postcard

Tōdai-ji’s Heavenly King Bishamonten Postcard

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Hidden among the treasures of Nara’s Tōdai-ji stands a fierce guardian: Bishamonten, the Heavenly King of the North. Clad in armor with eyes blazing, this towering 4.2-meter cypress statue exemplifies the remarkable craftsmanship of thirteenth-century Japanese Buddhist sculpture.

Bishamonten, adapted from the Indian deity Vaiśravaṇa, is foremost a “demon subduer who subjugates maleficent entities,” and by extension serves as a protector of the Buddhist teachings and of the rulers who uphold them. In Japan, he also came to be revered as a patron deity of warriors.

This postcard was published by Tōdai-ji, the historically powerful temple complex in the ancient capital of Nara. It was likely issued as part of a souvenir set in the late 1930s. The small emblem in the stamp box depicts the great fish-shaped roof ornament crowning the temple’s main hall.

In his hand Bishamonten holds a miniature pagoda, a reliquary associated with the relics of the Buddha. The object underscores his role as a guardian of the Buddhist teachings, while also reflecting his parallel identity as a protector of treasure and bestower of prosperity.

For this reason, Bishamonten is also venerated as one of Japan’s Seven Gods of Good Fortune. For more on the many roles of Bishamonten, see Bernard Faure, Gods of Medieval Japan: Protectors and Predators (2015).

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Pierre Dieulefils’ Abbot of Marble Mountains Postcard

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This early photograph from Tourane (today’s Da Nang) shows three Buddhist monks at the Marble Mountains temple complex. It is a rare colonial-era view of the full hierarchy of Vietnamese Buddhist monastic dress, from a novice’s plain robe to the ceremonial vestments of a senior abbot.

Originally revered by the Cham people, the Marble Mountains, known locally as the Five Element Mountains (Ngu Hanh Son), later evolved into an important Buddhist pilgrimage center. Under imperial order, temples were built and grottoes were developed here in the 1820s.

Photographer Pierre Dieulefils produced postcards like this for French soldiers and colonial tourists, but they also preserve a rare glimpse of Vietnamese Buddhist life at the turn of the twentieth century. The cancellation stamp shows this card was mailed in 1907.

While many of Dieulefils’s postcards were issued in plain black and white, this example was hand-colored, a technique widely used by Japanese postcard publishers at the time. The crisp edges of the gradated sky reveal the use of a time-saving stencil.

The central figure is likely Lê Văn Sành, the abbot of Tam Thai Pagoda within the Marble Mountains complex. For more on the history of this remarkable site, see Albert Sallet’s Les Montagnes de Marbre (1925).

The Buddhas in the West Material Archive is a digital scholarship project that catalogues artifacts depicting Buddhist material culture for Western audiences. It’s comprised of prints, photos, and an assortment of ephemera and other objects. For a brief introduction to this archive, visit the main Buddhas in the West project page.

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Robert Phillips’ “Thibetan Musicians” Postcard

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Despite the ambiguous caption—”A Group of Thibetan Musicians”—the history behind this anonymous photograph is remarkably well-documented. Taken by Robert Phillips before 1873, we see a gathering of the resident lamas at Sangchen Thongdrol Ling, a Nyingma monastery in Darjeeling.

Phillips, who operated a prominent studio in the colonial hill-station, submitted his photograph to the Illustrated London News which published an engraving of this image with an accompanying article in 1873. The sitting lama are described as natives of Sikkhim posing with ritual instruments.

Great Britain pioneered divided back postcards in 1902, allowing messages on the address side for the first time. This innovation sparked a surge in popularity for postcards featuring full-view images—even if, as in this case, the photographs were already decades old.

The newspaper article identifies figure on the far left as the head officiating lama. Before him are placed ritual instruments including a small hand drum, a vajra scepter, and bell.

