Asuka Period (538 CE to 710 CE). Buddhist Sculpture from Early Japan.

Guze Kannon (Guse, Kuze, Kuse) 救世観音、夢殿観音
Reportedly made in the image of Prince Shoutoku
Also called Yumedono Kannon

Kuse (Guze) Kannon, 7th Century, Horyu-ji Temple

Kuse (Guze) Kannon, 7th Century, Horyu-ji Temple in Nara

Hōryūji (Horuyji) Temple 法隆寺, Nara, 620 AD or so
7th Century, Height = 178.8 cm
Made from a single block of wood

= Camphor (Kusu 樟)
Gold leaf (hakuoshi 箔押) applied over surface,
and coronet and other details made from gilt bronze.

Kuse (Guze) Kannon, 7th Century, Horyu-ji Temple This is the earliest extant wooden statue in Japan (first half 7th century). Carved from one piece of camphor 樟 wood, in the style of those times. Gold leaf is applied over the surface, and the coronet and other details are made from gilt bronze. The effigy is the non-esoteric form of Kannon, as Esoteric Buddhism (Mikkyou 密教) did not arrive in Japan until the 9th century. Guze is also a name used for sculptures of the Asuka period, specifically for sculptures of a crowned Bodhisattva (Bosatsu) holding a jewel.

This statue was kept hidden for centuries inside the Yumedono Hall 夢殿 at Houryuuji Temple -- even the priests were forbidden from viewing the statue, which was wrapped in some 500 yards of white cloth. The practice of maintaining Secret Buddha (Jp. = Hibutsu 秘仏) most likely originated among Japan’s esoteric sects (Shingon & Tendai) during the Heian period. The statue was finally unveiled in 1884, when the Japanese government allowed Ernest Fenollosa (1853-1908) and Okakura Tenshin 岡倉天心 (1863-1913) to discover its secrets. Fenollosa thought it to be of Korean origin, but no concensus was ever reached. Some think it displays the style of Japan’s Tori school of Buddhist sculptors who originally emmigrated to Japan from Korea. Today it is considered to be one of Japan's greatest art treasures for this period. It still remains a HIBUTSU at the temple, but for a small time every spring and fall it is open for viewing. <See JAANUS for more details on Guze Kannon>

GUZE KANNON MYSTERY?
Below text by Henry Smith at Columbia University
From “Prince Shōtoku’s Temple, The Riddles of Hōryūji”
Editor’s Note: A wonderful presentation, highly recommended.

Prince Shōtoku was, after all, like Shakyamuni (the Historical Buddha), a royal prince who renounced his inheritance in pursuit of spiritual ideals. Following Shōtoku’s death in + 622, his family continued to patronize Hōryūji Temple until 643, when his son and heir, Prince Yamashiro Ōe no Ō 山背大兄王 (Yamashiro Ōji 山背王子 for short), was forced to commit suicide by the Soga clan leader, who was fearful of the threat that Yamashiro posed to Soga power. With this, the direct line of Prince Shōtoku came to an end. The temple survivied, however, in close association with the memory of Shōtoku.

But as far as we can tell, the Yumedono Kannon was never seen by anyone from the time of its consecration in the eighth century until 1884, when an inquisitive American scholar named Ernest Fenollosa managed to unwrap it. Fenollosa survived the catastrophe predicted by the priests of Hōryūji, but even today, the Yumedono Kannon is on public view for only a few weeks every year.

YUMEDOMO KANNON (aka Guze Kannon). Centuries of oral tradition confirm what you have probably already suspected, that this image is in fact a representation of Prince Shōtoku, now transformed into a saving Kannon. This association probably explains some very curious features of the statue. To begin with, the hands are overly large, and reach sensuously around what you may recall from the rooftop ornament: another reliquary, in effect, Prince Shōtoku seems to be holding his own remains. The face is equally unique, featuring a wide nose, prominent lips, and very narrow eyes, all said to be personal attributes of the prince himself.

