Buddhist statues of the Jocho-yo (Jocho style), which was hugely popular in the capital in the late Heian period, were characterized by smooth creases in the clothes that were carved shallow and parallel, facial expressions that looked satisfied and calm, and only little amplification of form, representing the taste of Heian aristocrats; however, as a result of mass production of similar Buddhist statues through division of labor, the statues were no longer unique and always looked the same.
平安後期に都でもてはやされた定朝様（じょうちょうよう）の仏像は、浅く平行して流れる衣文、円満で穏やかな表情、浅い肉付けに特色があり、平安貴族の好みを反映したものであったが、分業制で同じような仏像を量産した結果、無個性でマンネリ化した作風に陥っていた。