In eighth-century Japan, it is decided to erect a great Buddha in the new capital city of Nara (one of the most famous of Japanese Buddhist statues, at Todaiji). A talented sculptor, Kunihito, is put in charge of the construction while his girlfriend Mayame is used by those opposed to the Buddha in an attempt to stop its completion. Against this melodrama is a picture of the passions, both personal and political, that were invested in Buddhist imagery: lives were literally given, and taken, for art in the service of the spirit. The strong Chinese influence on Nara culture can be seen in costume and hairstyles as well as in the association of Buddhism with advanced learning, art, and political ideals. And being about aesthetics as a way to God, the film is full of surprising images. Once again, perspective is of the essence: as when Mayame unknowingly walks across Kunihito's enormous sand drawing of the Buddha, one has to have the big picture or there's no picture at all.