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warihagi@Š„”Š
KEY WORD :@art history / sculptures
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A sculpture technique used to carve a large hollow space *uchiguri “à™Š, inside a statue that was originally one piece of wood *ichiboku-zukuri ˆê–Ø‘¢. This hollowing prevents both the wood body from cracking with changing moisture levels and lessens the weight. Typically, warihagi involves three steps; 1) dividing the roughly carved block of wood in half with a chisel *nomi èw, 2) carving out a hollow in each piece, and 3) refitting the halves together. This technique makes it easier to carve a sufficient hollow and eliminates the need, because the two halves join naturally and tightly, for polishing of joint surfaces or for a wood cover to hide a hole into the interior which other hollowing techniques require. When the main body of a statue is made by this technique, the statue can be categorized both as "single-block with attached appendages" ichibokushiki yoseki-zukuri ˆê–ØŽ®Šñ–Ø‘¢ or simply warihagi-zukuri Š„”Š‘¢. The Warihagi technique can be seen in many early Buddhist images of the 8-9c, such as Yakushi Nyoraizou –òŽt”@—ˆ‘œ of Shin'yakushiji V–òŽtŽ›, Nara. It continued to be used through succeeding periods as one of the two main techniques of Japanese wood sculpture. After the 11c, with the diffusion of the other major techniques *yoseki-zukuri Šñ–Ø‘¢, technical variations, such as *warikubi Š„Žñ, warite Š„Žè, and wariashi Š„‘« (where minor sculptural parts such as head, hands or feet were hollowed out), were developed from the basic technique of warihagi.
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