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The stimulus of Western art forms returned sculpture to the Japanese art scene and introduced the plaster cast, outdoor heroic sculpture, and the school of Paris concept of sculpture as an "art form". Such ideas adopted in Japan during the late 19th century, together with the return of state patronage, rejuvenated sculpture.
Ashura, a Japanese National Treasure sculpture from 734. In the mid-6th century, the introduction of Buddhism from Korea to Japan resulted in a revival of Japanese sculpture. Buddhist monks, artisans and scholars settled around the capital in Yamato Province (present day Nara Prefecture) and passed their techniques to native craftsmen.
The sculpture has been designated a National Treasure. [1] [2] [note 1] Unkei's next documented works, from the early 1180s, were commissioned by military leaders prominent in the ensuing Kamakura shogunate, for temples in eastern Japan. These works are physically more massive and powerful, as are his giant Niō at Tōdai-ji. By contrast, in ...
Remnants of chisel marks on the face also accentuate the wood as an essential medium of the sculpture. [3] [4] [5] The face was carved to evoke power and presence with an exaggerated cranial bump, elongated earlobes, broad cheeks, large lips, and exaggerated limbs, which differs from the slimmer build of a Yakushi Nyorai held at Tōshōdai-ji.
Other differences between old and new Yakushi sculptures include the fact that in the older sculptures Yakushi does not hold a medicine jar in his hand. [9] The Yakushi Triad at Yakushi-ji is known for being one of the most well-known icons in Japan [2] as well as one of the earliest example of T’ang style used in Japan. [10]
Fumio Asakura (朝倉 文夫, Asakura Fumio, March 1, 1883 – April 18, 1964) was a Western-style Japanese sculptor, known as the father of modern Japanese sculpture and referred to as the "Rodin of Japan". [1] He was a prolific artist, and his work spanned the Meiji, Taishō, and Shōwa periods of Japanese history. [2]
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