statue showing delicate representation of sentiment. The four guardians in Kaidanin, a division of Tōdai-ji temple, are clay statues. A national official factory, Zō Tōdai-ji shi ("Tōdai-ji Temple construction office"), produced many Buddhist sculptures by division of the work for Tōdai-ji and other official temples and temples for novelties. Gilt bronze, dry lacquer, clay, terracotta, repousee, stone, and silver sculptures were made in the factory. Generally the sculptors were secular and received official status and salary. Some private studios offered Buddhist icons to people, and some monks made them themselves. Heian period With the moving of the imperial capital from Nara to Kyoto in 794, big temples did not move to Kyoto. The government fed new esoteric Buddhism imported from the Tang dynasty in China. The official factory Zo Tōdai-ji shi was closed in 789. The fired sculptors worked under the patronage of large temples in Nara, new temples of the esoteric sect, the court, and the novelties. Sculptors received temple clergy status whether or not they were members of the order. Wood became the primary medium. Regarding the style, the Heian period was divided in two: the early Heian period and the later. In the early Heian period (794 to about the mid-10th century), esoteric Buddhist statues flourished. Kūkai, Saichō and other members of Imperial Japanese embassies to China imported the high to later Tang style. The statue bodies were carved from single blocks of wood and appear imposing, massive, and heavy when compared to Nara-period works. Their thick limbs and severe, almost brooding facial features imbue them with a sense of dark mystery and inspire awe in the beholder, in keeping with the secrecy of esoteric Buddhist rites. Heavily carved draperies, in which rounded folds alternate with sharply cut folds, are typical of the period. Among esoteric Buddhist deities, enormous images of Acala have been produced by the Japanese. In the later Heian period (the mid-10th century to the 12th century), the sophistication of court culture and popularity of Amida Worship gave rise to a new style: gentle, calm, and refined features with more attenuated proportion. Sculptors Japanized faces of images. Pure Land sect (Amida Worship) leader Genshin and his work Ōjōyōshū influenced many sculptors. The masterpiece is the Amida Buddha in Byōdō-in in Uji by the master Jōchō. He established a canon of Buddhist sculpture. He was called the expert of technique: sculptors began working with multiple