A small Buddhist icons rests above the doorway with small brass offering bowls of oil and rice set on both sides. The main altar, not visible in the photograph, reportedly enshrined an image of Padmasambhava, the Indian adept famed for introducing Tantric Buddhism into Tibet.

Often described as the oldest Buddhist monastery in Darjeeling, the temple was forced to relocate in 1879 to Ging by British authorities. To read more about details in Phillips’ photograph, consult the Illustrated London News article, viewable here: https://tinyurl.com/329mh668.

The Buddhas in the West Material Archive is a digital scholarship project that catalogues artifacts depicting Buddhist material culture for Western audiences. It’s comprised of prints, photos, and an assortment of ephemera and other objects. For a brief introduction to this archive, visit the main Buddhas in the West project page.

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Philip Klier’s Shwedagon Pagoda Postcard

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At the turn of the 20th century, tourists entering British Burma on a steamer would have looked down the Rangoon River to see the golden Shwedagon Pagoda in the far distance. Myanmar’s most sacred Buddhist site, the pagoda stands 112 m (367 ft) tall and dominates the Yangon skyline.

German photographer Philip Klier’s image blends monumentality with everyday life; palm trees frame the towering golden stupa while Burmese figures animate the foreground and provide scale. Klier presents an idyllic vision for colonial consumers seeking the “exotic” East.

Following the postcard boom, Klier used his studio album photographs as the basis for portable, vibrantly colored postcards. Such cards circulated through imperial mail networks, shaping how distant places like Burma were imagined by audiences in Europe and beyond.

In the colonial period, some Burmese merchants became wealthy through trade in rice and timber and sites like Shwedagon Pagoda experienced rapid growth. Newly built resting pavilions and stalls selling flowers, parasols, and curios could be seen all over the grounds.

More than kitsch souvenirs, postcards reveal how colonial interactions and photography mediated encounters between Burma and the wider world at the turn of the century. For more on colonial photography in Burma, see Noel Singer’s Burma: A Photographic Journey (1993).

The Buddhas in the West Material Archive is a digital scholarship project that catalogues artifacts depicting Buddhist material culture for Western audiences. It’s comprised of prints, photos, and an assortment of ephemera and other objects. For a brief introduction to this archive, visit the main Buddhas in the West project page.

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1924 British Empire Exhibition Tibetan Dancers Postcard

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The first Tibetan Buddhist monks came to Europe amid the surge of interest over attempts to summit Mt. Everest in the 1920s. Capitalizing on this excitement, a promoter in Darjeeling recruited men to pose as Tibetan cham dancers for the British Empire Exhibition at Wembley in 1924.

Dressed in what appeared to be authentic masks and robes, the troupe performed in a theater attached to the India Pavilion. Not everyone was impressed; a Tibetan student then studying in England regarded the performances as inauthentic and insulting to both Tibet and Buddhism.

Advertised as performing “weird and awe inspiring dances,” the troupe shared the stage alongside Indian snake charmers, jugglers, and magicians. This spectacle formed part of a long-standing colonial practice of publicly displaying foreign people as part of ethnological “human zoos.”

The costumes themselves drew on figures from actual cham rituals, including the fierce Buddhist deity Yama and a sacred stag.

Despite the unease of Tibetan officials, “real” Tibetan monks were allowed to tour Europe for the 1924 premier of the Epic of Everest, performing music as part of a live prologue to the film. For more on these monks, see Peter Hansen’s “The Dancing Lamas of Everest” (1996).

The Buddhas in the West Material Archive is a digital scholarship project that catalogues artifacts depicting Buddhist material culture for Western audiences. It’s comprised of prints, photos, and an assortment of ephemera and other objects. For a brief introduction to this archive, visit the main Buddhas in the West project page.

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Nagoya Railroad’s Shūrakuen Daibutsu Postcard

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Decades before Godzilla, the 1934 “monster” film, The Great Buddha Arrival, featured a costumed actor as a giant Buddha roaming through a miniature city. The figure was based on the recently completed Shūrakuen Daibutsu, a colossal statue erected in 1927 near Nagoya.

