The Manji Stone Buddha is a unique stone Buddhist image located in Higashiyamada, Shimosuwa Town, Nagano Prefecture. Created in 1660 during the early Edo period, it stands quietly among rice fields across the Togawa River from Suwa Taisha Shimosha Harumiya Shrine.
Owned by Shimosuwa Town and designated as a town-designated Tangible Cultural Property in 1982, the statue is officially registered as the “Manji Stone Buddha (Mitarashi Stone Buddha)”. Its unusual appearance, mysterious legends, and connection with the celebrated artist Taro Okamoto have made it one of Shimosuwa’s best-known cultural attractions.
The Manji Stone Buddha has an unusual structure unlike conventional Buddhist statues. Its body is a massive natural andesite boulder measuring approximately 2.6 meters high, 3.8 meters wide, and 3.7 meters deep. A separate stone head, approximately 65 centimeters high, rests on top.
The contrast between the enormous rock body and relatively small head gives the statue a distinctive, almost humorous appearance. At the same time, its sheer size and the power of the natural stone create a striking presence that is difficult to forget.
On the front of the body is a carved seated image of Amida Nyorai, the Buddha of Infinite Light and Life, shown with his hands forming a traditional meditation mudra. Symbols associated with the cosmos—including the sun, thunder, clouds, a sacred rock, and the moon—are carved across the chest. An inverted swastika, an ancient Buddhist symbol, is also carved on the right side.
The combination of these images and symbols is associated with the Buddhist concept known as “one body, different Buddhas”, in which Amida Nyorai and Dainichi Nyorai are understood as manifestations of a single spiritual reality.
This belief was associated with a branch of Pure Land Buddhism connected with the ascetic monk Mokujiki Shonin and his predecessor Tansei Shonin. Its teachings emphasized the recitation of “Namu Amida Butsu”, expressing devotion to Amida Buddha and the possibility of attaining spiritual liberation while still living in this world.
The inscription carved into the stone reads “Namu Amida Butsu, November 1, Manji 3, Ganshu Myoyo Joko and Shinyo Hiroharu.” The two monks named in the inscription are believed to have played central roles in the creation of the statue.
The Manji Stone Buddha is surrounded by a fascinating legend dating back to the Edo period. In 1657, Suwa Tadatoki, lord of the Takashima Domain, is said to have ordered the construction of a large stone torii gate for Suwa Taisha Shimosha Harumiya Shrine.
Stonecutters began working on the huge boulder at this location. According to the legend, however, blood suddenly began to flow from the stone when a chisel struck it. Frightened that the stone might be sacred and that disturbing it could bring misfortune, the stonecutters stopped their work.
That night, one of them reportedly received a message in a dream telling him that good stone could be found on Mount Uehara. The torii was eventually completed using another stone, while the boulder that was said to have shed blood was enshrined as an image of Amida Nyorai. This is traditionally regarded as the origin of the Manji Stone Buddha.
Marks believed to have been made by the original chiseling can still be seen on the stone, adding another intriguing detail to the centuries-old story.
The Manji Stone Buddha became widely known beyond the local area after the renowned Japanese artist Taro Okamoto visited it in 1974. Okamoto had come to the Suwa area to see the Onbashira Festival and was deeply impressed when he encountered the unusual stone figure.
He praised it as something unlike anything he had encountered during his travels around the world, and described the stone itself as sacred. He also suggested that encountering it could be spiritually enriching in a way comparable to viewing hidden Buddhist treasures in Nara.
Okamoto introduced the statue through lectures and magazine articles, helping to bring it national attention. Novelist Jiro Nitta was also inspired by the statue and wrote a novel titled Manji Stone Buddha.
Through the attention of these cultural figures, the name “Manji Stone Buddha” became widely established, and the site developed into a popular destination for visitors interested in history, religion, art, and local legends.
The statue has another unusual story. In 1991, its head fell from the body and was subsequently repaired. After the restoration, people began noticing that the head appeared to be gradually rising, leading to the curious expression that the Buddha’s “neck was growing.”
Measurements eventually confirmed that the head had risen by approximately 4 centimeters at the front and 6 to 7 centimeters on the sides. The cause was not supernatural, however. Water had accumulated around a support structure installed during the restoration, and repeated freezing and thawing during winter gradually pushed the head upward.
The structure has since been secured for safety, allowing visitors to view the remarkable statue with peace of mind.
Historical records from the Edo period refer to the stone as “Eboshi Ishi” and “Mitarashi no Sekibutsu.” Local people have traditionally called it “Amida-sama,” expressing the familiar and affectionate way in which the statue has been regarded by the community.
For centuries, people have visited the stone Buddha as an object of faith. In recent years, its distinctive appearance and traditional associations with good fortune have also attracted travelers interested in experiencing one of Shimosuwa’s most unusual spiritual sites.
Visitors following the local custom can begin by standing in front of the stone Buddha, bowing once, and silently making a wish while saying, “Yorozu osamarimasu yō ni”, meaning approximately “May everything be settled or brought into harmony.”
While thinking of their wish, they then walk three times clockwise around the stone Buddha. After returning to the front, they say “Yorozu osamemashita”, expressing that everything has been brought to completion, and bow once again.
The Japanese word “Manji” can be associated through wordplay with the expression “yorozu osamaru,” referring to everything settling into place. This has contributed to the modern association of the stone Buddha with wishes for good fortune and protection from misfortune.
The Manji Stone Buddha stands in a quiet rural landscape surrounded by fields. From the grounds of Suwa Taisha Shimosha Harumiya Shrine, visitors can cross the vermilion-painted Ukishima Bridge over the Togawa River and reach the stone Buddha in about three minutes on foot.
The setting is an important part of the experience. The enormous natural boulder, simple carving, surrounding fields, and changing seasonal scenery come together to create a site that feels both artistic and deeply connected to nature.
In spring, summer, autumn, and winter, the landscape surrounding the statue takes on a different character. Visiting at different times of year can therefore offer a slightly different impression of this remarkable stone figure.
By public transportation: From JR Chuo Main Line Shimosuwa Station, take a bus for approximately 16 minutes and get off at the Miyanoue bus stop.
By car: The site is accessible from National Route 20.
The Manji Stone Buddha is more than an old religious monument. It is a fascinating meeting point of faith, art, nature, and local folklore. Its simple yet powerful form can inspire very different impressions depending on how each visitor encounters it.
A visit becomes even more meaningful when combined with a visit to Suwa Taisha Shimosha Harumiya Shrine. Crossing the bridge from the shrine and walking through the quiet countryside to the stone Buddha provides an opportunity to experience the history and spiritual culture of Shimosuwa at a relaxed pace.
When exploring Shimosuwa, take a little time to stand before the Manji Stone Buddha and observe its unusual form, the surrounding landscape, and the stories that have been passed down through generations. It is one of the area’s most distinctive cultural sights and an unforgettable stop along the shores of Lake Suwa.