List of National Treasures of Japan (sculptures)

Portrait of a sculpture with three faces pointing to the front and both sides.
Ashura, a Japanese National Treasure sculpture from 734

In the mid-6th century, the introduction of Buddhism from Korea (Baekje) to Japan resulted in a revival of Japanese sculpture. Buddhist monks, artisans and scholars settled around the capital in Yamato Province (present day Nara Prefecture) and passed their techniques to native craftsmen. Consequently, early Japanese sculptures from the Asuka and Hakuhō periods show strong influences of continental art, which initially were characterized by almond-shaped eyes, upward-turned crescent-shaped lips and symmetrically arranged folds in the clothing. The workshop of the Japanese sculptor Tori Busshi, who was strongly influenced by the Northern Wei style, produced works which exemplify such characteristics. The Shakyamuni triad and the Guze Kannon at Hōryū-ji are prime examples. By the late 7th century, wood replaced bronze and copper. By the early Tang dynasty, greater realism was expressed by fuller forms, long narrow slit eyes, softer facial features, flowing garments and embellishments with ornaments such as bracelets and jewels. Two prominent examples of sculptures of this period are the Shō Kannon at Yakushi-ji and the Yumechigai Kannon at Hōryū-ji.[1][2][3]

During the Nara period, from 710 to 794, the government established and supported workshops called zōbussho, the most prominent of which was located in the capital Nara at Tōdai-ji, which produced Buddhist statuary. Clay, lacquer and wood, in addition to bronze, were used. Stylistically, the sculptures were influenced by the high Tang style, showing fuller body modelling, more natural drapery and a greater sense of movement. Representative examples of Nara period sculpture include the Great Buddha and the Four Heavenly Kings at Tōdai-ji, or the Eight Legions at Kōfuku-ji.[4]

Early Heian period works before the mid-10th century appear heavy compared to Nara period statues, carved from single blocks of wood, and characterised by draperies carved with alternating round and sharply cut folds. Stylistically, they followed high to later Tang style. In the Heian period the zōbussho were replaced with temple-run and independent workshops; wood became the primary medium; and a specific Japanese style emerged. By the mid-10th century, the style was refined presenting a more calm and gentle appearance, with attenuated proportions. Jōchō was the most important sculptor of this time, and he used the yosegi technique, in which several pieces of wood are joined to sculpt a single figure. He was the ancestor of three important schools of Japanese Buddhist statuary: the Enpa, Inpa and Keiha school. The Amida Nyorai at Byōdō-in is the only extant work by Jōchō.[4][5][6] Japanese sculpture experienced a renaissance during the Kamakura period, led by the Kei school. Partially influenced by Song dynasty China, their sculpture is characterised by realism featuring elaborate top knots, jewelry, and wavy drapery. Although predominantly wooden, bronze was also used as a material for the statues. As a novelty, portrait sculptures of prominent monks were created adjacent to the depiction of Buddhist deities.[7]

The term "National Treasure" has been used in Japan to denote cultural properties since 1897.[8] The definition and the criteria have changed since the inception of the term. These sculptures adhere to the current definition, and have been designated national treasures since the Law for the Protection of Cultural Properties came into force on June 9, 1951. The items are selected by the Ministry of Education, Culture, Sports, Science and Technology based on their "especially high historical or artistic value".[9][10] This list presents 136 entries of sculptures, including those from Classical and early Feudal Japan of the 7th-century Asuka period to the 13th-century Kamakura period, although the number of sculptures is higher, because groups of related sculptures have sometimes been joined to form single entries. The sculptures listed depict Buddhist and Shintō deities or priests venerated as founders of temples. Some of the most ancient sculptures were imported directly from China.[10][11]

Statistics

Various materials have been used for the sculptures. Although most are wooden, 12 entries in the list are bronze, 11 are lacquer, 7 are made of clay and 1 entry, the Usuki Stone Buddhas, is a stone sculpture. Typically hinoki, Japanese nutmeg, sandalwood and camphorwood were the woods used for the wooden sculptures. Wooden sculptures were often lacquered or covered with gold-leaf. The smallest statue measures around 10 centimetres (3.9 in), whereas the Great Buddhas of Nara and Kamakura are about 13 metres (43 ft) and 15 metres (49 ft) high. The objects on the list are located in Buddhist temples, or in museums associated with temples. Some items are located in shrines, as well as in secular museums.[10][11][12]

Nara Prefecture is home to the largest number of National Treasure sculptures, with 75 of the 136 entries. Together with the 39 entries located in Kyoto Prefecture, they constitute the bulk of sculptural National Treasures. Hōryū-ji and Kōfuku-ji are the locations with the most entries, with 17 and 18 designations respectively.

Most of the National Treasures are found in cities in the Kyoto, Nara and Osaka prefectures, although some are in cities in the Hyōgo, Shiga and Wakayama prefectures.
Map showing the location of sculptural National Treasures in Japan
Prefecture City National Treasures
Fukushima Yugawa 1
Hyōgo Ono 1
Iwate Hiraizumi 1
Kanagawa Kamakura 1
Kyoto Kizugawa 3
Kyōtanabe 1
Kyoto 32
Uji 3
Nara Asuka 1
Ikaruga 18
Nara 50
Sakurai 2
Uda 3
Yoshino 1
Ōita Usuki 1
Osaka Fujiidera 2
Katano 1
Kawachinagano 2
Shiga Ōtsu 3
Takatsuki 1
Shizuoka Izunokuni 1
Tokyo Chōfu 1
Tokyo 1
Wakayama Hidakagawa 1
Kōya 2
Kudoyama 1
Shingū 1
Period National Treasures
Asuka period 15
Tang dynasty 3
Nara period 26
Heian period 65[nb 1]
Northern Song 1
Kamakura period 29[nb 1]

Usage

The table's columns (except for Remarks and Pictures) are sortable pressing the arrows symbols. The following gives an overview of what is included in the table and how the sorting works.

  • Name: name as registered in the List of National Treasures
  • Remarks: placement of statues (as a group, separately,...) and artist (if known)
  • Date: period and year; The column entries sort by year. If only a period is known, they sort by the start year of that period.
  • Material and technique: wood/bronze/..., lacquered/colored/...; The column entries sort by the main material (stone/clay/wood/lacquer/bronze).
  • Pose: standing/seated Amida Nyorai/Yakushi Nyorai/...; The column entries sort by the name of the principal image or as "set" in the case of sets of sculptures that don't fall under a common group name.
  • Height: height in cm; The column entries sort by the largest height if an entry is a group of statues.
  • Present location: "building-name temple/museum/shrine-name town-name prefecture-name"; The column entries sort as "prefecture-name town-name temple/museum/shrine-name building-name".
  • Image: picture of the statue or a characteristic statue in a group of statues

Treasures

Name Remarks Date Material Pose Height Present location Image
Statues and canopy inside the Golden Hall (Konjiki-dō) (金色堂堂内諸像及天蓋, konjiki-dō dōnai shozō oyobi tengai)[13] 32 statues in the three altars and another seated Amida Nyorai with fragments of a wooden halo-pedestal. The three canopies of the altars are part of the nomination. Heian period, around 1124–1187 Joined wood-block sculpture (Hinoki wood for the Amida, katsura for the Jizō and Nitennō); lacquer with gold leaf embossing Three seated Amida Nyorai, three sets of Amida attendants (Kannon and Seishi), three sets of Nitennō, 18 Jizō Bosatsu 50–78 cm (20–31 in) Konjikidō (金色堂), Chūson-ji, Hiraizumi, Iwate

