Changes

[[Image:Hawaii Byodoin Amida.jpg|right|300px|thumb|The Amida Buddha statue at the Byodo-in Temple in Hawaii, a replica of Jôchô's most famous work, which he created for the [[Byodoin|Byôdô-in]] in [[Uji]] in [[1053]]. This 1968 replica is said to have been the largest wooden Buddha sculpture to be produced in over 900 years.]]

[[Image:Hawaii Byodoin Amida.jpg|right|300px|thumb|The Amida Buddha statue at the Byodo-in Temple in Hawaii, a replica of Jôchô's most famous work, which he created for the [[Byodoin|Byôdô-in]] in [[Uji]] in [[1053]]. This 1968 replica is said to have been the largest wooden Buddha sculpture to be produced in over 900 years.]]

*''Died: [[1057]]''

*''Died: [[1057]]/11/1''

*''Other Names'': 康城 ''(Kôjô)'', 常朝 ''(Jôchô)''

*''Japanese'': 定朝 ''(Jouchou)''

*''Japanese'': 定朝 ''(Jouchou)''

Jôchô was a sculptor of Buddhist images, and is today widely considered one of the most famous Buddhist sculptors (''[[busshi]]'') in Japanese history. Known chiefly for having headed the design and creation of the [[Amida]] sculpture in the [[Byodoin|Byôdô-in]], he established a new canon of style and proportion which would have a profound impact on Buddhist sculpture from that time onwards.

Jôchô was a sculptor of Buddhist images, and is today widely considered one of the most famous Buddhist sculptors (''[[busshi]]'') in Japanese history. Known chiefly for having headed the design and creation of the [[Amida]] sculpture in the [[Byodoin|Byôdô-in]], he established a new canon of style and proportion which would have a profound impact on Buddhist sculpture from that time onwards.

Though the year of Jôchô's birth is unknown, it is believed that his reputation must have been well-established by [[1020]], because he was commissioned at that time by [[Fujiwara no Michinaga]] to produce a number of sculptures for the [[Hojoji|Hôjôji]]. Jôchô was then granted the title of Hôkkyô (法橋), a prestigious Buddhist rank rarely granted to sculptors, in [[1022]]. He would later be promoted to the rank of Hôgen (法眼), after producing a number of works for [[Kofukuji|Kôfuku-ji]] in [[Nara]]. Sadly, none of these earlier works survive.

Though the year of Jôchô's birth is unknown, it is believed that his reputation must have been well-established by [[1020]], because he was commissioned at that time by [[Fujiwara no Michinaga]] to produce a number of sculptures for the [[Hojoji|Hôjôji]]. Jôchô was then granted the title of Hôkkyô (法橋), a prestigious Buddhist rank rarely granted to sculptors, in [[1022]]. He would later be promoted to the rank of Hôgen (法眼), after producing a number of works for [[Kofukuji|Kôfuku-ji]] in [[Nara]], in [[1048]]. Jôchô played a revolutionary role in achieving prestige and social status for sculptors, eventually rising to the rank of ''sôgô'' (僧綱), the first sculptor to do so.

 

Taking the tonsure and entering [[Jobonrendaiji|Jôbonrendai-ji]] in Kyoto as a monk, he changed his name to Kôjô (康城) and established a sub-temple, Shômeiin, with 12 monks.

 

Sadly, no works from his earlier period survive.

Created around [[1053]], the Amida at the Byôdô-in in [[Uji]], a [[National Treasure]], is easily his most famous work, and one of the most famous statues in the country. In addition to being done in ''[[yosegi zukuri]]'' (multiple-block construction) at a time when ''[[ichiboku zukuri]]'' (single-block construction) was still quite popular, this work represents new elements of style and proportion which countless later works would reference or emulate, and which create a greater feeling of calmness and stability than earlier forms.

Created around [[1053]], the Amida at the Byôdô-in in [[Uji]], a [[National Treasure]], is easily his most famous work, and one of the most famous statues in the country. In addition to being done in ''[[yosegi zukuri]]'' (multiple-block construction) at a time when ''[[ichiboku zukuri]]'' (single-block construction) was still quite popular, this work represents new elements of style and proportion which countless later works would reference or emulate, and which create a greater feeling of calmness and stability than earlier forms.

Jôchô died in [[1057]] and is buried in [[Jobonrendaiji|Jôbon-rendai-ji]] in northern Kyoto.

Jôchô died in [[1057]] and is buried in [[Jobonrendaiji|Jôbon-rendai-ji]] in northern Kyoto. His tombstone is inscribed with the name Jôchô written in different characters than normally used to write his name (常朝 instead of 定朝); this alternate form of his name was granted him by the Imperial Court.

His son [[Kakujo|Kakujô]] founded a studio on Shichijô, while Jôchô's disciple [[Chosei|Chôsei]] created his studio on Sanjô. Kakujo was then followed by his sons [[Raijo|Raijô]] and [[Injo|Injô]], who were in turn followed by Raijô's son [[Kojo|Kôjô]], and Kôjô's son [[Kokei|Kôkei]], who, along with his son [[Unkei]] and disciples [[Kaikei]] and [[Jokei|Jôkei]] formed the core of the [[Kei school]] and of [[Kamakura period]] Buddhist sculpture; thus, it can be seen that Jôchô's influence and impact was quite extensive and long-lasting, and integral to the Kei school's own style.

His son [[Kakujo|Kakujô]] founded a studio on Shichijô, while Jôchô's disciple [[Chosei|Chôsei]] created his studio on Sanjô. Kakujo was then followed by his sons [[Raijo|Raijô]] and [[Injo|Injô]], who were in turn followed by Raijô's son [[Kojo|Kôjô]], and Kôjô's son [[Kokei|Kôkei]], who, along with his son [[Unkei]] and disciples [[Kaikei]] and [[Jokei|Jôkei]] formed the core of the [[Kei school]] and of [[Kamakura period]] Buddhist sculpture; thus, it can be seen that Jôchô's influence and impact was quite extensive and long-lasting, and integral to the Kei school's own style.

==References==

==References==

*Mason, Penelope. ''History of Japanese Art''. Second Edition. Upper Saddle River, NJ: Pearson Prentice Hall, 2005. pp144-145, 188-190.

*Mason, Penelope. ''History of Japanese Art''. Second Edition. Upper Saddle River, NJ: Pearson Prentice Hall, 2005. pp144-145, 188-190.

*Paine, Robert Treat and Alexander Soper. ''The Art and Architecture of Japan''. Third Edition. Yale University Press, 1981. p93.

*Paine, Robert Treat and Alexander Soper. ''The Art and Architecture of Japan''. Third Edition. Yale University Press, 1981. p93.