Also kyō busshi 京仏師. Buddhist sculptors *busshi 仏師 associated with workshops *bussho 仏所 in Kyoto, active from the 11th-14th century. The term is used in contrast to Nara sculptors *nara busshi 奈良仏師 and *nanto busshi 南都仏師. The most important kyoto busshi consisted of two sculpture schools called *En-pa 円派 and *In-pa 院派. They were independently run (not government-managed), and produced statues commissioned by the Imperial court, nobility, and Buddhist temples. The En-pa, who often used the character 'En' 円 in their names, are thought to be descended from Jōchō's 定朝 (?-1057) pupil Chōsei 長勢 (1010-91). Their workshop was known as *sanjō bussho 三条仏所 because of its location in Kyoto's Sanjō 三条 district. The In-pa, said to have been founded by Jōchō's pupil Kakujo 覚助 (?-1077), often used the character 'In' 院 in sculptors' names. In-pa had workshops in Kyoto's Shichijō-Ōmiya *shichijō ōmiya bussho 七条仏所 and Rokujō madenokōji *rokujō madenokōji bussho 六条万里小路仏所. In the late Heian period, kyoto busshi held a dominant position in Japanese Buddhist statuary, producing large numbers of figures in a gentle style based on Jōchō's *Jōchōyō 定朝様. Good examples include: Nikkō Gakkō Bosatsuzō 日光･月光菩薩像 (1064) by En-pa sculptor Chōsei in Kōryūji 広隆寺, and the Amida Nyoraizazō 阿弥陀如来坐像 (1130) in Hōkongōin 法金剛院, believed to be by Inkaku 院覚, both in Kyoto. In the early Kamakura period, some critics felt that kyoto busshi statues had become staid, and other schools such as *Kei-ha 慶派, supported by the Kamakura government, became dominant.