Yakushi Nyorai and two attendants (木造薬師如来及両脇侍像, mokuzō yakushi nyorai oyobi ryōkyōjizō)[14][15]
Heian period, c. 806–810 Zelkova wood, gold leaf over lacquer (shippaku (漆箔)) Seated Yakushi Nyorai (healing Buddha) flanked by standing Nikkō Bosatsu and Gakkō Bosatsu (Bodhisattvas of sun and moon light) 141.8 cm (55.8 in) (Yakushi), 169.4 cm (66.7 in), 173.9 cm (68.5 in) Shōjō-ji, Yugawa, Fukushima
Fugen Bosatsu (Samantabhadra) on an elephant (木造普賢菩薩騎象像, mokuzō fugen bosatsu kizōzō)[16][17]
Heian period, first half of 12th century Colored wood and cut-gold foil (kirikane (截金)) on wood Seated statue of Fugen Bosatsu on elephant 140 cm (55 in) (whole sculpture), 55.2 cm (21.7 in) (statue) Okura Museum of Art, Tokyo Three-quarter view of a cross-legged seated deity on a pedestal with hands joined as in prayer in front of the body.
Shakyamuni (Shaka Nyorai) (銅造釈迦如来倚像, dōzō shaka nyoraizō)[18][19][20] Also known as Hakuhō Buddha Asuka period, around 700 Gilded bronze Seated Shakyamuni (Shaka Nyorai) 60.6 cm (23.9 in) Jindai-ji (深大寺), Chōfu, Tokyo
Great Buddha (銅造阿弥陀如来坐像, dōzō amida nyoraizō) Outdoor statue cast by Hisatomo Tanji and Ōno Gorōemon. The second largest statue in the list. Kamakura period, 1252 Bronze cast, gold leaf over lacquer (shippaku (漆箔)) Seated Amida Nyorai 13.35 m (43.8 ft), 93 t (92 long tons; 103 short tons) Kōtoku-in, Kamakura, Kanagawa Front view of an outside cross-legged seated statue. The eyes are closed and the hands rest on the lap with palms facing upward. The statue is left-right symmetric, appears green of copper rust and is placed on a stone platform.
Amida Nyorai (木造阿弥陀如来坐像, mokuzō amida nyorai zazō), Fudō Myōō and two attendants (木造不動明王二童子立像, mokuzō fudō myōō oyobi ni dōji ritsuzō), Bishamonten (木造毘沙門天立像, mokuzō bishamonten ritsuzō)[21] By Unkei Kamakura period, 1186 Colored wood Seated Amida Nyorai, standing Bishamonten, Fudō Myōō and two attendants
Ganjōju-in, Izunokuni, Shizuoka
Eleven-faced Goddess of Mercy (木造十一面観音立像, mokuzō jūichimenkannon ryūzō)[16][22]
Heian period, mid-9th century Colored wood Standing Jūichimen Kannon 177.3 cm (69.8 in) Kōgen-ji (向源寺) (Dōgan-ji Kannondō (渡岸寺観音堂)}), Takatsuki, Shiga
Shinra Myōjin (木造新羅明神坐像, mokuzō shinra myōjin zazō)[23] Statue of Mii-dera's guardian deity Heian period, 11th century Colored wood and cut-gold foil (kirikane (截金)) on wood Seated Shinra Myōjin (新羅明神) 78 cm (31 in) Shinra Zenshin Hall (新羅善神堂, shinra zenshindō), Mii-dera, Ōtsu
Chishō Daishi (Enchin) (木造智証大師坐像, mokuzō chishō daishi zazō) or Okotsu Daishi (御骨大師)[24]
Heian period, 9th century Colored wood Seated Chishō Daishi (Enchin) 86.3 cm (34.0 in) Tō-in Daishi Hall (唐院大師堂, tōin daishidō), Mii-dera, Ōtsu
Chishō Daishi (Enchin) (木造智証大師坐像, mokuzō chishō daishi zazō) or Chūson Daishi (中尊大師)[25]
Heian period, 10th century Colored wood Seated Chishō Daishi (Enchin) 84.3 cm (33.2 in) Tō-in Daishi Hall (唐院大師堂, tōin daishidō), Mii-dera, Ōtsu
Shakyamuni (Shaka Nyorai) (銅造釈迦如来坐像, dōzō shaka nyorai zazō)[22][26]
Asuka period, beginning of 8th century Gilt bronze Seated Shakyamuni (Shaka Nyorai) 240.3 cm (94.6 in) Hon-dō, Kaniman-ji (蟹満寺), Kizugawa, Kyoto
Eleven-faced Goddess of Mercy (木心乾漆十一面観音立像, mokushin kanshitsu jūichimenkannon ryūzō)[27]
Nara period, second half of 8th century Wood-core dry lacquer (木心乾漆 (mokushin kanshitsu)), gold leaf over lacquer (shippaku (漆箔)) Standing Jūichimen Kannon 172.7 cm (68.0 in) Hon-dō, Kannon-ji (観音寺), Kyōtanabe, Kyoto
Thousand-armed Kannon (木造千手観音立像, mokuzō senjū kannon ryūzō) [28][29]
Heian period (876 images)–Kamakura period (124 images), Muromachi Period (1 image) Wood, gold leaf over lacquer (shippaku (漆箔)), crystal eyes (5 images) 1001 standing Thousand-armed Kannon 165.0–168.5 cm (65.0–66.3 in) Sanjūsangen-dō, Myōhō-in (妙法院), Kyoto Huge number of virtually identical Buddhist sculptures.
Fūjin and Raijin (木造〈風神/雷神〉像, mokuzō Fūjin-Raijin zō) or Wind God and Thunder God[22][30]
Kamakura period, mid-13th century Colored wood and crystal eyes Standing Fūjin and standing Raijin 111.5 cm (43.9 in) (Fūjin) and 100.0 cm (39.4 in) (Raijin) Sanjūsangen-dō, Myōhō-in (妙法院), Kyoto Fūjin. Three-quarter view of a statue. His left leg is bend as if climbing stairs and he is carrying a long bag-shaped object which goes from one shoulder to the other around the back of his head. Black and white photograph.

Raijin. Three-quarter view of a statue. His left leg is bend as if climbing stairs and he is leaning forward. His hair is standing up and his right hand is raised above his head. A thin halo around his head is decorated with thick circular disks. Black and white photograph.

Bonten (木造梵天坐像, mokuzō bonten zazō)[31] and Taishakuten in half-lotus position (帝釈天半跏像, taishakuten hankazō)
Heian period, 839 Colored wood (faded) Seated Bonten on a lotus pedestal carried by four geese and Taishakuten seated on an elephant in half-lotus position 101.1 cm (39.8 in) (Bonten) and 110 cm (43 in) Lecture Hall (講堂, kō-dō), Tō-ji, Kyoto
Amida Nyorai and two sitting attendants (木造阿弥陀如来及両脇侍坐像, mokuzō amida nyorai oyobi ryōwakiji zazō)[32]
Heian period, 1148 Wood, gold leaf over lacquer (shippaku (漆箔)) Sitting Amida Nyorai and two sitting attendants (Kannon and Seishi) 233.0 cm (91.7 in) (Amida), 131.8 cm (51.9 in) (Kannon) and 130.9 cm (51.5 in) (Seishi) Ōjō Gokuraku-in Amida Hall (往生極楽院, ōjō gokurakuin amidadō), Sanzen-in, Kyoto
Amida Nyorai and two sitting attendants (木造阿弥陀如来及両脇侍坐像, mokuzō amida nyorai oyobi ryōwakiji zazō)[33] Former principal image of Seika-ji (棲霞寺) Heian period, 896 Wood, gold leaf over lacquer (shippaku (漆箔)) Sitting Amida Nyorai and two sitting attendants (Kannon and Seishi) 172.2 cm (67.8 in) (Amida), 165.7 cm (65.2 in) (Kannon) and 168.2 cm (66.2 in) (Seishi) Seiryō-ji, Kyoto
Amida Nyorai and two attendants (木造阿弥陀如来及両脇侍像, mokuzō amida nyorai oyobi ryōwakijizō)[34] Originally enshrined in the kon-dō Heian period, 888 Wood, gold leaf over lacquer (shippaku (漆箔)) Sitting Amida Nyorai and two standing attendants (Kannon and Seishi) 88.6 cm (34.9 in) (Amida), 123.4 cm (48.6 in) (Kannon) and 123.3 cm (48.5 in) (Seishi) Treasure Hall (霊宝館, reihōkan), Ninna-ji, Kyoto
Amida Nyorai (木造阿弥陀如来坐像, mokuzō amida nyorai zazō)[35]
Heian period, end of 11th century Wood, gold leaf over lacquer (shippaku (漆箔)) Sitting Amida Nyorai 280.0 cm (110.2 in) Amida Hall (阿弥陀堂, amidadō), Hōkai-ji (法界寺), Kyoto
Amida Nyorai (木造阿弥陀如来坐像, mokuzō amida nyorai zazō)[36]
Heian period, 840 Wood, gold leaf over lacquer (shippaku (漆箔)) Sitting Amida Nyorai 263.6 cm (103.8 in) Lecture Hall (講堂, kō-dō), Kōryū-ji, Kyoto
Nine Amida Nyorai (木造阿弥陀如来坐像, mokuzō amida nyorai zazō)[37] Nine statues representing the nine stages of nirvana Heian period, around 1100 Wood, gold leaf over lacquer (shippaku (漆箔)) One central sitting Amida Nyorai flanked by four sitting Amida Nyorai on both sides 224.2 cm (88.3 in) (central), 138.8–145.4 cm (54.6–57.2 in) (others) Hon-dō, Jōruri-ji, Kizugawa, Kyoto
Amida Nyorai (木造阿弥陀如来坐像, mokuzō amida nyorai zazō)[38] The principal image in the Phoenix Hall of Byōdō-in and only extant work by Jōchō Heian period, 1053 Wood, gold leaf over lacquer (shippaku (漆箔)) Sitting Amida Nyorai 283.9 cm (111.8 in) Phoenix Hall (鳳凰堂, hōō-dō), Byōdō-in, Uji, Kyoto

Bosatsu on clouds (木造雲中供養菩薩像, mokuzō unchū kuyō bosatsuzō)[39] Thought to accompany departed believers to Amida's Pure Land.[40] Heian period, 1053 Wood, gold leaf over lacquer (shippaku (漆箔)), colored, partially cut-gold foil (kirikane (截金)) on wood 52 Bosatsu on clouds attached to the wall 40.0–87.0 cm (15.7–34.3 in) Phoenix Hall (鳳凰堂, hōō-dō), Byōdō-in, Uji, Kyoto

