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Kṣitigarbha (Sanskrit:क्षितिगर्भ,Chinese:地藏; pinyin:Dìzàng; Japanese:地蔵; rōmaji:Jizō; Korean:지장 (地藏); romaja:Jijang; Vietnamese:Địa Tạng (地藏),Standard Tibetan:ས་ཡི་སྙིང་པོ་Wylie:sa yi snying po) is abodhisattva primarily revered inEast Asian Buddhism and usually depicted as aBuddhist monk. His name may be translated as "Earth Treasury", "Earth Store", "Earth Matrix", or "Earth Womb". Kṣitigarbha is known for his vow to take responsibility for the instruction of all beings in thesix worlds between the death ofGautama Buddha and the rise ofMaitreya, as well as his vow not to achieveBuddhahood until allhells are emptied. He is therefore often regarded as the bodhisattva of hell-beings, as well as the guardian of children and patron deity of deceased children and aborted fetuses in Japanese culture.
Usually depicted as a monk with either ahalo or a crown bearing images of theFive Tathāgatas around his shaved head, he carries astaff to force open the gates of hell and awish-fulfilling jewel to light up the darkness.
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Kṣitigarbha is one of the four principalbodhisattvas along withSamantabhadra,Manjusri, andAvalokiteśvara (Guanyin) inEast AsianMahayana Buddhism.
At the pre-Tang dynasty grottos inDunhuang andLongmen, he is depicted in a classical bodhisattva form. After the Tang, he became increasingly depicted as a monk carryingBuddhist prayer beads and a staff.
His full name in Chinese isDayuan Dizang Pusa (Chinese:大願地藏菩薩;pinyin:Dàyuàn Dìzàng Púsà), or "Kṣitigarbha Bodhisattva of the Great Vow," pronouncedDaigan Jizō Bosatsu in Japanese,Jijang Bosal in Korean,Đại Nguyện Địa Tạng Vương Bồ Tát in Vietnamese. This name is a reference to his pledge, as recorded in thesutras, to take responsibility for the instruction of all beings in thesix worlds in the era between theparinirvana of the Buddha and the rise of Maitreya. Because of this important role, shrines to Kṣitigarbha often occupy a central role in temples, especially within the memorial halls or mausoleums.
The story of Kṣitigarbha was first described in theKṣitigarbha Bodhisattva Pūrvapraṇidhāna Sūtra, a popularMahayana sutra. This sutra is said to have been spoken by the Buddha towards the end of his life to the beings of theTrāyastriṃśa Heaven as a mark of gratitude and remembrance for his beloved mother,Maya. TheKṣitigarbha Bodhisattva Pūrvapraṇidhāna Sūtra begins, "Thus have I heard. Once the Buddha was abiding in Trayastrimsas Heaven in order to expound the Dharma to his mother."[1]
TheKṣitigarbha Bodhisattva Pūrvapraṇidhāna Sūtra was first translated fromSanskrit into Chinese between 695 and 700 CE, during theTang dynasty, by theTripiṭaka master Śikṣānanda,[2] a Buddhist monk fromKhotan who also provided a new translation of theAvataṃsaka Sūtra and theLaṅkāvatāra Sūtra. However, some scholars have suspected that instead of being translated, this text may have originated inChina, since no Sanskrit manuscripts of this text have been found. Part of the reason for suspicion is that the text advocatesfilial piety, which was stereotypically associated withChinese culture. It stated that Kṣitigarbha practised filial piety as a mortal, which eventually led to making great vows to save all sentient beings. Since then, other scholars such asGregory Schopen have pointed out that Indian Buddhism also had traditions of filial piety.[3] Currently there is no definitive evidence indicating either an Indian or Chinese origin for the text.
In theKṣitigarbha Sūtra, the Buddha states that in the distant past eons, Kṣitigarbha was a maiden of theBrahmin caste by the name ofSacred Girl.[4][5] This maiden was deeply troubled upon the death of her mother, who had often been slanderous towards theThree Jewels.[6]
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In Buddhist iconography, Kṣitigarbha is typically depicted with a shaven head, dressed in a monk's simple robes (unlike most otherbodhisattvas, who are dressed like Indian royalty).
