The Kamakura period (1185-1332) is named for the city in modern Kanagawa Prefecture where Minamoto no Yoritomo 源頼朝 (1147-99) set up his military government in 1185. Nearly all scholars accept this date as the beginning of the period. Opinions on its end include 1332 (the banishment of the Emperor Godaigo 後醍醐 [1288-1339] and the placement of Emperor Kōgon 光厳 [1313-64] on the throne) and 1333 (the fall of the Hōjō 北条 regime and the return of the capital to Kyoto). A few art historians include the Southern and Northern Court period *Nanbokuchō jidai 南北朝時代 under Kamakura and thus place its end at the reunification of the Imperial line in 1392. The period saw renewed Chinese influence and the growth of popular Buddhism, especially the Jōdo 浄土 and *Nichiren 日蓮 sects. The Genpei War Genpei kassen 源平合戦 of 1180 to 1185 marked a change from the tranquillity of the Heian period to a country torn apart by civil wars that raged between the Minamoto 源 and Taira 平 clans over political control of the country. Immediately after the conflict, the top priority was the revitalization of religious foundations. The aristocracy, still centered in Kyoto, were stripped of real power, but retained their role as cultural leaders. They therefore devoted much of their time to leisure and the arts flourished. One of the most important rebuilding projects was Tōdaiji 東大寺 in Nara; its Great Buddha Hall Daibutsuden 大仏殿 had been burned by the Taira forces in 1180. The Nara-based Kei school *Kei-ha 慶派 of sculptors assisted in this by creating many images for the various reconstruction projects. Kaikei 快慶 (active 1183-1223) and Unkei 運慶 (d. 1223), two of the school's most talented carvers, collaborated to produce the dynamic musculature of the *Kongō rikishi 金剛力士 that stand in the alcoves at each side of Tōdaiji's Great South Gate *Nandaimon 南大門. The Kei School style is defined by exaggerated expression, realism, and a knowledge of classical sculptural styles of the Nara period, reworked into a new style. The 13th century was a creative period for the production of secular handscrolls *emaki 絵巻. The Heiji monogatari emaki 平治物語絵巻 (Handscroll of The Tale of The Heiji; dated second half of the 13th century) illustrates the history of events in 1160 which led to the defeat of the Minamoto clan by the Taira. One of the most famous scenes is the burning of the Sanjō 三条 Palace of the retired emperor Goshirakawa 後白河. Saigyō monogatari emaki 西行物語絵巻 (The Illustrated Biography of the Priest-Poet Saigyō: see *saigyō monogatari-e 西行物語絵; late 13th century) captures the essence of Japanese landscape and this Priest-Poet's interaction with nature. Pure Land Buddhism became centered on the belief that enlightenment could be achieved through faith in *Amida 阿弥陀 and the practice of the nenbutsu 念仏, the repetition of the phrase 'Namu Amida Butsu' 南無阿弥陀仏. This period saw the development of several offshoots of the faith: *Hōnen 法然 developed the Pure Land sect; *Shinran 親鸞 founded the True Pure Land sect and *Ippen 一遍 organized the Ji 時 sect. Illustrated handscrolls were created as biographies of these religious teachers and as visual supports for the veracity of the sects, such as Hōnen Shōnin eden 法然上人絵伝 (early 14th century); Zenshin Shōnin-e 善信上人絵 (late 13th century) and Ippen hijiri-e 一遍聖絵 (late 13th century). The primary icon of Hōnen's pure land Buddhism is the *Taima mandara 当麻曼荼羅, a visualization of the Western Paradise. One of the best documented versions of the Taima mandara was preserved at Zenrinji 禅林寺 in Kyoto and is now in the Nara National Museum. In addition, new types of *raigōzu 来迎図 (Amida and *bosatsu 菩薩 descending to earth to welcome the souls of the deceased) developed in the late 12th and early 13th centuries. One type called hayaraigō 早来迎 (swift raigō) depicts Amida and company descending on fast moving clouds, indicating the immediacy of their descent. The most famous example is a painting on silk at Chion'in 知恩院, Kyoto (early 13th century). If one were not able to achieve salvation in the Western Paradise, one might be reborn in one of the six realms of rebirth. Grotesque paintings depicting the six realms emerged after the Genpei War. There are three separate groups of handscrolls depicting the theme: Yamai no sōshi 病草子 (Human Illness), Gaki zōshi 餓鬼草子 (The World of the Hungry Ghosts), and Jigoku zōshi 地獄草子 (Realms of Hell). Gaki zōshi 餓鬼草子 and Jigoku zōshi 地獄草子 can be dated to the end of the 12th century. At the end of the 12th century, Zen 禅 (ch: Chan) Buddhism was introduced to Japan and became one of the most important religious and cultural events in Japanese history. The aesthetic of wabi わび defined as pleasure taken in austerity and solitude, beauty perceived in simplicity and the appreciation of time-worn objects, evolved in association with the intellectual climate of Zen. Lay priest Yoshida Kenkō's 吉田兼好 (1283-1350) Tsurezuregusa 徒然草 (Essays in Idleness, c. 1330) illustrates the development of such aesthetic values during this period.