section_path: History/Asia/Japan
section_name: Japan
paragraph_text: Japan
  
  Towards the end of the long Neolithic Jōmon period, some pottery vessels were "flame-rimmed" with extravagant extensions to the rim that can only be called sculptural, and very stylized pottery dogū figures were produced, many with the characteristic "snow-goggle" eyes. During the Kofun period of the 3rd to 6th century CE, haniwa terracotta figures of humans and animals in a simplistic style were erected outside important tombs. The arrival of Buddhism in the 6th century brought with it sophisticated traditions in sculpture, Chinese styles mediated via Korea. The 7th-century Hōryū-ji and its contents have survived more intact than any East Asian Buddhist temple of its date, with works including a Shaka Trinity of 623 in bronze, showing the historical Buddha flanked by two bodhisattvas and also the Guardian Kings of the Four Directions.
  
  Jōchō is said to be one of the greatest Buddhist sculptors not only in Heian period but also in the history of Buddhist statues in Japan. Jōchō redefined the body shape of Buddha statues by perfecting the technique of "yosegi zukuri" (寄木造り) which is a combination of several woods. The peaceful expression and graceful figure of the Buddha statue that he made completed a Japanese style of sculpture of Buddha statues called "Jōchō yō" (Jōchō style, 定朝様) and determined the style of Japanese Buddhist statues of the later period. His achievement dramatically raised the social status of busshi (Buddhist sculptor) in Japan.
  
  In the Kamakura period, the Minamoto clan established the Kamakura shogunate and the samurai class virtually ruled Japan for the first time. Jocho's successors, sculptors of the Kei school of Buddhist statues, created realistic and dynamic statues to suit the tastes of samurai, and Japanese Buddhist sculpture reached its peak. Unkei, Kaikei, and Tankei were famous, and they made many new Buddha statues at many temples such as Kofuku-ji, where many Buddha statues had been lost in wars and fires.
  
  Almost all subsequent significant large sculpture in Japan was Buddhist, with some Shinto equivalents, and after Buddhism declined in Japan in the 15th century, monumental sculpture became largely architectural decoration and less significant. However sculptural work in the decorative arts was developed to a remarkable level of technical achievement and refinement in small objects such as inro and netsuke in many materials, and metal tosogu or Japanese sword mountings. In the 19th century there were export industries of small bronze sculptures of extreme virtuosity, ivory and porcelain figurines, and other types of small sculpture, increasingly emphasizing technical accomplishment.