Abstract

The mandala is a polysemantic term referring to several distinct yet interrelated architectural and imperial concepts. In addition to this com plexity, however, the mandala’s multivalency is further compounded by layers of nineteenth- and twentieth-century interpretations that have added reductionistic Jungian associations and/or anachronistic Orientalist expectations onto the image. This essay attempts to strip away such accretions and assumptions. It calls for the recognition of the variety and distinctiveness of early Japanese mandalas and aims to resuscitate the role of the mandala in picturing, but not necessarily producing, enlightenment. As a result, this essay will attempt to return to basics and reconsider two key types of Japanese Buddhist mandalas on their own terms. Specifically, it will provide an iconographic and doctrinal analysis of the eighth-century Taima mandala of Amitābha/Amitāyus Buddha in his Pure Land of the Western Paradise. It will also examine the famous pair of ninth-century Two-World mandalas, which depict the Diamond and the Womb World aspects of Mahāvairocana Buddha, the cosmic buddha of great light who illumines all equally. The essay concludes with a final reflection on the Taima and Two-World mandalas, as both are unique examples and emblematic models for two distinct Japanese Buddhist worldviews.