Jōchō (定朝; died 1057 AD), also known as Jōchō Busshi, was a Japanesesculptor of the Heian period. He popularized the yosegi technique of sculpting a single figure out of many pieces of wood, and he redefined the canon of body proportions used to create Buddhist imagery.[1] His style spread across Japan and defined Japanese sculpture for the next 150 years. Today, art historians cite Jōchō as "the first of a new kind of master sculptor"[2] and "one of the most innovative artists Japan has ever produced."[3]
Jōchō trained at the Kōfuku-ji, a temple in Nara. By 1020, he was an artist of some renown with a studio in Kyoto.[3] At this time, Fujiwara no Michinaga, the greatest of the Fujiwara regents of the Heian period, commissioned him to decorate the Hōjōji, a temple that Fujiwara had founded. Jōchō's efforts there earned him the title Hokkyō (Master of the Dharma Bridge) in 1022, a rare accolade for a sculptor.[3][4]
Jōchō later worked on sculpture for the Kōfuku-ji. This work earned him an even higher title, Hōgen (Master of the Dharma Eye).[3][4] He or his school may also have sculpted nine wooden Amida figures at Jōruri-ji, a temple at Tomino-o.[4]
Michinaga's son, Fujiwara no Yorimichi, gave Jōchō his next commission. The artist was to create an Amida statue for the Phoenix Hall of the Byōdō-in, a temple in Uji near Kyoto. Jōchō completed the piece sometime after 1052. This is the earliest of Jōchō's works to have survived to the present day, and many other pieces by him are still preserved at this temple.
Jōchō and his studio are the first verifiable example of a school of Japanese art being perpetuated through Japan's guild-like inheritance system.[4] Jōchō's techniques were passed on to his son, Kakujo, his grandsons, Injo and Raijo, his great-grandson, Kōjo, and ultimately Kōkei. The school started by this last artist would go on to revolutionize Japanese sculpture in the Kamakura period.[4]
Style
Jōchō popularized the technique of creating a work from several smaller pieces of sculpted wood (yosegi). Although it limited the amount of surface detail the artist could carve into each piece,[3] the method forced the sculptor to convey his intended message within these limits. This resulted in more refined and ethereal-looking pieces.[3][4] More importantly, it allowed several assistants to work on the sculpture at once, greatly speeding the process.[2] Jōchō, as the master, did the finishing work.[3] The technique also led to systematized proportions of body parts and simple surface details, as these sped the creation of the constituent parts and the formation of the finished piece.[2]
Art historians often cite this new canon of body proportions as evidence of Jōchō's genius. He based the measurements on a unit equal to the distance between the sculpted figure's chin and hairline. The distance between each knee (in the seated lotus pose) is equal to the distance from the bottoms of the legs to the hair.[3] The widely spaced and level knees thus form the base of a triangular design, conveying a feeling of stability and peace.[4] The effect is further accentuated by the contrast of other elements in the design, particularly the figures' halos. These are intricately detailed, featuring dancing tennin, clouds, and flames.[4] Jōchō's sculptures' expressions convey compassion and elegance, and the detailed and precise carving of the facial features projects a certain kindness.[2]
The workshop method of dividing work among several craftsmen caught on, as did Jōchō's style. His school was imitated by sculptors across Japan for the over next 150 years, as Japanese sculpture degraded into a conformist orthodoxy before being reinvented in the Kamakura period.[5]
References
Wikimedia Commons has media related to Jōchō.
^Miyeko Murase (1975). Japanese art : selections from the Mary and Jackson Burke Collection. New York, N.Y.: Metropolitan Museum of Art. p. 22. ISBN9780870991363.
^ abcdSeiroku Noma; John M Rosenfield; Bin Takahashi (2003). The Arts of Japan: Ancient and Medieval. Tokyo: Kodansha International. p. 163. ISBN9784770029775.{{cite book}}: CS1 maint: uses authors parameter (link)
^ abcdefghMason, Penelope; Dinwiddie, Donald (2005). History of Japanese Art (2nd. ed.). Upper Saddle River, New Jersey: Pearson Prentice Hall. p. 144. ISBN9780131176010.