Tobatsu Bishamonten (木造兜跋毘沙門天立像, mokuzō tobatsu bishamonten ryūzō)[12][41] Formerly enshrined in the Bishamon Hall (毘沙門堂, bishamon-dō) Tang dynasty, 9th century Wood, gold leaf over lacquer (shippaku (漆箔)), colored, nerimono (練物) Standing Bishamonten 189.4 cm (74.6 in) Treasure Hall (霊宝館, reihōkan), Tō-ji, Kyoto
Five Great Kokūzō Bosatsu (Akasagarbha) (木造五大虚空蔵菩薩坐像, mokuzō godai kokūzō bosatsu zazō)[12][42] Five almost identical Great Kokūzō Bosatsu are enshrined in the two-storied pagoda. Heian period, 9th century Colored wood Five sitting Kokūzō Bosatsu (Akasagarbha) 94.2–99.1 cm (37.1–39.0 in) Tahōtō, Jingo-ji, Kyoto Front view of a statue in lotus position. The palm of the right hand is turned upward and held in front of the stomach. The left hand, close to the right foot, is holding a long pole with decorations at the end resembling a trident.
Five Great Bosatsu (木造五大菩薩坐像, mokuzō godai bosatsu zazō)[22] The central figure is excluded from the nomination being a later work. Heian period, 839 Wood Four seated Bosatsu 96.4 cm (38.0 in) Lecture Hall (講堂, kō-dō), Tō-ji, Kyoto The central Bosatsu (in back) and one of four Great Bosatsu. Three-quarter view of two cross-legged seated statues (one in front of the other). The statue in the back appears larger and shows the Vajra Mudrā, enclosing the index finger of the left hand with the fist of the right hand. The statue in front has both hands resting on the lap.
Five Wisdom Kings (木造五大明王像, mokuzō godai myōōzō)[22][43]
Heian period, 839 Colored wood Five Wisdom Kings: sitting Acala, standing Trilokavijaya, Kundali and Vajrayaksa, Yamantaka riding a bull 173.0 cm (68.1 in) (Acala), 174.0 cm (68.5 in) (Trilokavijaya), 201.0 cm (79.1 in) (Kundali), 143.0 cm (56.3 in) (Yamantaka), 172.0 cm (67.7 in) (Vajrayaksa) Lecture Hall (講堂, kō-dō), Tō-ji, Kyoto
Kōbō Daishi (Kūkai) (木造弘法大師坐像, mokuzō Kōbō Daishi zazō) By Kōshō (康勝) Kamakura period, 1233 Colored wood, crystal eyes Seated Kōbō Daishi (Kūkai) 69.0 cm (27.2 in) Miei Hall (御影堂, mieidō), Tō-ji, Kyoto
Four Heavenly Kings (木造四天王立像, mokuzō shitennō ryūzō)[44]
late Heian period, 11th–12th century Colored wood and cut-gold foil (kirikane (截金)) on wood Standing Four Heavenly Kings 169.7 cm (66.8 in) (Jikoku-ten), 169.7 cm (66.8 in) (Zōjō-ten), 168.8 cm (66.5 in) (Kōmoku-ten), 167.0 cm (65.7 in) (Tamon-ten) Jōruri-ji, Kizugawa, Kyoto
Four Heavenly Kings (木造四天王立像, mokuzō shitennō ryūzō)[12]
Heian period, 839 Wood Standing Four Heavenly Kings 183.0 cm (72.0 in) (Jikoku-ten), 184.2 cm (72.5 in) (Zōjō-ten), 171.8 cm (67.6 in) (Kōmoku-ten), 197.9 cm (77.9 in) (Tamon-ten) Lecture Hall (講堂, kō-dō), Tō-ji, Kyoto
Shakyamuni (Shaka Nyorai) (木造釈迦如来立像, mokuzō shaka nyorai ryūzō) and objects found within the statue[12][45] Copy of lost Udayana Buddha by the Chinese sculptors and brothers Zhāng Yánjiǎo and Zhāng Yánxí. Brought to Japan from China in 986 by the monk Chōnen (奝然). Includes a model of the internal organs, made of silk and other materials, a paper with the seal of Chōnen and other items. Inscription of repair dated 1218 Northern Song, 985 Wood, natural wood surface (素地, kiji), cut-gold foil (kirikane (截金)) on wood Standing Shakyamuni (Shaka Nyorai) 160.0 cm (63.0 in) Hon-dō, Seiryō-ji, Kyoto
Eleven-faced Goddess of Mercy (木造十一面観音立像, mokuzō jūichimenkannon ryūzō)
Heian period, 951 Wood Standing Jūichimen Kannon 258.0 cm (101.6 in) Hon-dō, Rokuharamitsu-ji, Kyoto
Twelve Heavenly Generals (木造十二神将立像, mokuzō jūni shinshō ryūzō)[12][46] By Chōsei (長勢) Heian period, 1064 Colored wood Standing Twelve Heavenly Generals 123.0 cm (48.4 in) (Kumbhira), 115.1 cm (45.3 in) (Andira) Treasure House (霊宝殿, reihōden), Kōryū-ji, Kyoto
Thousand-armed Kannon (木造千手観音坐像, mokuzō senjū kannon zazō)[12][47] The principal image of Sanjūsangen-dō. By Tankei. Kamakura period, 1251–1254 Wood, gold leaf over lacquer (shippaku (漆箔)), crystal eyes Seated Thousand-armed Kannon 334.8 cm (131.8 in) Sanjūsangen-dō, Myōhō-in (妙法院), Kyoto Front view of a cross-legged seated statue with many arms positioned in a circular fashion around the body carrying various objects like bells and staffs. One pair of hands is folded in front of the body in prayer. The statue is positioned on a flower-shaped platform.
Thousand-armed Kannon (木造千手観音立像, mokuzō senjū kannon ryūzō)[12][22][48]
Heian period, around 934 Colored wood (faded) Standing Thousand-armed Kannon 109.7 cm (43.2 in) Hosshō-ji, Kyoto
Thousand-armed Kannon (木造千手観音立像, mokuzō senjū kannon ryūzō)[12][49]
Heian period, before 873 Colored wood (faded) Standing Thousand-armed Kannon 266.0 cm (104.7 in) Lecture Hall (講堂, kō-dō), Kōryū-ji, Kyoto
Hachiman in the guise of a seated monk (木造僧形八幡神坐像, mokuzō sōgyō hachimanjin zazō) and two Goddesses (木造女神坐像, mokuzō joshin zazō)[50]
Heian period, 9th century hinoki wood-core dry lacquer (木心乾漆 (mokushin kanshitsu)), painted or gilded Seated Hachiman and two seated attendant goddesses c. 110 cm (43 in) each Tō-ji, Kyoto
Canopy (木造天蓋, mokuzō tengai)
Heian period, 1053 Wood n/a
Phoenix Hall (鳳凰堂, hōō-dō), Byōdō-in, Uji, Kyoto
Twenty eight attendants (木造二十八部衆立像, mokuzō nijūhachi bushū ryūzō)[12][51]
Kamakura period, mid 13th century Colored wood (faded) and cut-gold foil (kirikane (截金)) on wood, crystal eyes Standing 28 attendants of the Thousand-armed Kannon (千手観音, senjū kannon). 153.6–169.7 cm (60.5–66.8 in) Sanjūsangen-dō, Myōhō-in (妙法院), Kyoto One of the Twenty eight attendants. Three-quarter view of a statue carrying a handdrum in front. A halo is visible around his head.

Bishamonten, Kichijōten, Zennishi Dōji (木造毘沙門天及〈吉祥天/善膩師童子〉立像〉, mokuzō bishamonten kichijōten zennishi dōji ryūzō)[12][22][52]
Heian period, 1127 Wood, natural wood surface (素地, kiji) Bishamonten accompanied by his wife Kichijōten and her son Zennishi Dōji (all standing) 175.7 cm (69.2 in) (Bishamonten) Hon-dō, Kurama-dera, Kyoto

Fukū Kensaku Kannon (木造不空羂索観音立像, mokuzō fukū kensaku kannon ryūzō)[53] Formerly enshrined in the Lecture Hall (講堂, kō-dō) Heian period, around 800 Colored wood (faded) Standing Fukū Kensaku Kannon 313.6 cm (123.5 in) Treasure House (霊宝殿), Kōryū-ji, Kyoto Front view of a standing statue with robes four pairs of arms. Each pair is almost left-right symmetric. Two hands are placed as in prayer with palms facing each other in front of the body. Other pairs of arms are in various positions holding flowers, a short object shaped like a flute, a necklace and long pole weapons. There is a large halo behind the head of the statue.
Fudō Myōō (Acala) (木造不動明王坐像, mokuzō fudō myōō zazō) and Canopy (木造天蓋, mokuzō tengai)[22]
Heian period, second half of 9th century Wood Seated Acala and canopy 123.0 cm (48.4 in) Miei Hall (御影堂, miei-dō), Tō-ji, Kyoto
Bodhisattva in half-lotus position (木造菩薩半跏像, mokuzō bosatsu hankazō) or Nyoirin Kannon (如意輪観音)[54][55]
Heian period, 9th century, Jōgan era Wood, natural wood surface (素地, kiji) Nyoirin Kannon in half-lotus position 88.2 cm (34.7 in) Hon-dō, Gantoku-ji (願徳寺), Kyoto
Miroku Bosatsu in half-lotus position (木造弥勒菩薩半跏像, mokuzō miroku bosatsu hankazō) or hōkan miroku (宝冠弥勒)[56] Possibly imported to Japan from Korea. One of the oldest items in the list. Asuka period, 7th century Japanese Red Pine wood, gold leaf over lacquer (shippaku (漆箔)) Miroku Bosatsu in half-lotus position 84.2 cm (33.1 in) Treasure House (霊宝殿, reihōden), Kōryū-ji, Kyoto Three-quarter view of a seated statue in half-lotus position. The right foot rests on the left upper leg, the right elbow rests on the right knee with the right hand close to the head in contemplating pose.
Miroku Bosatsu in half-lotus position (木造弥勒菩薩半跏像, mokuzō miroku bosatsu hankazō) or Weeping Miroku (泣き弥勒, naki miroku)[57] Possibly made in Japan Asuka period, around 700 Camphorwood, gold leaf over lacquer (shippaku (漆箔)) Miroku Bosatsu in half-lotus position 66.4 cm (26.1 in) Treasure House (霊宝殿, reihōden), Kōryū-ji, Kyoto
Yakushi Nyorai and two attendants (木造薬師如来及両脇侍像, mokuzō yakushi nyorai oyobi ryōkyōjizō)[58]>[16] Formerly enshrined in the Yakushi Hall (薬師堂) Heian period, 913 Hinoki wood, gold leaf over lacquer (shippaku (漆箔)) Seated Yakushi Nyorai (healing Buddha) and two standing attendants: Nikkō Bosatsu and Gakkō Bosatsu (Bodhisattvas of sun and moon light) 176.5 cm (69.5 in) (Yakushi) Treasure House (霊宝館, reihōkan), Daigo-ji, Kyoto
Kokūzō Bosatsu (Akasagarbha) (木造虚空蔵菩薩立像, mokuzō kokūzō bosatsu ritsuzō)[59][60] Also known as Shō Kannon; notable for its complex heavenly garment early Heian period, 9th century Colored wood Standing Kokūzō Bosatsu (Akasagarbha) 51.5 cm (20.3 in) Daigo-ji, Kyoto
Yakushi Nyorai (木造薬師如来坐像, mokuzō yakushi nyorai zazō)[12][61] By Ensei (円勢) and Chōen (長円). Halo with Seven Buddhas of healing (七仏薬師, shichibutsu yakushi), Nikkō Bosatsu and Gakkō Bosatsu. Pedestal with Twelve Heavenly Generals (十二神将, jūni shinshō) Heian period, 1103 Sandalwood, natural wood surface (素地, kiji), cut-gold foil (kirikane (截金)) on wood Seated Yakushi Nyorai 10.7 cm (4.2 in) Reimeiden (霊明殿), Ninna-ji, Kyoto
Yakushi Nyorai (木造薬師如来立像, mokuzō yakushi nyorai ryūzō)[62] Principal image of Jingo-ji's predecessor temple Jingan-ji (神願寺) Heian period, end of 8th century Wood, natural wood surface (素地, kiji) Standing Yakushi Nyorai 169.7 cm (66.8 in) Kon-dō, Jingo-ji, Kyoto
Thousand-armed Kannon (乾漆千手観音坐像, kanshitsu senjū kannon zazō)[63] The statue has a total of 1041 arms: 2 main arms with the hand palms facing each other in front of the statue, 38 large and 1001 small arms extending from behind the body. Nara period, middle of 8th century Dry lacquer (乾漆, kanshitsu), Gold leaf over lacquer (漆箔, shippaku) Seated Thousand-armed Kannon 131.3 cm (51.7 in) Hon-dō, Fujii-dera, Fujiidera, Osaka
Eleven-faced Goddess of Mercy (木造十一面観音立像, mokuzō jūichimenkannon ryūzō)[64]
Heian period, beginning of 9th century Wood, natural wood surface (素地, kiji) Standing Jūichimen Kannon 99.4 cm (39.1 in) Hon-dō, Dōmyō-ji, Fujiidera, Osaka Portrait of a statue in three-quarter view with a full face and elongated earlobes. Small faces are located on top of its head.
Nyoirin Kannon (木造如意輪観音坐像, mokuzō nyoirin kannon zazō)[65] One of three masterpiece images of Nyoirin Kannon called San Nyoirin (三如意輪).[66] Heian period, around 840 Colored wood Seated Nyoirin Kannon with one knee pulled up 108.8 cm (42.8 in) Kon-dō, Kanshin-ji, Kawachinagano, Osaka Three-quarter view of a seated statue with six arms. The left leg is bend, touching the ground along its whole length. The right leg is also bend, but with the knee up. The right foot is above the left foot. One of the right hands is touching the right ear, another is lifting a jewel-shaped object in front of the breast. One of the left hands carries a flower, another a small wheel-shaped object.
Dainichi Nyorai (木造大日如来坐像, mokuzō dainichi nyorai zazō), Fudō Myōō and Trailokyavijaya (木造不動降三世明王坐像, mokuzō fudō gōzanze myōō zazō)[18][67] Fudō Myōō is a work of Gyōkai (行快), a disciple of Kaikei. The three sculptures were made over a 50 year period Heian period, around 1180 (Dainichi Nyorai) and early Kamakura Period (Fudō Myōō from 1234) Colored wood Seated Dainichi Nyorai, Fudō Myōō and Trailokyavijaya 313.5 cm (123.4 in) (Dainichi Nyorai), 201.7 cm (79.4 in) (Fudō Myōō) and 230.1 cm (90.6 in) (Trailokyavijaya) Kongō-ji (金剛寺), Kawachinagano, Osaka
Yakushi Nyorai (木造薬師如来坐像, mokuzō yakushi nyorai zazō)[68]
Heian period, around 900 Wood, natural wood surface (素地, kiji) Seated Yakushi Nyorai 92.9 cm (36.6 in) Hon-dō, Shishikutsu-ji (獅子窟寺), Katano, Osaka

