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The title Myouou was added to his name in a commentary on the DAINICHIKYOU by I-hsing (Jp: Ichigyou 一行; 683-727). He begins to appear in texts as an independent deity slightly later. Although it is certain that Fudou is of Indian origin, there are no extant early Indian images. There are a few 8c images from China, including a 709 stone relief sculpture now in the Field Museum in Chicago. There are later images from Tibet and India. In Japan Fudou was enshrined as one of the godai myouou in rituals to safeguard the nation in the early Heian period. In later times he continued to be addressed in public ritual on occasions of national difficulty, such as the Mongol invasion in the 13c, and internal rebellion. From the end of the Heian and during the Kamakura period belief in Fudou spread gradually to include warriors and the common people. With the rise of interest in paradises, he appears in stories aiding people in their desire to be reborn in paradise and coming to rescue them in hell, all common activities of many deities at this time. Fudou was included among the Thirteen Buddhas *juusanbutsu 十三仏 and was given a day on which he was honored. The development of interest in Fudou was also linked to the growth of mountain asceticism. The appearance of Fudou follows various strands, which can be separated into two stages, one consisting of early iconography brought back from China in the 9c by *Kuukai 空海 (774-835), Ennin 円仁 (794-864) and Enchin 円珍 (814-891), and the other brought back in the late 9c and early 10c by Annen 安然 (ca. 841-89 and 898) of the Hieizan Godai-in 比叡山五大院 and Shunnyu 淳祐 (890-953) of Ishiyamadera 石山寺. His iconography was divided into 19 aspects. In spite of there being subtle differences in his form, Fudou is always recognizable. The chief characteristic of the early Fudou iconography is that both eyes should be open, and two upper teeth should protrude over his lower lip. The paintings of the Kifudou 黄不動 (Yellow Fudou, see below), however, show two lower teeth protruding over his upper lip. Later iconography has one upper tooth going up and another going down . The oldest image of Fudou is the one in the lecture hall *Koudou 講堂 of Touji 東寺 (Kyouougokokuji 教王護国寺), in Kyoto. It shows Fudou seated on his typical dias made of blocks in the shape of Mt. Sumeru *shitsushitsuza 瑟々座, with a halo of fire *kaen kouhai 火焔光背, behind him. He holds a sword in his right hand and a noose in his left hand. Unlike other fierce figures, his hair is gathered at one side (this may differ in a few images). As in most images of Fudou he has a rather heavy physique. The many important images of Fudou apart from those included in sets of the godai myouou, include the 1006 sculpture in Douju-in 同聚院 in Toufukuji 東福寺, Kyoto. It is thought to have been the central image of the Godai Myouou of the Godaidou 五大堂 of Hosshouji 法性寺, dedicated by Fujiwara Michinaga 藤原道長 (966-1027) in 1006. There are also the late Heian Fudou of Dairin-in 大林院, one of the halls of Enryakuji 延暦寺 in Shiga prefecture, and the late Heian images of the Kongoubuji *Fudoudou 金剛峯寺不動堂 on Mt. Kouya 高野, Wakayama prefecture This Fudou built in 1198, was moved to its present position in 1908 from elsewhere on Mt. Kouya, while the Fudou sculpture is said to be the work of the hall founder, the monk Gyoushou 行勝 (1130-1217). The image is accompanied by images of the Eight Great Child Attendants *hachidai douji 八大童子, who serve Fudou dated 1198 (two are later) and made by Unkei 運慶 (? - 1223). Among paintings there are a number of special images of Fudou such as the Kifudou, which shows the appearance of the deity as he appeared to Enchin in 838 during meditation. Although the original is a secret image at Miidera 三井寺 (also called Onjouji 園城寺), Shiga prefecture, there are a number of copies, the oldest of which is the late Heian period painting in Manshu-in 曼殊院 in Kyoto. The golden color departs from iconographic descriptions of Fudou as blue-black in color. The heavily muscled physique is also unusual, for Fudou's body usually looks exceptionally smooth. The Akafudou 赤不動 (Red Fudou) of Myououin 明王院 on Mt. Kouya holds a sword with the dragon Kurikara 倶利迦羅 wound around it. He sits on a rock, accompanied by *Seitaka douji 制た迦童子 and *Kongara douji 矜羯羅童子. Although Fudou may appear alone, his usual attendants are Seitaka and Kongara douji, and he may be accompanied by eight child attendants. Thirty-six attendants are often listed in his rituals, and a Nanbokuchou period painting of Houkouji 宝光寺 in Okayama prefecture, shows him with 49 attendants. Unusual images include the painting of Fudou and his two attendants called Hashirifudou 走り不動 (Running Fudou, late Kamakura period) an unusual departure for a deity whose name means unmoving. The late Heian, Takayama Fudou 高山不動 of Jouraku-in 常楽院 in Saitama prefecture is not actually Fudou in iconography but *Gundari Myouou 軍荼利明王. Revered as Fudou at this ascetic site, it was probably locally made and is roughly, simply, and powerfully carved. Fudou may also appear in *mandara 曼荼羅 such as that based upon the NINNOUGYOU stutra *Ninnougyou mandara 仁王経曼荼羅. Drawings of Fudou are well-known. These tend to be copies, several steps removed, of the work of earlier artists. For example, a late Heian to early Kamakura periods drawing of Fudou accompanied by *Bishamonten 毘沙門天, Kurikara and the two child attendants is in Entsuuji 円通寺 on Mt. Kouya. It is thought to show the style of Genchou 玄朝, a monk of Gangouji 元興寺 in Nara (fl. second half of 10c), and thought responsible for certain features of iconography, and that of Enjin 円心 (fl. in the second half 11c). A drawing in Ishiyamadera 石山寺 again shows the style of Genchou and, according to the inscription, was copied by Jouchi 定智 (fl. 12c). A large number of such drawings are found in Daigoji 醍醐寺, Kyoto, including the most famous, a 1282 drawing by Shinkai 信海 that shows Fudou standing on a rock rising from the sea. Kurikara, a dragon wound around a sword, may appear in paintings of Fudou or alone as a substitute for Fudou sculptures of both Kurikara and Fudou are often found near ascetic practice places, such as small waterfalls. The significance of Fudou is due not only to his being a transformation of Dainichi, but also in large part to his role as a honzon for goma, a fire ceremony still popular today in which defilements are symbolically burnt. Goma (Sk: homa) was and is still performed in Hinduism. Although goma can be performed for many deities, of the three major ones --- Dainichi, *Nyoirin Kannon 如意輪観音 and Fudou --- Fudou is felt to be particularly appropriate because he is continually occupied in a fire meditation in which all hindrances are burned up by knowledge. Goma is usually performed with the intent of tranquility and harmony, although it can have other purposes. A small goma may be performed by a devotee or by a priest in a hall, while a large outdoor goma called saitou goma 採燈護摩 (also written 柴燈護摩) is performed by mountain practitioners yamabushi 山伏 as an esoteric ceremony. Goma is still also performed at Touji for the imperial ritual of the goshichinichi-no-mishuhou 後七日御修法 .
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