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is a Japanese religious architectural style which emerged in the late 12th or early 13th century. Together with Wayō and Zenshūyō, it is one of the three most significant styles developed by Japanese Buddhism on the basis of Chinese models. Originally called , because it had nothing to do with India it was rechristened by scholar Ōta Hirotarō during the 20th century, and the new term stuck. Ōta derived the name from Chōgen's work, particularly Tōdai-ji's Daibutsuden. Soon abandoned after its creator's death, probably because it didn't harmonize with Japanese tastes, it nonetheless influenced other building styles with its rational solutions.〔Nishi, Hozumi (1996:20-21)〕 The combination of ''wayō'' and ''daibutsuyō'' in particular became so frequent that sometimes it is classed separately by scholars under the name .〔, (p=738 )〕 This grandiose and monumental style is the antithesis of the simple and traditional ''wayō'' style. The Nandaimon at Tōdai-ji and the Amida-dō at Jōdo-ji in Ono are its best extant examples.〔〔, (p=737 )〕 ==History== The style was introduced by priest Chōgen, who in 1180 directed the reconstruction of Tōdai-ji, which had been destroyed during the Genpei war.〔 Chōgen had just come back from the last of his three travels to China and therefore chose as a basis for the work Song Dynasty architecture. He was supported in his innovative work by first shōgun Minamoto no Yoritomo. Of his work at the temple only three structures remain, the already mentioned Nandaimon, which remains the best Daibutsuyō example, the Kaizandō and the Hokkedō.〔 The gate's most characteristic features are the six-tier bracket groups (''tokyō'') projecting directly out of the columns and connected to each other by ties as long as the facade.〔 During the Edo period the temple's Main Hall, the Daibutsuden, was also rebuilt in the style, to which it would give its name. Chōgen built other buildings in this style near and around Nara, of which the Amida-dō at Jōdo-ji in Ono is a good extant example.〔 The style declined quickly after its creator's death, probably because it did not agree with Japanese tastes. Structural elements are treated as design elements, and the building's deliberate roughness is supposed to be part of its beauty, but the concept was probably too alien to Chōgen's contemporaries, and was rejected. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Daibutsuyō」の詳細全文を読む スポンサード リンク
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