The History and Evolution of Japanese Sculpture

Early Japanese Sculpture: Jōmon and Kofun Periods

Sculpture in Japan started simple. The earliest examples came from the Jōmon period, a time stretching back thousands of years. Toward the end of this era, people shaped clay into complex pottery with raised rims that looked almost like flames. They also made small clay figures called dogū. These had exaggerated features, especially the wide, hollow eyes that look like snow goggles.

Later, in the Kofun period between the 3rd and 6th centuries CE, sculpture shifted toward funerary use. Artists made haniwa, which were simple terracotta figures shaped like people, animals, and tools. These were placed outside burial mounds of important people. Their style was flat and minimal, but the purpose was clear: to guard the dead.

The Buddhist Influence on Japanese Sculpture

When Buddhism reached Japan in the 6th century, it changed sculpture entirely. With it came artistic styles from China and Korea that introduced a much higher level of detail and technique. Sculptors began working with bronze, wood, and stone. One of the most important early Buddhist temples, Hōryū-ji, built in the 7th century, still stands today. Its sculptures are some of the oldest surviving Buddhist artworks in East Asia. Among them is the bronze Shaka Trinity, made in 623 CE, which shows the historical Buddha standing with two bodhisattvas on either side. Also inside are statues of the Four Guardian Kings, each one meant to protect the temple from different directions.

Jōchō and the Rise of the Japanese Style

By the Heian period, Japanese sculpture had developed its own identity. One name stands out: Jōchō. He wasn’t just one of the greatest sculptors of his time. He redefined what Buddhist sculpture looked like in Japan. He introduced a method called yosegi zukuri, which involved carving different parts of a statue from separate pieces of wood and then joining them together. This approach allowed for more graceful, balanced figures with soft, peaceful expressions. The look he created became known as Jōchō yō, or the Jōchō style. It shaped how Buddhist statues would be made in Japan for centuries. Because of his influence, Buddhist sculptors, known as busshi, started to gain real recognition and respect in society.

Kamakura Period: Realism and Power in Sculpture

Things shifted again in the Kamakura period. The Minamoto clan took power, and the samurai class came to dominate Japan. This new era demanded a different kind of art. Jōchō’s style was still respected, but now realism and movement became more important. Sculptors of the Kei school rose to the challenge. These artists, many of whom were Jōchō’s artistic descendants, focused on making statues that felt alive. They gave their figures strong muscles, clear emotion, and lifelike detail. The Kei school became known for dynamic Buddhist sculptures that matched the spirit of the warrior class.

Artists like Unkei, Kaikei, and Tankei stood out. Their work involved restoring and replacing statues lost in fires or destroyed by war. One major project was at Kōfuku-ji, a temple that had suffered great damage. These sculptors brought it back to life with their bold, skilled hands. Their work helped take Japanese Buddhist sculpture to its peak during this time.

The Decline of Monumental Sculpture and Rise of Miniature Art

By the 15th century, Buddhist influence began to fade. Fewer large statues were being made. Sculpture didn’t disappear, but its role changed. Most of the major works that came after this were tied to architecture (carvings built into temples or shrines) but they weren’t the same as the towering religious figures of earlier times.

Instead, sculpture shifted into the decorative arts. Artists poured their skill into smaller pieces. This included inrō (small containers worn on belts), netsuke (miniature toggles used to fasten items), and tōsōgu, which were the ornate metal fittings used on samurai swords. These pieces weren’t just practical. They showed off an extreme level of detail and craftsmanship.

By the 19th century, Japanese sculpture had found a place in export markets. Small bronzes, ivory carvings, porcelain figures, and other delicate objects were made for buyers overseas. These pieces highlighted precision and technique above all else, often focusing more on how finely they were made than what story they told.

 

The Roots and Growth of Sculpture in Japan

From Jōmon Clay Figures to Kofun Tomb Statues

Japanese sculpture began with clay. The earliest forms showed up in the long Neolithic Jōmon period. Toward the end of that era, potters started shaping vessels with raised, flame-like rims that curled up and out. These weren't just functional pots—they had sculptural parts built into their rims, adding a visual punch. Around the same time, artists made small figures called dogū. These had odd, stylized bodies and big, hollow eyes that looked like snow goggles. No one knows for sure what they were used for, but most signs point to ritual use. They may have played a role in fertility rites, healing, or other spiritual ceremonies. The carvings on their bodies—curved lines and swirling patterns—suggest they had symbolic meaning.

When Japan moved into the Kofun period, from the 3rd to 6th century CE, sculpture took a new form. Terracotta figures known as haniwa became common. These were placed around burial mounds belonging to important people. Some looked like warriors, others like animals, houses, or tools. The style was flat and minimal, but the purpose was serious: to protect or serve the dead in the afterlife.

The Buddhist Shift: Sculpture in the 6th and 7th Centuries

Buddhism arrived in Japan in the 6th century. Along with it came a wave of new artistic ideas, many of them traveling through Korea from China. Buddhist sculpture introduced higher skill levels, better tools, and more complex techniques. Artists began working with bronze and carved wood instead of just clay.

One of the oldest and best-preserved examples of early Buddhist sculpture in Japan can be found at Hōryū-ji, a temple built in the 7th century. Inside, you'll find the Shaka Trinity, a bronze sculpture created in the year 623. It shows the historical Buddha standing between two bodhisattvas. Other statues at the temple include the Guardian Kings, each protecting a different direction of the temple. These works set the tone for religious sculpture in Japan for centuries to come.

Jōchō and the Rise of a Japanese Style

A major turning point came in the Heian period. Sculptor Jōchō changed everything. His approach was different. He used a method called yosegi zukuri, where different parts of a statue were carved from separate blocks of wood, then assembled into a complete figure. This method allowed for smoother shapes and softer faces.

Jōchō’s Buddha statues looked calm and balanced. The peaceful face and gentle pose gave the figures a sense of stillness. His style became the new standard and came to be known as Jōchō yō or the Jōchō style. This style would influence nearly every Buddhist statue made in Japan after him.

Because of Jōchō’s success, the role of the Buddhist sculptor—or busshi—gained serious respect. Before him, these artists worked in the background. After him, they held a place of honor in society and the arts.

Kamakura Period: Realism and Strength in Sculpture

During the Kamakura period, the power structure shifted. The Minamoto clan established a military government, and the samurai class took control. Art changed with the times. Sculptors began creating stronger, more lifelike statues. These pieces were meant to reflect the values of the warrior class—bravery, realism, and power.

Many of these works came from the Kei school. This group of sculptors continued Jōchō’s legacy but added new elements. Their work had sharp lines, active poses, and detailed expressions. Statues weren’t just decorative anymore. They felt alive.

Artists like Unkei, Kaikei, and Tankei stood out. They helped restore temples that had been destroyed in war. At Kōfuku-ji, for example, they replaced statues lost to fire. Their work from this time is some of the most refined and technically skilled in Japanese sculpture history.

Later Periods: Smaller Works and Decorative Art

After the 15th century, the demand for large-scale Buddhist sculpture dropped. Religion no longer held the same central role it once had. Instead of making huge statues, artists turned to smaller pieces and architectural detail. Much of the sculpture produced after this time was decorative, often carved directly into buildings or shrines.

Even though the size of the work got smaller, the skill involved went way up. Artists focused on inrō, small containers used with traditional clothing. They carved netsuke, small toggles used to fasten things. They also made tōsōgu, the metal fittings on samurai swords. These were tiny but rich in detail, often made from ivory, wood, or metal.

By the 19th century, Japanese sculptors were producing work for export. Small bronze pieces, ivory figurines, and porcelain sculptures were made to sell overseas. These objects showed off extreme craftsmanship, with sharp lines and careful finish. Many were made not for religious reasons but to impress collectors and buyers abroad.

The Story Behind Haniwa Figures

The Nihon Shoki, a historical record compiled in 720 CE, tells an old story about the origin of haniwa. According to this text, after the death of an empress, the emperor at the time regretted the cruel practice of burying servants alive alongside the dead. So instead, he ordered that clay figures be placed around burial mounds to take their place. These figures became known as haniwa.

But modern scholars question whether this story is true. Most believe that the first haniwa weren’t even shaped like people or animals. They started out as plain clay cylinders. These were likely used as simple posts to help hold the soil of the mound in place. Over time, though, artists began to decorate them. The designs changed. Cylinders turned into sculptures of animals, homes, weapons, and human figures. Many have been found arranged in rings around the tombs. This layout supports the idea that haniwa began as something practical before they gained spiritual or ritual meaning later on.

Buddhism Brings a New Chapter in Japanese Art

The shift away from native religious art didn’t come from within. It was sparked by the introduction of Buddhism in the mid-6th century. With this new religion came new styles, new goals, and skilled artists from China. These artists helped build temples and passed on their techniques to local craftsmen. This changed the course of Japanese sculpture.

The earliest known examples of Buddhist sculpture in Japan can be seen at Hōryū-ji in Nara. Built in the 7th century, this temple is one of the oldest wooden structures still standing today. It has a formal layout with a main hall, pagodas, bell tower, and covered walkways all arranged in a set pattern. Inside, it houses countless works of early Buddhist art that capture the feel of a distant era.

Asuka Period: Chinese Influence and the Tori School

Most of Japan’s earliest Buddhist treasures come from the Nara area. This region was the center of the Asuka period, an early phase of Buddhist art. Sculpture from this time clearly shows influence from the mainland, especially from China.

One key figure in this period was Tori Busshi. He followed the North Wei style of Chinese sculpture and helped create what would later be called the Tori school. His work stood out for its formal symmetry and spiritual intensity. Two major pieces from this time include the Shakyamuni Triad in the Golden Hall of Hōryū-ji and the Guze Kannon in the temple’s Yumedono Hall. Both reflect the rigid, stylized aesthetic of the Tori style, where the divine felt distant and still.

Hakuho Period: Softer Forms and Tang Influence

As the Asuka period ended, the Hakuho period began. Sculpture changed again. Now, instead of rigid postures and remote faces, figures started to look more human. The style took cues from China’s Tang dynasty, blending softness with subtle expression. The spiritual coldness of earlier works gave way to warmer, more lifelike images. The figures had narrow eyes, delicate features, and postures that hinted at motion. These changes made them feel closer to people, not just gods.

This shift marked a major moment in Japanese sculpture. The art found a middle ground between divine detachment and human emotion. It didn’t let go of the sacred but made it feel more familiar.

Notable sculptures from this period include the Sho Kannon at Yakushiji and the Yumatagae Kannon at Hōryū-ji. Both show round, full bodies under flowing robes. The curves and poses suggest a gentle, calm energy. These pieces also reflect traits seen in Gupta art from India, passed through the Tang influence before reaching Japan. The blend of Indian form, Chinese technique, and Japanese spirit shaped something unique.

Tenpyō Sculpture and the High Tang Influence

Between 710 and 793, Japanese sculptors absorbed the artistic style of China’s Tang dynasty. This sparked a new direction in Buddhist sculpture known as Tenpyō. Figures from this period looked more lifelike. They had fuller bodies, expressive faces, natural-looking robes, and emotional presence. One of the most ambitious projects from this time was the massive gilt-bronze statue of Vairocana Buddha at Tōdai-ji. Ordered by Emperor Shōmu and completed in 752, it was a huge national undertaking. The statue has been destroyed and rebuilt twice, but a small part of the original still exists.

Other standout works include the Asura statue at Kōfuku-ji. Made from dry lacquer, it shows fine emotional detail. The Four Guardian Kings at Kaidanin, a sub-temple of Tōdai-ji, were crafted in clay and display a sense of movement and protection. A government-run workshop called Zō Tōdai-ji shi handled most of the sculpture production for Tōdai-ji and other important temples. This was a large-scale operation, using various materials like dry lacquer, bronze, clay, terracotta, repoussé metal, stone, and silver. Most sculptors were laypeople who received official rank and pay. Some private workshops also made Buddhist icons, and even monks took up sculpture on their own.

The Capital Moves and Sculpture Shifts

When the imperial capital moved from Nara to Kyoto in 794, most of the major temples stayed behind. This political shift didn’t slow the evolution of sculpture, but it changed its path. Around the same time, new forms of esoteric Buddhism started to grow, introduced from Tang China. These new beliefs brought different images, styles, and methods. The government-run Zō Tōdai-ji shi factory shut down in 789, and the sculptors had to find new work. Many started creating statues under the patronage of established Nara temples, new esoteric Buddhist temples, or the Imperial Court. Others worked for wealthy private clients. Sculptors were often given temple clergy status, even if they weren’t monks. At this point, wood became the main material for statues.