Amida Nyorai and two standing attendants (木造阿弥陀如来及両脇侍立像, mokuzō amida nyorai oyobi ryōwakiji ryūzō)[69] The wooden core of the statues was covered with lacquer on which gold foil was pressed. Kamakura period, 1195 Wood, gold leaf over lacquer (shippaku (漆箔)) Standing Amida Nyorai and two standing attendants 530.0 cm (208.7 in) (Amida), 371.0 cm (146.1 in) (each attendant) Hon-dō (Amida Hall (阿弥陀堂) or Jōdo-dō (浄土堂)), Jōdo-ji, Ono, Hyōgo Front view of three standing statues which are covered in gold. The central statue is about two heads taller than the two falnking statues. It has the right hand pointing down with the palm towards the viewer and the palm of the left hand turned upward with the thumb touching the middle figer. All three statues have halos behind their heads with emanating rays.
Bonten (乾漆梵天立像, kanshitsu bonten ryūzō) and Taishakuten (乾漆帝釈天立像, kanshitsu taishakuten ryūzō)[12][70]
Nara period, 8th century Hollow dry lacquer (脱活乾漆造, dakkatsu kanshitsu zukuri), colored Standing Bonten and standing Taishakuten 403.0 cm (158.7 in) (Bonten), 378.8 cm (149.1 in) (Taishakuten) Hokke-dō (法華堂), Tōdai-ji, Nara, Nara
Priest Ganjin (Jianzhen) (乾漆鑑真和上坐像, kanshitsu ganjin wajō zazō)
Nara period, 8th century Hollow dry lacquer (脱活乾漆造, dakkatsu kanshitsu zukuri), colored Seated Ganjin 80.1 cm (31.5 in) Founder's Hall (開山堂, kaisan-dō), Tōshōdai-ji, Nara, Nara
Kongōrikishi (Niō) (乾漆金剛力士立像, kanshitsu kongōrikishi ryūzō)[71] Niō in armour. There is another pair of Kongōrikishi (National Treasure) in Nandaimon (南大門), Tōdai-ji. Nara period, 8th century Hollow dry lacquer (脱活乾漆造, dakkatsu kanshitsu zukuri), colored, gold leaf over lacquer (shippaku (漆箔)) Standing pair of Niō: Agyō (阿形) and Ungyō (吽形) 326.3 cm (128.5 in) (Agyō) and 306.0 cm (120.5 in) (Ungyō) Hokke-dō (法華堂), Tōdai-ji, Nara, Nara
Priest Gyōshin (乾漆行信僧都坐像, kanshitsu gyōshin sōzu zazō) Statue of the founder of the Hall of Dreams (夢殿, yumedono) Nara period, second half of 8th century Dry lacquer (乾漆, kanshitsu) Seated Gyōshin 89.7 cm (35.3 in) Hall of Dreams (夢殿, yumedono), Hōryū-ji, Ikaruga, Nara
Four Heavenly Kings (乾漆四天王立像, kanshitsu shitennō ryūzō)[72]
Nara period, 8th century Hollow dry lacquer (脱活乾漆造, dakkatsu kanshitsu zukuri), colored Standing Four Heavenly Kings 308.5 cm (121.5 in) (Jikoku-ten), 300.0 cm (118.1 in) (Zōjō-ten), 315.1 cm (124.1 in) (Kōmoku-ten), 312.1 cm (122.9 in) (Tamon-ten) Hokke-dō (法華堂), Tōdai-ji, Nara, Nara
The ten principal disciples (乾漆十大弟子立像, kanshitsu jū daideshi ryūzō)[73] Four statues of the group of 10 are lost. Originally enshrined in the Western Golden Hall (西金堂) surrounding the principal Shaka Nyorai image there Nara period, 734 Hollow dry lacquer (脱活乾漆造, dakkatsu kanshitsu zukuri), colored Standing six of The ten principal disciples: Furuna, Mokuren, Sharihotsu, Kasennen, Ragora, Shubodai 148.8 cm (58.6 in) (Furuna), 149.1 cm (58.7 in) (Mokuren), 154.8 cm (60.9 in) (Sharihotsu), 146.0 cm (57.5 in) (Kasennen), 148.8 cm (58.6 in) (Ragora), 147.6 cm (58.1 in) (Shubodai) Kōfuku-ji, Nara, Nara
The eight legions (乾漆八部衆立像(内一躯下半身欠失), kanshitsu hachibushū ryūzō)[74] Of one figure, Gobujō, only the upper part of the body remains. The Ashura of this group is among the most famous sculptures in Japan. Nara period, 734 Hollow dry lacquer (脱活乾漆造, dakkatsu kanshitsu zukuri), colored Standing Eight Legions: Ashura, Gobujō (五部浄), Kinnara, Sakara/Shakara (沙羯羅), Hibakara (畢婆迦羅), Kubanda (鳩槃荼), Kendatsuba, Garuda 153.0 cm (60.2 in) (Ashura), 48.8 cm (19.2 in) (fragments of Gobujō), 149.1 cm (58.7 in) (Kinnara), 153.6 cm (60.5 in) (Shakara), 156.0 cm (61.4 in) (Hibakara), 151.2 cm (59.5 in) (Kubanda), 160.3 cm (63.1 in) (Kendatsuba), 149.7 cm (58.9 in) (Garuda) Kōfuku-ji, Nara, Nara Front view of a standing statue with six arms and three faces. One pair of hands is joined in front of the body with the palms facing each other as if praying. A second set of arms is bend to the sides with the palms of the hands pointing upwards. Also the third pair of arms is bend somewhere between the positions of the other pairs of arms. The three faces point to the front and both sides of the statue. The statue is embellished with sculpted and painted wide three-quarter length trousers and sandals.

Fukū Kensaku Kannon (乾漆不空羂索観音立像, kanshitsu fukū kensaku kannon ryūzō)[75]
Nara period, 8th century Hollow dry lacquer (脱活乾漆造, dakkatsu kanshitsu zukuri), gold leaf over lacquer (shippaku (漆箔)) Standing Fukū Kensaku Kannon 362.1 cm (142.6 in) Hokke-dō (法華堂), Tōdai-ji, Nara, Nara Portrait of a deity with elongated earlobes, a crown with a small figure and emanating rays.
Yakushi Nyorai (乾漆薬師如来坐像, kanshitsu yakushi nyorai zazō)[76] Principal image of the West Octagonal Hall (西円堂,, saien-dō). One of three National Treasure Yakushi Nyorai at Hōryū-ji. The others are located in the Kon-dō and in the Large Lecture Hall (大講堂,, daikō-dō). Nara period, 8th century Hollow dry lacquer (脱活乾漆造, dakkatsu kanshitsu zukuri), gold leaf over lacquer (shippaku (漆箔)) Seated Yakushi Nyorai (healing Buddha) 244.5 cm (96.3 in) West Octagonal Hall (西円堂,, saien-dō), Hōryū-ji, Ikaruga, Nara
Rushana Buddha (乾漆盧舎那仏坐像, rushanabutsu zazō)[77]
Nara period, 8th century Hollow dry lacquer (脱活乾漆造, dakkatsu kanshitsu zukuri), gold leaf over lacquer (shippaku (漆箔)) Seated Rushana Buddha 304.5 cm (119.9 in) Kon-dō, Tōshōdai-ji, Nara, Nara
Nikkō Bosatsu (塑造日光仏立像, sozō nikkō butsu ryūzō) and Gakkō Bosatsu (塑造月光仏立像, sozō gakkō butsu ryūzō)[78]
Nara period, 8th century Colored clay, cut-gold foil (kirikane (截金)) on clay Standing Nikkō Bosatsu and Gakkō Bosatsu (Bodhisattvas of sun and moon light) 206.3 cm (81.2 in) (Nikkō), 206.8 cm (81.4 in) (Gakkō) Hokke-dō (法華堂), Tōdai-ji, Nara, Nara
Four Heavenly Kings (塑造四天王立像, sozō shitennō ryūzō)[79]
Nara period, 8th century Colored clay Standing Four Heavenly Kings 160.6 cm (63.2 in) (Jikoku-ten), 165.4 cm (65.1 in) (Zōjō-ten), 162.7 cm (64.1 in) (Kōmoku-ten), 164.5 cm (64.8 in) (Tamon-ten) Kaidan Hall (戒壇堂, kaidan-dō), Tōdai-ji, Nara, Nara Tamonten, one of the Four Heavenly Kings in the Kaidan Hall. Portrait of a statue in front view. The right arm is raised, the hair sculpted with a top knot and the breast with armour. Narrow slit eyes and a facial expression as if frowning.

