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Art. XV.—The Statue of Amida the Niorai1in the Musée Cernuschi
Published online by Cambridge University Press: 15 March 2011
Extract
In the following pages I submit a translation of the Chinese inscriptions engraved on the noble bronze image or statue of the Amida Buddha, which is the glory of the Musée Cernuschi, together with some particulars descriptive and historical. I have, however, paid little attention to Buddhism, and the few explanations of Buddhist terms I offer must be regarded as merely tentative. One object of the present paper is to elicit information on the many points of interest suggested by the inscriptions from members of the Society who are versed in things Buddhist.
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- Copyright © The Royal Asiatic Society 1903
References
page 433 note 2 Amitābha.
page 433 note 3 Parc Monceau, Paris.
page 433 note 4 The inventor of the expression ‘bimetallisms,’ and the ardent apologist of that now dormant doctrine. He died in 1896, leaving his beautiful house in the Avenue Velasquez, together with his unequalled collection of Japanese bronzes and ceramics, to the city of Paris. A man of singularly noble and generous character, his sweetness of disposition won him a large circle of devoted friends, to whom his memory will be ever dear. At my suggestion he caused a copy of the inscriptions to be made, which at his request I translated into French. Unfortunately the manuscript, which was sent to him only a day or two before his somewhat sudden death, was mislaid, and the present version is an entirely new one.
page 434 note 1 The various attitudes of Buddhist images, chiefly of the hands and fingers, have an esoteric meaning, of which I refrain from attempting to give any explanation.
page 434 note 2 Such as is often represented curling round a sword resemhling the weapon usually borne by the idol Fudō (Akshara or Vāirōkaṉa).
page 435 note 1 According to the doctrine of the Jōdo, salvation through Amida can only be attained after the removal of all carnal and worldly desires shall have opened a path to the grace of the Buddha.
page 435 note 2 This, of course, is mere myth, if not mere invention. Jikaku Daishi flourished in the ninth century; the temple was founded in 1677. See second edition (1884) of the Handbook to Central and Northern Japan prepared by Mr. (now Sir Ernest) Satow and the late Lieut. Hawes, R.M.L.I.
page 435 note 3 This is, of course, a great exaggeration, even including the stone-faced base on which the statue was originally placed.
page 435 note 4 Or Benten, one of the seven gods of Fortune (Shichi Fukujin), a manifestation of Vāirōkaṉa or Dainichi the Niorai. See Handbook cited above, p. 58.
page 435 note 5 The great teacher Kōbō (Propagator of the Law) flourished in the eighth century. A very interesting account of him will be found in the Handbook (which contains a vast amount of Shinto, Buddhist, historical and legendary lore), p. 415.
page 435 note 6 Tori-i, written and usually understood as bird-perch; originally the perch for the cocks who greet the sun near Shinto shrines, now the imposing open iportals distinctive of the approach to a Shinto shrine. This is much the more picturesque explanation. Other explanations, purely prosaic, have been suggested.
page 435 note 1 A Chinese monk, Yin-yüan, who founded a sub-sect ōbaku of the Zen sect in the seventeenth century. See Handbook, pp. [89] and 381.
page 435 note 8 Right and left refer to the figure, not to the spectator.
page 436 note 1 In 
and tera or ji 
are both usually translated monastery or temple. The precise difference between these terms cannot be stated. In seems more modern, tera, which Mr. Aston identifies with Korean chüll, more ancient, the former a more dignified appellation than the latter. There is no distinction between regular and secular clergy in Japanese Buddhism. Tera and in are commonly translated temples or monasteries. Strictly, they are neither in a Western sense, and it is best to use the terms themselves.
page 436 note 2 The provinces of Kazusa and Shimōsa.
page 436 note 3 Shōyō seems to be a title; the characters = Shining Fame.
page 436 note 4 Of Kenchō the value is doubtful. The characters = perceive, excel.
page 436 note 5 The closing sentences of the Dedication are somewhat obscure, but it is believed that the translation is not inaccurate.
page 436 note 6 ‘Ran’ is some kind of orchid. For some reason it is often used when lotus is intended.
page 437 note 1 Shōnin, 
, superior.
page 437 note 2 A titular prefix? The characters mean chant-praise.
page 437 note 3 Oshō = hoshang, upadhyāya, but used as above both in China and Japan.
page 437 note 4 Often rendered Archbishop, more properly perhaps Grand Superior or General.
page 437 note 5 Posthumous religious name, lit. renovated name.
page 437 note 6 For the Buddhist titles and names see below, pp. 444–446.
page 438 note 1 Tetsu-so = Iron-face, or perhaps Iron Buddha-masks.
page 439 note 1 See Buddhist titles, etc., below.
page 439 note 2 See above, p. 436.
page 440 note 1 See under Central Petal.
page 440 note 1 The meaning is doubtful.
page 441 note 2 Two characters follow, one Ten (heaven), the other illegible.
page 444 note 1 Meaning dubious. “The Ringo (behind the Tchakra), the Shining, the Chief Benefactor,” is merely a tentative explanation.