Jōchō

Jōchō (died 1057), also known as Jōchō Busshi, was the preeminent Japanese sculptor of the Late Heian Period. He popularized the yosegi-zukuri technique of sculpting a single figure out of many pieces of wood, and he created the Jōchō canon for figures in Buddhist imagery (Jōchō canon). The Jōchō style predominated Japanese sculpture for the next 150 years.

Jōchō trained at the Kōfuku-ji in Nara. By 1020, he had a studio in Kyoto. Fujiwara Michinaga 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). He also worked for Kōfuku-ji, earning an even higher title, title, Hōgen (Master of the Dharma Eye). 

Jōchō received another major commission by the Fujiwara; this time by Michinaga’s son, Yorimichi. The task was to create an Amida statue for the Phoenix Hall of Byōdō-in Temple. He completed the statue around 1052 and it still survives today. It and other pieces are preserved at Byōdō-in in Uji near Kyoto.

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, the method forced the sculptor to convey his intended message within these limits. This resulted in more refined and ethereal-looking pieces. 

Utilizing the yosegi-zukuri technique to its fullest, Jōchō was able to have a sort of assembly line to make considerable numbers of statues with no deterioration of product. His assistants would work on various parts, and he would do the finishing work. Thus, he was able to service large statue projects and events.

His other great innovation, the Jōchō canon for Buddhist imagery, had long-lasting effects as many future statues followed the canon. His figures sat in the lotus position and formed an equilateral triangle with points at the knees and the hairline. Such statues gave a feeling of stability and peace. 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 (beautiful female figures from heaven), clouds, and flames. Jōchō’s sculptures’ expressions convey compassion and elegance, and the detailed and precise carving of the facial features projects a certain kindness.

The Jōchō style fit well with Amidist beliefs of the Pure Land sects. Pure Land sects of Buddhism believe that everyone can achieve salvation in the Pure Land by simply reciting Amida’s name.  This was the promise made by Amida for true believers. Even though Jōchō’s statues varied in size and splendor, their overall appearance lacked individuality with the implication that everyone had the same opportunity for salvation.

Jōchō’s studio was continued by his son and ancestors. 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. The most famous famous was Kōkei, who revived Japanese sculpture.