"Heaven and Hell in Japanese Art" is an eclectic mix of statues, paintings and tapestries exhibited in the Buddhist wing of the Museum of Fine Arts, Boston through May 1, 2011. Most of the pieces on display are from the Edo period in Japanese history and represent conceptions of heaven and hell in the Pure Land Buddhist tradition.
For followers of Pure Land Buddhism, Amida is the Buddha of Infinite Light. Amida judges the sincerity of faith in his followers after they die, granting them rebirth in his Western Paradise, where they can more easily attain Enlightenment, or leaving them to the mercy of the Ten Kings of Hell. The Ten Kings condemn individuals who fail to attain salvation to one of six agonizing realms of reincarnation.
Popular representations of Heaven include regal sculptures of the Amida Buddha and intricate tapestries of his Western Paradise. Conversely, images of Hell are far from soothing: Statues of the Ten Kings and paintings of suffering serve to instill fear in followers of Pure Land Buddhism and to warn them of the consequences that would arise from lack of devotion.
The first room of the exhibit pertains to Buddhist Heaven, a tranquil space with dim lighting and awe-inspiring statues of Amida. The most eye-catching statue in this room is "Amida, Buddha of Infinite Light and Attendants" (1737). This piece is of a woodblock construction with inlaid rock-crystal eyes and gilding. The statue demonstrates the majesty of Amida as he descends to the Western Paradise on a cloud, accompanied by two loyal attendants. The stunning intricacy of its woodwork and gold exterior makes it the most dramatic creation in the room.
Another beautiful piece in the first room is "Taima Mandala," an 18th-century hanging scroll with ink and gold on silk. The scroll depicts Amida's Western Paradise. The deceased who have attained salvation are shown being reborn from lotus flower buds in a peaceful pond, with Amida in the scroll's center welcoming them to his realm. "Taima Mandala" boasts a gorgeous array of colors — reds, greens and blues, but most notably gold. Several other magnificent statues grace this first room, including the eighth to ninth century "Bodhisattva" and the 12th century "Daiitoku, King of Wisdom."
The second room of the exhibit has a similar mood to the first until you look more closely at the contorted facial features of the statues and the unsettling images in the paintings. This is undoubtedly the room with Buddhist depictions of Hell, with frightening figures of the Ten Kings and provocative tapestries of suffering.
The most striking statue in this room is "Aizen, King of Passion," created during the 14th-century using cypress, polychrome, gold, and inlaid crystal. This deity is believed to transform the desire for material gain into Enlightenment, conquering ignorance in individuals. This statue is incredibly demonic-looking, with red skin, six arms, a lion-headed crown and three eyes. He has a frighteningly twisted face, and the condemnation in his three eyes reveals that he sees all ignorance.
Another standout work in the exhibit is a 19th century hanging scroll of ink, color and gold on silk titled "The Inevitable Change." The scroll conveys the nine stages of decay that Buddhist teachings claim dead bodies go through, representing the ephemeral nature of human life. The images in the piece are deeply humbling. An aristocratic woman in red is shown in the foreground, surrounded by cherry blossoms. The eye of the observer is then drawn upward, first to the woman's swollen, newly dead body. This state of decay is followed by an image of her with bulging, lifeless eyes, then to one of her body being eaten by wolves and vultures. The piece culminates in her being little more than an eroded skeleton.
"The Inevitable Change" is so moving because it reminds the observer that all people ultimately end up in the same place regardless of wealth or social stature.