Shukongōshin (塑造執金剛神立像, sozō shukongōshin ryūzō)[12][80] Mentioned in the Nihon Ryōiki as the statue which aided the priest Rōben Nara period, mid 8th century Colored clay Standing Shukongōshin 173.9 cm (68.5 in) Hokke-dō (法華堂), Tōdai-ji, Nara, Nara Frontal view of a fierce looking statue dressed in armour and wielding a stick-like object in his right hand.
Twelve Heavenly Generals (塑造十二神将立像, sozō jūni shinshō ryūzō)[12][81][nb 2] Statues are placed in a circle surrounding Yakushi Nyorai. Oldest extant sculptures of the Twelve Heavenly Generals. One statue, Haira (波夷羅), dated 1931 is excluded from the nomination. Each of the twelve statues' heads is adorned with one of the twelve animals of the zodiac.[82] Nara period, 729–749 Colored clay Standing eleven of the Twelve Heavenly Generals: Bazara (伐折羅), Anira (頞儞羅), Bigyara (毘羯羅), Makora (摩虎羅), Kubira (宮毘羅), Shōtora (招杜羅), Shintara (真達羅), Santera (珊底羅), Meikira (迷企羅), Antera (安底羅), Indara (因達羅) 162.9 cm (64.1 in) (Bazara), 154.2 cm (60.7 in) (Anira), 162.1 cm (63.8 in) (Bigyara), 170.1 cm (67.0 in) (Makora), 165.1 cm (65.0 in) (Kubira), 167.6 cm (66.0 in) (Shōtora), 165.5 cm (65.2 in) (Shintara), 161.8 cm (63.7 in) (Santera), 159.5 cm (62.8 in) (Meikira), 153.6 cm (60.5 in) (Antera), 155.2 cm (61.1 in) (Indara) Hon-dō, Shin-Yakushi-ji, Nara, Nara

Four sculpted scenes in the pagoda (塑造塔本四面具, sozō tōhon shimengu)[22][83] Four groups in the cardinal directions depicting scenes from the life of Buddha Nara period, 711 Colored clay, gold leaf over lacquer (shippaku (漆箔)) Total of 78 statues and two other objects: Miroku Bosatsu leaning against an elephant (S); seated Yuimakoji, seated Monju Bosatsu and 14 attendants (E); Dying Buddha (涅槃釈迦, nehan shaka) (Shaka Nyorai) and 31 attendants (N); Gold coffin, reliquary and 29 attendants (W) 81.0 cm (31.9 in) (Miroku Bosatsu), 98.0 cm (38.6 in) (Shaka Nyorai), 45.2 cm (17.8 in) (Yuimakoji), 52.4 cm (20.6 in) (Monju Bosatsu), 25.6 cm (10.1 in) (gold coffin), 37.3 cm (14.7 in) (reliquary) Five-storied pagoda (五重塔, gojūnotō), Hōryū-ji, Ikaruga, Nara
Priest Dōsen (塑造道詮律師坐像, sozō dōsen risshi zazō)[22]
Heian period, around 873 Colored clay Seated Dōsen 88.2 cm (34.7 in) Hall of Dreams (夢殿, yumedono), Hōryū-ji, Ikaruga, Nara
Miroku Bosatsu (塑造弥勒仏坐像, sozō miroku butsu zazō)[22][84] Oldest extant Miroku Bosatsu statue in Japan Asuka period, second half of 7th century Clay, gold leaf over lacquer (shippaku (漆箔)) Seated Miroku Bosatsu 219.7 cm (86.5 in) Kon-dō, Taima-dera, Nara, Nara
Amida Nyorai and two attendants (銅造阿弥陀如来及両脇侍像, dōzō amida nyorai oyobi ryōwakijizō) and miniature shrine (木造厨子, mokuzō zushi)[12][22][85] Buddhist image for personal daily worship (nenjibutsu (念持仏)), dedicated by Lady Tachibana (橘夫人, tachibana fujin) Asuka period, end of 7th century Gilded bronze, yuga (油画) oil painting on wood for the shrine Seated Amida Nyorai and two standing attendants (Kannon and Seishi) 33.3 cm (13.1 in) (Amida), 27.0 cm (10.6 in) (each attendant) Treasure House (大宝蔵殿, daihōzōden), Hōryū-ji, Ikaruga, Nara
Kannon (銅造観音菩薩立像, dōzō kannon bosatsu ryūzō) or Shō Kannon (聖観音)[22][86][87] Influenced by Indian sculpture of the Gupta period Asuka period, early 8th century Gilded bronze Standing Kannon 188.9 cm (74.4 in) Tōin-dō (東院堂), Yakushi-ji, Nara, Nara
Kannon (銅造観音菩薩立像, dōzō kannon bosatsu ryūzō) or Yumechigai Kannon (夢違観音)[22][88] Its common name derives from the belief that the statue could change bad dreams into good dreams. Formerly the principal statue of the Tōin eden (東院絵殿). One of four National Treasure standing Kannon Bosatsu statues at Hōryū-ji. Two more are also in the Great Treasure Gallery (大宝蔵院, daihōzō-in), while the third Kannon Bosatsu is enshrined in the Hall of Dreams (夢殿, yumedono). Asuka period, around 700 Gilded bronze Standing Kannon 87.0 cm (34.3 in) Great Treasure Gallery (大宝蔵院, daihōzō-in), Hōryū-ji, Ikaruga, Nara Frontal view of a statue on a pedestal with the left hand raised to breast height. The left hand carries a small object shaped like a vase or pot.
Shakyamuni (Shaka Nyorai) and two attendants (銅造釈迦如来及両脇侍像, dōzō shaka nyorai oyobi ryōwakijizō)[22][89] By Tori Busshi. One of the most treasured pieces of early Japanese bronze sculpture. It is said to be modelled after Prince Shōtoku.[1] Asuka period, 623 Gilded bronze Seated Shaka Nyorai and two standing attendants 86.4 cm (34.0 in) (Shaka), 90.7 cm (35.7 in) (left att.), 92.4 cm (36.4 in) (right att.) Kon-dō, Hōryū-ji, Ikaruga, Nara Front view of a central figure sitting cross-legged on a raised platform which is flanked by two smaller standing statues. The central figure has the palm of his right hand turned to the front. The attendants look identical pointing upwards with their right hand and their left hand lifted halfway touching the thumb with the middle finger. Each of the three statues has a halo.
Shaka at Birth (銅造誕生釈迦仏立像, dōzō tanjō shaka butsu ryūzō) and ablution basin (銅造灌仏盤, dōzō kanbutsuban)[22][90]
Nara period, second half of 8th century Gilded bronze Standing Shaka at birth in ablution basin 47.5 cm (18.7 in) (Shaka), diameter of bowl: 89.4 cm (35.2 in) Kōkei-dō (公慶堂), Tōdai-ji, Nara, Nara
Buddha head (Buttō) (銅造仏頭, dōzō buttō)[91] Former principal image in the Lecture Hall (講堂, kō-dō) of Yamada-dera (山田寺) Asuka period, 668 Gilded bronze Buttō 98.3 cm (38.7 in) National Treasure House (国宝館, kokuhōkan), Kōfuku-ji, Nara, Nara A Buddha head in three-quarter view with elongated earlobe, thick lips, narrow slit eyes and broad nose.
Yakushi Nyorai and two attendants (銅造薬師如来及両脇侍像, dōzō yakushi nyorai oyobi ryōkyōjizō)[22][86][92] Yakushi Nyorai is placed on a 150 cm (59 in) high pedestal combining elements of different cultures of the world: grape-vine (Greek), lotus flower pattern (Mideast), crouching barbarians (India), dragon, tiger and tortoise (China). Unusually, the Yakushi does not carry a medicine pot in his hand.[86] Nara period, around 718 Gilded bronze Seated Yakushi Nyorai (healing Buddha) and two standing attendants: Nikkō Bosatsu and Gakkō Bosatsu (Bodhisattvas of sun and moon light) 254.7 cm (100.3 in) (Yakushi), 317.3 cm (124.9 in) (Nikkō), 315.3 cm (124.1 in) (Gakkō) Kon-dō, Yakushi-ji, Nara, Nara Three-quarter view of a central cross-legged seated statue on a pedestal flanked by two standing statues of almost the same size. The central figure has the palm of his right hand facing forward and that of the left hand upwards with the left hand resting on his knee. The flanking statues show a similar pose with their right hand while their left arm is hanging down. All three statues have halos in their back which are decorated with small cross-legged seated statues.
Yakushi Nyorai (銅造薬師如来坐像, dōzō yakushi nyorai zazō)[93] One of three National Treasure Yakushi Nyorai at Hōryū-ji. The others are located in the West Octagonal Hall (西円堂,, saien-dō) and in the Large Lecture Hall (大講堂,, daikō-dō). Asuka period, 607 Gilded bronze Seated Yakushi Nyorai 63.0 cm (24.8 in) Kon-dō, Hōryū-ji, Ikaruga, Nara
Rushana Buddha (銅造盧舎那仏坐像, dōzō rushanabutsu zazō) or Great Buddha of Nara[12][94] The largest statue in this list and the largest gilt bronze statue in the world, and the main hall of Tōdai-ji, in which it is located, is the largest wooden structure in the world.[95] Nara period, 752. Head is a recast from the Edo period, hands date to the Momoyama period Gilded bronze Seated Rushana Buddha 14.868m Kon-dō, Tōdai-ji, Nara, Nara Three-quarter view and worm's-eye view of a seated statue. The palm of his right hand faces forward. The folds in his clothing are deeply sculpted. Behind the head of the sculpture there is a halo decorated with sitting statues. Color picture.
Miroku Bosatsu (木造弥勒仏坐像, mokuzō miroku butsu zazō)[60][96]
early Heian period Wood Seated Miroku Bosatsu 39.0 cm (15.4 in) Hokke-dō (法華堂), Tōdai-ji, Nara, Nara
Twelve Heavenly Generals (板彫十二神将立像, itabori jūni shinshō ryūzō)[97]
Heian period, 11th century Wooden tablets, relief carving (板彫, itabori), coloring, cut-gold foil (kirikane (截金)) on wood Standing Twelve Heavenly Generals 87.9–100.3 cm (34.6–39.5 in) National Treasure House (国宝館, kokuhōkan), Kōfuku-ji, Nara, Nara
Priest Gien (木心乾漆義淵僧正坐像, mokushin kanshitsu gien sōjō zazō)[22] Priest Gien was the founder of Oka-dera. Nara period, 8th century Wood-core dry lacquer (木心乾漆, mokushin kanshitsu), colored Seated Gien 93.0 cm (36.6 in) Oka-dera, Asuka, Nara Front view of a cross-legged seated statue with long earlobes. His hands rest on his knees with the palm of his right/left hand turned down/up.
Four Heavenly Kings (木心乾漆四天王立像, mokushin kanshitsu shitennō ryūzō)[98] There are four sets of Four Heavenly Kings designated as National Treasure at Kōfuku-ji. [nb 3] Nara period, 791 Wood-core dry lacquer (木心乾漆, mokushin kanshitsu), colored Standing Four Heavenly Kings 138.2 cm (54.4 in) (Jikoku-ten), 136.0 cm (53.5 in) (Zōjō-ten), 139.1 cm (54.8 in) (Kōmoku-ten), 134.5 cm (53.0 in) (Tamon-ten) North Octagonal Hall (北円堂, hokuen-dō), Kōfuku-ji, Nara, Nara
Monju Bosatsu and attendants (木造騎獅文殊菩薩及脇侍像, mokuzō kishi monjubosatsu oyobi kyōjizō)[99][100] By Kaikei. Largest Monju image in Japan Kamakura period, 1203 Colored wood Monju Bosatsu riding a lion and four attendants 198.0 cm (78.0 in) (Monju Bosatsu), 134.7 cm (53.0 in) (Zenzai Dōji), 268.7 cm (105.8 in) (Utennō), 187.2 cm (73.7 in) (Butsudahari Sanzō), Abe Monju-in, Sakurai, Nara
Eleven-faced Goddess of Mercy (木心乾漆十一面観音立像, mokushin kanshitsu jūichimenkannon ryūzō)[101]
Nara period, second half of 8th century Wood-core dry lacquer (木心乾漆, mokushin kanshitsu), gold leaf over lacquer (shippaku (漆箔)) Standing Jūichimen Kannon 209.1 cm (82.3 in) Daibiden (大悲殿), Shōrin-ji (聖林寺), Sakurai, Nara
Thousand-armed Kannon (木心乾漆千手観音立像, mokushin kanshitsu senjū kannon ryūzō)[22][102]
Nara period, second half of 8th century Wood-core dry lacquer (木心乾漆, mokushin kanshitsu), gold leaf over lacquer (shippaku (漆箔)) Standing Thousand-armed Kannon 535.7 cm (210.9 in) Kon-dō, Tōshōdai-ji, Nara, Nara
Yakushi Nyorai (木心乾漆薬師如来立像, mokushin kanshitsu yakushi nyorai ryūzō)[22][103]
Heian period, 796–815 Wood-core dry lacquer (木心乾漆, mokushin kanshitsu), gold leaf over lacquer (shippaku (漆箔)) Standing Yakushi Nyorai 369.7 cm (145.6 in) Kon-dō, Tōshōdai-ji, Nara, Nara
Hachiman in the guise of a Buddhist monk (木造僧形八幡神坐像, mokuzō sōgyō hachimanjin zazō), Empress Jingū (木造神功皇后坐像, mokuzō jingūkōgō zazō), Nakatsuhime (木造仲津姫命坐像, mokuzō nakatsuhime)[22] Oldest statues of their kind in Japan Heian period, 889–898 Colored wood Seated Hachiman, Empress Jingū and Nakatsuhime 38.8 cm (15.3 in) (Hachiman), 33.9 cm (13.3 in) (Jingū), 36.8 cm (14.5 in) (Nakatsuhime) Chinju Hachimangu (鎮守八幡宮), Yakushi-ji, Nara, Nara
Tentōki (木造天燈鬼立像, mokuzō tentōki ryūzō) and Ryūtōki (木造竜燈鬼立像, mokuzō ryūtōki ryūzō)[104] Tentoki attributed to Kōben (康弁), Ryūtoki by Kōben. Tentōki is a creature unique to Japan and Ryūtōki carries a lantern as offering to the Historical Buddha.[105] Kamakura period, c. 1215–1216 Colored wood, crystal eyes Standing Tentōki (lantern on hand/shoulder) and Ryūtōki (lantern on head) 77.9 cm (30.7 in) (Tentōki), 77.3 cm (30.4 in) (Ryūtōki) Kōfuku-ji, Nara, Nara  Tentōki. Front view of a stocky statue with a demon face. He is carrying a lantern on is left shoulder supported by his left hand. Black and white photograph.

