Period: Heian period (794–1185)
Date: 12th century
Culture: Japan Medium: Gilt bronze
Dimensions: L. 6 7/8 in. (17.5 cm)
Classification: Metalwork
Credit Line: Purchase, Richard and Peggy Danziger, 1987
Accession Number: 1987.151
This artwork is currently on display in Gallery 224
Three Pronged Vajra
1987.151
The Tantric texts formed the basis for Esoteric Buddhism practice in Japan. It incorporates pan-Indian concepts and deities, with some of the objects often deriving their shapes from Indian weapons. The vajra, or thunderbolt, was wielded by Indra, king of the Vedic gods. In Tantric Buddhist ceremonies, it is used to destroy passion and carnal desire, along with other material vices that block the path to enlightenment. These practices were followed by adepts to seek enlightenment in one lifetime. Watt, et al. (1988) noted that implements, in particular a vajra of the highest craftsmanship, were used in Buddhist practice to aid in envisioning the spiritual world represented in the mandala and in experiencing the nature of Buddhahood. These implements were held in sacred gestures, accompanied by recitation of prescribed mantras. Watt et al further states that the diamond-shaped bolt on this particular piece represents an elegant detail and refined grace of objects of the Heian period (794-1185 AD) versus the more abundant examples surviving from the following Kamakura period (1185-1333).
According to the Museum’s teacher guide (MMA n.d.), the vajra may be better represented by a diamond, as it represents indestructibility and the true essence of everything. The property of a cut diamond to refract and scatter light relates well to an interpretation of the Buddha as a source of “six colored rays,” as described in Trainer (1997, p. 93).
Notes in the central catalog record for this object identifies it as an item from the Tajima Collection, sharing traits with a similar object from the Heian period that was owned by Kakuban (1095-1143) and designated an Important Cultural Property, epitomizing the 12th century style. The record further identifies the vajra as the “single most significant spiritual symbol in Esoteric Buddhism…capable of near magical power in the perfection of human life and perfection of the realm” (Metropolitan Museum of Art Central Catalog, 1987).
Protection of the realm was indeed a significant power of Tantric Buddhism. Matsunaga and Matsunaga (1974) wrote that Tantric Buddhism originated in Japan under Kozō Mitsubishi c. 577-, beginning “… as a byproduct of the official bureaucratic emphasis upon the attainment of support abilities to benefit the nation by means of profound study.”
Tantrism may also have evolved from the “…practice of chanting sutras for the protection of the nation,” which would have been a logical response to political unrest that existed in the 8th century in the Heian period. At this time, Saicho (b. 787 AD) introduced a move from “Six Sects” of Naga practice, which focused on study to improve the memory and mind, toward a more devotional practice. These tantric practices were based on T’ien T’ai teachings from China where Saicho studied and was supported by the Emperor Kammu, where it came to be known as Tendai by the Japanese. Matsunaga & Matsunaga (1974) note that the practice was still particularly nationalistic, citing the three main sutras as “Lotus Sutra,” “Sutra on Benevolent Kinds Protecting Their Countries,” and “Sutra of the Golden Light.” Ironically, according to the Heilbrunn Timeline (Department of Asian Art, October 2002), it was due to the challenges from Buddhist establishment to the central government during the late Nara and Early Heian period that precipitated social and political unrest. This object was created near the later part of the Heian period after centuries of relative peace, as the Fujiwara regime was coming to an end and the shogun period was about to begin.
Provenance and Documentation
This object was purchased by the Museum in 1987 from Richard and Peggy Danziger. It appeared in the Museum’s 1987 Annual Report (Howat et al, 1987), a recent acquisitions Bulletin on Asian Art (Watt et al, 1988) and a special Bulletin on Asian Art (Ford, Summer 1987). It was featured in the exhibition guide for the 1993 Museum exhibition, A Decade of Collecting, 1984-1993: Friends of Asian Art Gifts (O’Neill, 1993). According to the catalog record, it was also published in Japanese Art in the Tajima Collection by Sujimoto Gallery in New York. These publications describe the significance of the Heian vajra and its major role in Tantric ritual.
References
Department of Asian Art. (October 2002). “Asuka and Nara Periods (538–794).” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/asna/hd_asna.htm
Ford, B. B. (Summer 1987). “The Arts of Japan.” The Metropolitan Museum of Art bulletin, v. 45, no. 1.
Howat, J. K. et al. (1987). “Curatorial Reports and Departmental Accessions.” Annual Report of the trustees of the Metropolitan Museum of Art, No. 117 (Jul. 1, 1986 – Jun. 30, 1987), pp. 12-52.
“Japan, 1000–1400 A.D..” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/ht/?period=07®ion=eaj (October 2001)
Japanese art in the Tajima collection, (1987). New York: Sugimoto Works of Art, p l. 17a.
Matsunaga, D. & A. Matsunaga. (1974). Foundation of Japanese Buddhism. Vol I: the Aristocratic Age. Los Angeles, Tokyo: Buddhist Books International.
Metropolitan Museum of Art Central Catalog. (1987). 1987.151. Artist unknown. Ritual thunderbolt (vajra): cast in one piece, the vajra is held at a center shaft decorated with stylized lotus petals and jewels. [Catalog record]. New York: Metropolitan Museum of Art.
Metropolitan Museum of Art. (n.d.). Buddhism and Buddhist Art in East Asia. In Buddhism. [Teacher resource].
O’Neill, J. P. (ed.) (1993). A decade of collecting, 1984-1993: friends of Asian art gifts. New York : The Metropolitan Museum of Art. Retrieved from http://libmma.contentdm.oclc.org/u?/p15324coll10,42090
Trainor, K. (1997). Relics, ritual, and representation in Buddhism: rematerializing the Sri Lankan Theravāda tradition. Cambridge, U.K.; New York, NY, USA: Cambridge University Press.
Watt, et al. (1987-1988). “Japanese Art.” In Recent acquisitions: a selection. New York: Metropolitan Museum of Art), No. 1987/1988. New York: Metropolitan Museum of Art, pp. 88.
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