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A technique used to make the main part of a wooden statue out of two or more pieces of wood . The advantages of this technique are: 1. It provides an efficient use of sometimes scarce materials. 2. Inside of the statue can be hollowed easily and efficiently from the joints (see *uchiguri 内刳). 3. Each piece of wood can be carved by different sculptors, facilitating mass production. There are five basic ways to combine blocks of wood *kiyosehou 木寄法. Techniques such as *warihagi 割矧, *warikubi 割首, and *gyokugan 玉眼 are often used for the statues that employ the yoseki-zukuri technique. Examples of this technique date from as early as the 7c, such as, Bosatsu Hanka Shiyuizou 菩薩半跏思惟像 at Chuuguuji 中宮寺 in Nara. However the development of yoseki-zukuri started in the late 10c., and the sculptor Jouchou 定朝 (?-1057) made extensive and sophisticated use of this technique up to the 11c. Amida Nyoraizou 阿弥陀如来像 (1053) at Byoudouin *Hououdou 平等院鳳凰堂 in Kyoto, is his representative work. The main part of this statue was made out of four long pieces of wood, each of which formed a quarter of the head and body, and they were joined together at the neck axis. The blocks at the back had been divided at the nape and were joined together *warikubi 割首 after the inside of the head was sufficiently hollowed. Since the late 11c, as greater numbers of temples and Buddhist statues began to be made, this technique was frequently adopted, especially when large-scale statues were made in Kyoto and other developed regions. In less developed provinces, however, large-scale statues were often made by ichiboku-zukuri, even in the 11c and 12c. Life-size or smaller statues had been made by either yoseki-zukuri, ichiboku-zukuri, or warihagi irrespective of where they were made. Gradually, however, yoseki-zukuri became the prevailing method in any size.
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