Ryūtōki. Front view of a stocky statue with a demon face. He is balancing a lantern on his head. He is grabbing his right wrist with the left hand. Black and white photograph.

Muchaku (木造無著菩薩立像, mokuzō muchaku bosatsu ryūzō) and Seshin (木造世親菩薩立像, mokuzō seshin bosatsu ryūzō)[22][106] By Unkei Kamakura period, c. 1208–1212 Colored wood, crystal eyes Standing Muchaku and Seshin. 193.0 cm (76.0 in) (Muchaku), 190.9 cm (75.2 in) (Seshin) North Octagonal Hall (北円堂, hokuen-dō), Kōfuku-ji, Nara, Nara  Muchaku (Asanga). Frontal view of a lifelike statue keeping his hands in front of his body with one palm turned up and the other facing sidewards as if keeping something. Black and white photograph.

Seshin. Front view of a lifelike statue. Both arms are bend with the palm of the left hand turned upward and the right hand pointing up. Black and white photograph.

Bonten (木造梵天立像, mokuzō bonten ryūzō) and Taishakuten (木造帝釈天立像, mokuzō taishakuten ryūzō)[22][107]
Nara period, second half of 8th century Colored wood Standing Bonten and standing Taishakuten 186.2 cm (73.3 in) (Bonten), 188.8 cm (74.3 in) (Taishakuten) Kon-dō, Tōshōdai-ji, Nara, Nara
Yuima (木造維摩居士坐像, mokuzō yuima koji zazō)[82][108] Carved by Jōkei over a period of 56 days and painted by Kōen in 50 days Kamakura period, 1196 Colored wood in assembled wood-block (yosegi) technique, crystal eyes Seated Yuima 88.6 cm (34.9 in) Eastern Golden Hall (東金堂,, tōkon-dō), Kōfuku-ji, Nara, Nara Frontal view of a cross-legged seated statue placed on a throne. His right arm rests on his leg, the left arm is bend and slightly raised.
Kannon (木造観音菩薩立像, mokuzō kannon bosatsu ryūzō) or Nine-faced Kannon (九面観音, kumen kannon)[22][109] One of four National Treasure standing Kannon Bosatsu statues at Hōryū-ji. Two more are also in the Great Treasure Gallery (大宝蔵院, daihōzō-in), while the third Kannon Bosatsu is enshrined in the Hall of Dreams (夢殿, yumedono). Tang dynasty, 7th century Sandalwood, natural wood surface (素地, kiji) Standing Kannon 37.6 cm (14.8 in) Great Treasure Gallery (大宝蔵院, daihōzō-in), Hōryū-ji, Ikaruga, Nara Front and profile view of a standing statue with her left arm bend forward. On the head there are small heads visible facing in various directions.
Kannon (木造観世音菩薩立像, mokuzō kanzeon bosatsu ryūzō) or Kudara Kannon (百済観音)[22][110] One of four National Treasure standing Kannon Bosatsu statues at Hōryū-ji. Two more are also in the Great Treasure Gallery (大宝蔵院, daihōzō-in), while the third Kannon Bosatsu is enshrined in the Hall of Dreams (夢殿, yumedono). It has been conjectured to be a work of Korean artisans.[1] Asuka period, mid 7th century Colored wood Standing Kannon 209.4 cm (82.4 in) Great Treasure Gallery (大宝蔵院, daihōzō-in), Hōryū-ji, Ikaruga, Nara Three-quarter view of a very slim and tall statue carrying a vase in with two fingers of her left hand. Her right arm is bend with the palm of her right hand facing upward. A halo on a pole is seen behind the statue.
Kannon (木造観世音菩薩立像, mokuzō kanzeon bosatsu ryūzō) or Guze Kannon (救世観音)[1] Oldest extant wooden statue in Japan. One of four National Treasure standing Kannon Bosatsu statues at Hōryū-ji. The others are located in the Great Treasure Gallery (大宝蔵院, daihōzō-in). Asuka period, first half of 7th century, 620 or so Single block of camphor wood, stitched gold foil (箔押, hakuoshi) Standing Kannon 178.8 cm (70.4 in) Hall of Dreams (夢殿, yumedono), Hōryū-ji, Ikaruga, Nara Front view of a standing statue with flowing robes holding a small container in front of her body. There is a large halo behind the head of the statue.
Tamayorihime (木造玉依姫命坐像, mokuzō tamayorihime no mikoto zazō)[111] Probably by a Kei school sculptor Kamakura period, 1251 Wood, yosegi-zukuri (寄木造) technique, crystal eyes Seated Tamayorihime 83 cm (33 in) Yoshino Mikumari Shrine, Yoshino, Nara Head and shoulder portrait of a female statue with long hair, painted eyebrows, colored lips and cloths.
Kongōrikishi (Niō) (木造金剛力士立像, mokuzō kongōrikishi ryūzō)[112]
Kamakura period, 1288 Colored wood, crystal eyes Standing pair of Niō: Agyō (阿形) and Ungyō (吽形) 154.0 cm (60.6 in) (Agyō) and 153.7 cm (60.5 in) (Ungyō) National Treasure House (国宝館, kokuhōkan), Kōfuku-ji, Nara, Nara

Kongōrikishi (Niō) (木造金剛力士立像, mokuzō kongōrikishi ryūzō)[113] By Kaikei and Unkei. There is another pair of Kongōrikishi (National Treasure) in hokkedō (法華堂), Tōdai-ji. Kamakura period, 1203 Colored wood Standing pair of Niō: Agyō (阿形) and Ungyō (吽形) 836.3 cm (329.3 in) (Agyō) and 842.3 cm (331.6 in) (Ungyō) Nandaimon (南大門), Tōdai-ji, Nara, Nara  Agyō. Front view of a scary statue carrying a spear like object in his right hand and the palm of his left hand facing the viewer with fingers spread. Sculpted breastplate and necklace are visible.