The statue was not cast in traditional bronze, but was made of reinforced concrete, reflecting the growing preference for modern, durable construction materials. Businessman Yamada Saikichi originally built the 19 m (62 ft) statue to commemorate the marriage of Emperor Shōwa.

The Shūrakuen Daibutsu was also built during a period of expanding domestic tourism, soon becoming a regional attraction. Nagoya Railroad Co. issued this postcard in the late 1930s, a marketing strategy among railway companies seeking to stimulate interest in rail travel.

A pair of monumental guardian figures, like those traditionally found at the entrances to Buddhist temples, were also erected on the grounds. Because they were made of concrete rather than metal, these statues survived wartime metal requisition policies and still stand in the park today.

When completed, the Shūrakuen Daibutsu was the tallest colossal Buddha statue in Japan—four meters taller than the Nara Daibutsu—making it a natural choice to be brought to life on screen in The Great Buddha Arrival.

The Buddhas in the West Material Archive is a digital scholarship project that catalogues artifacts depicting Buddhist material culture for Western audiences. It’s comprised of prints, photos, and an assortment of ephemera and other objects. For a brief introduction to this archive, visit the main Buddhas in the West project page.

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Tuck’s Henry Savage Landor Tibetan Lamas Postcard

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In 1903, a titan of world postcard production, England-based Raphael Tuck & Sons, set themselves further apart by issuing the vibrantly colored Oilette Series based on commissioned oil paintings. Among the first sets released was devoted to the mysterious Himalayan nation of Tibet.

Six paintings were prepared by the explorer and artist Henry Savage Landor who wrote about his travels to the region in his 1898 book, In the Forbidden Land. Tuck printed Landor’s paintings as lithograph postcards at a time when photos of Tibet were only first starting to circulate.

While a majority of Tuck’s pictorial stock focused on the English countryside, the Wide Wide World Series introduced colonial lands and other foreign cultures. Here the caption notes the use of Om mani padme hum, a six-syllable Sanskrit mantra common among Tibetan Buddhists.

The visual focus of Landor’s painting is the monk’s use of the prayer wheel, noted as containing the Buddhist “book of prayers.” As with others of his time, Landor was fascinated by the ritual object, describing its use in his published work on Tibet.

Landor’s six card set was the only set of Tibet Tuck published before it stopped operation during WWII. For a comprehensive digitized catalogue of Tuck Oilette cards, see www.tuckdbpostcards.org.

The Buddhas in the West Material Archive is a digital scholarship project that catalogues artifacts depicting Buddhist material culture for Western audiences. It’s comprised of prints, photos, and an assortment of ephemera and other objects. For a brief introduction to this archive, visit the main Buddhas in the West project page.

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1933 Streets of Shanghai Concession Postcard

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In the midst of a growing Pacific War, the young Republic of China withdrew from the World’s Fair in Chicago in 1933. Private individual ensured China’s symbolic presence, however, with local Chinatown businessmen erecting two giant pagodas for the “Streets of Shanghai” concession.

Arguably the lesser of two other China exhibits, including a Chinese pavilion and reconstruction of a Tibetan Buddhist shrine hall from Chengde, the Streets of Shanghai was one of many foreign “villages” erected on the fairgrounds. It overlooked Lake Michigan alongside the Dutch Village.

Picture postcards were issued fifty years earlier for the famous 1893 fair in Chicago and, although past their prime, remained favorite, cheap souvenirs through the Depression. Chicago-based Curt Teich was critical for the development of the vibrantly colored “linen” postcards of the 1930s.

As an amusement concession with an extra admission cost, the Streets of Shanghai embraced stereotypes to drum up interest and recreate the “mysteries of a Chinese port.” The twin eight-story pagodas at the main gate were well-developed visual icons of the Orientalist Far East.

