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KEY WORD :@art history / sculptures
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Folds in a garment, or the pattern made by these folds. In Buddhist statues, the style of drapery folds changed with each period; they are thus very useful in dating works. In cast-metal statues the drapery folds are expressed with engraved lines. In clay, lacquer, and wooden statues, it was possible to achieve greater depth and variety. In the Asuka period, drapery folds were expressed in abstract, angular designs. An example is the bronze Shaka sanzonzou Žß‰ÞŽO‘¸‘œ (late 7c) in Houryuuji *Kondou –@—²Ž›‹à“°, Nara, made by Tori Busshi Ž~—˜•§Žt. In the early Heian period, the predominant style was *honpashiki emon –|”gŽ®ˆß•¶, where a wide fold and a narrow, pointed fold alternated down the fabric. A good example is the Juuichimen Kannonzou \ˆê–ʊω¹‘œ (mid-9c) in Hokkeji –@‰ØŽ›, Nara. When narrow folds were carved in close succession, this was known as *renpashiki emon —ø”gŽ®ˆß•¶, seen on the Shakazou Žß‰Þ‘œ (late 9c) in Murouji Kondou Žº¶Ž›‹à“°, Nara. In the late Heian period, wide, shallow folds arranged in parallel lines created a gentle effect. This is typified in the work of the 11c sculptor Jouchou ’è’©, who made the Amida Nyoraizou ˆ¢–í‘É”@—ˆ‘œ (1053) in Byoudouin *Hououdou •½“™‰@–P™€“°, Kyoto. The Kamakura period saw a style that presented more realistic drapery effects, as well as expressive, irregular patterns influenced by Sung China.
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NOTES
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(C)2001 Japanese Architecture and Art Net Users System.@No reproduction or republication without written permission.
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