This page was made especially for teachers and students of Japanese Buddhism. It presents everything on one page for easy printout, with links to the most relevant topics and reference notes for further study.

• Maroon Text. Jumps within this page or to another site page.
• Mandala is pronounced “mandara” in Japanese, and hereafter both spellings are used interchangeably.
• Sources. This page relies heavily on numerous sources, but especially on the online JAANUS database.
• This is a work in progress. Any mistakes or omissions are my responsibility. Please contact me when/if you find them.

Four Devotional Categories

1. Besson Mandala 別尊曼荼羅.
   Mandala devoted to a single deity. Abundant in Japan.
2. Betsubu Mandala 別部曼荼羅 or Bue Mandala 部会曼荼羅. Devoted to a specific family of deities. Quite rare in Japan.
3. Miya Mandala 宮曼荼羅 and Sankei Mandala 参詣曼荼羅. Devotional paintings of shrine and/or temple landscapes; a map-like illustration showing buildings, pathways, pilgrims, practioners, priests and nuns, deities, and other scenes. Once abundant, but only a relatively small number of pieces still extant.
4. Tobu Mandala 都部曼荼羅 or Toe Mandala 都会曼荼羅. Mandala depicting myriad deities from numerous deity families. Abundant in Japan. The most widely known Toe-type mandala is the Ryōkai Mandala.

Four Stylistic Categories

1. Katsuma Mandala 羯磨曼荼羅. Deities represented by three-dimensional images.
2. Sanmaya Mandala 三昧耶曼荼羅. Deities depicted by symbols/objects (Sanmaya-gyō 三昧耶形)
3. Shishu Mandala 四種曼荼羅 or Daimandara 大曼荼羅. Deities depicted in human form.
4. Shuji Mandala 種字曼荼羅 or Hō Mandala 法曼荼羅. Deities represented by Sanskrit syllables.

Deity Families & Divisions
Maroon text = Jumps within this page or to other site page.
Simplified. This topic is much more complex. For example, deities in the Kongōkai Mandala
 are arranged  in nine different panels (or nine mini mandala), while those in the Taizōkai Mandala
are arranged in twelve different well-defined sections. See Kongōkai Layout  |  Taizōkai Layout

JAPANESE MANDALA A-TO-Z GLOSSARY 

Aizen Mandala 愛染曼荼羅. Classified as a Besson Mandala, one featuring a single deity from the Myō-ō (Myo-o) Family, in this case Aizen Myō-ō 愛染明王. There are several variations. The Kamakura-era version kept at the Nezu 根津 Museum in Tokyo shows Aizen in the center, surrounded by 16 other deities. Sitting around Aizen are four Bodhisattva and their consorts (representing the four directions and four intermediate directions), while the outer enclosure is populated by the Four Guardian Bodhisattva (Shishō Bosatsu 四摂菩薩) and Four Offering Bodhisattva (Incense, Flower, Lamp, and Perfume). This differs drastically from another Kamakura-era Aizen Mandala kept at Taizanji Temple 太山寺 in Hyōgō prefecture. In this latter work, Aizen is surrounded by four other Myō-ō (Gōsanze 降三世明王, Gundari 軍荼利明王, Daiitoku 大威徳明王, and Kongōyasha 金剛夜叉明王) and four youthful attendants (Dōji 童子), while the outer section is populated by the Twelve Guardian Deities (Jūniten 十二天). 

Akadōji 赤童子 (Akadoji, lit. Red Youth). A painting subject. See Kasuga Mandala.  

Amida Mandala 阿弥陀曼荼羅. See Jōdo Mandala and Jōdo Sanmandara. Devoted to Amida Nyorai and the Western Pure Land (Jōdo 浄土).   

Benzaiten Mandala. See Tenkawa Benzaiten Mandala below.

Besson Mandala 別尊曼荼羅. Mandala devoted to a single deity. Made in great number in Japan due to popularity of numerous esoteric rites dedicated to specific deities (Bessonhō 別尊法) and specific outcomes (e.g., peace, security, pacification, avoidance of evil, harmony in the home, enlightenment). One of four major mandala categories in Japan. It includes such mandala as the Aizen Mandala, Butsugen Mandala, Ichijikirin Mandala, and many others.

Betsubu Mandala 別部曼荼羅. See Bue Mandala below. 

Bu 部. Japanese term meaning “division” or “family.” Esoteric deities are generally classified into one of the following families: Buddha Family (Butsu-bu 仏部), Buddha-Crown Family (Butchō-bu or Bucchō-bu 仏頂部), Sutra-Rite Family (Kyōbō-bu 経法部), Bodhisattva Family (Bosatsu-bu 菩薩部), Myō-ō Family (Myo-o-bu 明王部), Celestial Gods Family (Tentō-bu 天等部), and Others (e.g., star deities). For details on deity families in Japan’s popular Two-World Mandala, or Ryōkai Mandala, see Kongōkai Family and Taizōkai Family.

Bue Mandala 部会曼荼羅. Also called Betsubu Mandara 別部曼荼羅. Mandala devoted to deities in a single family. Relatively rare in Japan. One of four major mandala categories in Japan.

Butchō or Buccho 仏頂 (Butcho, Buccho) Also known as Butchōson 仏頂尊 (Butchoson, Bucchōson, Bucchoson). Literally Buddha Crown. See Daibutchō Mandala for details.

Butsugen Butsumo 仏眼仏母. See Butsugen Mandala below. 

Dai Mandala 大曼荼羅. Also Daimandala. Literally “Great Mandala.” Classified as a Shishu Mandala, one of four basic artistic/stylistic mandala cateogories, one depicting the deities in physical (human) form. A variant is used by the Nichiren 日蓮 sect. See Hokke Mandala for details.  

Daibutchō Mandala

• Three Butchō (Sanbucchō, Sanbuccho, Sanbutcho, 三仏頂) known as Kōdai 広大 (Skt. = Mahodgatosnisa), Gokukōdai 広大 (Skt. = Abhyudgatosnisa), and Muhen'onjō 無辺音声 (Skt. = Anantasvaraghosa).
• Five Butchō (Gobucchō, Gobutcho, 五仏頂). Byakusangai 白傘蓋 (Skt. = Sitatapatrosnisa), Shō 勝 (Skt. = Jayosnisa), Saishō 最勝 (Skt. = Vijayosnisa), Kōju 光聚 (Skt. = Tejorasyusnisa), and Shajo 捨除 (Skt. = Vikiranosnisa)
• Eight Butchō (Hachibucchō, Hachibutcho, 八仏頂). Three Butchō and Five Butchō; the eight sometimes appear in the Shaka-in 釈迦院 section of the Taizōkai Mandala and in the Sonshō Mandala.
• Nine Butchō (Kubucchō, Kobutcho, 九仏頂). Eight Butchō encircling Dai Butchou 大仏頂 or Shōissai Butchō 摂一切仏頂. See Daibutchō Mandala.
• Ten Butchō (Jūbucchō, Jubutcho, 十仏頂). Nine Butchō and Futsū Butchō 普通仏頂. However, there are variations (e.g., there are different naming conventions for the Butchō, or different enumerations of the eight, nine, or ten).
• Other Bucchō. Ichijikinrin 一字金輪; Shijōkō Butchō 熾盛光仏頂; two others known as Butchō Sonshō 仏頂尊勝 (Skt. = Vijayosnisa) and Byakusangai 白傘蓋 (Skt. = Sitatapatra) became objects of popular individual cults (i.e., both are popular goddesses in Indo-Tibetan Tantrism).

Daibutchō Tsūyō Mandala 大仏頂通用曼荼羅. A type of a Besson Mandala introduced from China to Japan in 805 by Saichō 最澄 (766-822), the founder of the Tendai 天台 sect.　

Daihitaizō Sanmaya Mandala 大悲胎蔵三昧耶曼荼羅. Brought from China to Japan by Ennin 円仁 (794-864); a line drawing (no longer extant) closely related to the Taizō Zuzō; a copy dated to 1019 and now preserved at Daigoji Temple 醍醐寺 in Kyōto is considered the oldest extant Japanese copy of such line drawings.