But there is a very different school of thought which sees the smile as oriented outward, a sinister leer which threatens more than it saves, particularly when seen from below as the normal worshipper might. This has led to the eerie interpretation that the Yumedono Kannon is not a gentle and grace-giving Kannon, but rather the restless angry ghost of Prince Shōtoku himself. In support of such a theory consider a comparison between the Yumedono Kannon and the famous Kudara Kannon statue (also found at Hōryūji). The point of the comparison lies in the haloes. Whereas the halo of the Kudara Kannon is supported by a slender bamboo pole, that of the Yumedono Kannon is attached by a large nail driven into the back of the head. This highly unusual method of attachment, it is argued, is just like the voodoo technique of sticking pins in dolls, an effort to subdue the spirit of Prince Shōtoku rather than save it. This might also help explain why the image was kept wrapped up for so many centuries. The remaining mystery, however, is why the revered Prince Shōtoku should be so angry. The most persuasive theory is that his ghost was angered by the termination of his family line in + 643, when his son was forced to suicide by the Soga clan leader. <end quote from Henry Smith at Columbia University>

Shotoku did dispatch envoys in 607 CE, all of them being of Korean descent who could read Chinese; the boat coasted the Korean shoreline as a direct passage was too dangerous. Ancient records report that the Chief Envoy (a Korean) asked the Chinese emperor to address Japan as "Land of the Sun" instead of "Land of Dwarfs," but this was not done until 670 CE (again at the suggestion of a Korean who felt the term insulted Japan). Nothing much with regard to the exchange of gifts from these early voyages is recorded in the Nihongi.(Carver and Covell 63)

In 621 CE Prince Shotoku died in his sleep. As was the custom, Hye-che ordered a gilt bronze statue to be made "in the image of Prince Shotoku." This statue became known as the "Dream Hall Kuanyin" or Yumedono Kannon. Probably this statue was placed in "The Dream Hall" of the first Horyu-ji. It was rescued by monks during the fire of 670 CE. For centuries this statue was considered "sacred" and was worshipped in a closed black lacquer case without being opened or unwrapped. In modern times, this statue is seen only once a year.

When the statue was first unwrapped after many centuries, Ernest Fenollosa, an American enthusiast of Japan's traditional arts, particularly Buddhist pieces, remarked "Korean of course." Apparently Fenollosa felt that the statue was not "Japanese" and not "Chinese," and knowing the great influence of Korea on the Asuka-based kingdom, reached the only reasonable conclusion.

The "Dream Hall Kuanyin" is a little short of six feet. (Supposedly Shotoku was this tall, a descendent of 'Horseriders' from the north. These people were taller than ordinary Japanese at this time (5'3"). The gold leaf is in very good condition due to the fact that it was covered all those years. The statue has a two dimensional quality, has 'fins' or sawtooth-cutouts along the outer edges of the robe, a technique or mannerism begun by Wei-dynasty bronze casters. It possesses the most intricate bronze crown of any statue in Asia. It appears to be a mixture of several styles (all Korean) and designs; no known parallel exists with purely Japanese workmanship. Evidently it was shaped and cut out by a master craftsman, someone having a long tradition of metal technology behind him. The basic design was drawn from the tradition of the Horseriders, as evidenced by their objects in iron, bronze and gilt-bronze. Koguryo tomb painting also has similar designs, such as the "climbing flame," and the eagle with outstretched wings, plus a slightly modified honeysuckle pattern. The crown bears jewels of several types, the most noticeable being the lapis-like blue globes. These outline the figure of a human being in their placement. At the pinnacle of the crown stand onion-dome type cutouts, pieces which take the shape of the sacred fire of Buddhism. (This motif is shared by both Koguryo and Paekche.) The Dream Hall Kuanyin originally had pendants hanging from each side like the crowns unearthed in Kyongju tombs. The one on the left side of the head is preserved, but the other is missing. The face shows a softness of the brow ridge. It merges as naturally as possible into the forehead, as those of a lifelike person. The Korean eye and brow ridge together were to continue through Unified Silla even though the chubby-cheeked Buddhas of this period show Tang Chinese influence.(Carver and Covell 68)

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