugendo in Yoshino and Omine was inextricably linked to the Kannon faith of Hase for the people of that time. The figure of Michizane, who became convinced of the sanctity of Hase through the suggestion of the gods and Buddhas, conveys to us today that this temple occupied a special position in the network of faith in Yamato, rather than being just a single temple.

Thus, in the land of Hase, recognized as a sacred site, the story continues into the thousand-year history of Hasedera, from the encounter with a giant sacred tree by Tokudo Shonin to the construction of one of Japan's largest Kannon statues.

→My NOTE: Nara 'Hasedera' Complete Guide! Comparing 2010 to the 2020s! Flower Temple/Amaterasu/Kaikei [Sakurai Series/Omiwa Shrine Series] | Yanmaa

Nara Prefecture: #Fukugenji

A temple I have not yet visited. Details are at 'Fukugenji | Nara Kawakami Village Designated Cultural Property'.

106: Kongo Zao Koshiki, 1 volume (Edo period, Genroku 8 (1695))

Nara Prefecture: #Taimadera Nakanobo / Nara Prefecture: #Nomin-in

89 & 91: Statue of Tenkawa Benzaiten (Muromachi period, 16th century)

This work shows how the faith in Tenkawa (Tenkawa Daibenzaiten Shrine) spread and was transmitted and shared with other temples (Taimadera) in the sacred site of Shugendo, Yoshino and Omine.

I was surprised when I first saw the 'Tenkawa Benzaiten'. I wrote, 'What on earth is this!!!!!! It is a three-dimensional mandala where the 'Three-faced Snake-headed Ten-armed Benzaiten', whose face is a snake (serpent) and consists of three faces, is surrounded by fifteen child deities, Suiten, Katen, Kisshoten, and Kariteimo (Kishimojin).' It is a clear keychain this time.

→My NOTE will not be public until April 2026

Nara Prefecture: #Koganji

Nara Prefecture: #Mochii-dono-cho Foundation

This is a precious collection that makes one feel that the spirit of Shugendo still blows through the streets of Nara today.

153: Seated Statue of En no Gyoja (Edo period (17th century)): ★★☆☆☆

This is a 'seated statue' depicting En no Gyoja (En no Ozunu), the founder of Shugendo, sitting on a rock throne. Reflecting the style of the early Edo period in the 17th century, it inherits the severe expression of the Middle Ages while exuding a somewhat calm dignity.

What is particularly noteworthy is that this statue has been passed down in the heart of the commercial district of Mochii-dono-cho. It is a symbolic figure that tells of how the people of this area once valued the pilgrimage to Mount Omine (Omine Okugake) and incorporated the spirit of Shugendo into their daily lives.

154: Seated Statue of Rigen Daishi (Edo period (17th–18th century)): ★★☆☆☆

This is a sculpture of Rigen Daishi (Shobo), who founded Daigo-ji Temple and revived Yoshino and Kinpusen as its restorer. It is often placed as a pair with the statue of En no Gyoja, and here too, the faith in the two great saints of Shugendo is given form.

Characterized by the careful craftsmanship leading up to the mid-Edo period, the intellectual expression and the detailed depiction of the prayer beads and sutra scrolls in his hands well express the personality of the Master, who was both a strict ascetic and an excellent scholar-monk and organizer.

155: Yoshino Mandala (Edo period (18th–19th century))

The 'Yoshino Mandala' from the late Edo period is a 'sacred map of Yoshino and Kinpusen' that condenses the sacred realm of Yoshino into a single painting.

→My NOTE: Founded in 816! A certain building's 1st floor 'Mochii-dono Benzaiten Shrine/Shobo Rigen Daishi Hall' - Memorial service by a Todai-ji monk [Nara Town Series] | Yanmaa

Kyoto Prefecture: #Yomei Bunko

54: Mido Kanpakuki, 4th year of Kanko, written by Fujiwara no Michinaga @ National Treasure: Heian period, 4th year of Kanko (1007) / 55: Go-Nijo Moromichi-ki, 4th year of Kanji @ National Treasure: Heian period (12th century)

• 54: Mido Kanpakuki (Fujiwara no Michinaga)
  A record from the year Michinaga buried sutras in Yoshino. The unrestrained brushwork, with remaining typos and ink blots, conveys a vivid humanity that desperately clung to the gods and Buddhas.