Dakiniten Mandala 荼吉尼天曼荼羅. From the Heian period onward, Dakiniten was invoked in various esoteric rites in Japan to gain complete mastery in human affairs, to hex one's enemies, to win favor at court, to pray for good fortune, and other matters. In Hindu mythology, the Dakini are a class of wrathful female demons who drink blood and eat human flesh, and scholars consider them acolytes of the Hindu goddess Kali. Over time the Dakini were incorporated into Vajrayana (Tantric) traditions as lower-ranking goddesses. In Japan, however, the Dakini group never gained a large following, except for one named Dakiniten (also spelled Dakini-ten). In Japan, Dakiniten is typically depicted riding a fox (often white) and closely associated with food and the rice crop. She is thus, in Japan, often associated or merged with the Shinto rice god Inari (whose messenger is the fox). She also assumes forms related to Daikokuten (lord of five grains). In the 8th-century text Dainichikyousho 大日経疏, Dainichi Buddha appears as Daikokuten in order to subdue Dakiniten 荼吉尼天. She is also closely associated with the esoteric form of the Buddhist goddess Benzaiten. See Tenkawa Benzaiten for more details on Dakiniten.

Dengyō Daishi 伝教大師 (767 - 822 AD). Also spelled Dengyo Daishi. Literally “Great Master Who Transmitted the Teachings.” It is the posthumous name for Saichō 最澄, the founder of Japan’s Tendai 天台 sect of Esoteric Buddhism (Jp. = Mikkyō 密教). Despite his many contributions, the flowering of mandala artwork in Japan is generally credited to Kūkai (aka Kōbō Daishi) and Shingon traditions. For more details on Saichō, see Tendai Sect below.

Denshingon-in Mandala 伝真言院曼荼羅 at Tōji Temple 東寺 in Kyoto. A famous example of the Ryōkai Mandala; a designated national treasure.

Dōjikyō (Dojikyo) Mandara 童子経曼荼羅. The central figure of the Dōjikyō Mandala 童子経曼荼羅 is Sendan Kendatsuba, who is a guardian of children, one who expels demons of plague, and a king of the Kendatsuba (a class of semi-divine beings who protect Buddhism). The Dōjikyō Mandara was used in esoteric rituals to ward off demons and protect children from illness and danger.

Engi Mandala 縁起曼荼羅. Painting that illustrates the story of a Shintō shrine’s foundation.

Enmaten Mandala 閻魔天曼荼羅. Classified as a Besson Mandala, one featuring a single deity from the “Celestial Gods Family,” in this case Enmaten 閻魔天, the lord of death and the underworld known in Sanskrit as Yama and in Chinese as Yanmo Wang 閻魔王. In extant copies of this mandala at Daigoji Temple 醍醐寺 in Kyōto (now preserved by the Kyōto National Museum), Enmaten is depicted with two arms, seated atop a buffalo, and flanked on both sides by two consorts known generally as Kokuangō 黒暗后 (Kokuango; Skt. = Kalaratri) and Shikō 死后 (Shiko; Skt. = Mrtyu). Those names vary, however, for Kokuangō is sometimes known as Enmatengō 閻魔天后 (Skt. = Yami). Ematen’s other retainers come in various flavors, including deities like Shichimoten 七母天 (Skt. = Saptamatrka; literally “Seven Mothers”), various underworld Taoist gods like Taizanfukun 太山府君 (Chn. = Taishanfujun), Shimei 司命, and Shiroku 司録, as well as other deities (of Indian origin) mentioned in the Dainichikyō Sutra 大日経 (Skt. = Vairocanabhisambodhi Sutra). The name of the Lord of Death (Skt = Yama-rāja) is spelled in many different ways, i.e., 閻王, 閻羅, 閻魔王, 閻摩羅, 閻老, 夜摩, 閻羅王, 琰魔, 炎摩, 燄摩, 琰摩, 爓魔. <Source: Soothill>

Fuji Mandala 富士曼荼羅. <Below entry courtesy JAANUS> Devotional paintings or large pictoral scrolls of Mount Fuji 富士, usually in the form of Sankei Mandara. Fuji mandara show the mountain dominating the painting space. At the bottom of the painting is Miho no Matsubara 三保の松原, the spit of land that stretches across the Suruga 駿河 Bay with pilgrims arriving by boat. Various rituals performed at the foot of the mountain are shown, as is the pilgrim's ascent to the peak. From the 14 century onward, Mount Fuji often was shown as having three peaks, as were other sacred mountains in devotional art. Some paintings show a deity on each peak. The mountain's main shrine -- Asama Jinja 浅間神社 (more commonly pronounced Sengen Jinja) -- was founded in the early 9th century at Fujinomiya 富士宮 (Shizuoka Prefecture) and dedicated to a Shinto God named Konohana-sakuya-hime 木花咲耶姫. However, the names of the shrine and the deity are conflated as is usual in Buddhism. Thus it was also called Asama Daibosatsu 浅間大菩薩 (also read as Sengen Daibosatsu, which can in turn be written 仙元大菩薩), Asama Daimyōjin 浅間大明神, and Fuji Gongen富士権現. By the late 9th century, some pilgrims practiced asceticism on the slopes of Mount Fuji, and in the mid 12th century a chapel to Dainichi Buddha大日如来 was built on the summit by the founder of the mountain's Shugendō 修験道 sect (Shugendo; a major ascetic religious order in Japan). Dainichi's successors flourished and the mountain became a center of popular pilgrimage in the Kamakura and Muromachi periods. In the Edo period, the Fuji cult was further stimulated by the practice of Kakugyō角行 (1541-1646) and Jikigyō食行 (1671-1733), priests who considered the mountain a source of peace and prosperity and who taught a simple, popular faith. Devotional Fuji confraternities (Fujikō 富士講) also spread to Edo and to surrounding provinces, where many believed the mountain would become the paradise of the Future Buddha (aka Miroku 弥勒), who in turn would create an age of prosperity and justice. Fuji Mandara were used for the diffusion of the Fuji cult, showing the area as a destination for religious pilgrimage, as well as a memento of the famous spot. Extant examples date from the late Muromachi period (15th century). <end JAANUS quote>

Fushū-e (Fushu-e) Mandala 普集会曼荼羅. A type of Toe Mandala showing various deities from numerous deity families; described in the Darani Jikkyō 陀羅尼集経 (Taishō No. 901). 

Gohonzon 御本尊. Also spelled Go-Honzon. A mandala used by the Nichiren sect and based on the Lotus Sutra. See Hoke Mandala for details.

Hachiji Monju Mandala 八字文殊曼荼羅. Eight-Letter Monju Mandala. Classified as a Besson Mandala, one featuring the "Bodhisattva Family," for the central deity in this case is a form of Monju Bodhisattva. See photo above at right. 

Hakusan Mandala

Hakusan Mandala 白山曼荼羅 Treasure of Ishikawa Pref. 辰口町 City Treasure of Nagataki Hakusan Color on Silk, Three Panel Painting, H 159.5 x W 81.0cm

Hannya Bosatsu Mandala 般若菩薩曼荼羅. This is the abbreviated name for Hannya Haramitsu 般若波羅蜜 or Hannya Haramitta 般若波羅蜜多, a female bodhisattva of India providence who personifies the Hannya Haramitsu (Skt. = Prajna Paramita). This latter Sanskrit term refers to the process of “perfecting wisdom.” By extension, it refers to the Mahayana sutra known as the Hannyakyō 般若経 (Skt. = Prajnaparamita Sutra), which describes a six-fold path for overcoming delusion, perfecting wisdom, and achieving enlightenment. In this sense, “wisdom” equates with “enlightenment,” and thus this female deity is also called Butsumo 仏母 (literally “Mother of the Buddha;” also see Butsugen Mandala. She is depicted in various forms, but most commonly shown holding her namesake sutra. In Japan she is sometimes invoked instead of Shaka 釈迦 (the Historical Buddha) during the Daihannya-e 大般若会, a ritual reading of the 600-fascicle translation of her sutra, and one that included veneration of the Hannya Mandara, in which she is typically shown alone or surrounded by the 16 Good Deities (Jūroku Zenjin 十六善神). The latter are said to protect people who recite her sutra. In Japan, Hannya Bosatsu is rarely represented at the center of a mandala.

Hie Sannō Mandala (Hie Sanno)

Himitsu Mandala 秘密曼荼羅. Secret Mandara. See Sanmaya (Samaya) Mandala.

Hiyoshi Sannō Mandala (Hiyoshi Sannosha) 日吉山王社. See Hie Sannō Mandala.

Hō (Ho, Hou) Mandala 法曼荼羅. See Shuji Mandala.