Early Heian Period: Esoteric Power and Solid Form

The Heian period, which followed the Nara period, is split into two phases: early and later. The early Heian period ran from 794 to the mid-10th century. During this time, esoteric Buddhist art flourished. Key religious figures like Kūkai and Saichō, who traveled to China, brought back fresh ideas and styles. Sculptures from this period reflect that. Most figures were carved from a single block of wood. The bodies looked heavy and strong, with thick limbs and intense, serious expressions. Their stern faces and massive forms suited the secretive, ritual-heavy practices of esoteric Buddhism. Robes were carved with deep folds—some rounded, some sharply cut—to create visual rhythm. Among the esoteric images, huge statues of the wrathful deity Acala became especially common.

Later Heian Period: Refined Forms and the Rise of Amida Worship

By the mid-10th century, the style changed again. Court life in Kyoto had grown elegant, and that refinement began to show in sculpture. Calm, slender figures with softer features replaced the heavy styles of earlier years. Sculptors gave their statues gentler expressions and more balanced proportions. This shift was tied to the rise of Pure Land Buddhism, especially the worship of Amida Buddha. The monk Genshin helped popularize Amida devotion with his writings, especially the Ōjōyōshū. His ideas influenced many artists at the time.

The high point of this style is the Amida Buddha statue at Byōdō-in in Uji. It was carved by Jōchō, the most important sculptor of the period. His work set a new standard for Buddhist sculpture. He perfected the yosegi zukuri technique, which used multiple blocks of wood instead of one solid piece. This method allowed for more complex forms and made it easier for groups of artisans to work together in a studio. Jōchō’s workshop was so successful that his descendants carried on his legacy. One of his grandsons ran an atelier that worked closely with the Imperial Court in Kyoto. Disciples of Jōchō, such as those from the En school, also opened studios like the Sanjō Atelier in the capital, helping to keep his influence alive.

 

Kei School and the Rise of Realism in Buddhist Sculpture

The Kei school brought a fresh approach to Buddhist sculpture during the Kamakura period. Their style built on earlier traditions. They pulled from the solid realism of Tenpyō works from Nara and used the multi-block yosegi zukuri method perfected by Jōchō during the Heian period. What they created was something new: statues that looked and felt real. Faces showed tension and strength. Bodies were full, muscular, and lifelike. The way robes clung or moved told you how the figure stood or turned. The Kei school mastered physical detail and emotional depth. Their work matched the values of their time—clear, grounded, and powerful.

This style hit home with the samurai class, who had taken over as Japan’s ruling power in the Kamakura period. The warriors weren’t interested in the soft or the abstract. They wanted images that showed strength, resolve, and presence. The Kei school delivered exactly that. While materials like clay, dry lacquer, embossing, and terracotta were left behind, wood remained the main medium. Sometimes they used bronze, but wood was what brought their visions to life.

Where the Kei School Worked and Who They Served

Nara, the former capital, became the base for the Kei school. The sculptors worked mainly in its large temples. When wars in the late 1100s left many temples damaged or destroyed, both the Kamakura shogunate and the Kyoto court funded major rebuilding efforts. Temples were reconstructed, and statues were restored or replaced. The Kei school handled much of that work, filling old temple halls with new, powerful images.

Unkei and the Legacy of Kei School Masters

Unkei is the name most people associate with the Kei school. His sculptures stand out for their intensity. At Tōdai-ji, he carved the two towering Kongō-rikishi guardians—massive, fierce figures full of energy and muscle. At Kōfuku-ji, his statues of Indian monks look almost like real people caught in thought. His work was so influential that six of his sons also became sculptors. His eldest, Tankei, took over the studio and continued to lead the style. Another son, Kōshō, created a well-known statue of the monk Kuya. That statue shows the monk mid-step, with tiny Amida Buddhas emerging from his mouth to represent his chanting. It’s a rare mix of storytelling, motion, and craft.

Kaikei: A Different Style of Devotion

Kaikei, another major sculptor from this school, often worked alongside Unkei. But his sculptures had a different feel. Kaikei followed the Pure Land school of Buddhism and often made images of Amida Buddha. His figures were softer and more idealized. He focused on smooth finishes and rich decoration. Many of his statues were painted and gilded, giving them a refined look. He worked closely with the priest Chōgen during the rebuilding of Tōdai-ji. Over 40 of Kaikei’s statues are still around today, many signed by his own hand. His most famous work is the Amitabha Triad at Ono Jōdo-ji, completed in 1195.

Sanjūsangen-dō: One of the Greatest Sculptural Achievements

One of the most striking examples of Buddhist sculpture from this era is found at Sanjūsangen-dō in Kyoto. Inside, there are 1032 statues. The central figure is the Senju Kannon, or Thousand-Armed Kannon, surrounded by 1001 smaller versions of the same deity. Alongside them are 28 guardian figures, plus statues of the wind god Fūjin and the thunder god Raijin. Sculptors from the Kei, In, and En schools worked together on this massive project. The result is a deeply moving space full of detail, symmetry, and religious force. Every single statue in the hall has been named a National Treasure.

Community Support and the Kamakura Daibutsu

Kei school artists also worked for military rulers and their families. They carved Buddhist icons and portrait statues for them. One of the most famous sculptures from this time is the Great Buddha of Kamakura at Kōtoku-in. This huge bronze Amitabha figure was cast in 1252. What makes it stand out isn’t just its size. It was funded by people from every part of society, not just nobles or warlords. This kind of broad community support showed a shift. Ordinary people now had a stake in Buddhist art. They weren’t just followers—they were patrons, too. And that changed the future of religious sculpture in Japan.

 

Japanese Sculpture from the Late Medieval Period to Modernization

The Decline of Buddhist Sculpture and the Rise of Zen Aesthetics

As time moved into the later medieval period, Buddhist sculpture began to fade. Fewer pieces were made, and the overall quality dropped. Zen Buddhism, which had taken root by then, pushed back against religious imagery. It focused more on meditation and simplicity. Big statues of the Buddha no longer held the same place in worship. Meanwhile, large temples tied to older Buddhist sects fell into disrepair, especially during long stretches of civil war. With the country in chaos, many of these sacred sites were left abandoned.

Portrait Sculpture in Zen and the Growth of Noh Mask Carving

But even with less demand for traditional Buddhist imagery, sculpture didn’t disappear. Instead, it shifted in new directions. Zen temples began to commission lifelike portraits of their masters. These statues became their own genre and captured the quiet strength of Zen teachers.

At the same time, the art of mask carving for Noh theater flourished. From the 15th through the 17th century, Noh masks became more refined and expressive. Carvers brought deep emotion into small wooden faces, each one tailored to fit the mood and role of a performance.

Rebuilding Temples and the Return to Traditional Carving

Wartime damage forced the rebuilding of many temples. Sculptors were called again to recreate lost religious icons. Most of these replacements followed older styles. Artists worked with wood, adding gold leaf or paint. The carvings stayed conservative, keeping close to tradition.

Still, not every sculptor followed that path. A few Buddhist monks began carving in rough, bold ways. They didn’t paint or gild their statues. Instead, they left the raw wood exposed. Two key figures in this movement were Enkū, born in 1632, and Mokujiki, who lived until 1810. Both wandered across Japan, creating thousands of statues by hand. Their work was often direct, primitive, and deeply spiritual. Though overlooked at the time, their style earned new respect in the 20th century for its emotional power and simplicity.

Edo Period Sculpture: Townspeople Culture and Decorative Carving

During the Edo period, Japanese cities grew quickly. A strong townspeople culture took shape, and with it came a new wave of small-scale sculpture. This was when inrō and netsuke gained real popularity. These were personal accessories, often worn by men. Inrō were small containers, while netsuke were detailed toggles used to fasten them to a sash.

Netsuke carving became a true art form. Artists used wood and ivory to create small figures, mostly animals or mythical creatures. Because they were tiny, portable, and highly detailed, netsuke became collectibles, not just accessories. Their size and variety made them appealing, and collectors continue to value them today.

Another area where sculpture remained strong was in religious architecture. During this period, Shinto shrines built in the Gongen-zukuri style featured decorative carvings as part of their buildings. These sculpted details added texture and beauty to shrine design and continued to tie sculpture to Japan’s spiritual life.

Modern Shifts: The Fall of the Samurai and the Rise of Export Art

In the late 1800s, everything changed. The Tokugawa shogunate handed control of Japan back to the emperor. The samurai class was dissolved. Western clothes and customs spread fast. This hit traditional craftsmen hard. Makers of swords, armor, inrō, netsuke, kiseru pipes, and household furnishings lost their local market almost overnight.

But the new government stepped in. It supported these artisans by helping them shift from functional items to decorative sculptures for export. These new works were made for foreign buyers, mostly in the United States and Europe. Artists now focused on creating extremely detailed pieces using metal, ivory, and wood. They weren’t making tools or weapons anymore. They were making art.

From Decorative to Fine Art: The Meiji and Taishō Periods

As Japan entered the Meiji and Taishō eras, sculpture moved further away from religious use. It became more decorative, and eventually, it stepped fully into the realm of fine art. International exhibitions helped drive this shift. Japanese bronze sculptures received strong praise abroad. Audiences admired the fine metalwork, the detail, and the sense of precision.

Japanese metalworkers had long mastered the techniques used in sword-making. They now applied that skill to sculpture. By combining copper, silver, and gold, they developed special alloys like shakudō and shibuichi. These materials let them achieve a wide range of surface finishes and colors without using paint. The results looked rich, almost like full-color metal.

Western Influence and the Return of Large-Scale Sculpture

As Japan modernized, Western art forms began to spread. Artists were exposed to plaster casting, large outdoor statues, and the Paris-based idea of sculpture as high art. These influences helped push sculpture back into public view. State support returned. New schools taught Western methods. Large, heroic statues began to appear in cities. Sculpture once again became part of the Japanese art world, but in a new and global form.

 

Modern Japanese Sculpture: Separation of Faith, Avant-Garde Movements, and the Return to Native Roots

The 1868 Separation of Shinto and Buddhism

In 1868, Japan’s new government made a major move. It banned the long-standing blend of Shinto and Buddhism and forced the two religions apart. This shift was part of a larger plan to build a unified nation under the emperor, who held the top religious role in Shinto. As a result, Buddhist temples and Shinto shrines had to split. This caused confusion, tension, and in some cases, destruction.

Some Shinto priests, eager to support the new order, began tearing down Buddhist temples. Valuable Buddhist art and statues were lost. This wave of destruction continued until about 1874. During that time, many cultural treasures vanished. People like Okakura Tenshin fought hard to protect what was left. Their political efforts finally led the government to take a clear stance. It agreed to preserve Buddhist traditions. With that, the destruction slowed and then stopped.

Postwar Sculpture: Breaking from the West

After World War II, Japanese sculptors looked for a new direction. They turned away from the French styles of Rodin and Maillol, which had dominated before the war. Instead, they embraced modern, bold, and experimental sculpture. They worked with new materials, tested out unusual forms, and started building on a much larger scale.

This postwar movement brought in ideas from all over the world. Artists played with optical illusions, pop art styles, and high-tech materials. Many crossed disciplines, working not just as sculptors but also as painters or printmakers. Their work was less about tradition and more about invention.

The Mono-ha Movement and Material as Message

By the 1970s, sculpture shifted again. A group of artists came together under the name Mono-ha, or “School of Things.” They focused on natural materials—stone, wood, bamboo, and paper—and how those materials interacted with people and space. The point wasn’t the object itself but how it related to everything around it. Material became the message.

Mono-ha marked a clear break from the abstract, anti-formal trends of earlier decades. These artists looked to Japan’s own culture for guidance. They embraced a return to nature, to native concepts, and to Buddhist thinking. Many rejected Western ideas and instead drew strength from Japan’s own land and spiritual roots. The result was art that was deeply personal, clearly Japanese, and still part of the global art scene.

Outdoor Sculpture and Technological Influence

The late 1960s brought outdoor sculpture into the spotlight. It started with the Hakone Open-Air Museum in 1969. From there, cities across Japan began to support large-scale sculpture projects. Sculptures popped up in parks, city centers, and even inside modern buildings. Architects started planning buildings with sculpture in mind.

Since hard stone isn’t common in Japan, sculptors used other materials. Stainless steel, aluminum, and plastic became the main choices. Artists built mirror-like surfaces, sleek shapes, and massive geometric designs. Many also explored motion and light. They built sculptures with flexible arcs, integrated video, or created pieces that changed based on how you moved around them.

These modern works often reflected Buddhist views. Instead of fixed, permanent forms, they focused on change, flow, and open structure. Sculpture became something alive—meant to evolve, not just sit still.