• 55: Go-Nijo Moromichi-ki
  The diary of his great-grandson, Moromichi. In contrast to Michinaga, it exudes the heavy responsibility of a regent inheriting tradition and an intellectual aesthetic sense.

Shiga Prefecture: #Kinshoku-ji Temple

94: Kumano-gu Mandala: Kamakura period (13th century)

Kyoto Prefecture: #Shogo-in Temple

93: Kumano-gu Mandala: Kamakura period (13th century)

This is an extremely precious mandala depicting the landscape of the Kumano Sanzan, a sacred site of Shugendo, and the gods and Buddhas that appear there. The shrine buildings of Kumano Hongu, Shingu, and Nachi are depicted in exquisite detail, and the Honji-butsu (the original forms of the Buddhas) of each shrine float in the sky above. The steep terrain wrapped in deep green is truly Kumano itself as a 'Pure Land in this world'.

Shogoin Temple is a base for the Honzan-ha Shugendo sect, and its successive head priests have historically served as Kengyo (superintendents) of the Kumano Sanzan. This mandala is not merely a painting; it likely served as a 'window' to gaze upon Kumano, a sacred site equal to Yoshino, and to evoke the spirit of rigorous ascetic training. Over a thousand years later, it still retains a sacred silence.

95: Kumano Suijaku-shin Mandala: Kamakura period (14th century)

This is an extremely creative mandala that depicts the 'Suijaku' (the temporary manifestations of Kami) as the gods of Kumano appeared before the people.

Not only are shrine buildings depicted, but gods in the forms of children and nobles are vividly placed within the landscape. It colorfully expresses that Kumano, a sacred site for Shugendo alongside Yoshino, is not just a mountain but a 'paradise where the gods breathe.'

This work, associated with Shogoin, overflows with the unique Japanese sensibility of cherishing harsh nature as 'the Kami themselves.' From the surface, where gold leaf and vivid colors remain, one can deeply feel the fervent faith of the people of that time who sought to connect with the sacred site and find salvation through this painting.

112: En no Gyoja, Zenki, Goki, and the Eight Great Doji: Muromachi period (15th century)

The stern gaze of En no Gyoja seated in the center, and the husband-and-wife demons, Zenki and Goki, serving faithfully at his feet. Furthermore, the Eight Great Doji surrounding them add rhythm to the composition with their unique expressions and poses. It is an expression that beautifully fuses the power and decorativeness characteristic of the Muromachi period. Let's compare it with 113. I couldn't tell the difference; I thought it was a copy.

→My NOTE: Temporary Palace! If you go to Okazaki, visit 'Shogoin', and also enjoy the cherry blossoms and 'Yatsuhashi'! [Kyoto Okazaki Series] [Kumano Pilgrimage] | Yanmaa

Kyoto Prefecture: #Kannon-ji

21: Seated Statue of a Male Deity: Heian period (11th century): ★★☆☆☆

This is a wooden deity statue created during the Heian period. Kannon-ji is an ancient temple located in Tsuzuki District (present-day Kyotanabe City), and this statue has been protected and passed down throughout its history. Amidst the deepening philosophy of Shinbutsu-shugo (syncretism of Shinto and Buddhism), this figure quietly embodies the dignity of a Japanese deity while maintaining Buddhist aesthetic beauty.

It is a Tenbu deity statue, and temple tradition identifies it as the 'Honji-butsu (original Buddhist manifestation) of the Eleven-faced Kannon.' However, since the area in Wazuka-cho, Kyoto, where this statue was handed down, was a territory of Kitano Tenmangu Shrine, there is also a theory that it is a Tenjin deity.

By the way, I heard from the head priest that the deity of Okada Kamo Shrine might have been Amaterasu. I remember him saying that it became Sugawara no Michizane due to the popularity of Tenjin worship.