Hoke (Hokke) Mandala

• Dai Mandala 大曼荼羅 (Great Mandala)
   
• Kanjōjikkai Mandala 勧請十界曼荼羅
  Invoking Ten Realms Mandala
   
• Jikkai Kanjō Mandala 十界勧請曼荼羅
  Invoking Ten Realms Mandala
   
• Jikkai Mandala 十界曼荼羅
  Ten Realms Mandala
  
  See photos immediately below.

Hokuto Mandala 北斗曼荼羅. Big Dipper Mandala. Used when performing the Hokutohō 北斗法 or "Big Dipper Rite" for averting natural disasters and calamity. Classified as a type of Hoshi (Star) Mandala. Also classified as a Besson Mandala dedicated to specific deities. This mandara’s most popular appearance in Japan is centered around Shaka Kinrin 釈迦金輪 (Gold Wheel Shaka). Shaka Kinrin is a manifestation of Shaka Buddha 釈迦如来 (the Historical Buddha), one in which Shaka is holding a golden wheel in his hands, with the latter placed on the lap and the hands forming the Hokkai Jōin Mudra 法界定印 (dharma-realm meditation mudra). Ichijikinrin Butchō (see Ichijikinrin Mandala) can sometimes assume the form of Shaka Kinrin 釈迦金輪. In the Hokuto Mandara, Shaka Kinrin is often shown surrounded by the Big Dipper’s seven stars, by the nine planets, by the 12 signs of the Zodiac, and by the deities of the 28 lunar mansions. The Tendai 天台 sect uses a circular mandara (a renowned example is preserved at Hōryūji Temple 法隆寺 in Nara, while the Shingon 真言 Sect uses a square mandara (preserved at Kumedadera 久米田寺 in Osaka). See photos of both below. The disposition of the deities varies somewhat. See also Tōhon Hokuto Mandala, which is devoted to Shijōkō Butchō 熾盛光仏頂.

Honjaku Mandala 本迹曼荼羅 (shows Shinto & Buddhist deities in relation to one another). See Kasuga Mandala.

Honji Mandala 本地曼荼羅.See Kasuga Mandala or Suijaku Mandala.

Honjibutsu Mandala 本地仏曼荼羅 (shows only the Buddhist deities). See Kasuga Mandala.

Honji Suijaku Mandala 本地垂迹曼荼羅. Mandala of True and Manifest Deities. Also known as the Songyō Mandala. See Kasuga Mandala for a few more details.

Hōrōkaku (Horokaku) Mandala 宝楼閣曼荼羅. Based on the Jeweled Pavilion Sutra 宝楼閣経 of Indian providence, hence the name. There are considerable discrepancies among surviving copies, but generally the mandala depicts a pavilion wherein Shaka Buddha 釈迦如来 (the Historical Buddha) is seated. On his right is the four-faced, twelve-armed Kongōshu Bodhisattva 金剛手 (Kongoshu, Skt. = Vajrapani). On the left is the four-faced, sixteen-armed Hōkongō Bodhisattva 宝金剛 (Hokongo, Skt. = Manivajra). Around them are the Four Heavenly Kings (Shitennō, Shitenno, 四天王) and other protective deities.

Hoshi Mandala 星曼荼羅. Literally Star Mandala. Sometimes referred to as Hokuto Mandala. A type of Besson Mandala dedicated specifically to one deity who is surrounded by numerous celestial divinities – those symbolizing the stars, planets, and other heavenly bodies. The iconography of Japanese religious art includes numerous planets, stars, constellations and other heavenly bodies that were deified and incorporated into Buddhism. They include the nine planets (Kuyō/ Kuyo 九曜 or Kushitsu 九執), the sun and moon, the twelve houses of the Zodiac 十二宮 (Juniku or Juunikyū), the 28 Lunar Mansions 二十八宿 (Nijūhasshuku, Nijuhasshuku), the Polestar / Big Dipper (see Myōken Mandala), and others. The Japanese term Seishukubu 星宿部 (sidereal division) is sometimes used to categorized this diverse group of celestial deities. The main  types of Star Mandala are:

• Hokuto Mandala. Centered around Shaka Kinrin 釈迦金輪 (Gold Wheel Shaka), a manifestation of Shaka Buddha 釈迦如来 (the Historical Buddha); also known as the Big Dipper Mandala.
• Kara-zu 火羅図. Star drawings that resemble a horoscope.
• Myōken Mandala 妙見曼荼羅; centered on Myōken (Myoken) Bodhisattva, a deification of the pole star.
• Shichishō Nyoirin Mandala 七星如意輪曼荼羅; literally Seven-Star Nyoirin Mandala (other spellings: Shichisho, Shichishou); devoted to Nyoirin Kannon 如意輪観音; see Nyoirin Mandala for more details.
• Shūnanzan Mandala 終南山曼荼羅; reflects Taoist influences.
• Tōhon Hokuto Mandala 唐本北斗曼荼羅; of Chinese origin and devoted to Shijōkō Butchō (Shijoko Butcho) 熾盛光仏頂.

Ichijikinrin Mandala 一字金輪曼荼羅

Ise Sankei Mandala 伊勢参詣曼荼羅. Devotional paintings (sometimes also narrative illustrations) of the shrines of Ise Jingū 伊勢神宮, a revered Shintō site in Japan. Such mandala serve also as guides for people who cannot actually visit the holy Ise shrines. Only a few pieces are still extant, but most depict the main inner and outer sanctuaries, pathways, structures, and divinities within. A type of Miya Mandala, and similar as well to a Shaji Sankei Mandala. However, unlike Miya-type mandara (which are often static representations of a shrine layout), Sankei Mandala tend to present a dynamic aspect, one that describes the activities undertaken by shrine (or temple) visitors, and thus they are commonly filled with figures of people moving through the sacred space. < SOURCE: Ise Sankei Mandara by Peter Knecht in Japanese Journal of Religious Studies, 2006. >

Jikkai Mandala 十界曼荼羅. Ten Realms Mandala. Attributed to Nichiren日蓮. See Hokke Mandala for details.  

Jōdo Mandala 浄土曼荼羅 (Jodo Mandala; also known as Jōdo Hensō-zu 浄土変相図). Paintings depicting the paradises and non-Trantric deities of Japan's Pure Land sects (浄土宗). The most popular pure land in Japanese Buddhism is associated with Amida Nyorai 阿弥陀如来and Amida's Western Paradise (Jp. = Saihō Jōdo 西方浄土; also called Amida Jōdo Hensō 阿弥陀浄土変相, Gokuraku極楽, Skt. = Sukhavati). However, the pure lands of Mahayana Buddhism also include those of Yakushi Buddha 薬師, Shaka Buddha 釈迦, and Miroku Bodhisattva 弥勒. Kannon Bodhisattva 観音is often included in Pure Land paintings associated with Amida’s Pure Land. There are numerous variations on the Jōdo Mandara, but generally speaking, Amida in shown in the center and is flanked on both sides by attendants, usually Seishi Bodhisattva and Kannon. In addition, Amida artwork often depicts Amida surrounded by 25 Bodhisattva (including Kannon and Seishi) descending from heaven to guide departed souls back to paradise. Finally, mandala devoted to Amida’s Pure Land are often designated with a special writing convention for the term “mandala.” Instead of the typical 曼荼羅 characters, the term is written as 曼陀羅 – the middle kanji, 陀, is the same as the last character in Amida’s 阿弥陀 name.

Jōdo Sanmandara 浄土三曼荼羅. Also Jodo Sanmandala; lit. = Three Mandalas of the Pure Land. <Below text courtesy JAANUS> Traditionally refers to the three most famous types of Jōdo Hensō 浄土変相 (Depictions of the Pure Land) which are the Chikō Mandala 智光曼荼羅, Taima Mandala 当麻曼荼羅, and Seikai Mandara 清海曼荼羅 (also read Shōkai Mandara). The Chikō Mandala is traditionally said to have been first painted after a vision by the Gangōji Temple 元興寺 monk Chikō 智光 in the Nara period (8c); a copy is found in the KAKUZENSHOU 覚禅鈔, a collection of iconographical drawings by the Shingon monk Kakuzen 覚禅 (1143-1212). The Chikō Mandala refers to a tapestry belonging to Taimadera Temple 当麻寺 in Nara, which is thought to have been imported from China and is said to have been dated by inscription to 763. The Seikai Mandara, painted in gold and silver on indigo-dyed silk, is said to represent a vision of the monk Seikai 清海 and has been dated to 996. Both the Taima and Seikai mandaras are based on the Kanmuryōjukyō Sutra 観無量寿経, and may also be called Kangyō Hensō 観経変相 (Transformation Scenes of the Pure Land). <end JAANUS quote>      

Kanjō Jikkai Mandala 勧請十界曼荼羅. Kanjojikkai Mandara. Mandala for Invoking the Ten Realms. Devised by Nichiren日蓮 (1222-82), the founder of Japan’s popular Nichiren sect. Also written Jikkai Kanjō  Mandala 十界勧請曼荼羅. See Hokke Mandala for details.

