Paper short abstract:

This paper shows how Shingon monks in the twelfth century utilized iconographic illustrations to secure patronage from political power, the prominent Northern branch of the Fujiwara clan and proclaim their pivotal roles in the family's worship of the Fukūkenjaku Kannon in the Nan'endō at Kōfukuji.

Paper long abstract:

Buddhists have produced images of deities following instructions given in scriptures. The accurate depictions of deities' iconography ensure the efficacy of icons and are essential for establishing a suitable setting for ritual performances and meditative practices. Iconographical elements such as hand gestures and implements allow viewers to identify what icons represent and their religious meanings. Therefore, iconography is not merely a province of art historians, but also a type of Buddhist knowledge and a way of communication between believers and divinities. However, iconography is by no means devoid of political meaning. This paper investigates iconography as a source of religious authority and a pathway to political power by examining copies of the sculpture Fukūkenjaku Kannon (Avalokiteśvara with the Unfailing Rope) in the Nan'endō (Southern Round Hall) at Kōfukuji in Nara.

Seated in the center of the hall, this icon has been known as the protector of the Northern branch of the Fujiwara clan, who dominated politics in the first half of the Heian period (794-1185). The practice of replicating the Nan'endō Fukūkenjaku Kannon appeared in the late eleventh century and as scholars point out, had to do with increased devotion to the icon in the Northern Fujiwara clan. Nevertheless, by analyzing the copies of the icon along with courtier diaries, iconographic manuals, and oral transmission (kuden), this paper reveals the pivotal roles of Shingon monks in the family's worship of the deity. Moreover, the illustrations of the deer skin, the iconography of Fukūkenjaku Kannon, in some of the copies demonstrated that the Nan'endō Fukūkenjaku Kannon was as much connected to esoteric teachings as to Kōfukuji, the family temple of the Northern Fujiwara. The illustrations also marked the religious authority of Shingon monks in explaining deity's iconography. Through this visual production, Shingon monks asserted their roles as not only ritual providers, but also religious consultants for the Northern Fujiwara clan and signified their significance for the family. Taking this point together with other replications of the icon associated with Kōfukuji, this paper further manifests a network of worship and a sociopolitical terrain where multiple monastic and secular power intersected.