A school of Buddhist sculptors *busshi 仏師 active from the late Heian period through the Edo period, founded by Jōchō 定朝 (?-1057; see *Jōchōyō 定朝様) successor Kakujo 覚助. Kakujo set up a workshop *bussho 仏所 in Kyoto's Shichijou *shichijō bussho 七条仏所, and his son Raijo 頼助 established a workshop in Kōfukuji 興福寺, Nara, which became the headquarters of the Kei-ha. In the early Kamakura period, Raijo was succeeded by Kōkei 康慶 and Unkei 運慶 (?-1223), and the school became known as Kei-ha because of the frequent use of the character 慶 kei in sculptors' names. The school was then passed on to Unkei's six sons and their descendants. The success of the Keiha began with major restoration work carried out in Kōfukuji and Tōdaiji 東大寺, both damaged by fire in 1180. This work was supported by the Kamakura government, who favored the Kei-ha because of their bold, powerful sculptural style, and also because they lacked close links with the Kyoto Imperial family, who supported the Kyoto schools *En-pa 円派 and *In-pa 院派. These factors helped the Kei-ha again a dominant position in Buddhist sculpture making in the Kamakura period. Its influence lasted until the Edo period. Examples of its work include: the central Senju Kannon zazou 千手観音坐像 (1254) and ten of the standing Kannonzō 観音像 in Rengeōin 蓮華王院 (Sanjūsangendō 三十三間堂) Kyoto, made by Unkei's eldest son Tankei 湛慶 (1173-1256); the Ryūtōkizō 竜燈鬼像 (1215) in Kōfukuji Kondō 金堂 by Unkei's third son Kōben 康弁; and the Taisan'ō 太山王, Shirokuzō 司録像, and Shimyōzō 司命像 (1259) in Byakugōji 白毫寺, Nara, by Tankei's successor Kōen 康円. In the late 14th century, the sculptor Kei-ha to form an independent guild called *tsubai bussho 椿井仏所.