Kara-zu 火羅図. A type of Hoshi (Star) Mandala that resembles a horoscope. See photo at right.

Kashimadachi Mandala 鹿嶋立曼荼羅or Kashimadachi Shen'ei-zu鹿嶋立神影図. See Kasuga Mandala.

Kasuga Fudarakusen Mandala 春日補陀落山曼荼羅. See Kasuga Mandala.

Kasuga Jōdo (Jodo) Mandala 春日浄土曼荼羅. See Kasuga Mandala.

Kasuga Mandala  春日曼荼羅. Devotional paintings of the deities and scenery of Kasuga Taisha 春日大社, an important 8th-century shrine founded in Nara by the Fujiwara 藤原 clan which had close affiliations with the Buddhist temple Kōfukuji 興福寺. The temple’s deities and landscapes are thus sometimes portrayed in the mandala as well. The Kasuga Shrines are located at the foot of sacred Mt. Mikasa 御蓋山 in the hills surrounding the city of Nara. Kasuga is one of the three most important syncretic Shintō-Buddhist sites in Japan, along with the Kumano 熊野 complex in southern Wakayama Prefecture (see Kumano Mandala) and the Sannō 山王 shrine-temple multiplex near Kyoto (see Hie Sannō Mandala). Three main types of Kasuga Mandala can be distinguished. The first is the Miya Mandala 宮曼荼羅, which depicts the shrine and its landscape. A variation of this type is the Shaji Mandala 社寺曼荼羅, which includes images of Kōfukuji Temple as well. Another variation is the Kōfukuji Mandara 興福寺曼荼羅, wherein artwork of the temple overshadows that of the shrine. The second type is the Shika Mandala 鹿曼荼羅 (literally Deer Mandala). It features images of the deer (the sacred animal of Kasuga Shrine), often paired with the sacred Sakaki 榊 tree (Latin = Cleyara ochnacea). The Shika Mandala sometimes shows a sacred mirror as well. A well-known variation is called Kashimadachi Mandala 鹿嶋立曼荼羅 or Kashimadachi Shen'ei-zu 鹿嶋立神影図. It depicts the kami (deities) of Kashima 鹿嶋 (modern Ibaraki prefecture) riding a deer on the way to Kasuga. One of the two kami typically portrayed is Takemikazuchi no Mikotoi 武雷神. The third type is the Honji Suijaku Mandala 本地垂迹曼荼羅 or Songyō Mandala 尊形曼荼羅. It includes depictions of the Shintō kami (deities) and their Buddhist counterparts (Honjibutsu 本地仏). This third group includes numerous sub-types, including the Honjaku Mandala 本迹曼荼羅 (shows Shintō and Buddhist deities in relation to one another, the Honjibutsu Mandala 本地仏曼荼羅 (shows only the Buddhist deities), the Suijaku Mandala 垂迹曼荼羅 (shows only the individual kami), and Paintings of Akadōji 赤童子 (Red Youth). Paintings that depict Kasuga Shrine as a paradise are yet another category. These are called Kasuga Jōdo Mandara春日浄土曼荼羅 and Kasuga Fudarakusen Mandara 春日補陀落山曼荼羅. <See JAANUS Kasuga entry for more details>

Katsuma Mandala 羯磨曼荼羅. Deities represented by three-dimensional images. One of four basic artistic/stylistic mandala cateogories. See also Shuji Mandala (Sanskrit syllables), Sanmaya Mandala (symbolic objects), and Shishu Mandala (human form).

Kichijōten (Kisshōten) Mandala 吉祥天曼荼羅. A type of Besson Mandala devoted to the Celestial Gods Family, in this case to the deity known as Kichijōten (Kichijoten). Also read Kisshōten (Kisshoten). This goddess is depicted in the center of the mandala, flanked on the left and right by Bonten 梵天 and Taishakuten 帝釈天. A six-tusked white elephant is also typically shown.

Kōbō Daishi 弘法大師 (774 - 835 AD). Also spelled Kobo Daishi. Literally “Great Master Kōbō” or “Great Master Who Spread the Teachings.” It is the posthumous name for Kūkai, the founder of Japan's Shingon 真言 sect of Esoteric Buddhism (Jp. = Mikkyō 密教). The flowering of mandala artwork in Japan is generally credited to Kūkai (aka Kōbō Daishi) and Shingon traditions. See Shingon for details.

Kōdaigedatsu Dai Mandala 広大解脱大曼荼羅. A type of Toe Mandala showing various deities from numerous deity families; described in the Fukūkenjaku Jinpen Shingonkyō 不空羂索神変真言経 (Taishō No. 1092). 

Kōfukuji Mandala 興福寺曼荼羅. Also Kofukuji Mandala. See Kasuga Mandala for details and photo.

Kojima Mandala 子島曼荼羅. A designated national treasure. Also read Koshima Mandara. Famous pair of the mandala of the two realms (Ryōkai Mandala), originally kept at Kojimadera Temple 子島寺 in Nara but now located at the Nara National Museum. Also known as Tobi Mandala 飛曼荼羅 or Hikō Mandara 飛行曼荼羅 (both meaning "flying mandara").  

Kongōkai Hachijūisson Mandala 金剛界八十一尊曼荼羅. 81 Deities Mandala of the Adamantine Realm. This mandala corresponds to the central assembly (Jyōshin-e 成身会) of the Kue Mandala, but with variations, namely all the deities appear as Bodhisattva; brought from China to Japan by Ennin 円仁 (794-864); used primarily in the Taimitsu 台密 branch of the Tendai 天台 sect and less so by the Shingon 真言 sect.

Kongō Himitsu Mandala 金剛秘密曼荼羅. Also Kongo Himitsu Mandala. Lit. = Adamantine Secret Mandara. See Sanmaya Mandala.  

Kongōkai Sanjūshichison 金剛界三十七尊. Also Kongokai Sanjushichison. 37 Deities Mandala of the Adamantine Realm. Centered around Dainichi Nyorai 大日如来 and composed of the Five Gochi Nyorai 五智如来, 16 Great Bodhisattvas (Jūroku Daibosatsu 十六大菩薩), Four Paramita Bodhisattva (Shiharamitsu Bosatsu 四波羅蜜菩薩), Eight Offering Bodhisattva (Hachikuyō Bosatsu 八供養菩薩), and Four Guardian Bodhisattva (Shishō Bosatsu 四摂菩薩). These 37 deities are classified into five families: (1) Nyorai-bu 如来部, Buddha Realm, Skt. = Tathagata-kula; (2) Kongōbu 金剛部, Adamantine Realm, Skt. = Vajra-kula; (3) Hōbu 宝部, Jewel Realm, Skt. = Ratna-kula; (4) Rengebu 蓮華部, Lotus Realm, Skt. = Padma-kula; and (5) Katsumabu 羯磨部, Action Realm, Skt. = Karma-kula. The Tathagata family is positioned in the center, with the other four placed in the four compass quarters, thus creating perfect symmetry both horizontally and vertically. This format has gained great popularity in Japan.

Kongōkai Sanjūshichison Mandala Zuzō 金剛界三十七尊曼荼羅図像. Mandala of the 37 Deites of the Diamond World. Brought to Japan by Saichō 最澄 (766-822); kept originally at Shōren'in Temple 青蓮院 in Kyoto, but now at the Metropolitan Museum of Art in New York; differs somewhat from orthodox Kongōkai layout.

Kongōyasha Mandala 金剛夜叉曼荼羅. Kongoyasha Mandala, also written 金剛薬叉明王. Corresponds to Kongōyasha Myō-ō 金剛夜叉明王 (Kongoyasha Myo-o, Skt. = Vajrayaksa), who is also considered one of the 16 Great Bodhisattvas (Jūroku Daibosatsu 十六大菩薩) of the Kongōkai Mandala and also one of the Five Great Myō-ō (Godai Myō-ō五大明王), the fierce gods who preside over the five directions (center and four compass points). Among Shingon sects, he represents the wrathful manifestation of Fukūjōju (Fukujoju) 不空成就, one of the Five Buddha of the Diamond Realm, he who commands the northern quarter. In the Tendai 天台 sect, his position is assumed by a different deity named Ususama Myō-ō 烏枢沙摩明王. His rite was carried out to to gain the love and respect of others and to subdue demons and enemies. However, Kongōyasha never gained a following in Japan, and extant artwork of this mandala remains rare.

