A Buddhist sculpture school *bussho 仏所, active in Kyoto from the 11th century onward.
The name En-pa is derived from the frequent use of the character 円 'En' in sculptors' names. En-pa and *In-pa 院派, Kyoto's other major guild of Buddhist sculptors *busshi 仏師, are collectively known as *kyoto busshi 京都仏師. Enpa's principal workshop *sanjō bussho 三条仏所 was established in Sanjō, probably in the late 12th century, and the term sanjō bussho was sometimes used later to refer to the En-pa generally. The En-pa was founded by Jōchō's 定朝 (?-1057) pupil Chōsei 長勢 (1010-91), and was continued by his descendants and disciples, including Ensei 円勢 (?-1134), Chōen 長円 (?-1150), Ken-en 賢円 (active mid-to late 12th century), Myōen 明円 (？-1199), and Kyōen 経円 (active early-13th century).
During the Heian period the En-pa were supported by the Kyoto imperial family, nobility, and temples, and in the 12th century they were the dominant school in Japanese Buddhist statuary. They used a gentle, refined style, closely based on Jōchō's (see *Jōchōyō 定朝様). Good examples include: Nikkō Gakkō Bosatsuzō 日光･月光菩薩像 (1064) and Jūni Shinshōzō 十二神将像 (1064) in Kōryūji 広隆寺 (Kyoto) by Chōsei; Godai Myōōzō 五大明王像 (1176-77) in Daikakuji 大覚寺 (Kyoto) by Myōen; and Amida Nyoraizō 阿弥陀如来像 (1222) in Kongōrinji 金剛輪寺 (Shiga Prefecture) by Kyōen.
In the 13th-14th century, the Nara-based school *Kei-ha 慶派, sponsored by the Kamakura government, became more powerful than the Kyoto schools. However, the En-pa continued production, and there was considerable intermixing and collaboration between the schools. Between 1251 and 1266, Ryūen 隆円 and other En-pa sculptors worked together with In-pa and Kei-ha artists on Sentai Senju Kannonzō 千体千手観音像 in Rengeōin 蓮華王院 (Kyoto, Sanjūsangendō 三十三間堂). En-pa sculptors also set up workshops in regional centers outside Kyoto, as for example in Fukushima and Kamakura. In the Muromachi period workshops were further fragmented, but the En-pa style continued to exert an influence on sculpture of the period.