The art of Esoteric Buddhism mikkyō 密教. Esoteric Buddhism was introduced to Japan from China in the 8th century by the monks *Kūkai 空海, who founded the Shingon 真言 sect, and Saichō 最澄 (767-822), who founded the Tendai 天台 sect. The most prominent deity in Esoteric Buddhism is *Dainichi 大日, whose symbol, the vajra kongō 金剛 gives us the Sanskrit term Vajrayana (Vehicle of the diamond or thunderbolt). The influence of Hindu imagery is very strong, particularly in the multiple limbs and heads of some deities and also in the often violent aspect they present in the pursuit of good. Also female deities achieve a new prominence. The tolerance towards folk deities of Indian Buddhism made the establishment of the religion in Japan much smoother, since there was little initial conflict with the indigenous Shinto religion. The number of deities soared to huge figures as a result, and the co-existence of Buddhist temples and Shinto shrines on the same site is witness to this smooth syncretism, as is the existence of hybrid deities such as *Zaō Gongen 蔵王権現. The main form of artistic expression of Esoteric Buddhism is the mandala *mandara 曼荼羅, of which there are many different types. They can be two-dimensional paintings or three-dimensional arrangements of sculptures. These are a means of giving formal expression to the Buddhist ideals of symmetry, form and sense in life: the Sanskrit word tantra meaning system or model is applied. In both painting and sculpture the forms reflect Mahayana (Jp. Daijō 大乗) traditions from India, but there is a clear departure in the increased animation and violence of the figures, which is well-illustrated by the silk hanging scrolls *kakemono 掛物 of the Five Forceful Ones *Godairiki Bosatsu 五大力菩薩 kept in the Mt. Kōya 高野 treasure house, which date from the 10th century in Wakayama Prefecture. By contrast there is a strain of sculpture in esoteric Buddhist art which exhibits a sense of contemplation and mystery, as exemplified by the sculptures of the Bodhisatvas of the Void Godai Kokūzō Bosatsuzō 五大虚空像菩薩像 in the Tahōtō 多宝塔 of Jingoji 神護寺 in Kyoto, dating from the 9th century. Seated and rigid, they are the antithesis of the violent images seen elsewhere. Many works from this time were carved from single trees, reflecting the Japanese belief in their sanctity. These are often plain and heavy, in further contrast to the complex images of Mahayana Buddhist art. A fine example is the sculpture of the healing Buddha Yakushi Nyorai ryūzō 薬師如来立像 (783) at Jingoji in Kyoto.