Konpon Mandala 根本曼荼羅. Literally "Root Mandala." The name given to the first images of the two mandala (Ryokai Mandala) brought back from China to Japan by Priest Kūkai (774 - 835 AD). The Shingon mandala lineage based on these "root" mandala is known as the "Genzu" or "original image" mandala. See Genzu Mandala.

Koshima Mandala. See Kojima Mandala above.  

Kōya Mandala. Also spelled Koya Mandala. Mt. Kōya is home to the Shingon sect, which was founded by Kūkai 空海 (774 - 835 AD) in the 9th century. The main monastery at Mt. Kōya is Kongōbuji Temple 金剛峯寺 (Wakayama Prefecture). The mummified body of its founder (known posthumously as Kōbō Daishi 弘法大師) still lies there. Today the Mt. Kōya complex remains one of Japan’s most popular pilgrimedge sites. Kūkai and the Japanesese Shingon sect are credited, more than any other religious tradition, with introducing and propagating the mandala artform in Japan. The Mt. Kōya complex of shrine-temples houses a voluminous collection of mandala from the 9th century onward. Many of these are included here, on this web page. They include numerous Besson Mandala and mandala in the “Sutra Rite” family. Mandala associated with this important monestary and complex sometimes show sixteen peaks depicted as eight inner and eight outer petals, said to represent the Taizōkai Mandala and Kongōkai Mandala respectively. Below we discuss two categories of Kōya paintings. These paintings and scrolls are not generally considered MANDALA, but their widespread use can be broadly classified as a type of mandala. See Kōya Shijyō Myōjin below.  

1. Niu Myōjin (female) 丹生明神; her Shintō counterpart is Niutsu-hime no Ookami 丹生都比売大神
    
2. Niu’s son is Kariba Myōjin 狩場明神; also called Kōya Myōjin 高野明神; his Buddhist counterpart (honjibutsu 本地仏) is Yakushi 薬師 or Dainichi 大日; his Shinto counterpart is Takanomiko no Ookami 高野御子大神
    
3. Kehi Myōjin 気比明神; deity from Fukui Prefecture added later in Kamakura era to create grouping of four; Shinto counterpart is Oogetsu-hime no Ookami 大食都比売大神.
    
4. Miyajima Myōjin 厳島明神; deity from Hiroshima Prefecture added later in Kamakura era to create grouping of four; Shinto counterpart = Ichikishima-hime no Ookami 市杵島比売大神.
   
   (Source of Above List = http://www.niutsuhime.or.jp)

Kue Mandala 九会曼荼羅. Also spelled Ku-e. Main form of the Kongōkai Mandala used by Shingon sect. The Tendai sect, however, sometimes uses the Kongōkai Hachijūisson Mandala 金剛界八十一尊曼荼羅 instead. The central deity is typically Kongōsatta 金剛薩た. The disposition of the deities is identical to that of the Aizen Mandala, but in the latter the central deity is Aizen, not Kongōsatta.

Kujaku Mandala

Kūkai 空海 (774 - 835 AD). Also spelled Kukai, Kuukai. Founder of Japan's Shingon 真言 sect of Esoteric Buddhism (Jp. = Mikkyō 密教)  His posthumous name is Kōbō Daishi 弘法大師 (Kobo Daishi). The flowering of mandala artwork in Japan is credited primarily to Kūkai and the Shingon sect rather than to Saichō 最澄 (767 - 822 AD) and the Tendai sect. For more details on Kūkai, see Shingon below or visit the Esoteric Buddhism page. 

Kumano Mandala 熊野曼荼羅. Religious paintings of Kumano Sanzan 熊野三山, or the three shrines of Kumano, known as Hongū 本宮 (Kumano Nimasu Jinja 熊野座神社), Shingū 新宮 (Kumano Hayatama Jinja 熊野速玉神社 ), and Nachi 那智 (Kumano Fusumi Jinja 熊野夫須美神社). The three are located at the southern tip of Wakayama prefecture. See mandala photos below this entry. In terms of artistic output and influence, Kumano is one of the three most important syncretic Shintō-Buddhist sites in Japan, along with the Kasuga 春日 complex in Nara (see Kasuga Mandala) and the Sannō 山王 shrine-temple multiplex near Kyoto (see Hie Sannō Mandala). According to the text known as Chōshūki 長秋記, by 1134 the Buddhist counterparts (Honjibutsu 本地仏) of the Shinto kami 神 at Kumano were Amida Buddha 阿弥陀 for Hongū (Ketsu no Miko Kami 家都御子神), Yakushi Buddha 薬師 for Shingū (Hayatama no Kami 速玉神), and Senju Kannon 千手観音 for Nachi (Fusumi 夫須美 or Musubi no Kami 結びの神). The first written record of Kumano paintings appeared during the reign of Emperor Gotoba 後鳥羽 (1180 - 1239). It circulated around 1214, and referred to landscape paintings of the Kumano shrines and its deities. Since then, extant paintings dating from the Kamakura period into the Edo era have come in two general flavors. The first type is called the Miya Mandala, a general category for art that depicts shrine sanctuaries and landscapes. The second type is the Songyō Mandala, an artform that provides illustrations of the deities. But by late Heian period, the mandala paintings of Kumano took on a proselytizing feel, and pilgrimage organisers in later periods created striking paintings of Kumano to drum up visitors. Such pilgrimage paintings are generally called Sankei Mandala. They were used in general to popularize famous holy sites. One type of explanatory painting was known as the Kanshin Jikkai E-zu観 心十界絵図 -- also called the Kumano Kanshin Mandala 熊野観心曼荼羅. It described the ten Buddhist realms into which people are reborn based on their behavior while alive. It showed people walking from the east as babies, but becoming old as they approached the west. Numerous syncretic deities are associated with Kumano as well, in particular the Kumano Sansho Gongen 熊野三所権現 (Three Avatars of Kumano) and another grouping of twelve called the Kumano Junisha Gongen 熊野十二社権現 (12 Avatars of Kumano). All appear regularly in paintings of Kumano. As early as the 8th century, Kumano was considered the paradise of Amida, Kannon, and Fudarakusen 補陀落山. By the Heian period, the pilgrimage to Kumano was important to all classes of people. In the Kamakura and Muromachi periods, Kumano was the most popular pilgrimage site in Japan. Kumano was also associated early on with Yoshino 吉野, a nearby mountainous area closely linked to the Shugendō sect, one of Japan’s most important early syncretic sects of ascetic mountain practice and worship. < See Yoshino Mandala; also see Kumano Entry at JAANUS >

Lotus Mandala. See Hokke (Hoke) Mandala. 

Miroku Mandala

Miya Mandala 宮曼荼羅. Literally Shrine Mandala. A painting that depicts a shrine, its landscape, the arrangement of its salient buildings, and other noteworthy features. Similar in many ways to a tourist map. See Ise Mandala, Kasuga Mandala, Kumano Mandala, and Hakusan Mandala. Miya Mandala do not depict the Shintō (Shinto) kami in human form. One of four major mandala categories in Japan. See Quick Quide.

Myōken Mandala

Nichiren 日蓮 (1222-82). See Hokke Mandala above.

Ninnōgyō Mandala

Nyoirin Mandala 如意輪曼荼羅. Classified as a Besson Mandala, one featuring a single deity from the Kannon Family, in this case Nyoirin Kannon 如意輪観音, the omnipotent form of Kannon Bodhisattva. This mandala comes in various manifestations. Often the diety is shown with six arms and holding a wish-granting jewel. Some show Nyoirin on a rock (which represents Kannon's paradise) rising from the sea. Despite differing opinions about Nyoirin’s meaning, it is generally believed s/he offers people what they want in this world or in the monastic life. The jewel s/he holds represents wisdom, the Buddha-nature, aspiration to enlightenment, and wealth. The wheel s/he holds represents the Dharma (the Buddhist teachings). The wheel’s eight spokes represent the eightfold path to enlightenment taught by Shaka Nyorai 釈迦如来 (the Historical Buddha). Nyoirin's six arms represent the Six Realms (Rokudō 六道) of karma and rebirth. Nyoirin Kannon sometimes appears in a golden color in the Rengebu-in section 蓮華部院 (Lotus Court section; aka Kannon-in section 観音院) of the Taizokai Mandala. Another mandala form is the Shichishō Nyoirin Mandala 七星如意輪曼荼羅, a type of Hoshi (Star) Mandala. It can be translated literally as the Seven-Star Nyoirin Mandala (other spellings: Shichisho, Shichishou).