→My NOTE: National Treasure! Eleven-faced Kannon 'Kannon-ji' There are 7 National Treasure Eleven-faced Kannon statues nationwide [Kyoto Minamiyamashiro Series] | Yanmaa

Kyoto Prefecture: #Kitano Tenmangu

22: Standing Statue of a Demon Deity (2 of 13 statues / Heian period, 10th century): ★★★☆☆

With the aforementioned '21: Seated Statue of a Male Deity' as the main object of worship, the Standing Statues of Demon Deities (2 of 13 statues) created in the 10th century of the Heian period served as attendant figures.

Although Kitano Tenmangu is known as a shrine for learning, the essence of its faith lies in pacifying the vengeful spirit of Sugawara no Michizane, and these demon statues can be said to represent that 'hidden side.' Their fierce expressions and tense forms are the embodiment of the awe felt by the people of that time, possessing a power that transcends mere protective statues. It is a work from an era when the distinction between Buddhist statues and Shinto deity statues was not yet differentiated, and it is also important in that it conveys the realistic state of Shinbutsu-shugo to the present day. It strongly tells us that the site of Kitano was not just a place of worship, but a 'barrier' that controlled vengeful spirits on a national scale.

So, I visited the Buddha in 2025 during the special viewing of the main hall!! You can see that in 'Mitarai River Foot-Washing Ritual 'Kitano Tenmangu' National Treasure Main Hall Stone Room Passage Ritual | August 8, 2025 [Photo Impression Series] | Yanmaa'!!

→My NOTE: Complete Conquest 'Kitano Tenmangu' Plum/Autumn Leaves/Power Sweets 'Togyo Kannon-ji' | Yanmaa

Hyogo Prefecture: #Tsuda Tenmangu Shrine / Mie Prefecture: #Sugitani Shrine

25 & 26: Kitano Tenjin Engi Emaki (Illustrated Scrolls of the Origins of Kitano Tenjin) @ Important Cultural Property: ★★★☆☆

The illustrated scrolls of Tsuda Tenmangu Shrine, created during the Kamakura period, are scrolls that can be called the origin of Tenjin worship, intensely depicting the aspect of Sugawara no Michizane as a vengeful spirit. The scene where he rages as a thunder god is particularly masterful, directly conveying the terror of a being capable of bringing about natural disasters. The gentle image of him as the 'god of learning' is still faint, clearly showing that this was a faith intended primarily to appease a curse.

On the other hand, the illustrated scrolls of Sugitani Shrine from the Muromachi period, while based on the Kamakura version, have a more organized narrative and structure, with a stronger focus on visual presentation. The expression of terror is somewhat restrained, reflecting the process by which Tenjin was accepted as an object of faith. The high level of perfection and sophistication as an illustrated scroll also suggests the maturation of the faith.

From a 'terrifying being' to a 'believed-in being'! You can clearly see the flow of how the image of Tenjin changed within society. Or rather, it conveys the fundamental principle that by respectfully enshrining a raging god (aramitama), it becomes a benevolent god (nigimitama).

Kyoto Prefecture: #Tofuku-ji Temple

Skipped. My NOTE is as follows. ([Kyoto] Was the Kyoto Five Great Temples' 'Tofuku-ji' a famous cherry blossom spot because of Todai-ji + Kofuku-ji!? The garden is recommended! | Yanmaa)

Kyoto Prefecture: #Ninna-ji Temple

77: Kinpusen-san Engi, 1 scroll (Heian period, 2nd year of Chosho (1133))

The 'Kinpusen-san Engi' passed down at Ninna-ji Temple is an important historical document that concisely conveys the establishment of Yoshino and Omine and the origins of Shugendo. As a manuscript from as early as the 2nd year of Chosho (1133), it suggests that the Zao Gongen faith had already been systematized.

The content is a narrative summarizing the training of En no Gyoja, the appearance of Zao Gongen, and the establishment of the sacred site, set in the training grounds on Mount Omine, which leads from Kumano to Yoshino. It is not merely a tale, but can be called an 'official history' that positions the mountain itself as a sacred sanctuary.

