A transformation scene of the Pure Land *jōdo hensō 浄土変相 based on the Kangyō, an abbreviation for the Kanmuryōjukyō 観無量寿経 (Ch: Guanwuliang shoujing; no Sanskrit original is known to exist), one of the three main sutras of Pure Land Buddhism Jōdo sanbukyō 浄土三部経. The iconography of Kangyō hensō is not always consistent, although the most developed compositions follow the text of the Tang dynasty monk Shandao's (Jp: *Zendō 善導, 613-81) Kanmuryōjukyōshō 観無量寿経疏 (Commentary on the Kanmuryōjukyō, also known as Kangyō shijōsho 観経四帖疏). As in *Amida jōdo hensō 阿弥陀浄土変相, most versions show an Amida triad *Amida sanzon 阿弥陀三尊 with surrounding heavenly bodhisattvas *bosatsu 菩薩 placed in the center scene of *Amida's 阿弥陀 Paradise gokuraku jōdo 極楽浄土. In addition, the vertical left court depicts the story about Prince Ajatasatru (Jp: Ajase Taishi 阿闍世太子), who imprisoned his father Bimbisara (Jp: Binbashara 頻婆沙羅) and mother Vaidehi (Jp: Idaike 韋提希). To alleviate this suffering, the historical Buddha *Shaka 釈迦 appears before his mother and preaches about the Pure Land jōdo 浄土; the vertical right and horizontal bottom courts continue the story with depictions of the Sixteen Contemplations jūrokkan 十六観 that Shaka preached to the king's wife as a guide for visualizing Amida's Pure Land. These Sixteen Contemplations are divided into thirteen contemplations placed in the court on the right side and three more contemplations, also termed the Nine Degrees of Rebirth *kubon raigō 九品来迎, which are located in the bottom court. Such paintings originated in China where numerous examples may be seen in the Dunhuang (Jp: Tonkō 敦煌) caves dating from the Tang to early Song (7th-10th century). Buddhist travelers brought similar paintings to Japan where the *Taima mandara 当麻曼荼羅 is the best known example. Notable variations include the Painting of the Sixteen Contemplations of the Kanmuryōjukyō, Kangyō jūrokkan hensō 観経十六観変相.