JBAE - Japanese Buddhist Art in European Collections

ISO	ESP	Object type	Ritual object	Museum	Museo Nacional de Antropología / National Museum of Anthropology
Object title	Juzu rosary	Ownership current status	Museo Nacional de Antropología, Ministerio de Educación, Cultura y Deporte, Gobierno de España.
Copyright owner	All data courtesy of the museum/owner. Copyright is held by the owner as stated above.
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Artist, kiln
Period
Date
Origin
School, style
Collection name
Collection registration number
Collection registration number 2
Collection registration number 3
Size height (mm)
Size length (mm)	740
Size width (mm)
Size depth (mm)
Size other (i.e. diameter)	7 (each bead)


Contributing researcher
Translator

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All

05	04	03	02	01

10	09	08	07	06

15	14	13	12	11

20	19	18	17	16

25	24	23	22	21

Photographer	Arantxa Boyero Lirón

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References

Description

Rosary with hundred and eight beads, commonly used by the Shingon School. The number of beads simultaneously symbolize the number of passions or afflictions that burden the human mind (bonnō), the number of the divinities in the diamond realm (kongōkai), and also the number of enlightened knowledge that emerge after erasing the same number of afflictions mentioned before. Traditionally, the numbers vary from school to school and many explanations exist. The numbers given in the explanation do not need to match the total number of the real beads. Often the calculation of the six senses that lead to the afflictions (seeing, hearing, smelling, tasting, touching, feeling) are multiplied by the three judgements of positive, negative and neutral, which amounts to eighteen. Another three urges (desire, neutrality and rejection) are also multiplied by the senses to make eighteen, the total of thirty-six is then multiplied by the three dimensions of time (past, present, future) to result in hundred and eight. In the Shingon tradition, two larger beads called oyadama (or daishu/moshu) are used, in combination with standard beads called kodama or shishu, as well as four even smaller beads called shitendama and one separate bead called jōmyō. The oyadama divide the rosary in two halves of fifty-four beads. This object is a good example of the following standard sequence: counting from the first oyadama, there are 7 kodama, 1 shitendama, 14 kodama, 1 shitendama, 33 kodama, 1 oyadama, repeating backwards with 33 kodama, 1 shitendama, 14 kodama, 1 shitendama and finally 7 kodama to return to the first oyadama. The kodama alone in total amount to hundred and eight. From the third opening of the oyadama a double cord departs with five beads each called deshidama, both followed by two beads called kishidome or tsuyu (J: dew) due to its similarity to a water drop. The four cords finish with a tassel at the end each. The first major oyadama symbolizes the dharma and Buddha Amida, leading the eradication of the hundred and eight afflictions to be united with the enlightened one and simultaneously the act of taking refuge with the hundred and eight divinities of the diamond realm. The fifty-four beads, half of the rosary, symbolize the fifty-four steps of Bodhisattvahood. The end of the rosary (called odome) as seen from the Amida oyadama is placed over the left index finger whilst the rosary is crossed in the process.  The cord that winds through the beads is equal to the actions of the Bodhisattva Kannon, which penetrates all sentient beings. When the entire sequence is chanted through to the end, the cleric does not simply start with the Amida oyadama overreaching to the next circle, but counts backwards until arriving at the point of departure again. There is no harm in a devotee counting the rosary in this fashion, which is call the Chuin-style, but it is not necessary. The separate small jōmyō bead can be found between one oyadama and the tassel. It highlights the main oyadama from which the ritual counting has to begin, the Amida oyadama closer to the shitendama. It also represents the Bodhisattva Kannon, who is seen as the form of enlightened being before Amida, therefore also one next to him. There are numerous the formulae that can be recited by devotees using the rosary, such as “namu daishi henjō kongō” (honouring the Great Teacher Kōbō, Universal Illuminator), a mantra that can be repeated seven times or three times seven.

Signature, seal

Material and technique

wood, silk

Quantity	Designation
Fittings and accessories
Conditiongood
Acquisition name
Date of entry into collection
Acquisition backgroundDonation of Mrs. Masako Ishibashi
Ownership, current statusMuseo Nacional de Antropología, Ministerio de Educación, Cultura y Deporte, Gobierno de España.

Main data
Details
References

Reference material	Francisco de Santos. Religiones Orientales. Museo Nacional de Antropología. 2010. p. 36. ISBN. 978-84-8181-452-I
Reference pictures	p. 50
Past exhibitions	El Mundo de las Creencias. VV.AA. 1999. Teruel (4th november 1999 - 27th february 2000), Albarracin (27th July 2000 - 15th october), Madrid ( 11th december 2000 - 15th May 2001).Diputación Provincial de Teruel, Ministerio de Educación y Cultura. Touring exhibition
Exhibition catalogue	El Mundo de las Creencias. VV.AA. Museo de Teruel. 1999. ISBN: 84-87183-53-0
Catalogue pictures	p. 170
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Japanese Buddhist Art in European Collections

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