Although it is in the concise format of a paper-based ink scroll (27.5 cm in height), the fact that it was passed down within the sub-temples of Ninna-ji is significant, indicating that the mountain worship of Yoshino was incorporated into the network of temples in the capital. Furthermore, it is a valuable historical material for considering the traditions related to the construction of the Kinpusen Main Hall and the relationship with the branch temples of Ninna-ji.

→ My NOTE: Omuro Cherry Blossoms 🌸 'Ninna-ji' 🌸 Sanjusangen-do x Imperial Palace! If you say Omuro 10 times, is it Omron!? [Kinukake Road Series] [Randen Series] | Yanmaa

Kyoto Prefecture: #Dan-o Horin-ji Temple

98: Kumano Gongen Gyogo-zu (Painting of the Manifestation of Kumano Gongen) @ Important Cultural Property: Kamakura period, 1st year of Gentoku (1329)

Skipped.

→ My NOTE: The Oldest Beckoning Black Cat 'Dan-o Horin-ji' A Bridge Between Kyoto and Ryukyu [Kyoto Expert Series / Kyoto Okazaki Series / Kyoto Usually Closed to the Public Series] | Yanmaa

Osaka Prefecture: #Imamiya Ebisu Shrine

139: Seated Male Deity Statue (Kamakura to Nanboku-cho period (14th century)): ★★★★☆ / 141: Seated Male Deity Statue (Kamakura to Nanboku-cho period (14th century)): ★★★★☆

An exhibit that makes you think, 'This is interesting~~~.' It is a very mysterious exhibit, but Osaka City has unraveled it.

→My NOTE:Don't forget the 'Ura-mairi' (back pilgrimage) at 'Imamiya Ebisu Shrine,' the guardian deity of Osaka merchants loved through the ages [Minami-Kawachi Series / Osaka Minami Series] | Yanmaa

Shiga Prefecture: #Ishiyama-dera Temple

27 & 28: Core wood of the Standing Kongo Zao Statue @ Important Cultural Property (1 figure / Nara period, 6th year of Tenpyo-hoji <762>) / Fragments of the Standing Kongo Zao Statue @ Important Cultural Property (3 pieces / Nara period, 6th year of Tenpyo-hoji <762>): ★★☆☆☆

The 'Core wood of the Clay Standing Kongo Zao Statue' and the 'Fragments of the Standing Kongo Zao Statue' housed at Ishiyama-dera Temple are precious cultural assets that convey the appearance of the first main deity (attendant) of Ishiyama-dera Temple at the time of its creation in the 6th year of Tenpyo-hoji (762) during the Nara period.

Why is there a Zao Gongen at Ishiyama-dera Temple? It is as follows: When Ryoben prayed at Ishiyama-dera Temple following an oracle from Zao Gongen at Mt. Kinpu, gold was discovered in abundance in the Tohoku region, which led to the construction of the Great Buddha at Todai-ji Temple.

92: Statue of Tenkawa Benzaiten (Muromachi period (16th century))

※Refer to the aforementioned 'Nara Prefecture: #Taima-dera Temple Nakanobo / Nara Prefecture: #Nomin-in Temple'

→My NOTE:Kaikei and Murasaki Shikibu: 'Ishiyama-dera Temple' is the only temple in Japan with an imperial-sealed Kannon! Conquered! [Shiga] [Kosei] | Yanmaa

Hyogo Prefecture: #Taisan-ji Temple

84: Yoshino Mandala

※Refer to the aforementioned Saidai-ji Temple

→My NOTE:Kobe's only National Treasure 'Taisan-ji Temple' has an Amida Buddha on par with Byodo-in [Harima Series] [Hyogo Kobe Series] | Yanmaa

Wakayama Prefecture: #Kumano Hongu Taisha Shrine

Omitted.

→My NOTE:Kumano Hongu Taisha Shrine & Kumano Hongu Taisha Old Shrine Site Oyunohara - Kumano Pilgrimage - | Yanmaa

Wakayama Prefecture: #Tokei-jinja Shrine

99: Kumano Nachi Pilgrimage Mandala (Muromachi period (16th century))

→My NOTE: 'Tokei-jinja Shrine' with old timber from Ise Jingu for the Kumano Sanzan Betto, a World Heritage site! The Kumano Navy and Benkei's father [Wakayama Series / Wakayama City Area Series / Wakayama Kihoku Series]

It will be released in the second half of 2026.

