The Astonishing Scale and Technology of the 8th Century
I would like to write about the Great Buddha of Todai-ji Temple, affectionately known as the “Nara Daibutsu.”
Nara is a city with numerous temples and shrines that most Japanese people have visited on school trips.
Among them, the massive structure of the Todai-ji Daibutsu-den (Great Buddha Hall) captivates with its majestic silhouette visible from a distance.
Stepping inside, one is left speechless by the weight of over 1,250 years of prayer before the colossal statue, the “Nara Daibutsu.”
This giant isn’t merely a historical relic or a tourist attraction. It is the crystallization of the desperate pleas and wisdom of an ancient nation facing an unprecedented crisis, a symbol of the culture and spirituality that continues to shape Japan today.
In this article, we will explore from various angles why this Tenpyo-era giant still moves us so deeply, delving into its scale, historical background, underlying philosophy, and the appeal of a modern-day visit.
Table of Contents
The True Scale of One of the World’s Largest Buddha Statues
The Nara Daibutsu (the Seated Rushana Buddha Statue of Todai-ji) is known as one of the largest existing bronze statues in the world.
It stands at approximately 14.98 meters (49 feet) tall and weighs around 250 tons.
Including the pedestal, its total height reaches 18 meters (59 feet), exuding a commanding presence that overwhelms those who look up at it.
To better grasp this immense scale, let’s compare it with other famous colossal statues around the world.
The Statue of Liberty in the U.S. has a statue height (excluding the pedestal) of about 34 meters (111 feet), while Brazil’s Christ the Redeemer is about 30 meters (98 feet) tall, excluding its pedestal.
A simple numerical comparison might make the Nara Daibutsu seem smaller.
However, it is crucial to remember that the Great Buddha is a seated statue.
If it were to stand up, its height would be much greater.
Understanding this fact allows us to appreciate the sheer physical impact of the statue and the greatness of the technology that completed it in the 8th century, going beyond a simple numbers game.
Furthermore, the fact that the Nara Daibutsu was created in the East around the same time as Greece’s Parthenon Temple, which was built in the 5th century B.C. and measures approximately 70 meters long by 31 meters wide, suggests that Japan’s culture and technological standards at the time were at an astonishingly high level globally.
Casting Methods That Still Amaze Modern Engineers
The completion of the Nara Daibutsu was an incredibly difficult undertaking that far exceeded the technological capabilities of Japan at the time.
To cast it, a mold was first created around a wooden and clay prototype.
Then, a sophisticated technique called the “divisional casting method” (bun-chū-hō) was used, where molten copper was poured into the gap between the mold and the prototype in eight separate stages, from the bottom up.
This suggests that instead of the modern method of casting a massive bronze statue in separate parts and then joining them, this was a bold attempt to form the entire structure at once.
After the casting was complete, a technique called “gold amalgam plating” (kin-amarugamu-dokin-hō) was used to gild the entire statue.
This method involved applying an amalgam – a liquid mixture of gold and mercury – to the surface of the Buddha.
The mixture was then heated, causing the mercury to vaporize and the gold to bond to the copper surface.
While this technique was essential for making the Buddha shine in gold, it came with a serious cost.
It is believed that the toxic mercury gas produced during the heating process caused immense health damage to many of the workers involved.
This fact transcends a simple story of technological success and tells a human story of the life-threatening efforts and sacrifices made by the people of the time for this grand national project.
The Nation’s Prayer – A Massive Project to Quell Epidemics and Wars
Emperor Shomu’s “National Pacification” Ideology and the Background of the Construction
The Nara period, when the Great Buddha was commissioned, was far from a peaceful era.
In addition to repeated political upheavals, a major smallpox epidemic broke out for three years starting in the year 735, claiming the lives of more than a quarter of the population.
This unprecedented crisis caused profound anxiety throughout society, from nobles in government to common farmers.
Amidst this turmoil, Emperor Shomu espoused the philosophy of “Chingo Kokka,” or “National Pacification,” which sought to use the power of Buddhism to secure the peace of the nation and end the epidemic.
The commissioning of the Great Buddha as a national project was not merely intended to spread religious faith.
It was a highly political and social undertaking aimed at uniting the populace and stabilizing public morale through the common belief in Buddhism.
