NIO PROTECTORS
THE BENEVOLENT KINGS
Agyo (Skt. Misshaku) and Ungyo (Skt. Naraen / Narayana)
Represent Alpha & Omega, Beginning & End, Birth & Death
Also called Kongo, Kongorikishi, Kongo and Rikishi
Members of the

(L) Agyo; Misshaku     (R) Ungyo; Naraen; Kongo
Agyo typically stands at right, Ungyo at left
At Hase Dera, Kamakura; Date Unknown, Probably Modern Era

(L) Agyo   (R) Ungyo 
At Sanjusangendo in Kyoto
 12th Century, Lifesize Wooden Statues

The Nio, or Heavenly Kings, are a pair of protectors who stand guard outside the temple gates at Japanese Buddhist temples, one on either side of the entrance. Their fierce and threatening appearance wards off all evil spirits and keeps the temple ground free of demons. The Nio were said to have followed and protected the historical Buddha when he traveled throughout India. They have since been adopted by the Japanese into the Japanese Buddhist pantheon. Each is named after a particular cosmic sound. The open-mouthed figure is called "Agyo," who is uttering the sound "ah," meaning birth. His closed-mouth partner is called "Ungyo," who sounds "un" or "om," meaning death. Other explanations for the open/closed mouth include: (1) mouth open to scare off demons, closed to shelter/keep in the good spirits; (2) "Ah" is the first letter in the Sanskrit alphabet and "Un" is the last (same in Japanese syllabary too), so the combination symbolically represents all possible outcomes (from alpha to omega) in the cosmic dance of existence. At some Buddhist temples, the Nio guardians are replaced with a pair of mythical and magical Shishi Lion-Dogs -- one with mouth open, the other closed.

Agyo
14th Century, Kamakura Era
Photo taken at Smithsonian, D.C.
Originally created to stand guard outside the entrance to
 Ebaradera, a temple located in Sakai City, near Osaka

Below text from Minneapolis Institute
of Art web site
(www-artsmia.org)

According to a Japanese story, there once was a king who had two wives. His first wife bore a thousand children who all decided to become monks and follow the Buddha's law. His second wife had only two sons. The youngest was named Non-o and helped his monk brothers with their worship. The eldest, Kongorikishi, however, had a much more aggressive personality. He vowed to protect the Buddha and his worshipers by fighting against evil and ignorance. Kongorikishi was the first of the heavenly kings, called Nio (or Kongo). The second is called Shukongoshin. Within the generally pacifist traditions of Buddhism, stories of Nio guardians like Kongorikishi justified the use of physical force to protect cherished values and beliefs against evil.

Other Naming Conventions
In Japan, the Nio guardian figures are named Misshaku Kongo (Agyo) and Naraen Kongo (Ungyo). They represent the use of overt power and latent power, respectively. Naraen is also called Narayana (Sanskrit)

Conceived as a pair, the Nio complement each other. Misshaku represents overt power, baring his teeth and raising his fist in action, while Naraen represents latent might, holding his mouth tightly closed and waiting with both arms tensed but lowered.

 Gigaku Mask Photos courtesy

Kongo: Open mouth, plus topknot.

Rikishi: Closed mouth, no topknot.

 (L) Ungyo and (R) Agyo

ABOVE:
Wooden life-size statues at
 Jufukuji Zen Temple, Kamakura

Agyo at Sanjusangendo, Kyoto
 12th Century, Life-size Wooden Statue

BELOW TEXT FROM:
http://www.hikyaku.com/dico/histxtg21.html
Mahasthamaprapta and Vajrapani (Kongo Rikishi same as Vajrapani)
Alternative words: Konkou rikishi, Kongorikishi, Kongourikishi, Nio, Niou, Benevolent King, Vajrapani, Vajradara

Related Web Sites:
www5.freeweb.ne.jp/art/kbi/index.files/shurui.html
www02.so-net.ne.jp/~segi/trip/199909/favorite.html

Kongorikishi is a Hindu god who has accepted to become a guardian of Buddhism. He frequently appears as two angry worriors at the gate of Japanese temples: Mitsushaku Kongo stands on the left and carries a thunderbolt stick while Naraen Kongo is on the right with a saber. The statues created by Unkei and Kaikei and located at the south main gate of Todaiji temple (Kyoto) are a master piece of Kamakura sculpture. Vajrapani or Vajradara means "thunderbolt stick holder" in Sanskrit.

Vajrapani, dark blue in colour with one face and two hands, appears in the form of a raksha (a daemon of classical Indian mythology) with three large staring eyes, a gaping mouth with bared canine teeth and orange beard, eyebrows and hair flowing upward like flame. The body is squat, large and fleshy. Adorned with a crown of five skulls with red pendants and gold earrings, bone necklace and bracelets, anklets, and a large green snake, he wears a long green scarf and a lower garment of tiger skin tied with a green sash. With the right leg bent and the left extended above a sun disc and multi-coloured lotus Vajrapani stands in the middle of the blazing fire of pristine awareness. Placed in front as an offering, framed by two ivory elephant tusks, an assortment of wishing jewels are arranged on a plain green landscape - painted in the style of Eastern Tibet.

At the top left is a seated buddha, yellow in colour with the right hand performing the mudra of 'earth witness' and the left placed in the mudra of meditation; seated in vajra posture above a moon disc and lotus. At the right is the deity of purification, Vajrasattva, white in colour with one face and two hands holding a vajra in the right held to the heart and with the left an upturned bell in the lap. Adorned with a crown, jewel ornaments and variously coloured silk garments he sits in the vajra posture above a moon disc and lotus seat.

Vajrapani represents the power aspect of complete enlightenment, and known as Guhyapati (Tibetan: sang wa'i dag po), he is the 'Lord of Secrets' - the keeper of all the tantras of Vajrayana Buddhism. As a bodhisattva, like Manjushri and Avalokiteshvara, he dwells on the 10th bodhisattva level just prior to attaining complete buddhahood. In actuality all three were completely enlightened aeons ago and only appear, for the sake of training others, in the guise of bodhisattvas.

Vajrapani is common to all Schools of Tibetan Buddhism and has numerous forms and practices which span all sets of tantric classification and levels of complexity from a solitary aspect up to the large and complex mandalas with many deities.

Jeff Watt 7-98 (curates: www.himalayanart.org)