Return to Nature and Rhythmic Motion in the 1980s

In the 1980s, natural materials made a strong comeback. Sculptors used wood and other organic elements and placed their works in quiet spaces like courtyards or indoor gardens. The connection between art and nature became even more central.

Japanese artists also developed a strong sense of rhythm in their work. They used repeating forms that suggested motion—not just movement across space but movement through time. This approach, sometimes called “systematic gestural motion,” helped define sculpture during this period.

Well-known figures like Kyubei Kiyomizu and Hidetoshi Nagasawa pushed this idea further. At the same time, younger artists such as Shigeo Toya began carrying it into new territory. Their work was deeply tied to physical experience, but also to memory, emotion, and space.

 

Masterpieces of Japanese Sculpture: National Treasures from Ancient Periods

Statues and Canopy Inside the Golden Hall at Chūson-ji

Inside the Konjikidō, or Golden Hall, at Chūson-ji in Hiraizumi, there are 32 wooden statues across three altars. Alongside them sits a separate seated figure of Amida Nyorai, though parts of its wooden halo base are now missing. Each altar is topped with a carved canopy, and these are included in the overall treasure listing. These statues were created between 1124 and 1187 during the late Heian period. The main Amida figure was sculpted from Japanese cypress, while katsura wood was used for the Jizō and Nitennō figures. Each sculpture was coated in lacquer and finished with gold leaf. The group includes three seated Amida Buddhas, three sets of attendant bodhisattvas—Kannon and Seishi—along with three pairs of Guardian Kings and eighteen statues of Jizō Bodhisattva. The figures range in height from 50 to 78 centimeters. All of them remain inside the Golden Hall today.

 

Yakushi Nyorai and Attendants at Shōjō-ji

This sculpture trio comes from the early Heian period, around 806 to 810 CE. At the center is Yakushi Nyorai, the Buddha of healing, seated and calm. Standing beside him are two bodhisattvas: Nikkō, the embodiment of sunlight, and Gakkō, representing moonlight. These statues were carved from zelkova wood and finished with lacquer covered in gold leaf, a method known as shippaku. The central figure stands just under 142 centimeters tall, while the flanking statues are taller, at roughly 169 and 174 centimeters. They are housed in Shōjō-ji, a temple in Yugawa, Fukushima.

 

Fugen Bosatsu on an Elephant at Okura Museum

Made in the first half of the 12th century, this wooden statue from the Heian period shows Fugen Bosatsu, also known as Samantabhadra, seated cross-legged on an elephant. His hands are joined in prayer in front of his chest. The statue is detailed with color and kirikane—fine gold foil cut into patterns. The full sculpture, including the elephant, stands at 140 centimeters, with the deity alone measuring just over 55 centimeters. Today, this work is preserved at the Okura Museum of Art in Tokyo.

 

Gigaku Masks at Tokyo National Museum

Among the oldest sculptural relics in Japan are the gigaku masks, used in ancient masked dances. These masks date back to the Asuka and Nara periods. There are 28 wooden masks and 3 made with dry lacquer. Nineteen of the wood masks were carved from camphor in the late 7th century, and nine were made from kiri wood. The dry lacquer examples likely come from the early 8th century. These are the earliest masks known in Japan, ranging in size from about 23 to 44 centimeters for the wooden ones, and between 26 and 28 centimeters for the dry lacquer versions. They are now held by the Tokyo National Museum.

 

Seated Shakyamuni at Jindai-ji

Known as the Hakuhō Buddha, this seated statue of Shakyamuni—the historical Buddha—was made around 700 CE during the Asuka period. It was cast in gilded bronze and measures a modest 60.6 centimeters high. The figure shows Shaka seated, calm and composed. This rare piece is preserved at Jindai-ji temple in Chōfu, Tokyo.

 

Great Buddha of Kamakura at Kōtoku-in

The Great Buddha of Kamakura is one of Japan’s most famous and largest outdoor statues. Cast in 1252 during the Kamakura period by Hisatomo Tanji and Ōno Gorōemon, this Amida Nyorai figure sits in full lotus position with hands resting in his lap, palms facing up. The statue is made from cast bronze and covered in gold leaf over lacquer. Now weathered green from oxidation, the surface shows its age but remains visually powerful. It stands 13.35 meters tall and weighs about 93 metric tons. It’s located outdoors at Kōtoku-in temple in Kamakura, Kanagawa.

 

Amida Nyorai, Fudō Myōō with Attendants, and Bishamonten at Ganjōju-in

These wooden statues, made in 1186 during the Kamakura period, are the work of Unkei, a leading sculptor of the time. The group includes a seated Amida Nyorai, a standing Bishamonten (the guardian of warriors), and Fudō Myōō accompanied by two attendants. Each was painted and carved in a bold, lifelike style typical of the Kamakura aesthetic. The set is housed at Ganjōju-in temple in Izunokuni, Shizuoka.

 

Eleven-Faced Kannon

Although the details of this sculpture are less specific in the record, the Eleven-Faced Kannon is a striking figure within Japanese Buddhist art. This version of the Goddess of Mercy is known for the small additional faces placed around her head, representing her ability to see in all directions and respond to all suffering. It is a standing figure, carved from wood, and follows the traditional format of bodhisattva statues in Japan. Its exact location and measurements weren't provided, but the eleven-faced form of Kannon remains one of the most iconic in Buddhist sculpture.

 

Standing Eleven-Faced Kannon at Kōgen-ji

This statue of Jūichimen Kannon, the eleven-faced form of the Goddess of Mercy, dates to the mid-9th century during the Heian period. Made of painted wood, the sculpture stands at 177.3 centimeters tall. It’s housed at Dōgan-ji Kannondō, part of Kōgen-ji in Takatsuki, Shiga. The figure shows Kannon upright and serene, with smaller faces placed above the main one, symbolizing her ability to see and respond to suffering in every direction.

 

Shinra Myōjin at Mii-dera

This seated statue of Shinra Myōjin, the protective deity of Mii-dera, was made in the 11th century, also during the Heian period. It’s crafted from wood and decorated with paint and kirikane, or cut-gold foil, applied for fine detailing. The sculpture is 78 centimeters high and remains inside the Shinra Zenshin Hall at Mii-dera in Ōtsu. The figure sits quietly, a guardian spirit carved with care.

 

Chishō Daishi (Enchin) at Mii-dera: Two Statues

Mii-dera holds two separate seated statues of Chishō Daishi, also known as Enchin, a key religious figure of the Heian period. One is referred to as Okotsu Daishi and dates to the 9th century. It stands 86.3 centimeters tall. The second, known as Chūson Daishi, was made in the 10th century and is slightly smaller at 84.3 centimeters. Both are carved from painted wood and are kept in the Tō-in Daishi Hall of Mii-dera in Ōtsu. The statues show Enchin seated in quiet meditation, his robes draped naturally over his body.

 

Seated Shakyamuni at Kaniman-ji

This early 8th-century sculpture, from the Asuka period, shows Shakyamuni Buddha seated in calm meditation. It’s made of gilt bronze and stands tall at 240.3 centimeters. The figure is kept in the main hall of Kaniman-ji, located in Kizugawa, Kyoto. It’s one of the earlier and larger bronze Buddhas in Japan, with a strong presence and simple clarity.

 

Eleven-Faced Kannon at Kannon-ji

Another statue of the Eleven-Faced Kannon, this one was made in the late 8th century during the Nara period. It was created using a wood-core dry lacquer method called mokushin kanshitsu, and it’s finished with gold leaf over lacquer. This standing figure is 172.7 centimeters high and is preserved in the main hall of Kannon-ji in Kyōtanabe, Kyoto. The detailed craftsmanship and material choice show the shift in technique at the time.

 

Five Wisdom Buddhas at Anshō-ji

These five seated Tathāgatas represent key figures in early Esoteric Buddhism. Carved between 851 and 859 during the Heian period, each Buddha is made of wood. The central Vairocana is the largest at 158.6 centimeters. The others—Akshobhya, Ratnasambhava, Amitābha, and Amoghasiddhi—range from about 106 to 110 centimeters. Originally enshrined on a mountain, the group now resides at Anshō-ji in Kyoto. Each figure sits in meditation, carved with a focus on spiritual depth.

 

Thousand-Armed Kannon at Sanjūsangen-dō

This massive collection of Kannon statues includes 1001 nearly identical wooden figures. Most were made during the Heian period, with 876 statues from that era, 124 from the Kamakura period, and one from the Muromachi period. Each statue stands between 165 and 168.5 centimeters tall and was finished with gold leaf over lacquer. Five of them feature crystal eyes. These figures line the long hall of Sanjūsangen-dō, part of Myōhō-in temple in Kyoto. The repetition and scale create a powerful visual impact, with each statue holding multiple arms to help all beings.

 

Fūjin and Raijin at Sanjūsangen-dō

These dynamic wooden sculptures of Fūjin, the Wind God, and Raijin, the Thunder God, were created in the mid-13th century during the Kamakura period. Fūjin stands at 111.5 centimeters while Raijin is slightly shorter at 100 centimeters. Both are made of painted wood and have crystal eyes. The sculpture of Fūjin shows him mid-motion, one leg bent as if climbing stairs, carrying a large sack-like object across his shoulders. These powerful figures are displayed at Sanjūsangen-dō, also in Kyoto.

 

Bonten and Taishakuten

While details are brief, these two figures represent major deities in Buddhist cosmology. Bonten is shown seated, and Taishakuten is sculpted in a half-lotus pose. Like others of their kind, they are likely made of colored wood, consistent with other sculptures from the Kamakura period. These two figures often appear as part of larger sets or altarpieces, and their presence speaks to the mix of Buddhist and traditional cosmology in Japanese temple sculpture.

 

Bonten and Taishakuten at Tō-ji Temple

Dating back to 839 during the Heian period, this set of wooden sculptures at Tō-ji’s Lecture Hall in Kyoto features two important Buddhist deities. Bonten is seated on a lotus platform held up by four geese, while Taishakuten sits in a half-lotus pose atop an elephant. The wood was once vividly painted, but much of the color has faded. Bonten measures about 101 centimeters in height, and Taishakuten stands slightly taller at 110 centimeters. These figures were crafted to reflect the authority and divine nature of Buddhist cosmology during this early stage of esoteric Buddhism in Japan.

 

Amida Nyorai and Attendants at Sanzen-in

This statue group was completed in 1148, near the end of the Heian period. Housed inside the Ōjō Gokuraku-in Amida Hall at Sanzen-in in Kyoto, the central figure is Amida Nyorai, seated and serene, flanked by Kannon and Seishi, also seated. The figures were carved from wood and finished in gold leaf over lacquer using the shippaku method. The Amida statue is large, standing over 233 centimeters tall. Kannon measures about 132 centimeters and Seishi just under 131 centimeters. The balanced layout and preserved color make this one of the more notable Pure Land-style sculptures from the era.

 

Amida Triad from Seiryō-ji

This triad, once the main image at Seika-ji, was carved in 896 and is now kept at Seiryō-ji in Kyoto. It follows the same layout: Amida Nyorai in the center, seated, with Kannon and Seishi beside him. All three are made of wood with gold leaf over lacquer. The central Amida is about 172 centimeters high, while the bodhisattvas measure slightly smaller, around 165 to 168 centimeters. The work reflects the gentle, harmonious expressions and proportion typical of the mid-Heian aesthetic.

 

Amida and Standing Attendants from Ninna-ji

Created in 888, this triad comes from Ninna-ji in Kyoto. Originally placed in the main hall, it is now kept in the temple’s treasure hall. Here, Amida Nyorai is again seated, but the two attendants—Kannon and Seishi—are shown standing. All three were made using the same method: wooden base with gold leaf over lacquer. The Amida figure is smaller than some others, at about 88 centimeters tall, while the attendants stand at about 123 centimeters. The standing posture of Kannon and Seishi gives the group a dynamic contrast.

 

Large Seated Amida at Hōkai-ji

At Hōkai-ji’s Amida Hall in Kyoto, a single large statue of Amida Nyorai sits as the focal point. This sculpture was made toward the end of the 11th century. Like many others from this period, it was carved from wood and finished with gold leaf and lacquer. The statue stands 280 centimeters tall, with a peaceful, towering presence. It captures the essence of Pure Land Buddhism during the Heian period—calm, sacred, and focused on rebirth in the Western Paradise.

 

Amida by Inkaku at Hōkongō-in

This statue, carved around 1130 during the later part of the Heian period, was made by the sculptor Inkaku. It shows Amida Nyorai in a seated pose and is kept at Hōkongō-in in Kyoto. The figure is plain wood without the lacquer and gold seen in other examples. Still, at 224 centimeters tall, it carries strong visual impact with its clean, precise lines and meditative posture.

