Diverse, unusual images of Buddhist deities are ubiquitous in Japan. In a number of ways, they differ from traditional temple images, demonstrating a deviation from the canon, which dictates certain, centuries-old norms and rules regarding postures, position of feet, fingers, gestures, symbols. Simplification of expressive means, a stylized image become the predominant features in the image of extraordinary images. The appearance of unusual Buddhist sculptures in the plastic field of the country is often associated with the existence of legends, traditions, and also facts that took place throughout the history of Japan among the population. The iconography of unusual Buddhas is very diverse and encompasses both the Buddhas themselves and the bodhisattvas, Kings of Light, Heavenly Kings, and so on. Six-armed Jizō, Rope-tied Jizō, Yata Jizō, Child-giving Jizō are added to the familiar images of the Bodhisattva Jizō. Amida Buddha, who is habitually portrayed as sitting frontally, appears in a new form – standing and in profile or with his head bowed. A very colourful group is represented by deities sitting on zoomorphic thrones – lions, elephants, riding birds – knocked out of the canonical image. The traditional images of the Eleven-headed, Thousand-armed Bodhisattva Kannon always seemed unusual, although they became familiar. However, placing the bodhisattva on a mount bird – a four-legged, eight-headed raven gives reason to consider this sculpture unusual. In unusual sculptures, there is a deviation from the norm, an abstraction from the traditional image. Aesthetic ideals are not realized through a complex of canons, rather through a new figurative language, not yet fixed by tradition.
Segre embeddings and the canonical image of a curve