Atavaka (1185-1392 CE)

This Japanese scroll painting, or kakemono, vividly portrays Āṭavaka, a formidable yaksha (demon-like being) in Buddhist mythology, often revered as a wrathful wisdom king in esoteric traditions. The artwork captures the viewer’s attention with its striking depiction of a multi-armed, flame-enshrouded figure, radiating power and mystique. The blue border adorned with intricate mudras (ritual hand gestures) hints at its sacred purpose, drawing the observer into the world of medieval Japanese Buddhist art. Housed in the Freer Gallery of Art at the Smithsonian Institution, this piece offers a captivating glimpse into the spiritual and artistic heritage of 14th-century Japan.

Created during the Kamakura (1185–1333) or Nanboku-chō (1336–1392) period, this scroll painting emerged in a time of political turmoil and religious fervor in Japan. The Kamakura period saw the rise of the samurai class and the shogunate, coupled with natural disasters and social upheaval, which fueled the popularity of esoteric Buddhism (mikkyō). This spiritual tradition emphasized protective deities like Āṭavaka to ward off evil and ensure stability. The painting, crafted by an unknown artist, reflects the era’s focus on ritualistic art used in temples, particularly within Shingon and Tendai sects. Its creation in the 14th century aligns with the Nanboku-chō period’s heightened expressiveness, influenced by Zen aesthetics and martial culture. The scroll’s historical significance is further underscored by its use in rituals like the Taigensui no hō, a January ceremony to protect the nation from invasions and calamities.

One intriguing anecdote tied to Āṭavaka’s iconography involves its use in wartime rituals. During World War II, Japanese monks performed a gomaritual invoking Daigensui Myōō (Āṭavaka’s Japanese name) to curse U.S. President Franklin D. Roosevelt, who died shortly thereafter in 1945, an event some monks attributed to the ritual’s power. 

Āṭavaka, depicted as a wrathful yet protective deity, embodies the transformation of malevolent forces into guardians of the Dharma, a core theme in Buddhist narratives. The artwork’s dynamic composition, with its multi-armed figure, flaming aura, and vivid colors, reflects the influence of Chinese Tang and Song dynasty art, adapted with Japanese elegance. The blue border featuring mudras—such as vitarka (teaching) or abhayamudra (protection)—suggests the scroll’s use in meditative or ritual practices, possibly within Shingon temples like Akishinodera in Nara. Its role in ceremonies like the Taigensui no hō highlights its function as a spiritual tool to safeguard the nation. The painting also bridges Indian mythology (yakshas as nature spirits) with Japanese nationalism, showcasing how Buddhism adapted to local beliefs and needs.

Executed by an unknown artist using traditional ink, mineral colors, and gold on silk—a medium prized for its luminosity and durability—the scroll exemplifies emakimono-style mounting on wooden rollers for display and storage. The image measures 162.5 cm × 113.1 cm (64 in × 44 1/2 in), an imposing scale that amplifies Āṭavaka’s commanding presence, with his dark-skinned, multi-limbed figure amid flames and attendants rendered in bold brushstrokes. The blue silk border, embroidered or painted with mudras, enhances its ceremonial function, while gold accents highlight auras and weapons, a technique rooted in Heian-period innovations for divine radiance.

The scroll’s journey to the Freer Gallery of Art began with Charles Lang Freer, an American industrialist and art collector who acquired it through Japanese dealers, likely Yamanaka & Co., in the late 19th or early 20th century. Freer’s extensive collection of Japanese art, including this scroll, was donated to the Smithsonian Institution between 1906 and 1919, forming the core of the Freer Gallery’s holdings. The painting has likely undergone restoration, as the Freer Gallery regularly collaborates with Japanese ateliers to remount and preserve delicate silk scrolls. Today, it remains a prized part of the Smithsonian’s collection in Washington, D.C..