 

Amida Statue at Kōryū-ji’s Lecture Hall

Dating back to 840, this wooden statue of Amida Nyorai sits in Kōryū-ji’s Lecture Hall in Kyoto. It was crafted using the shippaku technique with gold leaf over lacquer. The statue measures 263.6 centimeters tall. Its early Heian features include a soft expression, long proportions, and delicate hands. This piece bridges the early shift from rigid forms to more fluid, humanlike designs.

 

The Nine Amida Statues of Jōruri-ji

At Jōruri-ji’s main hall in Kizugawa, Kyoto, nine statues of Amida Nyorai line the space. Created around 1100, they represent the nine levels of rebirth into the Pure Land. The central figure is the tallest at about 224 centimeters, while the others range from roughly 139 to 145 centimeters. All are made from wood and coated in gold leaf over lacquer. This unique layout offers a visual representation of Buddhist cosmology and the spiritual hierarchy of the Pure Land.

 

Phoenix Hall Amida by Jōchō at Byōdō-in

The Amida statue inside the Phoenix Hall at Byōdō-in in Uji, Kyoto is one of the most important Buddhist sculptures in Japan. Made in 1053, it is the only surviving confirmed work by the master sculptor Jōchō. Crafted in wood and finished with gold leaf over lacquer, it reflects the perfected Jōchō style with a peaceful expression, refined body structure, and balanced proportions. The statue stands just under 284 centimeters tall. This work set the standard for Buddhist statuary for generations and remains the centerpiece of the Phoenix Hall.

 

Bosatsu on Clouds at Byōdō-in

At Phoenix Hall in Byōdō-in, Uji, Kyoto, 52 small wooden bodhisattvas hover above the walls. These figures, created in 1053 during the Heian period, are known as Bosatsu on Clouds. They were made to symbolize bodhisattvas descending from Amida’s Pure Land to guide souls after death. Each one is carved from wood, finished with gold leaf lacquer, and detailed with colored pigments and kirikane, a fine cut-gold foil. The figures range from about 40 to 87 centimeters tall. Though small, they’re full of motion and grace, with each one floating on its own carved cloud.

 

Tobatsu Bishamonten at Tō-ji

The Tobatsu Bishamonten statue dates back to the 9th century, during China’s Tang dynasty. It was once enshrined in Bishamon Hall at Tō-ji, Kyoto, and now rests in the temple’s Treasure Hall. This standing wooden figure of Bishamonten, a guardian deity, is nearly 190 centimeters tall. It was crafted with gold leaf over lacquer and decorated with color. Some of the fine details were formed from nerimono, a paste-like sculpting material. Despite its age, it still holds a strong, commanding presence.

 

Five Great Kokūzō Bosatsu at Jingo-ji

Inside the two-story pagoda at Jingo-ji in Kyoto, five nearly identical statues of Kokūzō Bosatsu sit in silence. These wooden sculptures were made in the 9th century, during the Heian period. Kokūzō, also known as Akasagarbha, represents boundless space and wisdom. Each figure is colored and carved in lotus position, with a ritual staff held in the left hand and the right palm turned upward near the stomach. The statues measure between 94 and 99 centimeters high. These figures are key examples of Buddhist sculpture made to promote meditation and inner reflection.

 

Four of the Five Great Bosatsu at Tō-ji

At Tō-ji’s Lecture Hall, a group of seated Bosatsu statues dating back to 839 stands as an important piece of religious sculpture. Only four of the original five are part of the national treasure listing, since the central figure was replaced later. The statues are carved from wood and arranged with one figure placed behind another. The figure in back performs the Vajra Mudra, a symbolic gesture with the right hand gripping the left index finger. The front statue rests both hands on its lap. Each stands at just over 96 centimeters.

 

Five Wisdom Kings at Tō-ji

Also in the Lecture Hall at Tō-ji are the Five Wisdom Kings, fierce guardian deities tied to esoteric Buddhism. These sculptures were made in 839 and carved from wood with colorful detail. The central figure, Acala, is seated, while the other four—Trilokavijaya, Kundali, Vajrayaksa, and Yamantaka—are shown standing or, in the case of Yamantaka, riding a bull. The statues range in height from about 143 to 201 centimeters. They are dramatic, powerful figures, meant to ward off evil and protect sacred teachings.

 

Seated Kūkai by Kōshō at Tō-ji

This statue of Kūkai, also known as Kōbō Daishi, was made in 1233 during the Kamakura period by the sculptor Kōshō. It’s a seated wooden figure, just under 70 centimeters tall, with inset crystal eyes that give it a realistic gaze. Kūkai, the founder of the Shingon school of Buddhism, is shown calm and meditative. The statue sits in the Miei Hall at Tō-ji in Kyoto and stands as one of the most lifelike portrayals of a Japanese spiritual leader.

 

Four Heavenly Kings at Jōruri-ji and Tō-ji

Two different sets of Four Heavenly Kings survive as national treasures. One set, made between the 11th and 12th centuries, stands at Jōruri-ji in Kyoto. These wooden statues are decorated with cut-gold foil and painted detail. They range in size from about 167 to 170 centimeters. Each king guards a different direction and wears armor, standing in a forceful pose.

The second set, dating to the year 839, is found in the Lecture Hall at Tō-ji. These are larger, ranging from 171 to nearly 198 centimeters. Though older, they show the same intense expressions and defensive posture that mark the Four Heavenly Kings as protectors of Buddhist law.

 

Shakyamuni at Seiryō-ji

This statue of the historical Buddha, Shakyamuni, was brought to Japan from China in 986 by the monk Chōnen. Originally created by the Chinese sculptors Zhang Yanjiao and Zhang Yanxi, the wooden statue follows the natural surface of the wood, without added paint. It also contains remarkable internal objects: silk models of organs, written documents, and a paper seal from Chōnen himself. It was repaired in 1218. Standing at 160 centimeters, this statue sits in the Main Hall at Seiryō-ji in Kyoto and offers a rare example of early Buddhist realism in Japan.

 

Eleven-faced Kannon at Rokuharamitsu-ji

In 951, during the Heian period, a towering wooden statue of Jūichimen Kannon—the eleven-faced form of the Goddess of Mercy—was carved. It now stands in the Main Hall of Rokuharamitsu-ji in Kyoto. This standing statue is over 2.5 meters tall. Each of the small faces around her head represents a different aspect of compassion. The figure’s size and quiet strength reflect the deep spiritual focus of the time.

 

Twelve Heavenly Generals at Kōryū-ji

Made in 1064 by the sculptor Chōsei, this group of twelve guardian figures stands in the Treasure House of Kōryū-ji in Kyoto. The statues are around 115 to 123 centimeters tall. Each general is carved in a dynamic pose, painted in bold colors, and given its own expression. They were designed to protect Yakushi Nyorai, the Buddha of healing, and to ward off illness and misfortune.

 

Thousand-Armed Kannon at Sanjūsangen-dō

One of the most striking images in all of Japanese sculpture is the Thousand-Armed Kannon at Sanjūsangen-dō in Kyoto. Created between 1251 and 1254 by the sculptor Tankei, this massive seated statue is over 3.3 meters tall. The wooden body is painted and coated in gold leaf lacquer, and the eyes are made from crystal. Around her body, hundreds of arms radiate in a circle, each holding different objects like bells or staffs. One set of hands is clasped in prayer. The figure sits on a lotus-shaped platform and serves as the temple’s principal image.

 

Thousand-Armed Kannon at Hosshō-ji

Another version of the Thousand-Armed Kannon was made earlier, around 934, and stands at Hosshō-ji in Kyoto. This statue is smaller, about 110 centimeters, and carved from wood. Though the paint has faded with time, its quiet presence remains. Like other Kannon figures, it’s meant to represent boundless compassion and the ability to respond to every cry for help.

 

 

Thousand-Armed Kannon at Kōryū-ji

Standing over 2.6 meters tall, the Thousand-Armed Kannon at Kōryū-ji is one of the most impressive examples of early Heian Buddhist sculpture. Carved from wood and once brightly painted, this statue now shows signs of fading over time. It was completed before the year 873 and placed in the temple’s Lecture Hall, known as Kō-dō. The figure stands with calm authority, its numerous arms symbolizing infinite compassion and the power to help all beings. Even in its weathered state, the scale and presence of the statue remain striking.

 

Hachiman as a Monk and Two Attendant Goddesses at Tō-ji

This trio of wooden figures comes from the 9th century, carved during the Heian period. At the center is Hachiman, a Shinto deity often linked with war and protection, shown here seated as a Buddhist monk. Flanking him are two seated goddesses, also in calm postures. These statues are built using a wood-core dry lacquer technique, known in Japanese as mokushin kanshitsu. Some parts are painted, while others were gilded. Each figure is about 110 centimeters tall and kept at Tō-ji temple in Kyoto. The blending of Buddhist and Shinto imagery in these statues reflects a unique moment in Japan's religious history.

 

Canopy at Phoenix Hall, Byōdō-in

Although it's not a statue, the canopy at Byōdō-in’s Phoenix Hall is a key part of Japan’s sculptural heritage. Made in 1053 during the Heian period, this wooden canopy was crafted to hang above a central figure, likely a Buddha. While it doesn’t have a measured height listed, the canopy plays a big role in setting the sacred atmosphere inside the hall. It shows the importance of detailed wooden decoration in religious spaces and is one of the best surviving examples of its type.

 

Twenty-Eight Attendants at Sanjūsangen-dō

Carved in the mid-13th century during the Kamakura period, the twenty-eight attendants at Sanjūsangen-dō are each full-body wooden sculptures, richly detailed. These figures are part of the larger iconography surrounding the Thousand-Armed Kannon. Each statue stands between 153 and 170 centimeters tall. Their eyes are made of crystal, and the surfaces were decorated with color and kirikane—cut gold foil designs. Every attendant has a distinct appearance and role. One of the most well-known carries a hand drum and has a halo around his head. These statues stand along the corridor of Myōhō-in’s Sanjūsangen-dō in Kyoto and show the realism and emotion favored during the Kamakura period.

 

Bishamonten, Kichijōten, and Zennishi Dōji at Kurama-dera

Created in 1127, these standing statues from the Heian period show Bishamonten, the god of warriors and wealth, alongside his wife, Kichijōten, and her son, Zennishi Dōji. Carved from wood and left with a natural finish, the largest figure, Bishamonten, stands nearly 176 centimeters tall. Each statue shows careful attention to posture and detail without added paint or gold, letting the form and surface of the wood speak for itself. They are housed in the main hall at Kurama-dera, a temple north of Kyoto.

 

Fukū Kensaku Kannon at Kōryū-ji

This towering figure of Fukū Kensaku Kannon, carved around the year 800, was originally placed in the Lecture Hall of Kōryū-ji. It now resides in the temple’s Treasure House. The statue stands at a height of over 3.1 meters, making it one of the tallest from the Heian period. It features four pairs of arms, each positioned differently. Two hands are placed together in prayer at chest level, while others hold symbolic objects like flowers, a flute-shaped tool, a necklace, and long-handled weapons. A large halo circles the back of the statue’s head, emphasizing its spiritual power. The wood was once colored, but most of the pigment has faded with time. Even so, the scale and symmetry of the sculpture give it a powerful presence.

 

Fudō Myōō and Canopy

Though specific details for this piece are limited, Fudō Myōō—or Acala—is a major figure in Japanese Buddhist art. Usually shown seated with a fierce expression, Fudō is known as a protector and destroyer of illusions. This particular statue is accompanied by a wooden canopy, made in the same tradition as others from the Heian period. The use of canopies above such figures points to the importance of ritual space and visual hierarchy in temple interiors. The exact location and dimensions aren't listed, but both the statue and canopy reflect typical features of esoteric Buddhist sculpture from the time.

 

Seated Acala and Canopy at Tō-ji

This wooden sculpture of Acala, or Fudō Myōō, dates back to the second half of the 9th century, during the Heian period. The figure sits with a fierce expression, meant to ward off evil, and is paired with a matching wooden canopy. The statue stands 123 centimeters tall and is housed in the Miei Hall at Tō-ji Temple in Kyoto.

 

Nyoirin Kannon in Half-Lotus at Gantoku-ji

Sculpted during the Jōgan era of the 9th century, this figure shows Nyoirin Kannon sitting in a half-lotus pose. The wooden statue has been left with its natural surface exposed, showing no added paint or color. It measures just over 88 centimeters tall and sits in the main hall of Gantoku-ji, also in Kyoto.

