Hakuho Sculpture: Its Development as Viewed in the Context of the Chronology of Roof-tile Motifs

In attempting to sort out the myriad conflicting influences at work in the sculpture of the Hakuho period, the patterned eaves-end tiles excavated from practically all ancient Japanese temple sites provide instructive parallels. The lotus motifs on these roof-tiles frequently reveal distinct similarities to the lotus pedestals of the Buddhist statuary of the late seventh century, indicating that sculptors were engaged in the production of tile molds during this period. The vast number of datable roof-tiles of known provenance provides invaluable information in analyzing the relative dating, importance, and regional characteristics of Hakuho sculpture. Drawing on archaeological and historical material, a categorization of the sculpture of the Hakuho period is proposed in this thesis. First, a discussion of the debate surrounding the definition of Hakuho as an art historical period is presented. The religious and historical background of the period is outlined with an emphasis on the situation in East Asia at the time. Next, the cultural priorities of the period are discussed: particularly the official state projects that constituted the focus of artistic activity at the time. A brief survey of roof-tiles and the social organization of artisans that permitted cross-influences among different media is then presented. The main body of the thesis consists of an evaluation of the sculpture of the period within the framework provided by the first four chapters, dividing the stylistic currents into primary, secondary, and tertiary. In the final chapter, the dated works of the period are treated as individual case studies to determine the precise influences that produced the styles that they manifest and to test the validity of the approach that has been adopted in this first comprehensive attempt to correlate the sculpture of the Hakuho period with the chronology of roof-tile motifs.