恒河の辺に、五百の餓鬼あり。無量劫の中に水を得ること能はず。河の辺に至ると雖も、水、皆火と見えて飲むこと得ず。その時に、仏、河の辺、鬱曇鉢林下に坐しき。五百の餓鬼、仏の御許に詣りて、「我が苦しみ耐へ難し、助け給へ」と申す。その時に、仏、 諸々の鬼の為に、慳貪の咎を説き給ふ。鬼、これを聞くと雖も、「苦に責められて、心に入らず」と申す。仏の力をもて、水を飲ましめて、様々の法を説き給ふ。鬼、これを聞きて、忽ちに餓鬼の貌を捨てて、天の身を得たり。
On the banks of the Ganges river, there were five hundred hungry ghosts. For an eternity, they were unable to drink water. Though they would go to the banks of the river, the water appeared to all of them as fire and they could not drink it. At that moment, the Buddha took up his seat beneath the Udumbara tree by the banks of the river. The five hundred hungry ghosts went to the Buddha’s presence and humbly said, “Our suffering is too difficult to bear, we plead for your help.” The Buddha then explained to the many ghosts about the sin of greed. Despite hearing this, the ghosts humbly said, “We are so tortured by pain, your words do not enter our hearts.” Through the power of the Buddha, he allowed them to drink water and preached to them the various laws of Buddhism. Upon hearing this, the ghosts instantly shed their hungry ghost forms and attained heavenly bodies as a result.
Several hungry ghosts plead to the Buddha to help them end their suffering.
This passage recounts a tale about hungry ghosts and their salvation through the compassion of the Buddha.
The illustration uses a compositional method known as 異時同図 iji douzu, in which the same figures are shown performing different actions over time within a single scene. To match the text, it depicts the hungry ghosts four times following a curve from the bottom to the top right:
The hungry ghosts are unable to drink the water as it appears to them as fire.
They plead to the Buddha, who takes his place beneath the Udumbara tree.
They are able to drink water once again through the power of the Buddha.
They shed their old forms and depart from the realm of the hungry ghosts, ascending to the realm of gods.
This technique was commonly used in illustrated handscrolls to capture a sequence of actions described in a narrative in a single illustration.
The illustration to the left depicts the Buddha standing beneath the Udumbara (鬱曇鉢, udonbara) plant. Udumbara can also refer to the blue lotus flower, similar to that on which the Buddha is standing on.
The plant is featured in various Buddhist texts often as a symbol of rarity or an encounter with the Buddha. The flower of the Udumbara plant is also referred to as 優曇華 udonge in Japanese literature, where it is often said to only bloom once every 3,000 years. A quote from the Lotus Sutra states, “Encountering the Buddha is as difficult as encountering the udumbara flower.”
This passage shows the transmigration of the hungry ghosts into heavenly beings after learning about the errors of their ways through the Buddha.
The scroll was produced around the late Heian to early Kamakura period, during a time of increased interest in the concept of the six realms of existence (六道, rokudō). Japan was said to have entered mappō (末法, 'the latter days of the law') in 1052, the age of degeneration of Buddhist teachings in which people will no longer be able to achieve enlightenment through the teachings of the Buddha.
Similar texts concerning this subject matter were produced around this time, such as the Hell Scroll (地獄草紙 jigoku sōshi).
The spirits depart from the hungry ghost realm in their newly attained heavenly forms.
Japanese Architecture and Art Net User Systems. (2001). iji douzu 異時同図. Available at: https://www.aisf.or.jp/~jaanus/deta/i/ijidouzu.htm. [Retrieved 3 June 2022].
Nichiren Buddhism Library. (n.d.). Udumbara. Soka Gakkai. Available at: https://www.nichirenlibrary.org/en/dic/Content/U/5. [Retrieved 3 June 2022].
University of Pittsburgh. (n.d.) Mappō | Japan. Available at: https://www.japanpitt.pitt.edu/glossary/mapp%C5%8D. [Retrieved 3 June 2022].
Encyclopedia Brittanica. (n.d.). Mappō. Available at: https://www.britannica.com/topic/mappo. [Retrieved 3 June 2022].