 

Miroku Bosatsu at Kōryū-ji (Treasure House)

This early statue of Miroku Bosatsu comes from the Asuka period in the 7th century and is believed to have been imported from Korea. It’s made of Japanese red pine with layers of gold leaf over lacquer. The bodhisattva sits in a half-lotus position with his right hand raised near his face, suggesting deep thought. It stands 84.2 centimeters tall and is now kept in the Treasure House at Kōryū-ji in Kyoto.

 

Weeping Miroku at Kōryū-ji

Another Miroku Bosatsu sculpture from the Asuka period, likely created around 700 CE, this one is often called the “Weeping Miroku.” It has a similar contemplative pose and sits in the same half-lotus position. Made from camphorwood and finished with gold leaf over lacquer, it stands 66.4 centimeters tall and is stored alongside the other at Kōryū-ji’s Treasure House in Kyoto.

 

Yakushi Nyorai and Two Attendants at Daigo-ji

Created in 913 during the Heian period, this sculpture set once stood in Daigo-ji’s Yakushi Hall. It features a seated Yakushi Nyorai, the Buddha of medicine, flanked by Nikkō Bosatsu and Gakkō Bosatsu, who represent sunlight and moonlight. The figures are made from Japanese cypress and finished with lacquer and gold leaf. The central Yakushi statue stands at 176.5 centimeters. These sculptures are now kept in the temple’s Treasure House in Kyoto.

 

Kokūzō Bosatsu (Akasagarbha) at Daigo-ji

Also known as Shō Kannon, this standing statue of Kokūzō Bosatsu was carved in the early 9th century. It’s known for the detailed design of its flowing celestial robes. The statue is painted wood and stands 51.5 centimeters tall. It’s located at Daigo-ji in Kyoto.

 

Small Yakushi Nyorai at Ninna-ji

Made in 1103 by sculptors Ensei and Chōen, this small seated statue of Yakushi Nyorai stands just 10.7 centimeters tall. Though small, it’s richly detailed. Behind the Buddha is a halo with images of the Seven Buddhas of healing. On the pedestal below sit the Twelve Heavenly Generals, protectors of the faith. The statue is made from sandalwood and finished with natural wood texture and gold foil inlay. It’s preserved in the Reimeiden Hall at Ninna-ji in Kyoto.

 

Standing Yakushi Nyorai at Jingo-ji

This statue dates to the late 8th century, near the start of the Heian period. It was the central image at Jingan-ji, a temple that later became Jingo-ji. The statue stands upright at nearly 170 centimeters tall. It's made of wood and has a natural finish with no extra color or gold leaf. It now stands in the main hall of Jingo-ji in Kyoto.

 

Six Kannon and Jizō at Daihōon-ji

Carved in 1224 during the Kamakura period by the sculptor Higo Jōkei, this set includes six standing statues of Kannon in different forms, along with a standing Jizō Bosatsu. It’s the only surviving complete group of six Kannon statues in Japan. The Jizō figure is about 163 centimeters tall, while the others range between 95 and 182 centimeters. The entire group is made from painted wood and is located at Daihōon-ji in Kyoto.

 

Thousand-Armed Kannon at Fujii-dera

This statue from the Nara period was made in the middle of the 8th century. It depicts the Thousand-Armed Kannon, with a total of 1041 arms. Two arms are placed in front with the palms facing each other. Behind the body are 38 large arms and 1001 smaller ones, all arranged to show the deity's power and reach. Made from dry lacquer and coated with gold leaf, the statue sits at 131.3 centimeters tall. It's housed in the main hall of Fujii-dera in Osaka.

 

Eleven-Faced Kannon

This standing figure of the Eleven-Faced Kannon, or Jūichimen Kannon, follows a long tradition in Japanese Buddhist sculpture. Each of the smaller faces represents a different level of awareness, allowing the deity to see and respond to all suffering in the world. Though full details aren’t listed, the statue fits into a larger group of Heian and Kamakura period wooden Kannon figures. Like the others, it's likely preserved in Kyoto.

 

Standing Eleven-Faced Kannon at Dōmyō-ji

Dating to the early 9th century in the Heian period, this statue of Jūichimen Kannon stands just under one meter tall. Carved from wood and left with its natural surface, the sculpture features a serene face, long earlobes, and several smaller faces arranged atop the head. This specific style reflects Kannon’s ability to see and respond to suffering in every direction. The statue is kept at the main hall of Dōmyō-ji in Fujiidera, Osaka.

 

Seated Nyoirin Kannon at Kanshin-ji

This sculpture, carved around 840 CE, is one of Japan’s three most important depictions of Nyoirin Kannon, a bodhisattva of wish fulfillment. Called San Nyoirin, these masterpieces are known for their refined beauty and posture. This seated figure is carved from wood, painted in natural colors, and shows a graceful pose with one leg pulled up. The right knee is raised, and the right foot crosses above the left leg. The statue has six arms, with one hand raised to the ear and another holding a jewel. A third carries a small wheel, while another presents a flower. This carefully arranged image stands 108.8 centimeters tall and is housed at the Golden Hall of Kanshin-ji in Kawachinagano, Osaka.

 

Dainichi Nyorai with Fudō Myōō and Trailokyavijaya at Kongō-ji

This trio of statues spans both the Heian and early Kamakura periods. The central figure, Dainichi Nyorai, was sculpted around 1180 and reaches a height of over 3 meters. The companion statues—Fudō Myōō and Trailokyavijaya—were completed later, with the Fudō image dated to 1234 and credited to Gyōkai, a follower of Kaikei. All three are made of colored wood and present a powerful image of cosmic and wrathful deities. They are displayed at Kongō-ji in Kawachinagano, Osaka.

 

Seated Yakushi Nyorai at Shishikutsu-ji

This seated figure of Yakushi Nyorai, the Buddha of medicine and healing, dates back to around 900 CE in the Heian period. The statue is carved from wood and retains a bare, natural surface. Standing at just under 93 centimeters, it offers a simple and calm presence. It remains in the main hall of Shishikutsu-ji in Katano, Osaka.

 

Amida Nyorai with Two Standing Attendants at Jōdo-ji

One of the tallest surviving sets of Buddhist sculptures in Japan, this Kamakura-period work was created in 1195. The central figure is a standing Amida Nyorai that towers at 5.3 meters. Two attendants, each standing nearly 3.7 meters tall, flank the main deity. All three statues were sculpted from wood and coated in lacquer with gold foil pressed over the surface, a technique called shippaku. They have halos with radiating lines, and the central figure’s hand gestures follow the classic mudra style—one palm facing down toward the viewer and the other turned upward. These statues are displayed in the Amida Hall at Jōdo-ji in Ono, Hyōgo.

 

Bonten and Taishakuten at Tōdai-ji

Created in the 8th century during the Nara period, these two towering dry lacquer statues stand in the Hokke-dō of Tōdai-ji in Nara. Bonten stands over four meters tall, while Taishakuten reaches nearly 3.8 meters. They were made using dakkatsu kanshitsu zukuri, a hollow dry lacquer technique that allows large but lightweight forms. The surfaces are painted in rich colors, and both figures display detailed ornamentation that reflects their divine status in Buddhist cosmology.

 

Yakushi Nyorai and Bodhisattvas at Tōshōdai-ji

This group of wooden sculptures from the Nara period includes multiple standing deities. The central Yakushi Nyorai figure stands at 164 centimeters. Surrounding him are Shuhō-ō Bosatsu, Shishiku Bosatsu, Daijizaiō Bosatsu, and two Guardian Kings—Jikoku-ten and Zōjō-ten. Heights range from around 130 to 173 centimeters. These statues reflect the transition from early Japanese sculptural styles toward more refined and symbolic representations. Each is preserved at Tōshōdai-ji in Nara.

 

Seated Portrait of Priest Ganjin at Tōshōdai-ji

Though details are minimal in this record, one of Japan’s most historically significant sculptures is the seated dry lacquer portrait of Priest Ganjin (Jianzhen). This life-like figure captures the Tang Chinese monk who helped formalize Buddhist monastic systems in Japan. The statue was made in the 8th century using the kanshitsu method and is kept at Tōshōdai-ji in Nara, where Ganjin founded the temple.

 

Seated Ganjin at Tōshōdai-ji

This life-like sculpture of Ganjin, the Chinese monk who introduced formal Buddhist ordination to Japan, was made in 763 during the Nara period. It’s crafted from hollow dry lacquer, painted in natural tones. Ganjin is shown seated, calm and alert. The statue stands just over 80 centimeters tall and is kept in the Founder’s Hall at Tōshōdai-ji in Nara.

 

Kongōrikishi (Niō) Guardians at Hokke-dō, Tōdai-ji

A powerful pair of guardian statues stands in the Hokke-dō at Tōdai-ji, also from the Nara period. Known as Kongōrikishi or Niō, these two figures are Agyō and Ungyō—fierce protectors posed in armor. Carved from hollow dry lacquer and decorated with colored details and gold leaf over lacquer, they measure 326 and 306 centimeters. Their intense expressions and muscular stances were meant to guard the temple and ward off evil. Another famous pair of similar figures stands at Tōdai-ji’s Great South Gate.

 

Seated Priest Gyōshin at Hōryū-ji

Gyōshin, founder of the Hall of Dreams, is honored with a seated statue made from dry lacquer. It was created in the second half of the 8th century. The figure is nearly 90 centimeters high and represents the monk in a thoughtful seated pose. This statue is located inside the Hall of Dreams at Hōryū-ji, a historic temple in Ikaruga, Nara.

 

Four Heavenly Kings at Hokke-dō

The Four Heavenly Kings, or Shitennō, were sculpted from hollow dry lacquer in the 8th century. These guardian deities—Jikoku-ten, Zōjō-ten, Kōmoku-ten, and Tamon-ten—are each portrayed standing, armed, and armored. Their heights range from 300 to over 315 centimeters. Each figure is painted and shaped in dynamic poses, symbolizing their role as defenders of Buddhist law. These statues are preserved at Hokke-dō in Tōdai-ji.

 

The Ten Principal Disciples at Kōfuku-ji

Originally, ten dry lacquer statues of Buddha’s disciples stood inside the Western Golden Hall at Kōfuku-ji, surrounding a central Shaka Nyorai. Made in 734 during the Nara period, only six survive today. The figures are Furuna, Mokuren, Sharihotsu, Kasennen, Ragora, and Shubodai. Each stands roughly 146 to 155 centimeters tall. They are shown in standing poses, each captured with unique facial expressions and gestures, reflecting their individual identities and roles within the Buddhist tradition.

 

Eight Legions at Kōfuku-ji

Among the most famous sets of Nara period sculpture is the group called the Eight Legions. Made in 734 and carved in hollow dry lacquer, these figures represent celestial beings who protect the Buddha and his teachings. The most iconic is Ashura, known for having three faces and six arms arranged in a balanced, symmetrical design. One figure, Gobujō, is damaged, with only the upper body remaining. Others in the group include Kinnara, Shakara, Hibakara, Kubanda, Kendatsuba, and Garuda. The figures range in height from under 50 centimeters to over 160. This group is housed at Kōfuku-ji in Nara.

 

Fukū Kensaku Kannon at Tōdai-ji

This towering sculpture of the bodhisattva Fukū Kensaku Kannon dates to the 8th century and stands more than 3.6 meters tall. It’s made of hollow dry lacquer and finished with gold leaf over lacquer. The figure wears a tall crown with a small carved image and radiates calm. The elongated earlobes and finely detailed garments reflect the high skill of Nara period craftsmanship. It is displayed in Hokke-dō at Tōdai-ji.

 

Seated Yakushi Nyorai at Hōryū-ji

Yakushi Nyorai, the Buddha of healing, sits in meditation inside the West Octagonal Hall at Hōryū-ji. This large sculpture from the 8th century is made using hollow dry lacquer and coated with gold leaf over lacquer. It stands at 244.5 centimeters. This is one of three National Treasure Yakushi Nyorai statues preserved at Hōryū-ji, the others found in the temple’s Main Hall and the Large Lecture Hall.

 

Rushana Buddha

Although limited details are given here, the Rushana Buddha, also from the Nara period, is one of the grandest representations of Vairocana, the cosmic Buddha. Typically seated in a meditative posture, this figure embodies the spiritual center of the Buddhist universe. Crafted with the same dry lacquer technique used throughout the Nara period, the Rushana Buddha would have shared the same stylistic features of realism, symmetry, and sacred presence.

 

Rushana Buddha at Tōshōdai-ji

One of the most striking Buddhist sculptures from the 8th century is the seated Rushana Buddha at Tōshōdai-ji in Nara. This massive figure stands just over 3 meters tall and was made using a hollow dry lacquer method known as dakkatsu kanshitsu zukuri. After shaping the form, artists covered it in lacquer and applied gold leaf on top. The surface still holds its layered shine, and the figure carries a calm, imposing presence. Today, it remains inside the temple's main hall, the Kon-dō.