 Ungyō. Front view of a scary statue with the right arm raised and carrying a weapon in his lowered left arm. Sculpted breastplate and necklace are visible.

Four Heavenly Kings (木造四天王立像(金堂安置), mokuzō shitennō ryūzō)[22][114] By Yamaguchi no Ōguchi atai (山口大口費) et al. Asuka period, around 650 Colored wood and cut-gold foil (kirikane (截金)) on wood Standing Four Heavenly Kings 133.3 cm (52.5 in) (Jikoku-ten), 134.8 cm (53.1 in) (Zōjō-ten), 133.3 cm (52.5 in) (Kōmoku-ten), 134.2 cm (52.8 in) (Tamon-ten) Kon-dō, Hōryū-ji, Ikaruga, Nara
Four Heavenly Kings (木造四天王立像(金堂安置), mokuzō shitennō ryūzō)[22][115]
Nara period, second half of 8th century Colored wood Standing Four Heavenly Kings 185.0 cm (72.8 in) (Jikoku-ten), 187.2 cm (73.7 in) (Zōjō-ten), 186.3 cm (73.3 in) (Kōmoku-ten), 188.5 cm (74.2 in) (Tamon-ten) Kon-dō, Tōshōdai-ji, Nara, Nara
Four Heavenly Kings (木造四天王立像, mokuzō shitennō ryūzō)[116][28][117] Produced for the South Octagonal Hall, this group has long been placed in the Central Golden Hall (中金堂). There are four sets of Four Heavenly Kings designated as National Treasure at Kōfuku-ji. [nb 3] Kamakura period Colored wood and cut-gold foil (kirikane (截金)) on wood Standing Four Heavenly Kings 204.0 cm (80.3 in) (Jikoku-ten), 202.2 cm (79.6 in) (Zōjō-ten), 204.5 cm (80.5 in) (Kōmoku-ten), 198.0 cm (78.0 in) (Tamon-ten) South Octagonal Hall (南円堂, nanendō), Kōfuku-ji, Nara, Nara
Four Heavenly Kings (木造四天王立像, mokuzō shitennō ryūzō)[22][82][118] There are four sets of Four Heavenly Kings designated as National Treasure at Kōfuku-ji. [nb 3] Heian period, early 9th century Colored wood in single-block (ichiboku) technique and cut-gold foil (kirikane (截金)) on wood Standing Four Heavenly Kings 162.5 cm (64.0 in) (Jikoku-ten), 161.0 cm (63.4 in) (Zōjō-ten), 164.0 cm (64.6 in) (Kōmoku-ten), 153.0 cm (60.2 in) (Tamon-ten) Eastern Golden Hall (東金堂,, tōkon-dō), Kōfuku-ji, Nara, Nara
Four Heavenly Kings (pr, mokuzō shitennō ryūzō)[22][119] Attributed to Kōkei. There are four sets of Four Heavenly Kings designated as National Treasure at Kōfuku-ji.[nb 3] Kamakura period, 1189 Colored wood Standing Four Heavenly Kings 206.6 cm (81.3 in) (Jikoku-ten), 197.5 cm (77.8 in) (Zōjō-ten), 200.0 cm (78.7 in) (Kōmoku-ten), 197.2 cm (77.6 in) (Tamon-ten) South Octagonal Hall (南円堂, nanendō), Kōfuku-ji, Nara, Nara

Shakyamuni (Shaka Nyorai) and two attendants (木造釈迦如来及両脇侍坐像, mokuzō shaka nyorai oyobi ryōwakiji zazō)[120]
Heian period, 925–931 Cherry wood, single tree, gold leaf over lacquer (shippaku (漆箔)) Seated Shaka Nyorai and two seated attendants. 227.9 cm (89.7 in) (Shaka), 155.7 cm (61.3 in) (left att.), 153.9 cm (60.6 in) (right att.) Inner Sanctuary (上御堂, Kami no mi-dō), Hōryū-ji, Ikaruga, Nara
Shakyamuni (Shaka Nyorai) (木造釈迦如来坐像, mokuzō shaka nyorai zazō)[121]
Heian period, end of 8th century Colored wood Seated Shaka Nyorai 105.7 cm (41.6 in) Miroku Hall (弥勒堂, miroku-dō), Murō-ji, Uda, Nara
Shakyamuni (Shaka Nyorai) (木造釈迦如来立像, mokuzō shaka nyorai ryūzō)[122]
Heian period, end of 9th century Colored wood Standing Shaka Nyorai 237.7 cm (93.6 in) Kon-dō, Murō-ji, Uda, Nara
Eleven-faced Goddess of Mercy (木造十一面観音立像, mokuzō jūichimenkannon ryūzō)[22][123]
Heian period, end of 9th century Colored wood Standing Jūichimen Kannon 195.1 cm (76.8 in) Kon-dō, Murō-ji, Uda, Nara Almost frontal view of the head and chest of a statue. A number of small heads and small statues are placed on top of the head.
Eleven-faced Goddess of Mercy (木造十一面観音立像, mokuzō jūichimenkannon ryūzō)[22][124]
Heian period, first half of 9th century Wood, natural wood surface (素地, kiji) Standing Jūichimen Kannon 100.0 cm (39.4 in) Hon-dō, Hokke-ji, Nara, Nara

Frontal view of the head of a sculpture of a deity. A number of small heads and small statues are placed on top of the head.

Yuima (木造維摩居士坐像, mokuzō yuima koji zazō)[18] Originally considered a work in the dry lacquer (乾漆, kanshitsu) technique, but reassessed as wood carving after X-ray investigation. Nara period, second half of 8th century Colored wood Seated Yuima 90.8 cm (35.7 in) Hokke-ji, Nara, Nara Crosslegged seated statue with arms slightly raised.
Twelve Heavenly Generals (木造十二神将立像, mokuzō jūni shinshō ryūzō)[82][125] Supposedly each of the statues was carved by a different sculptor Kamakura period, 1207 Colored wood and cut-gold foil (kirikane (截金)) on wood Standing Twelve Heavenly Generals 113.0–126.4 cm (44.5–49.8 in) Eastern Golden Hall (東金堂, tōkon-dō), Kōfuku-ji, Nara, Nara Three-quarter view of a standing statue. The right arm is bend with the right hand in front of the breast. The left arm is also bend with the palm of the left hand pointing upward.

Priest Shunjō (木造俊乗上人坐像, mokuzō shunjō shōnin zazō)[22]
Kamakura period, c. 1206 Colored hinoki wood Seated priest Chōgen 81.4 cm (32.0 in) Shunjō-dō (俊乗堂), Tōdai-ji, Nara, Nara
Prince Shōtoku and four attendants (木造聖徳太子坐像, mokuzō shōtoku taishi zazō)[12][22]
Heian period, 1121 Colored wood and cut-gold foil (kirikane (截金)) on wood Seated Prince Shōtoku flanked by four seated figures: younger brother Eguri (山背), first son Yamashiro (殖栗), priest Eji and Somaro (卒末呂) 84.2 cm (33.1 in) (Shōtoku), 53.9 cm (21.2 in) (Eguri), 63.9 cm (25.2 in) (Yamashiro), 63.9 cm (25.2 in) (Eji), 52.4 cm (20.6 in) (Somaro) Shōryō-in (聖霊院), Hōryū-ji, Ikaruga, Nara
Thousand-armed Kannon (木造千手観音立像, mokuzō senjū kannon ryūzō)[22][126] By a sculptor of the Keiha (慶派) school. Formerly the principal image of the Refectory (食堂, jiki-dō) Kamakura period, around 1220 Hinoki wood, gold leaf over lacquer (shippaku (漆箔)), crystal eyes Standing Thousand-armed Kannon 520.5 cm (204.9 in) National Treasure House (国宝館, kokuhōkan), Kōfuku-ji, Nara, Nara
Hachiman in the guise of a seated monk (木造僧形八幡神坐像, mokuzō sōgyō hachimanjin zazō)[22] By Kaikei Kamakura period, 1201 Colored hinoki wood Seated Hachiman 87.1 cm (34.3 in) Hachiman-dono (八幡殿), Tōdai-ji, Nara, Nara
Dainichi Nyorai (木造大日如来坐像, mokuzō dainichi nyorai zazō)[127] By Unkei. Heian period, 1176 Wood, gold leaf over lacquer (shippaku (漆箔)), crystal eyes Seated Dainichi Nyorai 98.8 cm (38.9 in) Tahōtō, Enjō-ji, Nara, Nara Front view of a statue depicted wearing a crown and showing the Vajra Mudrā, enclosing the index finger of the left hand with the fist of the right hand.
Jizō Bosatsu (木造地蔵菩薩立像, mokuzō jizō bosatsu ryūzō)[22][128]
Heian period, 9th century Wood Standing Jizō Bosatsu 172.7 cm (68.0 in) Great Treasure Gallery (大宝蔵院, daihōzō-in), Hōryū-ji, Ikaruga, Nara
Bishamonten (木造毘沙門天立像(金堂安置), mokuzō bishamonten ryūzō) and Kichijōten (木造吉祥天立像(金堂安置), mokuzō kichijōten ryūzō)[22]
Heian period, 1078 Colored wood and cut-gold foil (kirikane (截金)) on wood Standing Jizō Bosatsu 123.2 cm (48.5 in) (Bishamonten), 116.7 cm (45.9 in) (Kichijōten) Kon-dō, Hōryū-ji, Ikaruga, Nara
Fukū Kensaku Kannon (木造不空羂索観音立像, mokuzō fukū kensaku kannon ryūzō)[129] By Kōkei Kamakura period, 1189 Wood, gold leaf over lacquer (shippaku (漆箔)) Seated Fukū Kensaku Kannon 341.5 cm (134.4 in) South Octagonal Hall (南円堂, nan'endō), Kōfuku-ji, Nara, Nara
Monju Bosatsu (木造文殊菩薩坐像, mokuzō monju bosatsu zazō)[82][130] A work of a sculptor of the Kokei school Kamakura period, 1196 Colored hinoki wood in assembled wood-block (yosegi) technique, gold paint, crystal eyes Seated Monju Bosatsu 93.9 cm (37.0 in) Eastern Golden Hall (東金堂, tōkon-dō), Kōfuku-ji, Nara, Nara Three-quarter view of cross-legged seated statue placed on a throne. Both arms rest on his legs. The hair is sculpted with a top knot, which supports a sacred casket.
Bodhisattva in half-lotus position (木造菩薩半跏像, mokuzō bosatsu hankazō) or Nyoirin Kannon (如意輪観音)[22][131] It had been wrongly venerated as Nyoirin Kannon.[66] Asuka period, second half of 7th century Colored Camphorwood Nyoirin Kannon in half-lotus position 87.0 cm (34.3 in) Hon-dō, Chūgū-ji, Ikaruga, Nara Three-quarter view of a seated statue in half-lotus position. The right foot rests on the left upper leg, the right elbow rests on the right knee with the right hand close to the head. The hair of the statue is sculpted with two top-knots. There is a halo behind the statue's head.
Six Patriarchs of the Hossō sect (木造法相六祖坐像, mokuzō hossō rokuso zazō)[12][132] By Kōkei Kamakura period, 1188–1189 Colored hinoki wood, crystal eyes Six Patriarchs of the Hossō sect: Jōtō (常騰), Shinei (神叡), Zenshu (善珠), Genbō (玄昉), Genpin (玄賓), Gyōga (行賀) 73.3 cm (28.9 in) (Jōtō), 81.2 cm (32.0 in) (Shinei), 83.0 cm (32.7 in) (Zenshu), 84.8 cm (33.4 in) (Genbō), 77.2 cm (30.4 in) (Genpin), 74.8 cm (29.4 in) (Gyōga) South Octagonal Hall (南円堂, nan'endō), Kōfuku-ji, Nara, Nara  Gyōga. Frontal view of a seated monk with the left leg propped up.

