By
this logic, the remaining three grotto scenes, beginning with this view
of the death of the Buddha, can be seen as intimately related to the life
of Prince Shôtoku. In effect, the prince has now been deified by
association with the historical Buddha. Prince Shôtoku was, after
all, like Shakyamuni, a royal prince who renounced his inheritance in pursuit
of spiritual ideals. The profound grief of the Buddha’s disciples at his
death which is depicted here is thus also an expression of the grief of
the Japanese over the loss of Prince Shôtoku. The entire pagoda sequence,
seen in this way, seems to be an attempt to elevate Shôtoku from
legendary culture hero to Buddhist deity.