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Gallery Text

With his bright red skin, white fangs, multiple arms, flaming hair, and lion’s head crown, Aizen Myōō embodies the Cosmic Buddha’s wrath against evil spirits. Its placement inside the sculpture of Prince Shōtoku is an important indicator of the cultic identity of the people who commissioned and venerated it. The reformist monk Eison (1201–1290) is credited with warding off two attempted invasions of Japan by the Mongols with nation-saving rituals to Aizen. Eison championed a movement known as Shingon-Ritsu, which called for a return to the proper observation of monastic rules for living, including the establishment of nunneries. His personal icon, a modestly sized sculpture of Aizen, remains at his temple of Saidaiji, in Nara, to this day.

Identification and Creation

Object Number
2019.122.7
Title
Small Seated Image of Rãgavidyiarãja (Japanese: Aizen Myōō)
Other Titles
Transliterated Title: Aizen Myōō
Classification
Sculpture
Work Type
sculpture, figurine
Date
Kamakura period, datable to circa 1292
Places
Creation Place: East Asia, Japan
Period
Kamakura period, 1185-1333
Culture
Japanese
Persistent Link
https://hvrd.art/o/199867

Physical Descriptions

Medium
Wood with polychromy
Dimensions
H. 10.1 cm (4 in.)

Provenance

Recorded Ownership History
[Yamanaka Shoji Co., Ltd, Awata Kyoto (1936)], sold; to Ellery Sedgwick, Beverly, MA, (1936-1960), passed; to his wife, Marjorie Russell, Beverly, MA (1960-1971), inherited; by Ellery Sedgwick, Jr., Gates Mills, Ohio, (1971-1991), inherited; by Walter Sedgwick, Woodside, CA, (1991-2019), partial and promised gift; to the Harvard Art Museums.

Acquisition and Rights

Credit Line
Harvard Art Museums/Arthur M. Sackler Museum, Partial and promised gift of Walter C. Sedgwick in memory of Ellery Sedgwick Sr. and Ellery Sedgwick Jr.
Object Number
2019.122.7
Division
Asian and Mediterranean Art
Contact
am_asianmediterranean@harvard.edu
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Publication History

  • John M. Rosenfield, The Sedgwick Statue of the Infant Shotoku Taishi, Archives of Asian Art (1968-1969), Vol. XXII / pp. 56-79, Fig. 7 / p. 62 (Item I / pp. 62-63)
  • Keizaburō Mizuno, ed., Nihon chōkokushi kiso shiryō shūsei (Compendium of the History of Japanese Sculpture), Chūō Kōron Bijutsu Shuppan (Tokyo, 2019)
  • Rachel Saunders, “Hābādo Daigaku Bijutsukan shozō Shōtoku Taishi nisai zō ni komerareta imi” (Interpreting the Sculpture of Prince Shōtoku at Age Two at the Harvard Art Museums), Zōkei no poetika: Nihon bijutsushi o meguru aratana chihei (The Poetics of Form: New Horizons in Japanese Art History), ed. Sano Midori Festschrift Committee, Seikansha (Tokyo, 2021), pp, 71-86
  • Rachel Saunders, Angela Chang, Penley Knipe, and H. Greg Lin, “Hābādo Bijutsukan shozō Namu Butsu Taishi zō: kyōdō kenkyū to sono seika” (When Art Meets Science: Interdisciplinary Research and Prince Shōtoku at Age Two at the Harvard Art Museums), Hābādo Bijutsukan Namu Butsu Taishi zō no kenkyū, Chūō Kōron Bijutsu Shuppan (Tokyo, 2023), pp. 191-235
  • Mika Abé, Yasurō Abé, Kensuke Chikamoto, Rachel Saunders, Ai Seya, and Takayuki Seya, ed., Hābādo Bijutsukan Namu Butsu Taishi zō no kenkyū (The Sculpture of Prince Shōtoku at Age Two at the Harvard Art Museums), Chūō Kōron Bijutsu Shuppan (Tokyo, 2023)

Exhibition History

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Verification Level

This record has been reviewed by the curatorial staff but may be incomplete. Our records are frequently revised and enhanced. For more information please contact the Division of Asian and Mediterranean Art at am_asianmediterranean@harvard.edu