 

Nikkō and Gakkō Bosatsu at Tōdai-ji’s Hokke-dō

Inside the Hokke-dō, a hall within Tōdai-ji, stand two nearly identical figures of bodhisattvas: Nikkō, representing sunlight, and Gakkō, tied to moonlight. Both were made in the 8th century during the Nara period, standing slightly over 2 meters tall. These statues were shaped with colored clay and decorated with cut-gold foil, a method known as kirikane. The fine detail and height of the figures show the high level of craftsmanship that defined the period.

 

Four Heavenly Kings at Tōdai-ji’s Kaidan Hall

Also inside Tōdai-ji, but in the Kaidan-dō, or Kaidan Hall, are four powerful clay statues representing the Four Heavenly Kings. These guardians—Jikoku-ten, Zōjō-ten, Kōmoku-ten, and Tamon-ten—each stand between 160 and 165 centimeters tall. They wear armor and carry different weapons, sculpted with strong expressions and stylized hair. Tamon-ten in particular is captured mid-movement, frowning slightly with raised eyebrows and narrowed eyes. These kings are meant to guard the four directions and show the temple’s deep connection to Buddhist cosmic order.

 

Shukongōshin at Tōdai-ji

The statue of Shukongōshin, also in Hokke-dō at Tōdai-ji, was built during the mid-8th century. It stands at about 174 centimeters and was made from painted clay. The figure has a fierce look, with sharp eyes and tightly drawn brows. He wears full armor and grips a club-like weapon in one hand. Known for his power and strength, Shukongōshin is said to have protected the monk Rōben, as mentioned in the Nihon Ryōiki, a text from the period.

 

Twelve Heavenly Generals at Shin-Yakushi-ji

The Twelve Heavenly Generals are a rare and important set of early Buddhist sculptures. Eleven of them survive and are placed in a circle around Yakushi Nyorai, the Buddha of healing, inside the main hall of Shin-Yakushi-ji in Nara. These clay figures were sculpted between 729 and 749 CE. Each one stands around 1.6 meters tall, though their heights vary slightly. Every general has a unique face and pose, and each one wears a small animal of the Chinese zodiac on top of the head. These statues are the oldest known surviving set of this group in Japan. The missing figure, Haira, was created later and is not included in the official treasure list.

 

Scenes from the Life of the Buddha in Hōryū-ji’s Five-Story Pagoda

In Hōryū-ji’s five-story pagoda, there are four sculpted scenes facing each of the cardinal directions. These groups tell parts of the Buddha’s life story and date back to the year 711, during the Nara period. Each set is made from colored clay with layers of lacquer and gold leaf, a method called shippaku. Altogether, the scenes include 78 statues and two sacred objects. The southern side shows Miroku Bosatsu leaning against an elephant. The eastern face features Monju Bosatsu and Yuimakoji, each seated, with 14 attendants around them. On the north side is a large scene of the Dying Buddha, Shaka Nyorai, surrounded by 31 mourners. The western panel holds a golden coffin and reliquary with 29 attendants. The figures vary in size, with Miroku at 81 centimeters tall, Shaka at 98 centimeters, and others between 25 and 52 centimeters. All of them remain inside the pagoda today.

 

Seated Statue of Priest Dōsen in the Hall of Dreams

This life-sized sculpture of Priest Dōsen, created around 873 during the Heian period, is made from painted clay. The priest is seated in calm meditation, with simple robes and a grounded presence. The figure stands at just over 88 centimeters high. You can find it in the Hall of Dreams, or Yumedono, at Hōryū-ji in Nara.

 

Oldest Clay Miroku Bosatsu Statue at Taima-dera

At Taima-dera in Nara, there’s a seated Miroku Bosatsu figure from the second half of the 7th century. This is the oldest known Miroku statue made of clay in Japan. It’s large, over two meters tall, and finished with gold leaf and lacquer. This Asuka-period sculpture shows Miroku seated in quiet thought, radiating a gentle and serene presence.

 

Miniature Shrine with Amida Nyorai and Attendants

This small Buddhist altar set, made for personal devotion, was dedicated by Lady Tachibana in the late 7th century. The shrine includes a seated Amida Nyorai in the center, flanked by standing figures of Kannon and Seishi. The figures are cast in gilded bronze, and the wooden shrine behind them is painted in oil-based colors. Amida is just over 33 centimeters tall, while the two attendants stand at 27 centimeters each. This compact sacred set is now preserved in the Treasure House at Hōryū-ji in Nara.

 

Tall Standing Kannon Statue at Yakushi-ji

This early 8th-century sculpture of Kannon Bosatsu stands almost 189 centimeters tall. Made of gilded bronze during the Asuka period, it reflects a strong Indian influence, particularly from the Gupta style. The figure stands upright with subtle grace. It’s kept in Tōin-dō, a hall at Yakushi-ji temple in Nara.

 

Dream-Changing Kannon at Hōryū-ji

Known as the Yumechigai Kannon, this statue got its name from the belief that it could turn bad dreams into good ones. It was once the main figure in the Tōin Eden hall and is one of four National Treasure standing Kannon Bosatsu statues at Hōryū-ji. Two others are in the Great Treasure Gallery, and the fourth is inside the Hall of Dreams. This figure stands 87 centimeters tall and is made of gilded bronze. It shows Kannon standing upright, left hand raised and holding a small object shaped like a vase.

 

Shakyamuni and Attendants by Tori Busshi

One of the most respected early Buddhist sculptures in Japan is the seated Shakyamuni (Shaka Nyorai) with two attendants, made by the sculptor Tori Busshi in 623. This bronze trio is displayed in the main hall at Hōryū-ji. The central figure of Shaka is just over 86 centimeters tall, seated cross-legged with his right palm raised forward. The two attendants each stand beside him with matching gestures. All three have halos behind their heads. The piece is said to have been modeled after Prince Shōtoku.

 

Wooden Canopies from Hōryū-ji’s Kon-dō

Three wooden canopies, carved and painted, hang from the ceiling of Hōryū-ji’s main hall. The central and eastern canopies are from the late 7th century. The western one, made by sculptor Kōshō, was added in 1233 during the Kamakura period. Each canopy is box-shaped and large in scale. The western canopy measures roughly 163 by 308 by 281 centimeters. The central one is the biggest, reaching over 342 centimeters wide. These architectural pieces were used to cover sacred statues below, adding beauty and symbolism.

 

Shakyamuni at Birth and Ritual Basin

The Tanjō Shaka Butsu, or “Shaka at Birth,” is a bronze standing figure of the Buddha as a newborn. This image is usually linked with ritual bathing ceremonies held on Buddha’s birthday. The statue is displayed together with a bronze kanbutsuban, a basin used during this ceremony. Both pieces are examples of early religious ritual objects in Japanese Buddhism.

 

Standing Shakyamuni at Birth at Tōdai-ji

This sculpture from the second half of the 8th century represents Shaka Nyorai, or the historical Buddha, at birth. He stands inside an ablution basin, a form used during rituals. The figure is made of gilded bronze and stands at 47.5 centimeters, while the basin has a wide diameter of 89.4 centimeters. It’s preserved in the Kōkei-dō Hall at Tōdai-ji in Nara. Though small, the statue captures an important spiritual moment and remains one of the most recognized early examples of bronze Buddhist art in Japan.

 

Buddha Head from Yamada-dera at Kōfuku-ji

Dating back to 668 during the Asuka period, this Buddha head was once part of a full statue that stood in the Lecture Hall of Yamada-dera. Now housed in the National Treasure House at Kōfuku-ji in Nara, the head is cast in gilded bronze and stands at 98.3 centimeters. The features are bold and distinct—long ears, narrow slit eyes, thick lips, and a wide nose. These stylistic details reflect the early influence of continental Asian aesthetics on Japanese sculpture.

 

Yakushi Nyorai and Attendants at Yakushi-ji

This gilded bronze sculpture set, created around 718 during the Nara period, features the seated healing Buddha Yakushi Nyorai flanked by Nikkō and Gakkō, the bodhisattvas of sunlight and moonlight. All three figures are large. The central Buddha sits over 2.5 meters tall, while the flanking figures rise above 3 meters. What makes this set stand out is the massive pedestal, standing 150 centimeters high, that blends artistic elements from several cultures: grapevines from Greece, lotus flowers from the Middle East, crouching figures from India, and mythical beasts from China. Interestingly, the central Yakushi does not carry a medicine jar, which is unusual. All three figures are backed by halos, each decorated with smaller seated Buddhas. The entire set is located in the Kon-dō, or Main Hall, of Yakushi-ji in Nara.

 

Seated Yakushi Nyorai at Hōryū-ji

This smaller figure, made in 607 during the Asuka period, is one of three important Yakushi Nyorai statues at Hōryū-ji. It was cast in gilded bronze and measures 63 centimeters tall. The statue sits inside the temple’s Main Hall and reflects the early phase of Buddhist sculpture in Japan. The other two Yakushi statues at Hōryū-ji are kept in the West Octagonal Hall and the Large Lecture Hall.

 

Rushana Buddha at Tōdai-ji: The Great Buddha of Nara

The Rushana Buddha at Tōdai-ji is not just large—it’s the biggest gilt bronze statue in the world. Completed in 752 during the Nara period, this seated Buddha is almost 15 meters tall and sits inside the Great Hall of Tōdai-ji, which itself is the world’s largest wooden structure. The statue has gone through repairs over time. Its head was recast during the Edo period, and the hands were added in the Momoyama period. The folds of his robe are deeply carved, and a large halo behind his head holds rows of smaller seated Buddhas. His right hand faces forward in a gesture of reassurance. This colossal image is a national symbol and one of the most visited religious statues in Japan.

 

Miroku Bosatsu at Hokke-dō

This early Heian period statue represents Miroku Bosatsu, or the future Buddha. It’s made of wood and is much smaller than most others on this list, standing at just 39 centimeters. Despite its size, it’s a well-preserved example of wooden sculpture from the early Heian period. The figure is kept at Hokke-dō, a sub-temple of Tōdai-ji in Nara.

 

Twelve Heavenly Generals at Kōfuku-ji

Carved in the 11th century, this set of figures from the Heian period is made up of twelve standing deities known as the Twelve Heavenly Generals. Each figure was carved in relief onto wooden tablets, then painted and decorated with fine gold foil using a technique called kirikane. Their heights range between 88 and 100 centimeters. These guardians are now preserved in the National Treasure House at Kōfuku-ji in Nara. The Twelve Generals often appear in Yakushi iconography, representing protection and healing power.

 

Seated Portrait of Priest Gien at Oka-dera

This seated statue shows Gien, the founder of Oka-dera. It dates to the 8th century during the Nara period. The sculpture was made using a technique that combines a wooden core with dry lacquer and painted color. The statue is 93 centimeters tall and is kept at Oka-dera temple in Asuka, Nara. Portrait statues like this were rare and reflect the deep respect held for certain historical religious figures.

 

Four Heavenly Kings at Kōfuku-ji

At Kōfuku-ji temple in Nara, there are four full sets of the Four Heavenly Kings, all designated as National Treasures. One notable set was made in 791 during the Nara period. These statues were crafted using a method called wood-core dry lacquer, which involves shaping the figure over a wooden base and coating it with layers of lacquer and cloth. Each statue is painted in vibrant color. The four deities stand upright in commanding poses: Jikoku-ten stands at 138.2 centimeters, Zōjō-ten at 136.0, Kōmoku-ten at 139.1, and Tamon-ten at 134.5. All are preserved inside the North Octagonal Hall at Kōfuku-ji in Nara.

 

Monju Bosatsu and Attendants at Abe Monju-in

Created in 1203 during the Kamakura period, this massive sculpture of Monju Bosatsu riding a lion is the largest known of its kind in Japan. Sculpted by Kaikei, the statue is flanked by four attendants. The main figure stands at 198 centimeters and rides a detailed lion. Zenzai Dōji, one of the child attendants, stands at 134.7 centimeters. The tallest figure, Utennō, reaches an impressive 268.7 centimeters. The group also includes Butsudahari Sanzō, who stands at 187.2 centimeters. These wooden figures are painted in bright colors and are located at Abe Monju-in temple in Sakurai, Nara.

 

Eleven-Faced Kannon at Shōrin-ji

This towering sculpture of the Eleven-Faced Kannon dates to the second half of the 8th century, during the Nara period. Made using the wood-core dry lacquer technique, the figure was finished with gold leaf over layers of lacquer, a method known as shippaku. The statue stands tall at 209.1 centimeters. It is housed inside the Daibiden Hall at Shōrin-ji in Sakurai, Nara. The multiple faces represent the bodhisattva’s ability to perceive all forms of suffering in every direction.