In his left hand, Kṣitigarbha holds a tear-shaped jewel orcintamani (Chinese:如意寶珠; pinyin:Rúyì bǎozhū; Japanese pronunciation:Nyoihōju), which is a wish-granting jewel that symbolizes enlightenment or salvation. In his right hand, he holds aKhakkhara (Chinese:錫杖; pinyin:Xīzhàng; Japanese pronunciation:Shakujō), which is used to alert insects and small animals of his approach so that he will not accidentally harm them as well as to open the gates of Hell.[7]. This staff is traditionally carried by Buddhist monks. Like other bodhisattvas, Kṣitigarbha usually is seen standing on a lotus base, symbolizing his release fromrebirth. Kṣitigarbha's face and head are also idealised, featuring thethird eye, elongated ears and the other standard attributes of abuddha. He is frequently shown wearing a plain monk’s robe and standing on a lotus base, reflecting purity and spiritual liberation.
In the Chinese tradition, Kṣitigarbha is often depicted wearing a Five Buddha crown (Chinese: 五佛冠, pinyin:Wǔfó Guān), which is a crown that bears the images of theFive Tathāgatas. His image is similar to that of the fictional characterTang Sanzang from the classical novelJourney to the West, so observers sometimes mistake Kṣitigarbha for the latter. In China, Kṣitigarbha is also sometimes accompanied by a dog. This is in reference to a legend that he found his mother reborn in the animal realm as a dog namedDiting, which the Bodhisattva adopted to serve as his steed and guard.
In Japan, Kṣitigarbha's statues are often adorned with bibs, kerchiefs orkasa hat on his head, and sometimes dressed with ahaori.Tōsen-ji inKatsushika,Tokyo, contains the "Bound Kṣitigarbha" ofŌoka Tadasuke fame, dating from theEdo period. When petitions are requested before Kṣitigarbha, the petitioner ties a rope about the statue. When the wish is granted, the petitioner unties the rope. At the new year, the ropes of the ungranted wishes are cut by the temple priest.
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Another category of iconographic depiction is Kṣitigarbha as the Lord of the Six Ways, an allegorical representation of theSix Paths of Rebirth of theDesire realm (rebirth into hell, or as pretas, animals, asuras, men, and devas). The Six Paths are often depicted as six rays or beams radiating from the bodhisattva and accompanied by figurative representations of the Six Paths. Many of these depictions in China can be found inShaanxi province, perhaps a result ofSanjiejiao teachings in the area.[8]
A Japanese variation of this depiction is the Six Kṣitigarbhas, six full sculptural manifestations of the bodhisattva. An example of this can be found in Konjikidō, the ‘Hall of Gold,’ in theChūson-ji temple.
In the early Indian and Indo-Tibetan traditions, Kṣitigarbha (Sanskrit: क्षितिगर्भ, Tibetan:སའི་སྙིང་པོ / ས་ཡི་སྙིང་པོ, “Essence of the Earth”) is counted among the Eight Great Bodhisattvas (byang chub sems dpa’ chen po brgyad), together with Mañjuśrī, Avalokiteśvara, Vajrapāṇi, Samantabhadra, Ākāśagarbha, Maitreya and Sarvanīvaraṇaviṣkambin.
The cult of the Eight Great Bodhisattvas originated in India during the early development of Mahāyāna Buddhism and became especially popular in Central Asia and Tibet. One of the earliest surviving sources to describe their rituals and iconography is the Aṣṭamaṇḍalaka-sūtra, translated into Chinese by the esoteric master Amoghavajra (8th century). The Eight Bodhisattvas, each associated with one of the eight directions, were venerated both for spiritual blessings and for protection against disease, famine, and war. Beyond painted thangkas, images of the eight Bodhisattvas are also found on the walls of several Tibetan monasteries such as Iwang, Samding, Dolma, and Lakhang, attesting to the widespread popularity of their cult.
In the Nyingma tradition, particularly in the Longchen Nyingtik lineage, the Eight Great Bodhisattvas appear together around Śākyamuni Buddha in the Refuge Field (Tib. tshogs shing). This arrangement visually expresses their role as manifestations of enlightened compassion and as peaceful counterparts to the Eight Herukas of the Mahāyoga system.[9]
In the Nyingma Mahāyoga system of Tibet, each of the Eight Great Bodhisattvas (aṣṭa mahāsattva) is considered to have a wrathful counterpart among the Eight Herukas (bka’ brgyad), the central meditational deities of the Eight Heruka mandalas. These Herukas represent the dynamic, transformative aspects of the same enlightened principles embodied in the peaceful Bodhisattvas of the Mahāyāna.
