A style of Buddhist statuary originated by Kaikei 快慶 (?-1189-1221-?), a devout believer in the Pure Land sect, Jōdokyō 浄土教, and his followers. In the strictest sense, the term refers to most of Kaikei's early works, which he produced from around 1192 until he received the rank of hokkyō 法橋 in 1203 (see *sōi 僧位). He signed the works An'amidabutsu 安阿弥陀仏 or alliterated Annamidabutsu using 'an' in bongo 梵語, or modified Sanskrit, or rarely with an plus Amidabutsu (see *Amida 阿弥陀). The sculpture of Amida Nyorai 阿弥陀如来 at the Shunjōdō 俊乗堂 of Tōdaiji 東大寺 in Nara displays the characteristics of this early style: beautifully proportioned face, moderately fleshy body, and elegantly ordered drapery. The term Annamiyō, however, usually is used more widely to include all Kaikei's works whatever their signature, including later works. In Kaikei's later works, the figures become slightly more elongated, as the drapery becomes more complicated and elegant. The sculpture of Amida Nyorai at the Saihōin 西方院 of Tōshōdaiji 唐招提寺 in Nara is a representative work that shows this stylistic transition. Kaikei's style was carried on and developed by his followers, the most important of whom were Gyōkai 行快, and later Chōkai 長快 and Eikai 栄快. The style became increasingly stereotyped. By the Edo period, the term Annamiyō appears in documents seemingly to describe contemporary images (particularly of *nyorai 如来 and *bosatsu 菩薩) in the tradition of Kaikei and his followers.