 

Thousand-Armed Kannon at Tōshōdai-ji

This is one of the most remarkable examples of Nara-period sculpture. The Thousand-Armed Kannon stands at a height of 535.7 centimeters, making it a true giant. Built in the second half of the 8th century, it was made using the same wood-core dry lacquer method and finished in gold leaf over lacquer. Though not all the thousand arms are literal, the figure has multiple extended limbs to symbolize infinite compassion and power. The statue is located in the Kon-dō (Main Hall) of Tōshōdai-ji in Nara.

 

Yakushi Nyorai at Tōshōdai-ji

Another treasure inside Tōshōdai-ji’s Main Hall is the statue of Yakushi Nyorai, the Buddha of healing. This piece dates from the early Heian period, between 796 and 815 CE. Also built using wood-core dry lacquer and finished with gold over lacquer, this standing figure rises to 369.7 centimeters. It radiates calm and strength, standing as a symbol of restoration and protection.

 

Hachiman, Empress Jingū, and Nakatsuhime at Yakushi-ji

These are the oldest known statues of their kind in Japan, dating from between 889 and 898 during the Heian period. Made of painted wood, the three seated figures are small but deeply important. Hachiman, represented in the form of a Buddhist monk, is 38.8 centimeters tall. Empress Jingū measures 33.9 centimeters, and Nakatsuhime stands at 36.8 centimeters. They are located at Chinju Hachimangu, the guardian shrine of Yakushi-ji in Nara.

 

Tentōki and Ryūtōki at Kōfuku-ji

These two unusual statues from the Kamakura period were made around 1215 to 1216. Tentōki and Ryūtōki are mythical figures that appear only in Japan. Both were carved from wood and painted, with crystal used for the eyes to give a lifelike appearance. Tentōki, sculpted by Kōben, holds a lantern on his shoulder. Ryūtōki, also attributed to Kōben, balances a lantern on his head. Tentōki measures 77.9 centimeters, and Ryūtōki is just slightly shorter at 77.3. Both are kept at Kōfuku-ji in Nara and were created as offerings to the Historical Buddha.

 

Muchaku and Seshin at Kōfuku-ji

Unkei, one of Japan’s most skilled Kamakura-period sculptors, created these two figures between 1208 and 1212. Muchaku and Seshin are both standing bodhisattvas, carved from wood and painted in color, with crystal eyes that give them an intense presence. Muchaku stands at 193.0 centimeters and Seshin at 190.9. These statues are housed in the North Octagonal Hall of Kōfuku-ji, Nara, and are among the most powerful examples of realism in Japanese sculpture.

 

Bonten and Taishakuten at Tōshōdai-ji

Standing tall inside the Kon-dō hall at Tōshōdai-ji in Nara are two powerful figures from Buddhist cosmology: Bonten and Taishakuten. These statues were carved in the second half of the 8th century during the Nara period. Both are made from colored wood and represent standing postures. Bonten stands at 186.2 centimeters and Taishakuten is slightly taller at 188.8 centimeters. They reflect the spiritual and artistic tone of early Buddhist imagery in Japan, showing the influence of ancient Indian deities reinterpreted through Japanese craftsmanship.

 

Yuima by Jōkei and Kōen at Kōfuku-ji

The statue of Yuima Koji, or Vimalakirti, sits in the Eastern Golden Hall at Kōfuku-ji in Nara. This figure was carved by the sculptor Jōkei in 1196 over the course of 56 days, and then painted by the artist Kōen in 50 more. Made from colored wood using the yosegi method, the sculpture includes crystal eyes for added realism. Yuima is shown seated, with one arm resting on his leg and the other raised slightly. The whole figure measures 88.6 centimeters and presents a calm but expressive presence. This work is a rare example of individuality and lifelike posture in Kamakura-period Buddhist art.

 

Nine-Faced Kannon at Hōryū-ji

Hōryū-ji holds some of Japan’s most treasured Buddhist statues, including one of the few known Nine-Faced Kannon figures. This version of the Goddess of Mercy was crafted in the 7th century during the Tang dynasty influence and carved from sandalwood. It remains unpainted, keeping its natural wood surface intact. The statue stands 37.6 centimeters tall and shows a standing posture with her left arm bent forward. On top of her head are several small faces looking in different directions, symbolizing her ability to see all suffering in the world. It is preserved in the Great Treasure Gallery at Hōryū-ji in Ikaruga, Nara.

 

Kudara Kannon at Hōryū-ji

Another standout piece in Hōryū-ji’s Great Treasure Gallery is the Kudara Kannon. This statue dates to the mid-7th century and is part of the same group of Kannon Bosatsu statues. It was made from colored wood and rises to a height of 209.4 centimeters. The figure is tall and slender, with a delicate presence. She holds a vase between two fingers of her left hand while her right palm faces upward. A halo on a pole stands behind her head. Some scholars believe Korean artisans may have had a hand in its creation, which would explain its unique style and form.

 

Guze Kannon in the Hall of Dream

Among the most important religious sculptures in Japan is the Guze Kannon, housed in the Hall of Dreams at Hōryū-ji. This is the oldest surviving wooden statue in Japan, made around the year 620 during the Asuka period. It was carved from a single block of camphor wood and finished with gold foil using the hakuoshi technique. The figure is 178.8 centimeters tall and wears flowing robes while holding a small vessel close to the body. A large circular halo frames the statue’s head, emphasizing its sacred nature. The simplicity and age of the piece make it a rare and powerful work of religious art.

 

Tamayorihime at Yoshino Mikumari Shrine

This seated statue of Tamayorihime no Mikoto was sculpted in 1251, likely by an artist from the Kei school. It was made with the yosegi-zukuri method and has crystal eyes that add lifelike depth. The figure measures 83 centimeters and shows a calm, dignified female deity. Her face is painted with eyebrows, lips, and clothing details. With long hair flowing down, she presents a serene and graceful expression. The statue is located at Yoshino Mikumari Shrine in Nara, a rare example of Shinto representation in wooden form.

 

Kongōrikishi (Niō) Guardians

The Kongōrikishi, also known as Niō, are fierce temple guardians often found standing at the entrance of Buddhist temples. Though not all details were provided in the record, these statues are typically carved from wood and represent muscular, intimidating figures meant to ward off evil spirits. They are known for their dramatic expressions and physical tension. These statues reflect the bold, physical realism that came into Japanese sculpture during the Kamakura period. Most are housed at temple gates where they protect the sacred space within.

 

Niō Guardians at Kōfuku-ji’s Treasure House

This pair of Niō statues was crafted in 1288 during the Kamakura period. Each figure stands over 1.5 meters tall, carved from wood and finished with vibrant color and crystal inlaid eyes. Agyō, with his mouth open, represents vocal power. Ungyō, with his mouth shut, stands for inner strength. They were placed together to guard sacred grounds, their fierce expressions meant to scare away evil. These two protectors now stand at the National Treasure House at Kōfuku-ji in Nara.

 

Niō Guardians by Kaikei and Unkei at Tōdai-ji

Another famous pair of Niō statues stands at the massive Nandaimon gate of Tōdai-ji. These were carved in 1203 by two of Japan’s top Kamakura sculptors, Kaikei and Unkei. Each figure is enormous, over 8 meters tall, made of painted wood. Agyō is shown holding a weapon in his right hand, with his left palm open toward the viewer. Ungyō stands with one arm raised and another lowered, holding his own weapon. Both wear sculpted armor and beaded necklaces. They were placed to protect the temple's main gate and still watch over it today.

 

Four Heavenly Kings at Hōryū-ji’s Kon-dō

Dating back to around 650 during the Asuka period, this early group of the Four Heavenly Kings was created using colored wood and gold foil cut into intricate shapes, a method called kirikane. These kings were made to guard the four directions and were placed in the main hall at Hōryū-ji in Nara. Each one stands around 133 to 135 centimeters tall. The detailed carving and vibrant surface give them a strong but graceful look, fitting for divine protectors.

 

Four Heavenly Kings at Tōshōdai-ji

This Nara-period version of the Four Heavenly Kings was made in the late 8th century. These wooden figures are much larger, standing between 185 and 188 centimeters tall. Each one was painted and carved with precision, capturing a bold and powerful presence. They’re housed in the Kon-dō hall at Tōshōdai-ji in Nara, where they continue to guard the sacred space.

 

Four Heavenly Kings from the South Octagonal Hall at Kōfuku-ji

Made during the Kamakura period, this set of Four Heavenly Kings originally came from the South Octagonal Hall, though they’ve also been displayed in the Central Golden Hall. These statues were crafted with colored wood and decorated with cut-gold foil. They stand tall, ranging from about 198 to 204 centimeters. Each statue shows fierce detail in the face, armor, and posture, reflecting the era’s focus on realism and forceful energy.

 

Heian Period Four Heavenly Kings at Kōfuku-ji

This earlier set of kings was carved in the 9th century during the Heian period. Each statue was made from a single block of wood, then finished with paint and kirikane. They’re slightly shorter than the Kamakura versions, standing between 153 and 164 centimeters. Though less intense in appearance, these figures show the graceful, composed style that defined Heian sculpture. They’re kept in the Eastern Golden Hall at Kōfuku-ji.

 

Kamakura Four Heavenly Kings by Kōkei

This version, attributed to the sculptor Kōkei, was made in 1189. The four kings were carved from wood and painted in vivid colors. These statues are quite large, standing close to or just over 2 meters. They’re displayed in the South Octagonal Hall at Kōfuku-ji and stand out for their strong presence and detailed armor. Kōkei’s work helped set the tone for later Kamakura sculpture, combining realism with dramatic form.

 

Shakyamuni and Two Attendants at Hōryū-ji

This seated trio dates to the Heian period, between 925 and 931. The main figure, Shaka Nyorai (the historical Buddha), is carved from a single cherry tree and finished in lacquer and gold leaf. He sits in the middle at nearly 228 centimeters tall, with two smaller seated attendants beside him, each about 154 centimeters. This group is stored in the Inner Sanctuary at Hōryū-ji in Ikaruga. The expressions are calm, the lines clean, reflecting the refined style of the time.

 

Shakyamuni (Shaka Nyorai)

Though details are sparse, this figure of Shakyamuni stands alone as another example of how the Buddha was represented in Japanese wood sculpture. These statues, whether in groups or solo, follow the same focus on quiet dignity, balance, and symbolic hand gestures, often showing deep inner calm.

 

Seated Shaka Nyorai at Miroku Hall, Murō-ji

At the Miroku Hall in Murō-ji, located in Uda, Nara, sits a calm and balanced statue of Shaka Nyorai, or the historical Buddha. This piece was carved toward the end of the 8th century during the Heian period. It’s made from painted wood and measures just over 105 centimeters in height. The statue’s posture and face reflect the quiet serenity typical of early Heian Buddhist art. Though modest in size, the craftsmanship reveals the spiritual depth of the era.

 

Standing Shaka Nyorai at Kon-dō, Murō-ji

Also at Murō-ji, inside the main hall known as Kon-dō, stands a much larger depiction of Shaka Nyorai. This statue, completed toward the end of the 9th century, is made of colored wood and rises to nearly 238 centimeters. It shows the Buddha in a standing position, commanding attention with a steady, forward-facing stance. The size and presence of this sculpture reflect how Buddhist icons grew larger and more formal during this part of the Heian period.

 

Standing Eleven-Faced Kannon at Kon-dō, Murō-ji

In the same Kon-dō hall, there’s another significant sculpture from the late 9th century: a standing Eleven-Faced Kannon, or Jūichimen Kannon. This wooden statue, also painted, stands at about 195 centimeters tall. It shows the Goddess of Mercy with an array of small faces on her crown, each one representing a different aspect of her compassion. The form and detail reflect the rich symbolic layers found in Buddhist imagery of the time.

 

Eleven-Faced Kannon at Hokke-ji

Another version of the Eleven-Faced Kannon can be found in the main hall of Hokke-ji in Nara. This one dates from the first half of the 9th century. It is smaller, standing at 100 centimeters, and carved from natural wood without color. The surface has been left bare, letting the grain and texture show through. The figure stands upright and displays the stacked smaller faces on top of the head. Its quiet, unpainted look creates a very different kind of presence—more raw, more grounded.

 

Seated Yuima at Hokke-ji

Still at Hokke-ji, there is a statue of Yuima, or Vimalakīrti, a lay figure known for his deep wisdom. This statue, from the second half of the 8th century during the Nara period, was once thought to be made using dry lacquer. But later X-ray research confirmed it was carved from wood and painted. The figure is seated cross-legged, arms raised slightly, as if mid-conversation. It’s about 91 centimeters tall and reflects the scholarly, almost human personality often given to Yuima in Buddhist tradition.