Miroku Bosatsu (木造弥勒仏坐像, mokuzō miroku butsu zazō)[22][133] By Unkei Kamakura period, 1212 Wood, gold leaf over lacquer (shippaku (漆箔)) Seated Miroku Bosatsu 141.5 cm (55.7 in) North Octagonal Hall (北円堂, hokuen-dō), Kōfuku-ji, Nara, Nara
Yakushi Nyorai and two attendants (木造薬師如来及両脇侍坐像, mokuzō yakushi nyorai oyobi ryōkyōji zazō)[22][134]
Heian period, end of 10th century Hinoki wood, single tree, gold leaf over lacquer (shippaku (漆箔)) Seated Yakushi Nyorai (healing Buddha) and two seated attendants: Nikkō Bosatsu and Gakkō Bosatsu (Bodhisattvas of sun and moon light) 247.2 cm (97.3 in) (Yakushi), 172.1 cm (67.8 in) (each attendant) Lecture Hall (講堂, Kō-dō), Hōryū-ji, Ikaruga, Nara
Yakushi Nyorai (木造薬師如来坐像, mokuzō yakushi nyorai zazō)[22][135]
Heian period, 9th century Colored Japanese nutmeg

wood, single tree

Seated Yakushi Nyorai 49.7 cm (19.6 in) Nara National Museum, Nara, Nara
Yakushi Nyorai (木造薬師如来坐像, mokuzō yakushi nyorai zazō)[22][136]
Heian period, end of 8th century Japanese Nutmeg-yew wood, single tree, natural wood surface (素地, kiji) Seated Yakushi Nyorai 191.5 cm (75.4 in) Hon-dō, Shin-Yakushi-ji, Nara, Nara
Yakushi Nyorai (木造薬師如来立像, mokuzō yakushi nyorai ryūzō)[22][137]
Heian period, early 9th century Japanese nutmeg wood, single tree, natural wood surface (素地, kiji) Standing Yakushi Nyorai 164.8 cm (64.9 in) Hon-dō, Gangō-ji, Nara, Nara
Priest Rōben (木造良弁僧正坐像, mokuzō rōben sōjō zazō)[22]
Heian period, end of 9th century Colored hinoki wood, single tree Seated Rōben 92.4 cm (36.4 in) Founder's Hall (開山堂, kaisan-dō), Tōdai-ji, Nara, Nara
Priest Eison (木造叡尊坐像, mokuzō eison zazō)[138][139] By Zenshun. The designation includes items enshrined with Eison. Kamakura period, 1280 Wood Seated Eison 88.0 cm (34.6 in) Saidai-ji, Nara, Nara
Hayatama (木造熊野速玉大神坐像, mokuzō kumano hayatama ōkami zazō), Fusumi (木造夫須美大神坐像, mokuzō fusumi ōkami zazō), Ketsumiko (木造家津御子大神坐像, mokuzō ketsumiko ōkami zazō), Kunitokotachi (木造国常立命坐像, mokuzō kunitokotachi no mikoto zazō)[22][140]
early Heian period, 9th century Colored wood Four seated Shintō gods: Hayatama, Fusumi, Ketsumiko, Kunitokotachi 101.2 cm (39.8 in) (Hayatama), 98.5 cm (38.8 in) (Fusumi), 81.2 cm (32.0 in) (Ketsumiko), 80.3 cm (31.6 in) (Kunitokotachi) Kumano Hayatama Taisha, Shingū, Wakayama
Miniature Buddhist shrine (木造諸尊仏龕, mokuzō shoson butsugan)[22] Brought back from China by Kūkai Tang dynasty, 8th century Sandalwood, natural wood surface (素地,, kiji) various Buddhist images 23.1 cm (9.1 in) Reihōkan (owned by Kongōbu-ji), Kōya, Wakayama
Thousand-armed Kannon (木造千手観音立像, mokuzō senjū kannon ryūzō) and two Bodhisattvas (木造菩薩立像, mokuzō bosatsu ryūzō)[22][141] Unusual combination of deities in this triad Heian period, second half of 9th century Wood, single tree, gold leaf over lacquer (shippaku (漆箔)) Standing Thousand-armed Kannon and two standing Bodhisattvas, believed to be Nikkō Bosatsu and Gakkō Bosatsu (Bodhisattvas of sun and moon light) 294.2 cm (115.8 in) (Kannon), 241.5 cm (95.1 in) (Nikkō), 242.4 cm (95.4 in) (Gakkō) Hōbutsuden (宝佛殿), Dōjō-ji, Hidakagawa, Wakayama
Eight Attendants of Fudō Myōō (木造八大童子立像, mokuzō hachidai dōji ryūzō)[12][22][142] Only six of the eight statues date to the Kamakura period and are National Treasures. The remaining two (Anokuda (阿耨達), Shitoku (指徳)) were produced in the 14th century and are not included in this nomination. By Unkei. Formerly enshrined in the Fudō-dō (不動堂) Kamakura period, 1197 Colored hinoki wood, crystal eyes Six of the Eight Attendants of Fudō Myōō: Ekō (慧光), Eki (慧喜), Ukubaga (烏倶婆誐), Shōjō Biku (清浄比丘), Kongara (矜羯羅), Seitaka (制多迦) 96.6 cm (38.0 in) (Ekō), 98.8 cm (38.9 in) (Eki), 95.1 cm (37.4 in) (Ukubaga), 97.1 cm (38.2 in) (Shōjō), 95.6 cm (37.6 in) (Kongara), 103.0 cm (40.6 in) (Seitaka) Reihōkan (owned by Kongōbu-ji), Kōya, Wakayama

Miroku Bosatsu (木造弥勒仏坐像, mokuzō miroku butsu zazō)[22]
Heian period, 892 Colored hinoki wood, single tree Seated Miroku Bosatsu 91.0 cm (35.8 in) Jison-in, Kudoyama, Wakayama
Usuki Stone Buddhas (臼杵磨崖仏, Usuki magaibutsu)[22][143] Only National Treasure sculptures of stone. late Heian period–early Kamakura period Colored stone 59 statues in total in four groups. (i) Furuzono group (古園石仏, furuzono sekibutsu): 13 statues; (ii) Sannō group (山王山石仏, sannōzan sekibutsu): 3 statues; (iii) Hoki group (ホキ石仏, hoki sekibutsu), 1st cave: 25 statues (iv) Hoki group, 2nd cave: 18 statues 26.8–280.0 cm (10.6–110.2 in) Usuki, Ōita Photograph of a row of ca. ten seated stone statues in front of a rock. Three-quarter view. One of the statues is about twice as large as the others.

See also

Notes

  1. 1 2 The Usuki Stone Buddhas, the sculptures at Kongō-ji and the 1001 Kannon images at Sanjūsangen-dō date to the late Heian, early Kamakura period and are therefore counted double in this table.
  2. The temple uses a different association of statues with names of the generals than the national treasure nomination. Here the temple scheme is used.
  3. 1 2 3 4 The four National Treasure sets of fFour Heavenly Kings at Kōfuku-ji are located in the Eastern Golden Hall (東金堂, tōkon-dō), the North Octagonal Hall (北円堂 hokuen-dō), and two groups in the South Octagonal Hall (南円堂 nanendō).

References

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Bibliography

  • Ogawa, Kouzou; Seki, Nobuko; Yamazaki, Takayuki (2009). 仏像. 山溪カラー名鑑 (in Japanese) (2nd ed.). 1-19-13 Akasaka Minato-ku Tokyo Japan: YAMA-KEI. ISBN 978-4-635-09031-5. .

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