Early Japanese Buddhism patronized the literate classes and remained a prerogative of the elite until the end of the twelfth century. With the fiscal and political decline of its aristocratic patrons, the Buddhist establishment turned to lay commoners and women - two groups previously excluded from the benefits of the Dharma - for financial support, using paintings to accommodate its new, and often subliterate, audiences. This type of preaching, known as etoki (pictorial decipherment), helped bridge the worlds of esoteric ...
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Early Japanese Buddhism patronized the literate classes and remained a prerogative of the elite until the end of the twelfth century. With the fiscal and political decline of its aristocratic patrons, the Buddhist establishment turned to lay commoners and women - two groups previously excluded from the benefits of the Dharma - for financial support, using paintings to accommodate its new, and often subliterate, audiences. This type of preaching, known as etoki (pictorial decipherment), helped bridge the worlds of esoteric Buddhism and lay practice and reveals much about the role of art in the context of didactic storytelling and proselytization. Beginning with the provocative claim that the popularization of Buddhism in the medieval period was a phenomenon of visual culture, Preaching with Pictures reexamines the history (and historiography) of medieval Japanese Buddhism.
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