"Paintings of the nine grades of going to be born" (kuhon ojozu) graced many Amida halls in Japan. Three sets of such paintings remain to this day at the Phoenix Hall of Byodoin, the Taishido of Kakurinji, and Ryujoji, Nara Prefecture. Each of these sets of paintings are similar in their essential iconography of the Buddha Amida (Amitabha) with his followers coming to welcome one to birth in his land, yet each has its own meaning, depending upon its historical context.
The six extant paintings of the Phoenix Hall are concerned with the personal interests of their patron, Fujiwara Yorimichi, as much as they are scriptural illustrations or decorations. The paintings depict vast expanses of landscape filled with poetic references to the Uji district, which the Fujiwara regarded as their personal retreat. As part of the complex of the Phoenix Hall, the paintings are explored in relation to the spiritual and worldly powers held by their patron.
The single painting at the Taishido of Kakurinji, depicting all nine grades of birth, is discussed in relation to the cycle of imagery within its physical context. The composition emphasizes "evil birth." The imagery surrounding the painting is very interesting, involving esotericism and the worship of Shaka (Sakyamuni), within a hall dedicated to Shotoku Taishi. Such circumstances would hint at the influence of itinerent holy men called hijiri.
The last set of three remaining paintings from Ryujoji, Nara Prefecture were fusuma paintings that have now become hanging scrolls. The paintings have been decontextualized physically and historically, so it is very difficult to interpret them.
Physical and historical contexts play important roles in the interpretation of painting. Used appropriately, they are of primary importance in the making of interpretations.