At the time, monks and nuns were state-certified, and their activities were strictly controlled – they were essentially government employees.
The construction of the Great Buddha was a project with a complex background, in which deep personal prayer was closely intertwined with a political strategy to stabilize the country.
A Miraculous “National” Project with 2.6 Million Participants
Emperor Shomu issued the “Edict for the Construction of the Great Buddha,” calling on people from all social classes to join forces, contributing even “a single blade of grass, a single handful of soil.”
This call moved the hearts of people all across Japan, and a staggering 2.6 million, or 2.18 million people, participated in this unprecedented project through donations and labor.
This number is said to be equivalent to about half or 40% of Japan’s population at the time, a scale that is hard to imagine today.
Such a large-scale project was made possible not just by the command of a powerful ruler, but because the common faith in Buddhism became a powerful unifying force that brought people together.
Facing the shared anxiety of the epidemic, people sought salvation and offered their own efforts.
When a shortage of gold for gilding the Buddha occurred, a divine oracle from Usa Hachiman Shrine, a deity who had connections with a discovery of gold in Mutsu Province, boosted the morale of the nation and gave momentum to this miraculous project.
The construction of the Great Buddha stands as an event that symbolizes Japanese society at the time, where faith had permeated every corner of life, functioning as a core system that integrated all political, economic, and social activities.
The Embodiment of the Universe – The Depths of Buddhist Philosophy and Japanese Culture
Rushana Buddha: The Manifestation of the Cosmos Itself
The formal name of the Nara Daibutsu is “Rushana Buddha” (Rushana-butsu), the principal deity of the Buddhist scripture, the Kegon Sutra.
Rushana Buddha is not just a deity; it is said to be the embodiment of the entire cosmos itself, that is, infinite light and truth.
One of the most profound ideas taught in the Kegon Sutra is “Ji-ji Mu-ge Hōkai” (the Dharma Realm of unobstructed interpenetration of all phenomena).
This is a worldview where “all phenomena in the universe interpenetrate without obstruction, forming a single truth.”
This difficult concept is often explained using the metaphor of a mustard seed.
It is taught that for a single tiny mustard seed to exist, it requires the sun, soil, water, air, and all the past connections that led to its existence – it is the result of the mobilization of the entire great cosmos.
This idea resonates deeply with the background of the statue’s construction, where the single “phenomenon” of the massive Great Buddha was formed by the convergence of countless “connections” – the 2.6 million people who contributed to its creation, the gold discovered in Mutsu, and the prayers of Emperor Shomu.
The fact that a physically colossal statue symbolizes the abstract concept of an infinite and formless universe showcases the unique characteristic of Japanese Buddhist art, allowing people to not only be overwhelmed by its scale but also to viscerally feel the vast cosmic view it embodies.
The Aesthetic of “Impermanence” and the Eternal
“Shogyō Mujō” (all things are impermanent) is a fundamental Buddhist teaching that “everything in this world is in flux, and nothing lasts forever.”
This philosophy is deeply rooted in the Japanese view of life and death and has fostered a unique sensibility, such as “mono no aware” (the pathos of things) and “wabi-sabi” (the aesthetic of transient and imperfect beauty).
The Great Buddha, which is supposed to be the embodiment of the eternal universe, has in its history experienced “impermanence” itself.
Since its creation, the Great Buddha and the Great Buddha Hall have been repeatedly burned or damaged by earthquakes and two separate fires during civil wars (the Jishō War and the Eiroku War).
However, each time, they have been rebuilt by the hands of the people. This history of destruction and reconstruction physically demonstrates the core of Japanese culture, where the human desire for eternity coexists with the reality that everything changes.
A Traveler’s Memories – Experiencing the Charm of Todai-ji with All Five Senses
The Grandeur of the Great Buddha Hall, the World’s Largest Wooden Building
One of the most iconic sights at Todai-ji is the Great Buddha Hall.
The current structure is the third generation, rebuilt during the Edo period, yet it remains the world’s largest wooden building, and its majestic appearance overwhelms visitors.
As you walk down the path from the Nandaimon (Great South Gate), you can catch a glimpse of the gleaming “Shibi” (ornamental ridge-end tiles) at both ends of the massive roof, a remnant of the magnificent Tenpyo culture of the Asuka and Nara periods.
