MUROMACHI PERIOD (15TH CENTURY)

Kannon, the Bodhisattva of Mercy, gained widespread devotion from an early period. Often depicted holding a lotus blossom or a water vessel in one raised hand, the image of Kannon evolved into numerous forms over time, such as Nyoirin Kannon (the Bodhisattva who grants wishes) and Senju Kannon (the Thousand-Armed Bodhisattva who rescues all beings).This sculpture is distinguished by its angular, flattened facial features, compact body, and the finely undulating folds of its drapery, all reflects the distinctive style of the Inpa school of Buddhist sculptors. Active from the mid-14th century, Inpa masters adopted stylistic elements of contemporary Chinese sculpture, producing images marked by a refined yet formalized presence. The school takes its name from the character 院 (in), which frequently appeared in the names of its sculptors. Earlier Buddhist sculptures emphasized the body and garments through the distinctive honpa-shiki or “rolling-wave” drapery style, characterized by broad, rounded folds alternating with sharply angled ridges. By the mid-eleventh century, however, these features had softened and flattened.
Of particular significance in the present work is the survival of the original gilt crown and necklace, still adorned with colorful stones. Their remarkable state of preservation from the time of creation is an exceptionally rare feature that greatly enhances both the historical importance and the aesthetic presence of the sculpture.