A comparative study of Jocho-style based on 3D digital data of Buddhist statuary centers round Amida Nyorai (Amitabha Tathagata) of Byodo-in temple and Joruriji temple

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Summary of Research ResultsIn this research, we have focused on measurements obtained using infrared three-dimensional laser scanning in addition to conventional methods of study of cultural assets in sculpture, to increase understanding of the development of the Jocho style of sculpture. Simultaneously we considered the historical value of the conservation of cultural assets and the contributions that can be made to this through preservation.In the collection of historical data on the Jocho style, we used the works housed in the Byodoin and Anrakujuin Temples, which are clearly marked with the sculptor's name or date of production as a base from which we traced the development of the style into the Kamakura period (1185-1333). We compared works created in the late Heian to early Kamakura periods, such as the Jizo Bosatsu (Ksitigarbha) belonging to Zuirinji Temple, the seated figure of Dainichi Nyorai (Vairocana) from Ishiyamadera Temple, the seated figure of Dainichi Nyorai (Vairocana … More ) from Enjoji Temple and the seated figure of Dainichi Nyorai (Vairocana) by Kaikei belonging to the Tokyo University of the Arts, etc., carrying out studies and measurements to trace the transition from the Jocho to Keiha styles. We also collected data on numerous valuable works from around the country whose dates of production are unknown.Using this data, we have been able to substantiate the system of classification of Buddhist sculpture according to style proposed by OTA Koboku in his book Butsuzo chokoku giho (Buddhist Sculpture Techniques, Sogeisha, 1980), that divides Japanese Buddhist sculpture into various styles according to objective measurements or calculation methods for statue construction, while simultaneously producing new information on the height/depth ratio pattern of statues for which little data was presented in OTA's work. This research is both important and significant in tracing the development of the Jocho style from the late Heian to early Kamakura periods following its spread to the Kanto plain area, the connection that existed between sculptors there and in Kyoto, the acceptance of the Kamakura-style, etc., and promoting analysis of the statues considered to be Jocho-style.The results of our research would indicate that although OTA stated in his book that the kiwari (measuring system) of Jocho-style statues was based on the hairline of the figure, the minute measurements acquired from our three-dimensional data would appear to indicate that it might Less