 

Twelve Heavenly Generals at Kōfuku-ji

In Kōfuku-ji’s Eastern Golden Hall, twelve statues stand together—each one representing one of the Twelve Heavenly Generals who protect the Yakushi Buddha. This group was completed in 1207, during the Kamakura period. The sculptures are made from wood and decorated with color and kirikane, a style of cut-gold foil detailing. Each general stands between 113 and 126 centimeters tall. What’s unique about this set is that tradition says each one was carved by a different sculptor. They all show bold poses, detailed armor, and expressive faces, showing the energy and realism that defined Kamakura sculpture. Arms are bent, hands posed with intention, and each statue shows slight variations in stance and attitude, yet they remain a cohesive group.

 

Seated Statue of Priest Shunjō at Tōdai-ji

This sculpture shows the priest Chōgen, also known as Shunjō, sitting in quiet dignity. It dates to around 1206, during the Kamakura period, and is made of hinoki wood painted in natural colors. Some say it may have been crafted by either Unkei or Kaikei, two of the most respected sculptors of the time. The figure is calm, grounded, and lifelike, standing at just over 81 centimeters. Today, it remains in the Shunjō Hall at Tōdai-ji in Nara.

 

Prince Shōtoku with Four Attendants at Hōryū-ji

Created in 1121 during the Heian period, this wood sculpture shows Prince Shōtoku seated, surrounded by four smaller figures. They include his younger brother Eguri, his first son Yamashiro, the priest Eji, and another attendant named Somaro. All are seated, dressed in detailed robes with subtle gold foil work known as kirikane. The main figure, Prince Shōtoku, stands just over 84 centimeters. The entire group is preserved at Shōryō-in, a hall within Hōryū-ji in Ikaruga, Nara.

 

Thousand-Armed Kannon at Kōfuku-ji

Standing over five meters tall, this towering sculpture of the Thousand-Armed Kannon was made around 1220 by an artist from the Kei school. It’s carved from hinoki wood, finished with lacquer and gold leaf, and features crystal inlaid eyes. It once stood in the Refectory of the temple but now resides in the National Treasure House at Kōfuku-ji in Nara. The figure shows Kannon in a standing pose, its many arms symbolizing infinite compassion and the power to help all beings.

 

Seated Hachiman in Monk Form at Tōdai-ji

This unique statue, carved by Kaikei in 1201, shows Hachiman—a Shinto god—sitting calmly in the form of a Buddhist monk. The blending of religious traditions is clear in the robes, posture, and overall design. Carved from colored hinoki wood, the figure stands at 87 centimeters. It’s stored in the Hachiman Hall of Tōdai-ji in Nara.

 

Dainichi Nyorai by Unkei at Enjō-ji

Made in 1176, this seated statue of Dainichi Nyorai was created by Unkei, one of the greatest sculptors in Japan’s history. The work uses wood finished with gold leaf over lacquer, along with crystal eyes that give the statue a lifelike presence. It sits just under a meter tall and is housed in the Tahōtō Hall at Enjō-ji temple in Nara.

 

Standing Jizō Bosatsu at Hōryū-ji

This 9th-century sculpture from the Heian period shows Jizō Bosatsu standing tall and serene. It’s carved entirely from wood and reaches a height of nearly 173 centimeters. The statue is kept in the Great Treasure Gallery at Hōryū-ji in Ikaruga, Nara.

 

Bishamonten and Kichijōten at Hōryū-ji

These two statues, made in 1078 during the Heian period, are displayed in the Kon-dō of Hōryū-ji. Both are carved from wood and decorated with cut-gold foil. Bishamonten, the god of war and protector of Buddhist law, stands at just over 123 centimeters. Kichijōten, the goddess of good fortune, stands slightly shorter at 116 centimeters. Together, they represent strength and blessing.

 

Fukū Kensaku Kannon at Kōfuku-ji

This powerful standing sculpture was made in 1189 by the sculptor Kōkei. The deity is known as Fukū Kensaku Kannon and symbolizes boundless mercy. The statue is carved from wood, finished with gold leaf over lacquer, and stands an imposing 3.4 meters tall. It’s located in the South Octagonal Hall at Kōfuku-ji in Nara.

 

Monju Bosatsu at Kōfuku-ji

Created in 1196 by a sculptor of the Kokei school, this seated figure of Monju Bosatsu sits cross-legged with arms resting on his legs. It’s made from hinoki wood using the yosegi technique, where multiple wood blocks are joined together. Painted with gold and inlaid with crystal eyes, the statue is nearly 94 centimeters tall. A top knot holds a sacred casket above his head. The figure sits in the Eastern Golden Hall at Kōfuku-ji.

 

Half-Lotus Bodhisattva (Nyoirin Kannon) at Chūgū-ji

This statue was long thought to be Nyoirin Kannon, and though that identification was later corrected, it remains a vital piece of early Japanese sculpture. It comes from the late 7th century, during the Asuka period, and is carved from camphorwood. The figure sits in a half-lotus pose, with one leg resting on the opposite thigh and one elbow resting on the knee, hand near the cheek. Two top knots crown the head, and a halo frames the figure from behind. It’s displayed in the Main Hall at Chūgū-ji in Ikaruga, Nara.

 

Six Patriarchs of the Hossō Sect at Kōfuku-ji

These six seated statues, made between 1188 and 1189 by Kōkei, honor the early leaders of the Hossō sect of Buddhism. Each monk is carved from colored hinoki wood with crystal eyes, sitting in a calm, grounded pose. Heights range from about 73 to 85 centimeters. The figures include Jōtō, Shinei, Zenshu, Genbō, Genpin, and Gyōga. This set is preserved in the South Octagonal Hall at Kōfuku-ji in Nara.

 

Miroku Bosatsu by Unkei at Kōfuku-ji

This seated wooden statue of Miroku Bosatsu was carved in 1212 by the famous Kamakura sculptor Unkei. It was crafted using lacquered wood finished with gold leaf, known as shippaku. The figure is 141.5 centimeters tall and sits inside the North Octagonal Hall of Kōfuku-ji in Nara. Miroku, the future Buddha, is shown calm and balanced, typical of Unkei’s clear and powerful style from the Kamakura period.

 

Large Yakushi Nyorai with Attendants at Hōryū-ji

Made in the late 10th century, this large Heian-period sculpture set shows Yakushi Nyorai, the healing Buddha, sitting with two flanking attendants: Nikkō Bosatsu and Gakkō Bosatsu. The central figure stands at an impressive 247.2 centimeters tall, while both bodhisattvas are 172.1 centimeters each. Carved from a single hinoki tree and finished with gold leaf over lacquer, this set represents some of the most refined Buddhist craftsmanship of the period. All three statues are seated and housed in the Lecture Hall at Hōryū-ji in Ikaruga, Nara.

 

Yakushi Nyorai at Nara National Museum

This smaller seated statue of Yakushi Nyorai comes from the 9th century, during the Heian period. It was carved from a single piece of Japanese nutmeg wood and painted in color. At just under 50 centimeters tall, it’s one of the more modest-sized figures. Today, it sits inside the Nara National Museum, preserved as a fine example of early Buddhist sculpture in wood.

 

Yakushi Nyorai at Shin-Yakushi-ji

Dating to the end of the 8th century, this seated statue of Yakushi Nyorai stands at 191.5 centimeters. It was carved from Japanese nutmeg-yew wood in a single block, and the surface has been left in its natural state, without any colored lacquer. This untreated wood finish, called kiji, reflects a more direct and raw approach to Buddhist sculpture. The statue is kept in the main hall of Shin-Yakushi-ji in Nara.

 

Standing Yakushi Nyorai at Gangō-ji

This early 9th-century statue presents Yakushi Nyorai in a standing position, unlike most other examples which are seated. Carved from a single piece of Japanese nutmeg wood and left in its natural state, the figure measures 164.8 centimeters in height. The piece reflects early Heian carving traditions and remains inside the main hall of Gangō-ji, another important temple in Nara.

 

Priest Rōben at Tōdai-ji

Sculpted near the end of the 9th century, this wooden statue of Priest Rōben sits at just over 92 centimeters high. Made from colored hinoki wood and carved from a single tree, it shows the founder of Tōdai-ji in a calm, seated pose. It captures a high level of realism, hinting at the stylistic changes that would come in the Kamakura period. The statue is placed in the Founder’s Hall at Tōdai-ji in Nara.

 

Priest Eison by Zenshun at Saidai-ji

This 88-centimeter statue of Eison, the founder of the Shingon Risshū school of Buddhism, was created in 1280 by the sculptor Zenshun. Made from wood, the statue shows Eison seated in a simple, humble pose. The designation also includes relics and items that are enshrined with him. The work is kept at Saidai-ji, also located in Nara.

 

Shinto Deities of Kumano: Hayatama, Fusumi, Ketsumiko, and Kunitokotachi

Although specific details are limited in the record, this group of wooden statues represents important deities from the Kumano region. Hayatama, Fusumi, Ketsumiko, and Kunitokotachi are all Shinto kami, tied to Japan’s native belief system. These figures reflect the blending of Buddhism and Shinto seen throughout Japanese religious art. They are sculpted in seated forms and crafted from wood, likely in the same tradition as other religious icons of the time. Their preserved state offers a rare look at early representations of Shinto gods in sculpture.

 

Seated Shintō Deities at Kumano Hayatama Taisha

Dating back to the early Heian period in the 9th century, these four seated Shintō figures represent Hayatama, Fusumi, Ketsumiko, and Kunitokotachi. Each was carved from wood and then painted. The statues vary in size, with Hayatama being the tallest at just over 101 centimeters. Fusumi measures about 98 centimeters, Ketsumiko around 81, and Kunitokotachi just over 80 centimeters. All four are preserved at Kumano Hayatama Taisha, a significant shrine located in Shingū, Wakayama.

 

Miniature Buddhist Shrine from the Tang Dynasty

This small but meaningful piece came from China during the Tang dynasty and was brought to Japan by Kūkai, the monk who founded Shingon Buddhism. Made from sandalwood with a plain, unpainted surface, the miniature shrine features multiple Buddhist figures carved in fine detail. Standing only 23.1 centimeters tall, it’s a compact but historically important work. The shrine is housed in Reihōkan, a museum associated with Kongōbu-ji on Mount Kōya in Wakayama.

 

Thousand-Armed Kannon with Two Bodhisattvas at Dōjō-ji

Created in the second half of the 9th century, this Heian-period sculpture group shows Kannon, the Bodhisattva of compassion, with a thousand arms. She stands flanked by two other bodhisattvas, believed to be Nikkō and Gakkō, representing the light of the sun and moon. All three were carved from a single piece of wood and finished with gold leaf over lacquer. Kannon stands nearly 3 meters tall at 294 centimeters, while the two companions are each just over 241 centimeters. These towering figures are kept in the Hōbutsuden at Dōjō-ji in Hidakagawa, Wakayama.

 

Eight Attendants of Fudō Myōō at Kongōbu-ji

This powerful set of statues includes six figures that are officially recognized as National Treasures. Created in 1197 during the Kamakura period by the renowned sculptor Unkei, the figures represent the Eight Attendants of Fudō Myōō. The six recognized statues are Ekō, Eki, Ukubaga, Shōjō Biku, Kongara, and Seitaka. Each was carved from Japanese cypress and colored, with realistic touches like crystal inlaid eyes. The sizes range from about 95 to 103 centimeters tall. Two more statues in the group, Anokuda and Shitoku, were added in the 14th century and are not part of the original Kamakura-period set. These figures are now in the Reihōkan museum, also part of Kongōbu-ji on Mount Kōya.

 

Miroku Bosatsu at Jison-in

This sculpture of Miroku Bosatsu, a future Buddha who is believed to bring salvation in a future age, was made in 892 during the Heian period. Carved from a single block of colored hinoki wood, the statue is seated in a traditional meditative posture. It stands at 91 centimeters tall and remains at Jison-in temple in Kudoyama, Wakayama.

 

Usuki Stone Buddhas in Ōita

Unlike most of Japan’s historic sculptures, the Usuki Stone Buddhas were carved directly into rock. These are the only stone sculptures in the country officially recognized as National Treasures. The carvings were made between the late Heian and early Kamakura periods. There are 59 statues in total, grouped into four main sections: the Furuzono group with 13 figures, the Sannō group with 3, and two sections of the Hōki group with 25 and 18 statues, respectively. Their sizes vary greatly, from just under 27 centimeters to a massive 280 centimeters. These stone-carved figures remain in place at Usuki in Ōita Prefecture, where they continue to draw attention for their scale and craftsmanship.