Seated Amida Figure 阿弥陀如来 | Unknown | Mid-Muromachi period (15th century)

The sculpture originates from Tokushima, a province far from Kyoto. The figure itself displays the refinement and delicacy of Kyoto sculptors of that era. However, the lotus pedestal is somewhat simpler – it's possible that it was (re-)created later (at the latest in the 17th century) for the sculpture in Tokushima. For the experts at the restoration studio in Kyoto, Tomita Kōgei, there are elements of the ensemble that support the assumption that the Buddha image on the one hand and the entire seat of the Buddha statue on the other are different in origin and time – a fact frequently found in old Buddha constructions. The seated Buddha figure can, of course, also be presented without the tiered base and the halo, as all parts are easily separable.

 Amida Nyorai 阿弥陀如来, or Amitābha, is the "Buddha of the Pure Land." The interpretation of his hand gesture is somewhat complex:

His right hand, with the thumb touching the index finger, shows (when viewed in isolation) the gyan-mudra, a hand gesture of mental concentration or meditation. However, this mudra is also considered a variation of the semuiin 施無畏印(a hand gesture where all fingers are extended).

The left hand shows yoganin 与願印 , a hand gesture symbolizing the fulfillment of the wish for happiness. Semuiin and yoganin, in their frequent combination, are considered Abhaya mudra, a greeting hand gesture meaning "Divine Protection and Bliss."

(In the iconography of hand gestures (mudra), there are always different interpretations; a claim to uniqueness can often not be fulfilled.)

Viewed as a work of art, the sculpture convinces with its coherence. The subtly indicated relaxed posture of the upper body affects the soft flow of all drapery folds and the harmony of the body parts. The hands are very delicately crafted, and the face with its inlaid crystal eyes radiates an incredible peacefulness, a wonderful serenity.

This Amitābha figure must have been treated with great reverence over the centuries – it is preserved almost flawlessly and therefore required little restoration, which is exceptional for a wooden sculpture created over 500 years ago.

A custom-made box of Paulownia wood was specially made for the statue and the rest of the ensemble, so that all parts can be safely and securely stored.