Rishukyō Mandala 理趣経曼荼羅. Also Rishukyo Mandala. A painting that symbolizes the doctrines of the Rishukyō 理趣経 (Skt. = Prajnaparamitanaya Sutra), commonly known as the Sutra of the Principle of the Perfection of Wisdom. The 17th-section sutra (Jūshichidan 十七段) is represented in 17 (seventeen) different mandara, which are collectively known as the Jūshichidan Mandara (Jushichidan, Juushichidan) 十七段曼荼羅. There is also an 18 (eighteen) section mandara called the Rishukyō (Rishukyo) Jūhachi-e Mandara 理趣経十八会曼荼羅 wherein a Setsu-e Mandala 説会曼荼羅 (lit. = explanatory mandala) depicts the scene when the sutra was expounded. The latter was introduced from China to Japan by Ennin 円仁 (794-864) and Shūei 宗叡 (Shuei; 809-884). The 2nd mandala of this 18-mandara set is the most important. It is called the Tairaku Mandala 大楽曼荼羅, or Mandala of Great Bliss. It was not only modified to conform with the Kongōkai Mandala, but also incorporated into the Kue Mandala as the Rishu-e 理趣会. The ninth mandara is the Nyūdairin (Nyudairin, Nyuudairin) Mandala 入大輪曼荼羅, or Mandala for Entering the Great Circle. It was used separately and called the Dairin Myō-ō Mandala 大輪明曼荼羅王, while the eighteenth Jinpi Mandala 深秘曼荼羅 (Mandala of Profound Secrets) was called the Gohimitsu Mandala 五秘密曼荼羅 (Mandala of the Five Secrets). There are few extant examples of these various mandala, and they were never widely used. <see JAANUS for larger entry the on Rishukyo Mandala> 

Ryōbu (Ryobu) Mandala 両部曼荼羅. Mandala of the Two Realms (Worlds). See Ryōkai Mandala. The term Ryōbu is generally attributed to the Shingon Sect, and refers to schemes whereby Shinto deities are given Buddhist counterparts. The Shingon doctrines associate the Inner Shrine of Ise (see Ise Mandala) with the Womb Realm (Taizōkai), and the Outer Shrine with the Vajra Realm (Kongōkai). The central deity in both realms is Dainichi Buddha 大日如来.  

Ryōkai Mandala 両界曼荼羅 (also written Ryokai or Ryogai). Mandala of the Two Realms, or Mandala of the Two Worlds. Composed of the Taizōkai (Taizokai) and Kongōkai (Kongokai) mandalas. The two represent a unified pair, and are customarily hung facing each other in temple halls, the Taizōkai on the east side and Kongōkai on the west. Orthodox versions were introduced from China to Japan by Kūkai 空海 (Kukai, Kuukai; 774-835), and numerous copies and variations made from them. The pair depicts the myriad deities in the Buddhist pantheon. This two-mandala format underpins the teaching of Esoteric Buddhism in Japan. Says JAANUS: “The term Ryōkai Mandara is thought to have been first used by Godaiin Annen 五大院安然 (841-889～898) of the Tendai 天台 sect. Because of its associations with the Tendai Sect, there are even today many Shingon 真言scholars who instead prefer the term Ryōbu Mandala, or "Mandala of the Two Divisions." However, the term " Ryōkai Mandara" is the term used by modern art historians, and also used by Japanese authorities to designate national treasures and important cultural properties. There are minor differences in the disposition of the deities.” <end JAANUS quote> For more details, see Mandala Quick Guide.

Saichō 最澄 (767 - 822 AD). Also spelled Saicho. Founder of Japan's Tendai 天台 sect of Esoteric Buddhism (Jp. = Mikkyō 密教). His posthumous name is Dengyō Daishi 伝教大師 (Great Master Who Transmitted the Teachings). Despite his many contributions, the flowering of mandala artwork in Japan is generally credited to Kūkai (aka Kōbō Daishi) and Shingon traditions. See Esoteric Buddhism for a few more details on Saichō.

Sangatsu-kyō Mandala 三月経曼荼羅. Also Sangatsukyo Mandala. Devoted to Shaka Nyorai, the Historical Buddha, and therefore classified as a Besson Mandala. Depicts the Shaka Triad, with Shaka seated in the center and surrounded by Monju Bodhisattva (often atop lion) and Fugen Bodhisattva (often atop white elephant). Monju symbolizes wisdom, while Fugen symbolizes meditation and practice. The 16 Protectors of Shaka (Shaka Jūroku Zenshin 釈迦十六善神) often appear as well.

Sanjūshichisonyō (Sanjushichisonyo) 三十七尊様. Depicts the deities of the Kongōkai Mandala. It was first introduced from China to Japan in 805 by Saichō 最澄 (766-822), the founder of Japan’s Tendai 天台 sect, who also introduced the Daibutchō Tsūyō Mandala, a variety of Besson Mandala. Despite Saichō's many contributions to Buddhist faith and art in Japan, the flowering of Japanese mandala artwork is credited primarily to Kūkai and the Shingon sect.   

Sankei Mandala 参詣曼荼羅. Pilgrimage paintings that depict a specific shrine (or temple), its environs, landscapes, and pilgrims attending to their religious duties. It is a broad category, and includes such mandala as the Ise Mandala, Kasuga Mandala, Fuji Mandala, Kumano Mandala, and others. Unlike Miya Mandala, which are often static representations of a shrine layout, Sankei Mandara tend to present a dynamic aspect, one that describes the activities undertaken by shrine (or temple) visitors, and thus sankei paintings are commonly filled with figures of people moving through the sacred space. One of four major mandala categories in Japan. See Quick Quide.  

Sanmaya (Samaya) Mandala 三昧耶曼荼羅. One of four basic artistic/stylistic mandala cateogories, one in which the deities are depicted by means of symbolic objects (三昧耶形, Sanmayagyō, Sanmayagyo). See also Katsuma Mandala (three-dimensional images), Shishu Mandala (human form), and Shuji Mandala (Sanskrit syllables). Symbolic objects include the Lotus (Hasu 蓮) and the Vajra (金剛杵, Kongōshō, Kongousho). A close cousin of the Sanmaya Mandala is the Dai Mandala 大曼荼羅 (Great Mandala). The latter shows the deities in their physical form (like the Shishu Mandala). It represents the “mystery of the body” (Shinmitsu 身密), whereas the Sanmaya Mandara represents the “mystery of mind” (Imitsu 意密). A typical Sanmaya Mandara is the Himitsu Mandala 秘密曼荼羅 (Secret Mandara), as described in the Dainichikyō (Dainichikyo) Sutra 大日経. Another is the Kongō (Kongo) Himitsu Mandala 金剛秘密曼荼羅 (Adamantine Secret Mandara) as described in the first chapter of the Kongōchōkyō (Kongochokyo) Sutra 金剛頂経 (Diamond Peak Sutra). Finally, there is the Daihitaizou Sanmaya Mandala 大悲胎蔵三昧耶曼荼羅 (no longer extant), which was brought back to Japan by Ennin 円仁 (794-864). It was a sanmaya-type line drawing of the Taizōkai Mandala, one closely related to the Taizō Zuzō. A copy of it (dated to 1019) is preserved at Daigoji Temple醍醐寺 in Kyoto, and it is considered Japan’s oldest extant copy of such iconographical line drawings. Finally, the Sanmaya Mandala also serves as a type of Shiki Mandala for Esoteric initiation rights. A typical example is preserved at Tōji (Toji) Temple 東寺in Kyoto and dated to the 16th century. <see JAANUS for more details>  

