- Identification and Creation
- Object Number
- Prince Shōtoku at Age Two (Shōtoku Taishi Nisaizō)
- Other Titles
- Transliterated Title: Shōtoku Taishi Nisaizō
- Work Type
- sculpture, figure
- Kamakura period, datable to circa 1292
- Creation Place: East Asia, Japan
- Kamakura period, 1185-1333
Level 3, Room 3610, University Teaching Gallery
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- Physical Descriptions
- Japanese cypress (hinoki); assembled woodblock construction with polychromy and rock-crystal inlaid eyes
- H. 67.9 × W. 24.8 × D. 22.9 cm (26 3/4 × 9 3/4 × 9 in.)
- [Yamanaka Shoji Co., Ltd, Awata Kyoto (1936)], sold; to Ellery Sedgwick, Beverly, MA, (1936-1960), passed; to his wife, Marjorie Russell, Beverly, MA (1960-1971), inherited; by Ellery Sedgwick, Jr., Gates Mills, Ohio, (1971-1991), inherited; by Walter Sedgwick, Woodside, CA, (1991-2019), partial and promised gift; to the Harvard Art Museums.
- Acquisition and Rights
- Credit Line
- Harvard Art Museums/Arthur M. Sackler Museum, Partial and promised gift of Walter C. Sedgwick in memory of Ellery Sedgwick Sr. and Ellery Sedgwick Jr.
- Object Number
- Asian and Mediterranean Art
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Label Text: 32Q: 2740 Buddhist II , written 2014
This exceptionally fine depiction of Imperial Prince Shōtoku Taishi (574–622), who is still venerated as the founder and first major patron of Buddhism in Japan, is the oldest dated work of its iconographic type. The sculpture portrays Shōtoku at age two, when he is said to have turned east, held his hands together, and chanted the name of the Buddha. The unknown sculptor of this piece has combined adult and youthful features to depict an infant of preternatural enlightened intelligence. Long, slender arms and an expression of intense focus, juxtaposed with juvenile plumpness and simple child’s clothing, convey the combined innocence and wisdom of this semi-legendary figure, who embodies the Buddhist conviction that enlightenment can be attained through unquestioning childlike piety. Like many East Asian wooden sculptures, this image was consecrated in a ritual designed to imbue it with life. At that time, numerous dedicatory objects were placed inside the sculpture’s hollow interior. Amazingly, the cavity remained sealed until the mid-twentieth century when it was opened, revealing a cache of sutras, prayer sheets, and votive offerings presented by the original commissioners of the image.
- Publication History
John M. Rosenfield, The Sedgwick Statue of the Infant Shotoku Taishi, Archives of Asian Art (1968-1969), Vol. XXII / pp. 56-79, Fig. 1 / p. 57
Pratapaditya Pal and Julia Meech, Buddhist Book Illuminations, Ravi Kumar (New York, 1988), p. 270, fig. 107
Anne Nishimura Morse and Samuel Crowell Morse, Object as Insight: Japanese Buddhist Art & Ritual, exh. cat., Katonah Museum of Art (Katonah, NY, 1995), pp. 88-89, cat. 33
Stephan Wolohojian and Alvin L. Clark, Jr., Harvard Art Museum/ Handbook, ed. Stephan Wolohojian, Harvard Art Museum (Cambridge, 2008), pp.46-47
Thomas W. Lentz, ed., Harvard University Art Museums Annual Report 2006-7, Harvard University Art Museums (Cambridge, 2008), p. 11, repr.
Francesca Herndon-Consagra, Reflections of the Buddha, exh. cat., Pulitzer Arts Foundation (St. Louis, MO, 2011-2012), p. III (color plate); p. 10, fig. 2; p. 40, no. 1, p. 48 (installation image, detail)
- Exhibition History
Later Chinese and Japanese Figure Painting in Decorative Arts, Harvard Art Museums/Arthur M. Sackler Museum, Cambridge, 02/22/1992 - 06/07/1992
Paragons of Wisdom and Virtue: East Asian Figure Painting, Harvard Art Museums/Arthur M. Sackler Museum, Cambridge, 02/15/1997 - 09/21/1997
Reflections of the Buddha, Pulitzer Arts Foundation, St. Louis, 09/09/2011 - 03/10/2012
32Q: 2740 Buddhist II, Harvard Art Museums, Cambridge, 11/01/2014 - 06/02/2016
Prince Shōtoku: The Secrets Within, Harvard Art Museums, Cambridge, 05/25/2019 - 08/11/2019
- Subjects and Contexts
- Related Articles
- Related Works
This record has been reviewed by the curatorial staff but may be incomplete. Our records are frequently revised and enhanced. For more information please contact the Division of Asian and Mediterranean Art at email@example.com