Kṣitigarbha appears as Lokastotrapūjā-nātha (Tib. འཇིག་རྟེན་མཆོད་བསྟོད་ ’Jig rten mchod bstod ), one of the Eight Great Herukas (བཀའ་བརྒྱད་ Kagyed) — specifically the deity of ‘Mundane or Worldly Praises’.This wrathful Kṣitigarbha is depicted dark blue in colour, with a fierce expression, adorned with bone ornaments, and surrounded by flames of pristine awareness. the right face yellow, the left purple. six arms, and two wings. holds a vajra and a skull bowl (kapāla).He embodies the dynamic, protective energy of the awakened Earth and is invoked to pacify the disturbances of the subterranean and earthly spirits[10][11].
According to Rob Mayer (2012), the Nyingma tradition classifies Lokastotrapūjānātha (’Jig rten mchod bstod) as one of the Eight Great Herukas (bka’ brgyad).Although its name literally means “Worldly Offerings and Praises”, it is not considered a mundane spirit, but an enlightened manifestation of Heruka that subdues worldly forces.Mayer, citing Rang ’byung pad ma snying thig by Dilgo Khyentsé Rinpoche, clarifies that these “Three Mundane Deities” (’Jig rten pa’i sde gsum) are regarded as transcendent aspects of enlightenment, equal in status to the “Five Wisdom Deities”.[12]
Unlike the later East Asian representations of Kṣitigarbha as a monk with a pilgrim’s staff, in the Indo-Tibetan context he appears as a young Indian prince, richly adorned with the silks, jewels, and long hair characteristic of the sambhogakāya bodhisattvas.
In Tibetan iconography he is usually white in color, sometimes described as green-blue in tantric sources such as The Great Chariot (’Gro ba chen po’i shing rta chen po). He is portrayed as peaceful, smiling, and compassionate, with one face and two hands:
He is seated in a half-lotus posture, radiating gentle light.[13]
Kṣitigarbha is also mentioned in several ritual texts associated with Prithvī Devī, the Earth goddess, invoked for agricultural prosperity and the protection of crops. In those texts he appears only as a companion deity, representing the male or awakened aspect of the Earth principle.In these practices, the goddess is described as yellow in colour, with her upper body bare, holding a jewel and a vase; while Kṣitigarbha is depicted as white, dressed in bodhisattva attire, holding a sprout in the right hand and a bell in the left, seated in a half-lotus posture.[14]
In the Mandala of the Forty-Two Peaceful Deities described in the Bardo Thödol (Tibetan Book of the Dead), Kṣitigarbha is depicted seated to the right of Vajrasattva-Akṣobhya, in the eastern direction, associated with the vajra family, the water element, and the mirror-like wisdom (me long ye shes). In this mandalic context, his color corresponds to the blue or white hue of the vajra family, depending on the lineage and interpretive system[15]
Because there are few Tibetan tantric texts or sādhana cycles devoted specifically to him, Kṣitigarbha does not have a fixed iconography in Tibetan art. His depictions may vary between white, green-blue, or jewel-blue, reflecting both symbolic and regional interpretations.
In certain Chinese Buddhist legends, thearhatMulian (目連) acts as an assistant to Ksitigarbha, known asDizang, in his vow to save the denizens of hell. As a result, Mulian is usually also venerated in temples that enshrine Dizang. In folk beliefs, Dizang has a mount calledDiting, who is a divine beast that can distinguish good from evil, virtuous and foolish. In iconographic form, it is often enshrined at the side of Ksitigarbha, or portrayed with Ksitigarbha riding on its back as a mount.
Due to his scriptural row as a saviour of hell-beings and his vow of not attaining Buddhahood until the hells are empty, Dizang is commonly invoked in Chinese Buddhist rituals involving the salvific liberations ofsentient beings insaṃsāra, such as theYujia Yankou rite and theShuilu Fahui ceremony.[16][17]
In some areas, the admixture of traditional religions has led to Kṣitigarbha being also regarded as a deity inTaoism andChinese folk religion.Kṣitigarbha Temples (Chinese:地藏庵;pinyin:Dìzàng'ān) are Taoist temples that usually enshrine Kṣitigarbha as the main deity, along with other gods typically related to the Chinese netherworldDiyu, such asYanluo Wang andHeibai Wuchang. Believers usually visit these temples to pray for the blessings of the ancestors and the souls of the dead.[18] The 30th day of the seventh month of theChinese calendar is celebrated as his birthday.[19]
In modern East-Asian and Chinese sources a related notion of blue radiance appears. During the English translation (1959) of the Kṣitigarbha Bodhisattva Pūrvapraṇidhāna Sūtra, translator Pitt Chin Hui reported the appearance of “electric-blue light” in the locked shrine of Kṣitigarbha at Poh Ern Si Temple, Singapore, and noted that “Kṣitigarbha Bodhisattva’s colour is a jewel blue of the shade referred to in modern times as electric blue.” The vision recalls older textual images comparing the Bodhisattva’s eyes to blue-lotus petals (utpala), and can be interpreted as a poetic expression of his association with the vajra family’s blue-white luminosity rather than a literal bodily colour.
