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Mani, the Sacred Jewel (Shansi in Chinese; Shinshi in Japanese) is that one of the Sapta Rapta (Seven Treasures) which is the emblematic symbol of the Buddha and his doctrine. Defined as a supernatural pearl, spherical, self-luminous, and of unfading lustre, it sheds a brilliant light on all its surroundings and is therefore an appropriate simile for the Enlightenment which Buddhists seek. In the Iconography of the Far East this fabulous gem is an attribute of several persons in the Ruddhist hierarchy; the principal one being K'shitigarhba (Chin: Ti Sang, Jap: Jizo Bosatsu) who is the Bodhisattva of Compassionate Help in the same way that Avalokitesvara (Chin: Kwanyin, Jap: Kwannon) is the Bodhisattva of Mercy. The latter may at times be shown as a holder of the Jewel—see for an example, the well-known Yumadono Kwannon of Horiuji (1)—but more often her chosen attribute is a slender vase. One of the sixteen Arhats (Chin: Lohan, Jap: Rakan) is also represented holding the Sacred Jewel in his hand. This is Panthaka, the tenth on the list, whose constant companion is a Dragon—the divinely appointed guardian of the Gem. Sometimes a Dragon alone holds the Gem in his claw: sometimes the Gem appears in solitary splendour with two Dragons in the role of heraldic supporters on either side. The illusion that they are fighting for it (like the Lion and Unicorn) is due to the querulous expression Dragons habitually wear, and not necessarily to rivalry.
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- Copyright © Antiquity Publications Ltd 1946
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1 This is perhaps the most precious relic of early Buddhist sculpture in Japan. It dates from the 6th century A.D. and its sculptor was probably a Korean artist resident in Japan. Though now always referred to as a Kwannon the ascription seems to be an arbitrary one. For centuries it was kept in the Yumadono as a ‘ hidden Buddha ‘ too sacred to be looked upon ; and Professor Fenellosa in his Epochs of Chinese and Japanese Art (1913) gives an eloquent and exciting description of its unwrapping in his presence in 1884. The figure, which is of wood, gilded and in almost perfect preservation, holds between the fingers of both hands a small stand upon which reposes a sphere—the Mani. Its aura of flame, like the figure’s elaborate crown, is of gilded bronze.
2 Though an odd confession for a writer to make, I am not at all sure how to spell the title of this paper. The word ‘Hoshi’ is the crux. Dr William Anderson gives ‘Hojiu’ as the reading and Mr Arthur Morrison follows him. Both were leading authorities on Japanese Art in their day, and entitled to respect. On the other hand Mr Josiah Conder, author of a book on the Art of Kiosai, gives the word as ‘Hoshi’. He is something more than an authority, he is an expert, having worked as a pupil for two years in Kiosai’s studio. Kiosai must often have used the word and probably gave Mr Conder the thing itself to draw. I have therefore preferred his reading. The word is not to be found, either as Hoshi or Hojiu, in Hepburn’s Japanese Dictionary : hence my doubt. It is possible both readings are correct ; the Japanese language abounding in alternative readings of its borrowed Chinese ideographs. Almost all have at least three.
3 Although Buddhist influence was sufficiently strong in early days at the Japanese Court to substitute the Shinshi for the earlier Magatama it appears that since the Restoration of 1868 and the subsequent revival during the Meiji era (1868-1912), of pure Shinto uncontaminated by Buddhist intrusions, the Magatama have been resubstituted for the Shinshi and that now three of the former, coloured respectively red, white and blue, constitute the third item of the Imperial regalia. See the article by Mr Goji Akita in the Japan Society’s Transactions, vol. VI, 1901-2.
4 The ten precious things (takaramono) are the Sacred Jewel, the inexhaustible purse, the hat of invisibility, the flying straw rain-coat, the scrolls, the clove, the hammer, the weight, the key, and the shippo (some kind of coin). In our illustration the shippo and the clove are in the immedi ate foreground, the hammer at the back (right, where there is also a suggestion of the straw rain-coat. The other takaramono are not visible. The drawing though strong and self-confident is clearly student work. Kiosai was to do better than this in later years.
5 This Catalogue was compiled by the Chinese owner of the collection in 1837, It was not published until 1919, when it appeared with photographic reproductions somewhat mysteriously and with no explanations (though translated into English) by the Chinese publisher. The present whereabouts of the collection appears to be unknown. The picture referred to in the text is un questionably a Tang painting or a faithful copy of one. It closely resembles some of those brought back from Central Asia by Sir Aurei Stein.
6 It would be safer to say that it is a copy of an ancient painting, artist unknown.
7 Lao Tzu had already made much the same kind of remark. There is much Taoist teaching enshrined in the Zen doctrines.