Buddhism had a long history and tradition even before coming to Japan, which may have added to the spectacular presentation that accompanied its arrival. After reaching Japan, Buddhism became enmeshed in Japanese culture, influencing religious, artistic and political spheres. Eventually, Buddhism was adopted by Japanese society and soon it became difficult to imagine that Buddhism was not an original Japanese religion. From its difficult beginnings to its adaptation and eventual dominance in society, Buddhism shaped Japan in many ways throughout the Nara, Heian, and Medieval periods and continues to influence Japan today in its ideas, art and traditions.

In 552 CE, Buddhism was officially introduced to Japan by the king of Paikche, a Korean ruler (Morton, p.17). The elaborate fashion in which the Buddhist religion made its debut impressed the aristocratic Japanese. With beautiful scriptures, golden statues, and Buddhist priests clothed in brightly colored robes, the Korean envoy caught the attention and admiration of the Japanese elite (Morton, p.17). Although the reason for the Korean envoy’s visit was not to spread the religion of Buddhism, but to gain support for a war being fought in Korea, the Japanese began to integrate the religious aspects of Buddhism into their society (Morton, p.17). The acceptance of Buddhism was not immediate, and several influential families disputed the right of this religion to compete with Shinto. The family most actively supporting Buddhism at this time was the Soga family, and the adversaries of Buddhist integration into society were the Mononobe and Nakatomi families (Morton, p.19). After the destruction of Buddhist temples and icons by the Mononobe and Nakatomi families twice, following two episodes of plague, Buddhism gradually began to emerge as an aristocratic religion (Morton, p.19).

Buddhism, unlike many western religions, was able to integrate and adapt to the needs of the Japanese people, such as including the ancient Shinto religion as part of its own identity (Morton, p.28). In fact, the adaptation of Buddhism was accompanied by the adaptation of Japanese culture to Buddhist influences. Buddhism brought the idea of gentleness and serenity, and provided Japanese people with a more substantial belief on death (Morton, p.28). The influence of Buddhism is greatly seen in the production of Japanese art. Mono no aware is a concept that is derived from Buddhist doctrine, that means something of beauty that will soon fade, an awe moment that can either be good or bad (Morton, p.40). In literature, Buddhist ideas, such as mono no aware, pervade stories and poems as in this excerpt from the Tale of Genji, "Beauty fades, beauty passes, However rare, rare it be" (Morton, p.63). This passage discusses the transitory nature of things, which coincides with essential Buddhist thought. In the later Ashikaga Shogunate era, the emphasis of Zen Buddhism influenced the art of the tea ceremony, the No plays, and Zen landscape painting (Morton, p.99-103). All of these arts possessed simplicity and a delicate meditative practice.

In each of the major eras of Japan, the Nara, Heian and Medieval periods, Buddhist involvement and ideas changed. Although, continuing to be a major influence on the Japanese people, the art, politics and ideas of Buddhism transformed with each new period. The transformation of Buddhism revealed much about the internal cultural changes of Japan as well as the different traditions being brought from abroad.

In the Nara period, Buddhism was beginning to grow from its earlier beginnings in the Asuka period, and to influence more of the Japanese elite. As Buddhism showed a calming effect on many of the aristocrats, it also became a political tool to gain power in the court (Morton, p.27-28). The Nara period also saw the integration of Buddhist thoughts to the already existing Shinto beliefs. Gyogi, a Buddhist monk taught that different Shinto gods were actually a manifestation of the Buddha (Morton, p.31). One essential feature of the late Nara period was that Buddhist monasteries began to gain immense political power. The government had been endowing large sums of money to the monasteries, and all of the land owned by monasteries were tax-free (Morton, p.32). The increase in land acquired by the monasteries was the result of peasants commending their land to the temples to avoid paying high taxes (Morton, p.33). The power that Buddhist monasteries acquired during this period alarmed the court and Emperor Kammu in 794 CE moved the capital from Nara, where the most powerful monastery was located, to Kyoto so that the influence of the Nara monks would be broken (Morton, p.33).

In the Heian period, Buddhism had two great influences, Saicho and Kukai. Saicho was a monk that had studied in China for a number of years and brought the Tendai ("heavenly platform") sect of Buddhism back to Japan (Morton, p.36). The Tendai sect was revered among the court at this time and was allowed to ordain monks in the same way as the monks at Nara, but the Tendai sect was located on Mount Hiei (Morton, p.36). Kukai had also studied in China for a number of years and brought back the Buddhist sect of Shingon ("True Word") to Japan (Morton, p.36). The Shingon sect was located on Mount Koya and also rose to power in the courts, but this power created rivalries between the two sects and began to cause distress at the capital (Morton, p.37). It was also during the Heian period that poetry and writing became a favored pastime in the courts, reflecting much of the Buddhist ideals of impermanence in this art form. In Murasaki Shikibu’s Tale of Genji, we find a scene where Genji losses his lover Yugao in a sudden moment, implying the impermanence of this world (Morton, p.42). Although religion as a formal practice was not as important during the Heian period, the ideas that Buddhism propagated remained in the culture of this time.

During the Medieval period in Japan, fierce samurai, high-ranking warriors, replaced the type of gentle and sophisticated courtier. With the new culture that arose, Buddhism was shaped to fit the needs of the warrior class that emerged. In this feudal period, Zen Buddhism became popular and stressed meditation as a means to enlightenment (Morton, p. 62). The direct way to enlightenment through meditation appealed to the warrior class as well as the concentration required to meditate, which was essential to being a good warrior (Morton, p.62). As well as the introduction of Zen during this time, a resurgence of other forms of Buddhism arose. Two of the Pure Land Buddhist monks became influential during the Kamakura period, Honen and Shinran (Morton, p.84). Both Pure Land sects emphasized the reciting of the Nembutsu, Amida Buddha’s name, but they differed in the way it was recited (Morton, p.84-85). Shinran also developed the idea that Buddhist monks could be married and have lives outside the monastery (Morton, p.85). During the time of the Ashikaga Shogunate, Zen painting, the tea ceremony, and No plays developed. These art forms developed from the Zen principles of simplicity and meditation, leaving the outward interpretation to each person (Morton, p.103).

In conclusion, the Nara, Heian, and Medieval periods differed in the way that Buddhism contributed to the culture. The art forms and ideas that developed in each of these periods revealed the way in which the culture of that time functioned and contributed to the ideas that were passed on to each successive period. The art and ideas of Buddhism continue to influence modern day Japan, though with more emphasis on tradition rather than on religion.