Chinese Buddhist traditions hold thatMount Jiuhua, one of theFour Sacred Mountains of China, was chosen by Dizang himself to serve as hisbodhimaṇḍa. These traditions stem from historical accounts from biographical sources such as theJiuhua shan Huacheng si ji (九華山化城寺記, lit: "Record of Huacheng Monastery on Mt. Jiuhua") by Fei Guanqing (費冠卿, active circa 9th century) and theSong gaoseng zhuan (宋高僧傳, lit: "Biographies of Eminent Monks of the Song dynasty") by the scholar monk Zanning[zh] (贊寧, 919-1001).[20]
During theTang dynasty (618-709), Buddhism flourished and spread widely across China, eventually spreading to Korea. At the time, monks and scholars arrived from those countries to seek thedharma in China. One of these pilgrims was a former prince fromSilla namedKim Gyo-gak, who became a monk under the Chinese name Dizang ("Kṣitigarbha"), pronouncedJijang in Korean.[21] He went to Mount Jiuhua in present-dayAnhui. After ascending, he decided to build a hut in a deep mountain area so that he could cultivate the dharma. At one point, the goddess of Mount Jiuhua transformed herself into a scorpion and stung Jijang seriously. However, he remained unaffected and continued his practice without interruption.[20] Touched by his perseverance and religious piety, the goddess eventually manifested herself before Jijang and apologized to him, providing him with a medicinal antidote and fresh spring water for his use.[20]
For a few years, Jijang continued to meditate in his hut, until one day, a local nobleman surnamed Zhuge (諸葛) led a group of friends and family to visit the mountain.[22] Noticing the monk meditating in the hut, they went and took a look at his condition. They had noticed that his bowl did not contain any food, and that his hair had grown back. Taking pity on the monk, Zhuge decided to build a temple as an offering to him.[22][23] The whole group descended the mountain immediately to discuss plans to build the temple. Mount Jiuhua was also property of a wealthy person named Minrang (閔讓), who obliged to build a temple on his mountain.[23] Therefore, Minrang and the group ascended the mountain once more and asked Jijang how much land he needed. Jijang replied that he needed a piece of land that could be covered fully by hiskasaya. Initially believing that a piece of sash could not provide enough land to build a temple, they were surprised when Jijang threw the kasaya in the air, and the robe expanded in size, covering the entire mountain.[22][23] Minrang then decided to renounce the entire mountain to Jijang, and became his protector.[23] Sometime later, Minrang's son also left secular life to become a monk.[23]
Jijang lived in Mount Jiuhua for 75 years before passing away at the age of 99. Three years after hisnirvana, his tomb was opened, only to reveal that the bodyhad not decayed. Because Jijang led his wayplace with much difficulty, most people had the intuition to believe that he was indeed an incarnation of Dizang. Jijang's well-preserved, dehydrated body may still be viewed today at theShrine of the Living Buddha on Mount Jiuhua.
