emon　衣文

KEY WORD :　art history / sculptures

Folds in a garment, or the pattern made by these folds. In Buddhist statues, the style of drapery folds changed with each period; they are thus very useful in dating works. In cast-metal statues the drapery folds are expressed with engraved lines. In clay, lacquer, and wooden statues, it was possible to achieve greater depth and variety. In the Asuka period, drapery folds were expressed in abstract, angular designs. An example is the bronze Shaka sanzonzou 釈迦三尊像 (late 7c) in Houryuuji *Kondou 法隆寺金堂, Nara, made by Tori Busshi 止利仏師. In the early Heian period, the predominant style was *honpashiki emon 翻波式衣文, where a wide fold and a narrow, pointed fold alternated down the fabric. A good example is the Juuichimen Kannonzou 十一面観音像 (mid-9c) in Hokkeji 法華寺, Nara. When narrow folds were carved in close succession, this was known as *renpashiki emon 漣波式衣文, seen on the Shakazou 釈迦像 (late 9c) in Murouji Kondou 室生寺金堂, Nara. In the late Heian period, wide, shallow folds arranged in parallel lines created a gentle effect. This is typified in the work of the 11c sculptor Jouchou 定朝, who made the Amida Nyoraizou 阿弥陀如来像 (1053) in Byoudouin *Hououdou 平等院鳳凰堂, Kyoto. The Kamakura period saw a style that presented more realistic drapery effects, as well as expressive, irregular patterns influenced by Sung China.

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