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 Shichijō *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 Kei-ha 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 zazō 千手観音坐像 (1254) and ten of the standing Kannon zō 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 Ryūtōki zō 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, Shiroku zō 司録像, and Shimyō zō 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.