Seikai Mandala 清海曼荼羅　(also read Shoukai mandara). <Below text courtesy JAANUS> One of Three Jodo Mandalas Jōdo Sanmandara 浄土三曼荼羅. A type of Amida Joudo Hansou 阿弥陀浄土変相, depicting a vision of the Pure Land granted by the Kannon 観音 of Kiyomizudera 清水寺 appearing as an old man, to the monk Seikai 清海 (also read Shokai, d.1017) in 996. Seikai, who came from Hitachi 常陸 (present-day Ibaraki prefecture), entered the priesthood at Koufukuji 興福寺, later moving to Choushouji 超昇寺, where he died whereby this mandala is sometimes called Choushouji mandara. The Seikai mandara is based on the KANMURYOUJUKYOU 観無量寿経 and may be considered a 'transformation scene of the Pure Land', Kangyou Hensou 観経変相, like the more well-known Taima Mandala 当麻曼荼羅. Although the original painting has been lost, several faithful copies survive. The Seikai mandara (dated to 1726) in Shoukouji 聖光寺, Kyoto, suggests the original was painted in gold and silver (kingindei 金銀泥) on indigo-dyed silk. Amida 阿弥陀 is in the center of the field flanked by his attendant bodhisattvas 菩薩, seated on a lotus throne in front of his two-storied palace surrounded by pavilions linked by bridges and a lotus pond in the foreground. The outer surrounding court of this painting has sixteen lotus thrones painted alternately in gold and silver that represent the Sixteen Contemplations (Jūrokkan, Jurokkan, 十六観) from the KANMURYOYJUKYOU. Other later copies are in the collections of Joukakuji 成覚寺, Miyagi prefecture and Kushira Joudoji 櫛羅浄土寺, Nara. <end JAANUS quote>

Shaji Mandala 社寺曼荼羅. See Kasuga Mandala. Includes images of both Kasuga Shrine and Kōfukuji Temple.

Shaka Mandala 釈迦曼荼羅. A mandala devoted to Shaka Nyorai 釈迦如来, the Historical Buddha, and therefore classified as a Besson Mandala. Other mandala centered on Shaka include the Bodaijō Manadala 菩提場曼荼羅, Hokke Mandala 法華曼荼羅, Hōrōkaku Mandala 宝楼閣曼荼羅, Sangatsu-kyō Mandala 三月経曼荼羅, and Shōugyō Mandala 請雨経曼荼羅. Shaka also appears in the center of the Shaka-in 釈迦院 section of the Taizōkai Mandala (with hands forming the tenbōrin-in "teaching" mudra). In the Kongōkai Mandala, Shaka appears in the form of Tenku Raion 天鼓雷音 (Skt. Divyadundubhimeghanir ghosa) in the Henchi-in section 遍知院 and as Fukūjōju 不空成就 among the Five Wisdom Tathagata (Gochi Nyorai 五智如来).

Shichishō Nyoirin Mandala, Shichisho Nyoirin Mandala, 七星如意輪曼荼羅. Seven-Star Nyoirin Mandala. Classified as a Hoshi Mandala. Centered on Nyoirin Kannon如意輪観音. See Nyoirin Mandala.

Shika Mandalaa 鹿曼荼羅 (literally Deer Mandala). See Kasuga Mandala.

Shiki Mandala 敷曼荼羅. Mandala for Laying Out. A scroll-like painting that can be spread out like a carpet. It is used during Esoteric initiation rites (Kanjō, Kanjo, Kanjou 潅頂; Skt. = Abhiseka), during which it is spread out on top of an altar. Originally, in India, where the initiation tradition is no longer practiced, the mandala was drawn with powdered pigment or colored sand, and then destroyed after only one use. The Shiki Mandara was probably devised in China as a substitute for these earlier forms. In Japan’s initiation rites, the initiand casts a flower that falls on one of the many deities shown on the mandala – that deity thereafter becomes his/her tutelary deity. For obvious reasons, few Shiki mandala are extant. The oldest known version is one preserved at Tōji (Toji) Temple 東寺 in Kyoto (dated 1112). Deities in this mandala are depicted facing the center (as are counterparts in Tibet and Nepal). There are also many examples of Shiki Mandara that assume the form of a Shuji Mandala (which depict the deities with Sanskrit syllables) or Sanmaya Mandala (which depict the deities with symbolic objects). A 16th-century example of the latter is preserved at Tōji Temple 東寺 in Kyoto. Some scholars suggest that Shuji and Sanmaya forms were used widely in Japan because it is more difficult to distinguish the deities in the human forms they assume on the Shiki Mandala.

Shingon 真言 Sect. Scholar-monk Kūkai 空海 (774 - 835 AD) founded Japan's Shingon 真言 sect. Like the Tendai 天台 sect founded by Kūkai's contemporary Saichō 最澄 (767 - 822), the Shingon school of Esoteric Buddhism (Jp. = Mikkyō 密教) originated in China. Kūkai traveled there on the same fleet of ships that carried Saichō, but the two did not meet apparently. Kūkai returned to Japan in 806 with numerous text, relics, and mandala artwork to spread the Shingon teachings. Indeed, the flowering of mandala artwork in Japan is credited primarily to Kūkai and his Shingon sect rather than to Saichō and the Tendai sect. The Japanese Shingon sect, in contrast to the multi-school Tendai sect, was predominantly Esoteric. Its doctrines were mystical and occult, and required a high level of austerity. Elaborate and secret rituals (utilizing mantras, mudras, and mandalas) were developed to help practitioners achieve enlightenment. Despite its complex practices, Shingon exerted a profound impact on religious art and the faith of the court and monastic orders. Kūkai is credited with introducing Japan to the so-called Konpon Mandala 根本曼荼羅, literally the "root mandala." This is the name given to the first images of the two mandala (Ryōkai Mandala) brought back from China to Japan by Kūkai (774 - 835 AD). The Shingon mandala lineage based on these "root" mandala is known as the "Genzu" or "original image" mandala. See Genzu Mandala. Kūkai returned from China in 806, and by 816 obtained imperial sanction to construct his monastery complex on Mt. Kōya 高野, a serene location on the Kii peninsula still considered a Holy Land and one of modern Japan's most popular pilgrimage sites. Both Kūkai and Saichō received the precepts at Tōdaiji 東大寺, Saichō around 786 and Kūkai in 795. Today Kūkai remains one of Japan's most beloved Buddhist figures, and portraits of him abound, but his legend is riddled with folklore. He played an active role in many fields, it is said, performing rituals for the emperor, constructing a large reservoir in Shikoku for the common people, and establishing the first school for common citizens. He is credited with inventing Japan's kana script. He is also one of Japan's most celebrated calligraphers, and supposedly published Japan's first dictionary. He became a major patron of the arts, and reportedly founded hundreds of temples across Japan. The popular “Shikoku Pilgrimage to 88 Sites” is attributed to Kūkai. Many of the photos presented on this page come from Shingon temples associated with Mt. Kōya 高野.   

Shishu Mandala 四種曼荼羅. Also known as Daimandara 大曼荼羅. One of four basic artistic/stylistic mandala cateogories, one depicting the deities in pysical (human) form. See also Sanmaya Mandala (symbolic objects), Katsuma Mandala (three-dimensional images), and Shuji Mandala (Sanskrit symbols). The Shishu Mandala is also sometimes used in Esoteric initiation rites, wherein it is considered a type of Shiki Mandala. But identifying the deities in this mandala (depicted in human form) is more difficult than identifying symbolic objects or Sanskrit symbols, and thus the Shishu Manadara was not always preferred in Japan’s Esoteric initiation rites.

Shōugyō Mandala (Shougyo Mandala)

Shuji Mandala

Shūnanzan (Shunanzan) Mandala 終南山曼荼羅. Reflects Taoist influences. Classified as a Star Mandala (Hoshi Mandala).

Songyō (Songyo) Mandala 尊形曼荼羅. Mandala of Worship. Also known as Honji Suijaku Mandala (Mandala of True and Manifest Deities). The latter depicts Shintō (Shinto) deities (Kami 神) as manifestations (Suijaku 垂迹) of their Buddhist counterparts (Honjibutsu 本地仏), and are meant to represent Shinto-Buddhist unity. See Kasuga Mandala for clarification. The former is a type of Suijakuga 垂迹画 (paintings based on theories of Buddhist/Shinto unity). The art form is devotional (usually a large hanging scroll) showing shrine deities in human form. The deities are dressed in either their Shintō or Buddhist attire and arranged in geometric composition. There are many types of mandala that represent the unity of Buddhist and Shinto deities. See Suijaku Mandala for a larger list of such mandala.

Sonshō (Sonsho) Mandala

Star Mandala. See Hoshi Mandala 星曼荼羅 above; also see Hokuto Mandala. Numerous photo as well under those two entries.

