A style of sculpture created by the Buddhist sculptor *busshi 仏師 Jōchō 定朝 (?-1057), and imitated by later artists. The style is typified by Jōchō's Amida Nyoraizō 阿弥陀如来像 (wood and gold-leaf, 1053) in Byōdōin *Hōōdō 平等院鳳凰堂, Kyoto. The figure is seated cross-legged with the knees wide and low. The chest is flat and broad, and the drapery folds *emon 衣文 are carved in low parallel ridges. The round face has serene expression known as enman gusoku 円満具足, meaning fully-rounded and perfect, lacking in nothing and was thought to represent a state of complete enlightenment, and to express the true form of Buddha Hotoke no Hon'yō 仏の本様. Admired for its simplicity and gentle quality, Jōchō's work was regarded as the perfect representation of Japanese style *wayō 和様, as distinct from Chinese style images. Technically, Jōchō is also credited with having developed the jointed-block method *yoseki-zukuri 寄木造 to its full potential. His works set standard criteria of style and proportion which later artists used as a model, particularly for seated Amida Nyoraizō 阿弥陀如来像. Jōchōyō is best seen in the work of Kyoto sculptors *kyōto busshi 京都仏師, and his influence also spread to workshops *bussho 仏所 throughout the country from the 11th-12th century onward. Good examples in Kyoto are seated Amida Nyoraizō in Hōkaiji 法界寺 (late 11th century), Hōkongōin 法金剛院 (1130), and Sanzen'in 三千院 (1148), and examples outside Kyoto include the Amida Nyoraizō (1142) in Kontaiji 金軆寺, Shiga Prefecture, and the Amida Sanzonzō 阿弥陀三尊像 (1172) in Daisenji 大山寺, Tottori Prefecture.