Gōshō Mandara (Mandala of Amitābha’s Welcoming Descent)

Gōshō Mandara (Mandala of Amitābha’s Welcoming Descent) , possibly 1800s, Edo period (1600–1868)

Where object was made: Japan

Material/technique: color; gold; ink; paper

Dimensions:
Image Dimensions Height/Width (Height x Width): 55.9 x 29.2 cm
Image Dimensions Height/Width (Height x Width): 22 x 11 1/2 in
Object Height/Width (Height x Width): 559 x 292 mm
Object Height/Width (Height x Width): 22 x 11 1/2 in
Frame Dimensions (Height x Width x Depth): 35 x 17 1/2 in

Credit line: William Bridges Thayer Memorial

Accession number: 1928.7135

Not on display

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Label texts

Healing, Knowing, Seeing the Body

Raigō, or “welcoming approach” paintings such as this one, depict the descent of Amida Buddha to accept the soul of a dying believer and grant him rebirth in the Western Paradise (Pure Land). Pure Land Buddhists believe that enlightenment and salvation depended on their faith in divine compassion. Historically, Raigō paintings were carried into the homes of dying devotees and hung next to their beds so that they could concentrate on their belief in Amida Buddha while praying for rebirth. In some cases, believers could grasp golden strings attached to the paintings to strengthen their connection to Amida.

Healing, Knowing, Seeing the Body

Under Construction

In Buddhism, Amida Buddha presides over the Western Paradise (or Pure Land), and promises a rebirth in his paradise to the faithful who call upon his name. Amida Buddha gained immense popularity in Japan, and in the eleventh century paintings called raigō, which depict the descent of Amida, were common.

Amida Buddha, a large figure with a circular halo around his head, appears twice in this painting. In the lower section, Amida and his entourage of bodhisattvas (enlightened beings who help others attain enlightenment), musicians, and dancers descend toward a dying worshipper in the house at the lower right to lead his soul to paradise. Kannon bodhisattva, an attendant of Amida, stands just to the left of the house and extends a lotus pedestal, upon which the deceased will sit and be transported to the Pure Land. The upper portion of the painting shows Amida and his entourage on their return to paradise. These types of raigō paintings were placed before the deathbeds of devotees to help them focus on their faith in Amida.

Exhibition Label:
"Compassionate Beings: Japanese Buddhist Art," Sep-2009, Kris Ercums
Paintings of the descent of Amida, called raigo, became popular in Japan in the eleventh century. Amida Buddha, who presides over the Western Paradise, appears twice in this painting. In the lower portion of this painting, Amida and his entourage of bodhisattvas, musicians, and dancers descend towards the dying supplicant in the house at the lower right. Just to the left of the descending Amida are Jizo, who carries a jewel, and Ryuju, whose hands are pressed together in prayer. Further down, the bodhisattva Kannon extends a lotus throne to seat the soul of the deceased for its journey to the Western Paradise. The upper portion of the painting shows the entourage on its return to paradise.

Archive Label 2003 (version 1):
Paintings of the descent of Amida, called raigo, became popular in Japan from the eleventh century. Amida Buddha, who presides over the Western Paradise, appears twice in this painting. In the lower portion of this painting, Amida and his entourage of bodhisattvas, musicians, and dancers descend towards the dying supplicant in the house at the lower right. Just to the left of the descending Amida are Jizo, who carries a jewel, and Ryuju, whose hands are pressed together in prayer. Further down, the bodhisattva Kannon extends a lotus throne to seat the soul of the deceased for its journey to the Western Paradise. The upper portion of the painting shows the entourage on its return to paradise.

Archive Label 2003 (version 2):
Paintings of the descent of Amida, called raigo, became popular in Japan in the eleventh century. Amida Buddha, lord of the Western Paradise, appears twice in this painting. In the lower portion of the painting, Amida and his entourage of bodhisattvas, musicians, and dancers descend rapidly towards the house at the lower right to rescue a dying soul. Amida is accompanied by Jizo, who carries a jewel, and Ryuju, whose hands are pressed together in prayer. Further down, the bodhisattva Kannon extends a lotus throne to seat the soul of the deceased for its journey to the Western Paradise. The upper portion of the painting depicts Amida and his entourage in a heavenly realm, perhaps at the gates of the Western Paradise.

Archive Label date unknown: In this painting, the compassionate Amida Buddha descends from his Western Paradise to welcome the soul of a believer and lead it to paradise. Paintings of this type, called raigo, became popular in the eleventh century in Japan. Priests called to a deathbed sometimes brought a raigo painting with them so the dying person could focus on the image of the Amida. Some paintings even had strings attached to the hands of the descending Amida which were placed in the hands of the dying believer.