Suijaku Mandala 垂迹曼荼羅. Associated with Shintō (Shinto) deities and their Buddhist counterparts. Also known as the Sujiakugyō (Suijiakugyo) Mandara 垂迹形曼荼羅 or Suijakushin Mandara 垂迹神曼荼羅. In such mandala, the Shintō deities (kami 神) are represented as Japanese courtiers, Buddhist monks (aka Sōgyō Hachiman 僧形八幡), young boys (Dōji, Doji, Douji 童子), or Chinese ladies. Another variation is the Honji Mandala 本地曼荼羅 (or Honjibutsu Mandala 本地仏曼荼羅), wherein the Shintō kami are represented by their Buddhist counterparts (Honjibutsu本地仏). Another version is the Honjaku Mandala 本迹曼荼羅, an abbreviation of Honji Suijaku Mandala 本地垂迹曼荼羅. In the latter, the kami are represented in their manifest Shinto form (Suijaku 垂迹) and in their true Buddhist form (Honjibutsu 本地仏). See Kasuga Mandala and Hie Sanno Mandala for more details and photos.   

Taima Mandala

Tairaku Mandala 大楽曼荼羅. Mandala of Great Bliss. See Rishukyō Mandala.  

Taizō Kyūzuyō (Taizo Kyuzuyo) 胎蔵旧図様. A primitive early form of the Taizōkai Mandala; iconographical line drawings in handscroll form that predate the Genzu Mandala; an extant copy dated to 1193 is in the Mutō collection; it depicts 242 deities. 

Taizō Zuzō (Taizo Zuzo) 胎蔵図像. A primitive early form of the Taizōkai Mandala; iconographical line drawings in handscroll form that predate the Genzu Mandala. Extant reproductions dated to 1194 and 1274 depict 324 deities. These reproductions are preserved at the Nara National Museum.　

Takao Mandara 高雄曼荼羅 at Jingoji Temple 神護寺 in Kyoto. Considered a famous example of the Ryōkai Mandala and a designated national treasure. One of the mandala brought back from China to Japan by Priest Kūkai (774 - 835 AD), from which other copies (with variations) were made.

Tateyama Mandala 立山曼荼羅. Closely associated with the Pure Land (Jōdo, Jodo 浄土) sects devoted to Amida Buddha. Tateyama is a mountainous region in the eastern part of Japan's Etchu area (present day Toyama Prefecture), and has long been considered a sacred mountain. In the Edo Period, proselytizing warrior monks carried Tateyama mandala images across all of Japan, using them as pictorial teaching materials. Amida and 25 Welcoming Bodhissattva (including Kannon and Seishi) are shown welcoming believers into Amida’s Western Paradise. Other celestial beings appear as well in the pictorial paradise above the Tateyama range (the range represents Amida’s Western Paradise). The lower section depicts various scenes of hell, such as a blood pool, a limbo for children, and a fiery chariot.　

Tendai 天台. Scholar-monk Saichō 最澄 (767 - 822) founded Japan's Tendai sect. The Tendai school originated in China, where Saichō (Saicho) had traveled to study the teachings (in the same fleet of ships that also carried his famous colleague Kūkai 空海). Saichō returned to Japan in 805 with numerous text, relics, and artwork to spread the Tendai teachings and soon thereafter established the Tendai Sect under the imperial sanction of Emperor Kanmu 桓武 (737–806). Saichō is credited with introducing the Sanjūshichisonyō (Sanjushichisonyo) 三十七尊様, a painting which he brought back from China. It is a type of Kongōkai Mandala depicting 37 deities. Saichō also introduced the Daibutchō Tsūyō Mandala, a variety of  Besson Mandala. Once transplanted to Japanese soil, Tendai teachings flowered. Saichō's sect attempted a synthesis of various Buddhist doctrines, including faith in the Lotus Sutra, Esoteric rituals, Amida (Pure Land) worship, and Zen concepts. Tendai gained great court favor, rising to eminence in the late Heian era. The Tendai shrine-temple multiplex (then and now) is located at the foot of Mt. Hiei 比叡 in Shiga Prefecture. The shrine stronghold is known as Hie Sannōsha 日吉山王社 (also called Hiyoshi Sannōsha), while the Buddhist stronghold is known as Enryakuji Temple 延暦寺. Despite Saichō's many contributions, the flowering of mandala artwork in Japan is credited primarily to Kūkai and his Shingon sect. Saichō received the full precepts at the age of 19 (around 786) at Tōdaiji 東大寺, the same place as his famous contemporary Kūkai, who received the precepts in 795. See Hie Sannō Mandala for more details and photo. See Esoteric Buddhism for more details.

Tenkawa Benzaiten Mandala 天川弁才天曼荼羅. Tenkawa Jinja Shrine 天河神社 in Nara Prefecture is a sacred site and practice location for Shugendō 修験道 devotees. Shugendō is a syncretic sect that combines Taoist magic, Shinto beliefs, and Estoteric doctrines. Tenkawa Jinja is also devoted to the Goddess Benzaiten, and hence is also called Tenkawa Dai-Benzaitensha. The Tenkawa Benzaiten Mandala (shown below) was used to invoke her aid for bountiful harvests and good fortune.

Tobu Mandala 都部曼荼羅. See Toe Mandala. 

Toe Mandala 都会曼荼羅. Also called the Tobu Mandara 都部曼荼羅. A mandala form depicting myriad deities from all "divisions" or "families" (Jp. = Bu 部) in the Buddhist pantheon. The most widely known type of Toe Mandala in Japan is called the Ryōkai Mandala, commonly rendered in English as the Mandala of the Two Worlds. One of four major mandala categories in Japan. See Quick Quide. 

Tōhon (Tohon) Hokuto Mandala 唐本北斗曼荼羅. Of Chinese origin and devoted to Shijōkō Butchō (Shijoko Butcho) 熾盛光仏頂. Classified as a type of Hoshi (Star) Mandala. Also see Daibutchō Mandala for descriptions of numerous Butchō deities.

Tosotsuten Mandala 兜率天曼荼羅. Appeared in the Kamakura period; depicted Miroku in Tusita Heaven. See Miroku Mandala for details and photo.

Yoshino Mandala

SOURCES

• Butsuzō-zu-i 仏像図彙, the “Collected Illustrations of Buddhist Images.” Published in 1783 AD. One of Japan’s first major studies of Buddhist iconography. Hundreds of pages and drawings, with deities classified into approximately 80 (eighty) categories. Modern-day reprints of the expanded Meiji-period version are available at this online store (J-site).
• Mandara Zuten 曼荼羅図典 (Japanese Edition). The Mandala Dictionary. 422 pages. First published in 1993. Publisher Daihorinkaku 大法輪閣. Language Japanese. ISBN-10: 480461102-9. Available at Amazon.
• JAANUS Database
• A Dictionary of Chinese Buddhist Terms. With Sanskrit & English Equivalents. Plus Sanskrit-Pali Index. By William Edward Soothill & Lewis Hodous. Hardcover, 530 pages. Published by Munshirm Manoharlal. Reprinted March 31, 2005. ISBN 8121511453.
• Digital Dictionary of Chinese Buddhism (C. Muller; login "guest")
• Kokugakuin University Shinto Online Dictionary
• SAT Daizōkyō Text Database 大正新脩大藏經
• Taishō Mokuroku. Huge text catalog of the sutras. 大正目録
• Gabi Greve deserves special thanks. She is my 2nd pair of eyes, a site contributor, and often reviews my pages for errors/omissions.
• Our site’s main bibliography; categorized by topic

PHOTOS

• Mandala at Nara National Museum
  www.narahaku.go.jp/gallery/?action=list&b=%E7%B5%B5%E7%94%BB
   
• Mandala at Cleveland Museum of Art
  www.clevelandart.org (enter search term “mandala”)
   
• Taima Mandala, Amida Mandala, Jodo Artwork
  www12.canvas.ne.jp/horai/mandala-index.htm

LEARN MORE

• Saicho and Kukai - A Conflict of Interpretations
  by Ryoichi ABE, Japanese Journal of Religious Studies
  nanzan-u.ac.jp/SHUBUNKEN/publications/jjrs/pdf/438.pdf
   
• High Priests of Hieizan Enryakuji (Tendai)
  hieizan.or.jp/enryakuji/econt/access/mother/koso/index.html
   
• Saicho, Dengyo Daishi (Gabi Greve)
  darumapilgrim.blogspot.com/2006/04/saicho.html
   
• Short History of Tendai Buddhism (Tendai Buddhist Institute)
  tendai.org/i_tendai_buddhism/history.html

Last Revision = Feb. 21, 2011

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