Some sources claim an interior building was a Buddhist Arhat Temple, while others claim it was a temple to Confucius. Notably, a new private museum opened in Chicago’s Chinatown to draw fair visitors to the area, also displaying elements of China’s Buddhist heritage (see postcard here: https://tinyurl.com/3wb7jfvu).

The Streets of Shangahi housed a large Chinese restaurant, an operating noodle factory, and many shops selling silks, bronzes, and porcelains. Advertised as “Where West Meets East,” the concession created a commercial fantasy land for the Century of Progress.

The Buddhas in the West Material Archive is a digital scholarship project that catalogues artifacts depicting Buddhist material culture for Western audiences. It’s comprised of prints, photos, and an assortment of ephemera and other objects. For a brief introduction to this archive, visit the main Buddhas in the West project page.

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Postcard of Hunting Party at Chanteloup Pagoda

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Sitting on the south bank of the river Loire, construction finished at the Château de Chanteloup in 1778 on an imposing new edifice, a seven-story Chinese-style pagoda. Built by a once-exiled French army officer, the pagoda at Chanteloup remains one of the few remnants of the palace.

Commissioned by the Duke of Choiseul, the pagoda stands 44 meters and was a focal point on the grounds, directly visible from the duke’s grand salon. One inspiration for the tower was the Porcelain Pagoda of Nanjing, which had been seen in illustrated European books of China since the 1660s.

A more direct predecessor was a pagoda design illustrated in William Chambers’ Designs of Chinese Buildings from 1757. Chambers’ sketch also inspired the famous pagoda at Kew Gardens outside London, which was completed in 1762.

Designed by Louis-Denis Le Camus, the pagoda at Chanteloup is a combination of Chinese and Greco-Roman architectural forms. The structures is supported by two round classical stories, including sixteen baseless Doric columns on the ground floor.

As noted by Kristel Smentek, the pagoda was not a mere garden ornament, but a sign of political protest against the court who exiled the duke. For more on Chanteloup’s pagoda see Smentek’s “A Prospect of China in Eighteenth-Century France: The Pagoda at Chanteloup” (2019).

The Buddhas in the West Material Archive is a digital scholarship project that catalogues artifacts depicting Buddhist material culture for Western audiences. It’s comprised of prints, photos, and an assortment of ephemera and other objects. For a brief introduction to this archive, visit the main Buddhas in the West project page.

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Bosselman’s Mt. Penn Pagoda Postcard

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Sitting atop the southern end of Mount Penn, a seven-story wooden pagoda has overlooked Reading, Pennsylvania, since 1908. Built as part of a luxury resort, the building and land were donated to the city in 1911, making this Buddhist-inspired building a symbol of the city.

William Abbott Witman decided to construct a “Japanese pagoda” in an attempt to cover the scars of his quarrying operation on Mount Penn. After failing to obtain a liquor license, the plan to build a full resort was abandoned and the pagoda became the property of the residents of Reading.

One story claims the pagoda was modeled on a photograph (others say a postcard) of the Nagoya Castle in Japan; another yet claims it was based on an amusement park attraction in Coney Island (see Coney Island Postcard here: https://tinyurl.com/m3vshkz4).

Once opened to the public, the building interior showcased murals of Asia and articles from Japan, including a large Japanese temple bell Witman purchased and had shipped through the Suez Canal. While many of the artifacts are now lost, the temple bell still remains an attraction.

For a brief history of this site, see Michelle Nicholl Lynch’s “The Pagoda,” The Historical Review of Berks County (1995), viewable here: https://berkshistory.org/article/the-pagoda/.

The Buddhas in the West Material Archive is a digital scholarship project that catalogues artifacts depicting Buddhist material culture for Western audiences. It’s comprised of prints, photos, and an assortment of ephemera and other objects. For a brief introduction to this archive, visit the main Buddhas in the West project page.

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