The Function and Context of Fud Imagery from the Ninth to the Fourteenth Century in Japan

In order to address the cultural context and religious practices related Fudo imagery from the ninth to fourteenth century in Japan, this dissertation is organized by context and function. The basics of the iconography and style of Fudo imagery in general is surveyed in the first chapter for a better understanding of the images appearing in the following chapters. The second chapter addresses the sculptural program of the Toji Kodo (that has sculptures of the Five Great Myoo, one of whom is Fudo), which was supported by the state, and the function of these images to protect the nation. The third chapter addresses the Latter Seven Days Imperial Ritual (Mishuho), which was held at the imperial palace and supported by the emperor, and the function of this ritual (involving the Five Great Myoo) to consecrate the emperor as a Cakravartin King and protect his realm. The fourth chapter addresses the patronage of Fudo and the Five Great Myoo imagery by the powerful members of the court aristocracy and the warrior class, and the function of these images in assuring material benefits such as propitious birth, restoration of health, extending the life of a beloved, and subjugation of adversaries. The fifth chapter addresses images of Fudo generated by the priests Enchin (814-891) and Soo (831-918), and the functions of these images such as serving as a representation of the tutelary deity protecting the ascetic. This dissertation serves to readdress the importance of Fudo in Japanese visual culture and explain the early development of his popularity. It is intended to contribute to a greater understanding of Fudo imagery and its development in a broader context, and the recovery of the history of a plethora of esoteric imagery no longer extant.