A figure is sitting on a lotus-shaped pedestal, which is itself placed on an hexagonal pedestal. The figure wears a drape hanging from the left shoulder and covering the bottom. The arms are placed in front; right hand holding the left index finger. The facial expression is calm; the two eyes looking down; a dot on the forehead. Two elongated ears. A tall crown on the head. The two halos are on the back of the figure; one behind the head and other behind the torso. Two halos are surrounded by an oval-shaped dais. The statue and pedestals are guilded with gold; some polychrome remnants.
This particular image is identified as Vairocana Buddha (“Great Radiance” by his gesture of clasping his left forefinger with his right hand, symbolizing the philosophical notion of “the union of six elements” (earth, air, fire, water, and wood, all subsumed into mind). The elegant facial expression, bejeweled crown shows Buddha as a prince.
One continuous length of cloth, doubled back on itself for lining. The front side has a brocade chysanthemum design woven in gold-wrapped thread in three tones. Lozenge pattern with gold-wrapped threads for weft woven throughout.
An obi is a sash, usually about thirteen feet long and twelve inches wide, that is both decorative and functional, serving as a belt and closure on the outside of a kimono. Once tied, the flower motifs on this obi appear both on the front and on the back bow. The wearer can adjust, tuck, and neatly hide any excess length of the kimono under the obi. Additionally, the obi can be tied in a variety of ways, creating pleasing shapes such as bows, clams, butterflies and plovers to be displayed by the wearer. This obi is a maru-type, which is the most formal type of obi and made out of heavy silk brocade that would be appropriate with a formal awase or lined kimono during the fall season.
Black silk damask with some interwoved black lacquered threads; pine-needle design embroidery in gold- and copper-colored metallic threads
Nagoya obi were first produced at the end of the Taisho era, and are simpler than the more formal fukuro and maru obi. A portion of Nagoya obi fabric is folded and stitched in half, making it easier to tie. This is possibly a 1930s fukuro obi resewn into Nagoya style in 1970s
Black silk damask with interwoven paulownia pattern; plum blossoms embroidered in solver, gold, and gunmetal gray metallic threads, and persimmon, brown, and black silk threads.
Nagoya obi were first produced at the end of the Taisho era, and are simpler than the more formal fukuro and maru obi. A portion of Nagoya obi fabric is folded and stitched in half, making it easier to tie. This is possibly a 1930s fukuro obi resewn into Nagoya style in 1970s.
Aqua-gold fabric woven from turquoise warp and aqua-and pale gold-covered paper (kinran) weft, for a shimmering aqua-gold ground. The deco-style daffodil patterns are surihaku in three shades of gold. Plain weave aqua silk lining.
Light mauve silk with appliqued Saga brocade patches of gold fans with calligraphic poetry on them. The calligraphy has been brushed on paper with gold flecks (sunago). which is the weft of the Saga brocade; brown silk thread is the warp. Partially backed with a different silk, a taupe with deliberately knotted weft; reamainder backed with plain-weave taupe silk.
Saga brocade obi with woven poetry inscribed fan designs.