^ abcdefghPaine, Robert Treat, and Soper, Alexander (1981). The Art and Architecture of Japan (3rd ed.). Penguin Books Ltd. p. 93. ISBN9780140561081.{{cite book}}: CS1 maint: uses authors parameter (link)
^Shively, Donald H., and McCullough, William H. (1999). The Cambridge History of Japan. Vol. 2: Heian Japan. eBook. Cambridge University Press. p. 421. ISBN9780511467882.{{cite book}}: CS1 maint: others (link) CS1 maint: uses authors parameter (link)
January 12, 2023
jōchō, 定朝, died, 1057, also, known, busshi, japanese, sculptor, heian, period, popularized, yosegi, technique, sculpting, single, figure, many, pieces, wood, redefined, canon, body, proportions, used, create, buddhist, imagery, style, spread, across, japan, de. Jōchō 定朝 died 1057 AD also known as Jōchō Busshi was a Japanese sculptor of the Heian period He popularized the yosegi technique of sculpting a single figure out of many pieces of wood and he redefined the canon of body proportions used to create Buddhist imagery 1 His style spread across Japan and defined Japanese sculpture for the next 150 years Today art historians cite Jōchō as the first of a new kind of master sculptor 2 and one of the most innovative artists Japan has ever produced 3 Amitabha in Byōdō in created by Jōchō 1053 Career EditJōchō trained at the Kōfuku ji a temple in Nara By 1020 he was an artist of some renown with a studio in Kyoto 3 At this time Fujiwara no Michinaga the greatest of the Fujiwara regents of the Heian period commissioned him to decorate the Hōjōji a temple that Fujiwara had founded Jōchō s efforts there earned him the title Hokkyō Master of the Dharma Bridge in 1022 a rare accolade for a sculptor 3 4 Jōchō later worked on sculpture for the Kōfuku ji This work earned him an even higher title Hōgen Master of the Dharma Eye 3 4 He or his school may also have sculpted nine wooden Amida figures at Jōruri ji a temple at Tomino o 4 Michinaga s son Fujiwara no Yorimichi gave Jōchō his next commission The artist was to create an Amida statue for the Phoenix Hall of the Byōdō in a temple in Uji near Kyoto Jōchō completed the piece sometime after 1052 This is the earliest of Jōchō s works to have survived to the present day and many other pieces by him are still preserved at this temple Jōchō and his studio are the first verifiable example of a school of Japanese art being perpetuated through Japan s guild like inheritance system 4 Jōchō s techniques were passed on to his son Kakujo his grandsons Injo and Raijo his great grandson Kōjo and ultimately Kōkei The school started by this last artist would go on to revolutionize Japanese sculpture in the Kamakura period 4 Style EditJōchō popularized the technique of creating a work from several smaller pieces of sculpted wood yosegi Although it limited the amount of surface detail the artist could carve into each piece 3 the method forced the sculptor to convey his intended message within these limits This resulted in more refined and ethereal looking pieces 3 4 More importantly it allowed several assistants to work on the sculpture at once greatly speeding the process 2 Jōchō as the master did the finishing work 3 The technique also led to systematized proportions of body parts and simple surface details as these sped the creation of the constituent parts and the formation of the finished piece 2 Art historians often cite this new canon of body proportions as evidence of Jōchō s genius He based the measurements on a unit equal to the distance between the sculpted figure s chin and hairline The distance between each knee in the seated lotus pose is equal to the distance from the bottoms of the legs to the hair 3 The widely spaced and level knees thus form the base of a triangular design conveying a feeling of stability and peace 4 The effect is further accentuated by the contrast of other elements in the design particularly the figures halos These are intricately detailed featuring dancing tennin clouds and flames 4 Jōchō s sculptures expressions convey compassion and elegance and the detailed and precise carving of the facial features projects a certain kindness 2 The workshop method of dividing work among several craftsmen caught on as did Jōchō s style His school was imitated by sculptors across Japan for the over next 150 years as Japanese sculpture degraded into a conformist orthodoxy before being reinvented in the Kamakura period 5 References Edit Wikimedia Commons has media related to Jōchō Miyeko Murase 1975 Japanese art selections from the Mary and Jackson Burke Collection New York N Y Metropolitan Museum of Art p 22 ISBN 9780870991363 a b c d Seiroku Noma John M Rosenfield Bin Takahashi 2003 The Arts of Japan Ancient and Medieval Tokyo Kodansha International p 163 ISBN 9784770029775 a href Template Cite book html title Template Cite book cite book a CS1 maint uses authors parameter link a b c d e f g h Mason Penelope Dinwiddie Donald 2005 History of Japanese Art 2nd ed Upper Saddle River New Jersey Pearson Prentice Hall p 144 ISBN 9780131176010 a b c d e f g h Paine Robert Treat and Soper Alexander 1981 The Art and Architecture of Japan 3rd ed Penguin Books Ltd p 93 ISBN 9780140561081 a href Template Cite book html title Template Cite book cite book a CS1 maint uses authors parameter link Shively Donald H and McCullough William H 1999 The Cambridge History of Japan Vol 2 Heian Japan eBook Cambridge University Press p 421 ISBN 9780511467882 a href Template Cite book html title Template Cite book cite book a CS1 maint others link CS1 maint uses authors parameter link Retrieved from https en wikipedia org w index php title Jōchō amp oldid 1099587234, wikipedia, wiki, book, books, library,
