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imaging. The scans revealed the original rough sketch of the painting, which differed very little from the final product, indicating it was a commissioned piece and not mass-produced. In addition, it is revealed that the gold paint on the Amida is not uniform, but rather a combination of gilding, and
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and adhesion of the silk in addition to reducing paint peeling. With tweezers, the old backing paper and grime was carefully removed with and replaced with a lighter brown backing. The mounting was replaced, and in addition, a new silk surface was applied to the holes of the old silk canvas, with
277:
Many other Raigō paintings would primarily focus on the procession and the deceased on a vertical rectangular scroll. However the Chion-in painting utilizes a square frame (1.45 meters x 1.55 meters) to add dimension, depth and detail to home in on the surrounding landscapes (including moutains,
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Raigō paintings, in addition to depicting Amida, the
Bodhisattvas, and the deceased, would also utilize local landscapes from which the painting is dedicated, as well as temple complex it is on. It also served as teaching and fundraising tool for the clergy.
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In the Chion-in painting, the work depicts the transition of the Raigō, from top left to bottom right, with the utilization of drift from the clouds to depict the speed of Amida's movement. The dying man is seen chanting the nenbutsu on the lower right.
422:, which commemorates the 850th anniversary of the founding of Jōdo-shū. The exhibit ran in Tokyo on 16 April to 9 June 2024 before being on public display at the Kyoto National Museum from 8 October to 1 December 2024.
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Maintenance of paintings of this size, rendered on paper, silk often require conservation every century as the pigment, and the glue would fade and flake off.
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From Spring 2019 to March 2022, the painting once again underwent extensive conservation with support from the
Tsumugu Project, a joint initiative of the
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On the upper right is a depiction of the Pure Land, in the form of a pavilion, the destination of the deceased. In the scroll, this death classified as a
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719:"Welcoming Descent of Amida (Amitabha) and Twenty-five Bodhisattvas, Known as Haya Raigo (the "Rapid Welcoming Descent") | TSUMUGU Gallery"
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The painting, considered a masterpiece of
Kamakura art is often put of special exhibition surrounding the life and works of
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The first repair on this painting was completed in 1934 at the
Conservation Center for Cultural Properties in the
203:, Hōnen founded the Jōdo Shū sect amongst a wave of religious fervor during the early Kamakura. Emphasis on the
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which commemorated the 800th anniversary of Honen's death as well as the 750th anniversary of
Shinran's death.
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801:"Unidentified artist | Welcoming Descent of Amida and Bodhisattvas | Japan | Nanbokuchō period (1336–92)"
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207:("Namu Amida Butsu") was preached as the key to salvation regardless of rank or circumstances in life.
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After the 2019-2022 conservation, the painting was once again displayed at Tokyo in the exhibit
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In the conservation effort, measures were used to stabilize the adhesion of the paper backing (
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629:"Byodoin Temple, Past & Present | Learn about Byodoin | World Heritage Byodoin"
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653:"Exchange: Taima Temple Mandala: Amida Welcomes Chûjôhime to the Western Paradise"
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849:"Three-year repair work of 'Rapid descent of Amida' of Kyoto's Chion-in complete"
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145.1 cm × 154.5 cm (57.1 in × 60.8 in)
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776:"Giving 'Raigo of Amida and Twenty-five Attendants' back its color and luster"
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743:"Amitāyur-dhyāna-sūtra | Meditation, Enlightenment, Compassion | Britannica"
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As of today, it is jointly owned by Chion-in and the Kyoto
National Museum.
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During the removal of the backing paper, the painting was scanned with
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583:. Buddhist foundations (1st ed.). Boulder, Colorado: Shambhala.
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148:, the painting depicts the salvation of the deceased by the Buddha
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413:: Treasures Related to the Great Masters of the Kamakura Buddhism,
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230:. The "Amida Triad" has been present since the early days of
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From 25 October to 4 December 2011, it was displayed at the
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One major characteristic of salvation is depicted in the
274:, one of three principal sutras in the Pure Land sects.
