The
Yakushi image that stands tot he right of the Shaka triad has a similar
inscription which identifies it as a memorial to none other than Shôtoku’s
father, the Emperor Yômei. So the conclusion now seems clear: at
least two of the main images constitute a family portrait of the Shôtoku
clan, the men now elevated to the status of buddhas and the women to their
boddhisattva attendants. All are seated in an elaborate paradise. The suggestion
made in the pagoda that Hôryûji is in fact a memorial to Shôtoku
is now even more persuasive. One subtle and perplexing question remains,
of course; was this arrangement conceived as a prayer for the Shôtoku
family and their ascent into paradise? Or was it a prayer to Prince
Shôtoku, now deified as the Buddha himself, to save the souls of
those who rebuilt the temple? The most we can say is that is probably a
bit of both.