Tottori Prefecture: #Sanbutsu-ji Temple

72: Standing Statue of Zao Gongen, Important Cultural Property (1 figure / Heian period, 11th century): ★★★☆☆

The standing statue of Zao Gongen passed down at Sanbutsu-ji Temple is an example that retains the ancient style dating back to the Heian period, and it is an important artifact showing that the Shugendo faith, which originated mainly in Yoshino and Mt. Kimpu, spread to the provinces. Furthermore, Sanbutsu-ji is known as a sacred site where legends of En no Gyoja remain and continues to convey the ancient layers of Shugendo to the present day.

Compared to the intense dynamism seen in later Kamakura-period statues, this statue remains relatively quiet and simple in its expression, and it is also characteristic in that it does not have one leg raised. This is considered to show the early form of Zao Gongen statues, and from the restrained modeling despite possessing a wrathful appearance, one can glimpse a stage where the faith had not yet been fully refined.

Furthermore, this statue is said to have been enshrined in the Nageire-do Hall along with six other Buddhist statues, including the principal image made in 1168 and the background of it having been worshipped in a harsh training space built on a cliff is extremely important. It is currently enshrined in the treasure hall, but how on earth did they bring it down??

→ My NOTE: National Treasure! Mt. Mitoku 'Sanbutsu-ji' Miraculous Hall! Cliff! Beware of Serious Injury [Hoki Series] [Izumo Series] | Yanmaa

Ibaraki Prefecture: #Mito Daishi Rokujizo-ji Temple

Kanagawa Prefecture: #Seijo-ko-ji Temple (Yugyo-ji)

Tokyo: Taito Ward: #Tokyo National Museum

24: Copy of the Thirty-Six Immortal Poets of Buddhist Teachings: Edo period (19th century)

This is a masterpiece that depicts the sacred group surrounding the founder of Shugendo with a composition full of dynamism.

The stern gaze of En no Gyoja seated in the center, and the husband-and-wife demons, Zenki and Goki, who serve him faithfully at his feet. Furthermore, the Eight Great Child Protectors surrounding them give rhythm to the screen with their unique expressions and poses. It is an expression that fuses the strength and decorativeness characteristic of the Muromachi period.

The intensity as if En no Gyoja, who repeated training in the harsh mountains of Yoshino, had manifested while accompanied by supernatural beings. From this group, the 'enlightenment' that lies beyond solitary training and the rich worldview of gods and Buddhas surrounding it resonate directly.

45: Mirror Statue of the Three Child-Protecting Deities: Heian period, 6th year of Eisho (1051)

This is a National Treasure-level treasure that symbolizes the unique Japanese form of syncretism between Shinto and Buddhism, with the figure of a Buddha engraved on the surface of a mirror.

The figures of the three deities are drawn with delicate line engravings on the smooth mirror surface. There is a clear inscription of the '6th year of Eisho' from over a thousand years ago, and the earnest prayers of the people of that time, who used mirrors as vessels for the gods and found Buddhas within them, are conveyed warmly from deep within the cold metal.

Passed down at Kimpusen-ji Temple in Yoshino, this work represents the local deity (the guardian deity of Kimpusen-ji) of the Komori-no-miya Shrine, and it is like a time capsule that has sealed the memories of the sacred site. I am overwhelmed by the weight of history, where many people, from powerful figures of the time to nameless practitioners, reflected their own hearts in this mirror and sought salvation from the gods and Buddhas of the mountains.

63: Qian Hongchu's 84,000 Pagodas (Excavated from the Nachi Sutra Mound, Wakayama Prefecture): China, Five Dynasties period

Omitted.

▽Similar Buddhist Statue Exhibitions

★Buddhist Statue Exhibition★ MIHO MUSEUM 'Autumn Special Exhibition: Treasures and Deities of Kinpusen' | Yanmaa

▼Buddhist Statue Hall - Photography Allowed Buddhist Statues -

Oh, the exhibits have been rotated and more Buddhist statues are now allowed to be photographed!! I guess it's a sign of the times.

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