blocks of wood, too. This technique allowed masters atelier production with apprentices. In school, a grandson of Jōchō established an atelier which worked with the Imperial Court in Kyoto. a discipline of Jōchō, also established Sanjyō-Atlier in Kyoto. Kamakura period This Kamakura period is regarded as the Renaissance era of Japanese sculpture. Kei school sculptures led this trend; they are descendants of Jōchō. They established a new style of Buddhist sculpture based on realism, incorporating elements of the style of the Nara period as well as the technique established by Jōchō in the Heian period. Their sculptures are characterized by sharp and stern expressions, muscular and three-dimensional bodies, and postures and clothing that express movement, and they have succeeded in expressing their emotions, three-dimensional feelings, and movements more than before. This realism reflected the tastes of samurai, who had effectively governed Japan since the Kamakura period and had become new patrons of Buddhist sculptures. On the other side, clay, dry-lacquer, embossing, and terracotta sculptures did not revive. They used mainly wood and sometimes bronze. The Kei school took root in Nara city, which was the former capital (710–793), and worked in large temples in Nara. In the Kamakura period, the Kyoto court and Kamakura shogunate military government reconstructed large temples burned in late-12th-century wars. Many sculptures were repaired and many buildings were rebuilt or repaired. The "renaissance" character is reflected in the project. Among the sculptors of the Kei school, Unkei is the most famous. Among his works, a pair of colossal Kongō-rikishi in Tōdai-ji are most famous, and the portrait-like statues of Indian priests in Kōfuku-ji are elaborate masterpieces. Unkei had six sculptor sons and their work was also imbued with the new humanism. Tankei, the eldest son and a brilliant sculptor, became the head of the studio. Kōshō, the fourth son, produced a remarkable sculpture of the 10th-century Japanese Buddhist teacher Kuya (903–972). Kaikei was a collaborator of Unkei. He was a devout adherent of the Pure Land sect. He worked with the priest Chōgen (1121–1206), the director of the Tōdai-ji reconstruction project. Many of his figures are more idealized than those of Unkei and his sons, and are characterized by a beautifully finished surface, richly decorated with pigments and gold. More than 40 of his works have survived, many of which are signed by him. His most important work is the Amitabha Triad of Ono Jōdo-ji (1195).