In Japan, Kṣitigarbha, known asJizō, or respectfully asOjizō-sama, is one of the most loved of all Japanese divinities. According to legend, the first Jizō-statue was introduced in Japan in the reign of emperorShōmu in theNara period. However, while records exist that indicate a Jizō-statue in theTōdai-ji, the existence of these statues in former times is probable but no evidence has yet been discovered.[24] Jizō’s worship developed significantly and became more widespread in Japan during theHeian (794–1185) andKamakura (1185–1333) periods. During these periods, people were afraid of the period that is known asmappō, the decline and disappearance ofDharma, which was propagated byPure Land Buddhism as a period in which it is impossible to understand the original Buddhist teachings anymore and attain enlightenment through traditional means.[25] This foundation supported the role among people of Kṣitigarbha as he helped those who were in danger of falling intohell realm in hearing their confessions and to ensure their salvation.[24] One of the widespread practices of Kṣitigarbha-worship in Japan was the citation and copying of the Lotus Sutra as it promised benefits in the present and future. Kṣitigarbha satisfied those immediate needs and the mundane wishes of worshippers to the extent of delivering them to the Pure Land of Amida in the times of declining Dharma.[26] TheKonjaku Monogatarishū includes many tales about him and another collection of tales,Jizō Bosatsu Reigenki, consists of twenty-five stories that focus on miracles performed by Jizō. The devotees described in these stories recite the Lotus Sutra.[27]
The statue at Kenchō-ji Temple, crafted in the 15th century, signifies the longstanding tradition of enshrining Jizō where the doomed or suffering were memorialized.[28] Artistic examinations, such as Hank Glassman’sThe Face of Jizō, reveal how medieval Japanese society integrated Jizō imagery into both elite and folk religious practice, blending Buddhist doctrine with local traditions and boundary guardian cults (like Dōsojin).[29]
In contemporary Japan, His statues are a common sight, especially by roadsides and in graveyards. Jizō is celebrated as the protector of children (including deceased and unborn), travelers, pilgrims, and the souls suffering in the realms of the dead. He is usually depicted as a humble monk holding a staff with six rings and a wish-fulfilling jewel.[30]
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TheRyōki (c. 822 CE), the earliest known collection ofsetsuwa or tales, contains a story about Fujiwara Hirotari. After he dies he catches sight of his wife suffering in the Land After Death, and with the aid of Jizō he returns to life and lifts the burden of suffering from his wife by copying theLotus Sutra.[24]
In the common tradition associated with the Sai no Kawara (賽の河原), the banks of theSanzu River, Jizō is portrayed as the protector of the souls of dead children, who are condemned to stack piles of stones, in vain, since the piles are repeatedly toppled byoni or demons. In a later version recorded byLafcadio Hearn, theoni not only wreck the stone piles, but torment the children, who find refuge in Jizō's robes.[31] In an earlier version, found in theFuji no hitoana no sōshi (富士人穴草子; "The Tale of the Fuji Cave", c. 1600 or earlier), c. 1600 or earlier[a] when the dead children pile stones at the Sai no Kawara, winds and flames are the agents knocking down the stone piles, and the flames reduce the children to cremated bones, to be revived by Jizō (or by theoni).[32][33][b]
This concept of Sai no Kawara, or children's limbo, first appeared in theOtogizōshi during theMuromachi Period,[34] and the "Tale of the Fuji Cave", discussed above, is part of theOtogizōshi.[35] However, the concept had been developed much earlier, being associated with the priestKūya in the 10th century.[31] The legend was then connected with Kūya and hiswasan, or chanting, probably some time in the 17th century, creating theJizō wasan.[36] As for the identification of certain this-worldly features with the Sai no Kawara, as on the mountainOsorezan in northeastern Japan,[37] the establishment of Jizō worship there occurred during the lateTokugawa Period, in the early to mid-18th century,[38] despite temple pamphlets (engi, or accounts of the founding of temples) claiming that it dates back to the 9th century, when the priestEnnin supposedly established a place of worship for Jizō at Osorezan, then known as Usorizan.[39]
Jizō is also worshipped as the guardian of the souls ofmizuko ("water children"), stillborn,miscarried, oraborted children, in the ritual ofmizuko kuyō (水子供養; "offering to water children"). In this context, he is worshipped under the form of Mizuko Jizō.
Statues of Jizō are sometimes accompanied by piles of stones placed on or by them in the hope that the time that dead children have to suffer in the underworld may be shortened.[31] The practice is derived from the tradition of buildingstupas as an act of merit-making.Jizō is seen as the guardian of children in general, but in particular of children who died before their parents. Statues of Jizō can sometimes be seen wearing children's clothing or bibs, or with toys brought by grieving parents to help their lost ones, in the hope that Jizō will protect them. Sometimes the offerings are given by parents to thank Jizō for saving their children from serious illness. Jizō's features are commonly made to resemble those of the children he protects.