Inside the Great Buddha Hall, visitors can experience crawling through a square hole in a pillar, said to be the same size as one of the Buddha’s nostrils.
This “pillar crawling” is believed to bring good health and grant wishes, attracting many people who form a line to try it. Also, a must-see is the copper lantern standing in front of the Great Buddha Hall. It’s the oldest and largest bronze lantern in Japan, dating back to 752.
The delicate bas-reliefs of “Onjō Bosatsu” (Bodhisattvas playing musical instruments) on the lantern’s panels, playing a flute and cymbals, reveal the high level of artistic skill of the era.
The Unique Nara Scene Woven by Deer
The grounds of Todai-ji are located within Nara Park, a designated national monument, where Nara’s deer roam freely.
The deer have long been considered messengers of the gods from Kasuga Taisha Shrine and have coexisted with people.
You can purchase “shika-senbei” (deer crackers) on the path to interact with the deer, but be careful as they will all gather around you the moment you buy them!
The proceeds from the deer crackers go to the Nara Deer Preservation Foundation, which helps protect the deer. Interacting with the deer is not just a tourist’s encounter with animals; it is a special cultural experience unique to Nara, allowing you to feel the harmony between ancient faith and nature.
Planning Your Trip: Access and Surrounding Scenery
Access to Todai-ji is convenient by using the city loop bus from JR or Kintetsu Nara Station.
It can get very crowded, especially during the cherry blossom season in spring and the autumn foliage season, with many students on school trips and tourists.
Since the roads are very congested during these times, using public transportation is highly recommended.
In the autumn, the reflection of the Great Buddha Hall in Mirror Pond is particularly beautiful and attracts many photographers.
When visiting Todai-ji, we recommend taking the time to explore the charming spots in the surrounding area. Nearby, Isui-en Garden is a designated National Place of Scenic Beauty, a beautiful Japanese garden that incorporates the Todai-ji Nandaimon and Mount Wakakusa as “borrowed scenery.”
Also, located in a spot surrounded by rich nature, Mizutani Chaya is a charming old-style cafe with a unique location where it coexists with the deer. You can enjoy heartwarming handmade matcha lattes and sweets.
Conclusion: A Symbol of Inherited Prayer and Culture
A History of Rebuilding That Overcame Numerous Hardships
The Nara Daibutsu and its hall have faced many hardships since their creation.
Specifically, the Great Buddha Hall was burned down, and the Great Buddha was severely damaged during the Jishō War in 1180 by Taira no Shigehira and the Eiroku War in 1567 by Matsunaga Hisahide and others.
The current building is the third generation, completed through the dedicated efforts of Monk Kokei during the Edo period.
This history of repeated disasters and the rebuilding that overcame them is what gives the Great Buddha its profound meaning.
Monks like Chogen in the Kamakura period and Kokei in the Edo period traveled across the country to raise funds and revive the Great Buddha and its hall.
This history of reconstruction shows that while the physical existence of the Great Buddha can be fleeting in the face of the reality of “impermanence,” the strong will of the people to “rebuild” has been passed down through the ages.
It symbolizes the spirit of the Japanese people who accept impermanence yet continue to believe in eternity and offer their prayers.
The Great Buddha That Continues to Gaze Upon the Heart of Japan
For more than 1,250 years, the Nara Daibutsu has continued to watch over the history of Japan.
Epidemics, wars, and natural disasters.
Its form reflects both the changing face of Japan and the unchanging prayers of its people.
The Great Buddha will continue to stand as a symbol embodying the core of Japanese culture, where transience and eternity coexist.
When we stand before the Great Buddha, we can still feel the anxiety and hope of the ancient people and the strength of spirit that came together to overcome adversity.
Reference site
- Nara National Museum: Priest Kokei of Todaiji Temple
- Nara City Tourism Association: Isuien/Neiraku Art Museum
- Todaiji Offidcial Site: Reconstruction of Kamakura – The work of Shogen Shonin –
- Nara City Offisial Site: Todaiji
- The Official Nara Travel Guide: A living witness to the Tenpyo period: Todaiji Temple’s Tengaimon Gate
