JAPAN
types. Contrasted with these figures, Shotoku's Kwannon shows that already at this early period Japanese genius had begun to break away from the mechanical formalism of Korea. On the other hand, as might be expected from the evidence of objects found in dolmens, the decorative metal work of Prince Shotoku's time is of a more advanced character than the sculptor's art. The halos of sacred effigies and the ornaments attached to objects of temple furniture or used for the decoration of the temples themselves, show considerable skill in chiselling à jour as well as in repoussé, and the designs indicate an already advanced conception of decorative motives as well as a just sense of proportion and orderly arrangement. Notable among illustrative specimens is a pendant of gilt bronze destined originally to hang from the ceiling of the temple Horiu-ji. It is 6.96 metres long, and consists of six sections united by hinges, each section having a pierced design of plants, flowers, clouds, and emblems, the whole constituting a fine piece of decorative work.
From the second half of the seventh century progress became very marked, and, at the same time, the character of the sculpture suggests emancipation from Korean influence and closer approach to Chinese, with evident elements of Indian style, as is under- stood by recalling that China under the Tang dynasty had very intimate relations with India. The history of the epoch furnishes an explanation of these changes, for it tells that Japan's intercourse with China became altogether direct without any Korean intervention. But although, on the one hand, the sculptor evidently feels Indo-Grecian inspiration, although the winged steeds and griffins of Assyria
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