Lit. = Jizō without a Jaw. Also known as Shitsu Heiyu 歯痛平癒地蔵 (Jizō who Heals Toothaches). Says Gabi Greve:
In the year 1870, the temple 伴桂寺 at Oki Island 隠岐島 had to close down. The last priest of the temple had been a disciple of the head prist of the Hagi Temple in Osaka, so he gave all his temple treasures to Hagi Temple, including a statue of the "Jizō without a Jaw" reportedly made by Ono no Takamura 小野篁 (802–853), a scholar and poet of Heian Japan. Two years later a special hall was built for the statue, which is now a secret (hibutsu 秘仏) statue and only shown once a year to the public.” Gabi continues: ”Once upon a time in the city of Kanawa in Omiya town on the island of Oki, there lived a man who had a painful toothache. For three days, he was crying all day long 'my tooth aces, my tooth aces so much!' He could not sleep at night and not eat during the day because of the pain. In the end he pulled out his jaw, threw it away - and died. But then, how wonderful, he was reborn as a Bodhisattva. The pious people of Oki Island then made a wooden statue of Jizō without a chin and prayed to it when they got a toothache. Soon people from far away also came to pray for healing, and as a gift of gratitude placed one NASHI (pear) into a nearby river or lake or the ocean. This is a pun on the word NASHI (pear) and NASHI (without, to not have) -- in this case, to not have a toothache.
Jizō is also believed to be one of the protective deities of travellers,[40] thedōsojin,[41] and roadside statues of Jizō are a common sight in Japan. Firefighters are also believed to be under his protection.
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InTheravada Buddhism, the story of abhikkhu namedPhra Malai with similar qualities to Kṣitigarbha is well known throughoutSoutheast Asia, especially inThailand andLaos. Legend has it that he was anarhat fromSri Lanka who achieved great supernatural powers through his own merit and meditation. He is also honoured as a successor toMahāmoggallāna, the Buddha's disciple foremost for his supernatural attainments. In the story, this pious and compassionate monk descends toHell to give teachings and comfort the suffering hell-beings there. He also learns how the hell-beings are punished according to their sins in the different hells.[42]
In mainstreamChinese Buddhism andJapanese Shingon Buddhism, themantra of Kṣitigarbha comes from the "Treasury of Mantras" section of theMahavairocana Tantra. The effect of this mantra is producing the "Samadhi Realm of Adamantine Indestructible Conduct." This mantra is the following:[43]
Namaḥ samantabuddhānāṃ, ha ha ha, sutanu svāhā[43]
ॐ प्रमर्दने स्वाहा -Oṃ pramardane svāhā
嗡鉢囉末鄰陀寧娑婆訶;Ōng bō là mò lín tuó níng suō pó hē
南無地藏王菩薩;Ná mó Dìzàng wáng pú sà
Namo Jijang Bosal
Oṃ Kṣitigarbha Bodhisatvāya༄༅།། ༀ་ཀྵི་ཏི་གརྦྷ་བོ་དྷི་ས་ཏྭཱ་ཡ།།
Oṃ Ha Ha Ha Vismaye Svāhā༄༅།། ཨོཾ་ཧ་ཧ་ཧ་བིསྨ་ཡེ་སྭཱ་ཧཱ།།
On kakaka bisanmaei sowakaオン カカカ ビサンマエイ ソワカ
ॐ ह ह ह विस्मये स्वाहाOṃ ha ha ha vismaye svāhāཨོཾ་ཧ་ཧ་ཧ་བིསྨ་ཡེ་སྭཱ་ཧཱ།
Om! Ha ha ha! O wondrous one! svāhā!
嗡，哈哈哈，溫三摩地梭哈;Ōng hā hā hā wēn sān mó dì suō hā
蛞蝓に
口を吸われた
石地蔵
The stone image of Jizō
kissed on the mouth
by a slug
雀の子
地蔵の袖に
かくれけり
The young sparrows
return into Jizō's sleeve
for sanctuary
なでしこや
地蔵菩薩の
跡先に
Blooming pinks
behind and in front
of Saint Jizō
秋の暮
辻の地蔵に
油さす
In autumn dusk
at the wayside shrine for the Jizō image
I pour more votive oil
{{cite web}}: CS1 maint: multiple names: authors list (link)
| Buddhas 如来部 (Nyorai-bu) |  | |
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| Bodhisattvas 菩薩部 (Bosatsu-bu) | ||
| Wisdom Kings 明王部 (Myōō-bu) | ||
| Heavenly deities 天部 (Ten-bu) |
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| Circumstantial appearances 垂迹身部 (Suijakushin-bu) | ||
| Religious masters 高僧・祖師部 (Kōsō・Soshi-bu) | ||
| International | |
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| National | |
| Other | |