320:. Subsequently on 2 February 1955, it was designated a
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National
Treasure of Japan - Jodo-shu Painting of Amida
682:"Raigo of Amida (Amitabha) and Twenty-five Attendants"
605:"Amida Raigo Triad - Photos of the Amida Raigou Triad"
270:(first class, upper birth) death as described in the
927:"Special Exhibition: Hōnen and Pure Land Buddhism"
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289:
529:"Museum - History & highlights｜CHION-IN"
499:"Museum - History & highlights｜CHION-IN"
581:Pure Land: history, tradition, and practice
164:as they arrive to welcome a deceased soul.
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123:Raigō of Amida and Twenty-Five Attendants,
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171:, the painting is a prominent example of
22:Raigo of Amida and Twenty-Five Attendants
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305:in Rectangular Form, late 14th century,
250:, which is seen as a model of what the
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579:Jones, Charles Brewer (2021).
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290:Conservation and modern times
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420:Hōnen and Pure Land Buddhism
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333:Imperial Household Agency
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234:during the 8th century.
903:"TOKYO NATIONAL MUSEUM"
878:"TOKYO NATIONAL MUSEUM"
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470:"Kyoto National Museum"
329:Cultural Affairs Agency
134:scroll painting on silk
829:kunishitei.bunka.go.jp
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127:Rapid Descent of Amida
931:Kyoto National Museum
686:Kyoto National Museum
560:Kyoto National Museum
405:Tokyo National Museum
383:Higashiyama-ku, Kyoto
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318:Kyoto National Museum
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272:Amitāyur-dhyāna-sūtra
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100:Kyoto National Museum
246:The Phoenix Hall of
94:Joint Ownership by
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971:Buddhist paintings
747:www.britannica.com
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181:Pure Land Buddhism
152:, and twenty-five
129:is a 14th century
27:阿弥陀二十五菩薩来迎図（早来迎）:
633:www.byodoin.or.jp
590:978-1-61180-890-2
322:National Treasure
232:Japanese Buddhism
173:Buddhist painting
169:National Treasure
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65:Rapid Descent of
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154:bodhisattvas
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47:14th century
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356:fluorescent
254:looks like.
81:Designation
56:silk scroll
950:Categories
936:2024-05-22
912:2024-05-22
907:www.tnm.jp
887:2024-05-21
882:www.tnm.jp
859:2024-05-21
834:2024-05-21
810:2024-05-22
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691:2024-05-21
662:2024-05-21
638:2024-05-22
614:2024-05-21
565:2024-05-15
538:2024-05-22
527:CHION-IN.
508:2024-05-15
497:CHION-IN.
480:2024-05-15
455:2024-05-15
429:References
409:Hōnen and
370:Exhibition
335:, and the
309:(45.25.37)
201:Genpei War
191:Background
73:Dimensions
445:"京都国立博物館"
407:exhibit:
252:Pure Land
228:Pure Land
986:Amitābha
981:Jōdo-shū
853:紡ぐプロジェクト
780:紡ぐプロジェクト
723:紡ぐプロジェクト
533:CHION-IN
503:CHION-IN
400:school.
398:Jōdo-shū
396:and the
379:Chion-in
364:kirikane
303:Amitābha
286:style.
284:Yamato-e
248:Byōdō-in
238:Painting
216:Amitābha
205:nenbutsu
199:and the
179:sect of
177:Jōdo-shū
150:Amitābha
142:Chion-in
131:Japanese
114:Chion-in
96:Chion-in
91:Location
67:Amitābha
29:Japanese
556:"Honen"
449:京都国立博物館
411:Shinran
62:Subject
587:
222:, and
158:Kannon
52:Medium
394:Hōnen
387:Japan
359:X-ray
299:Raigō
212:Raigō
185:Hōnen
146:Kyoto
144:, in
110:Owner
104:Kyoto
585:ISBN
354:and
160:and
121:The
98:and
44:Year
301:of
125:or
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