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Unkei was a sculptor of the [[Kei school]], and is credited with many of the most famous and treasured Buddhist sculptures of Nara and Kyoto.
Unkei was a sculptor of the [[Kei school]], and is credited with many of the most famous and treasured Buddhist sculptures of Nara and Kyoto.
Like other sculptors of the period, Unkei created works both from single blocks of wood (''[[ichiboku-zukuri]]'') and from multiple blocks (''yosegi-zukuri''). In the latter case, as well as in the case of some other forms - such as ''[[warihagi]]'' sculpture, formed from one section of a split log, to which smaller pieces were then attached - Unkei sculpted both from the front (exterior) of the image, and from the back or interior.<ref>Morse. p27.</ref>
Like other sculptors of the period, Unkei created works both from single blocks of wood (''[[ichiboku-zukuri]]'') and from multiple blocks (''yosegi-zukuri''). In the latter case, as well as in the case of some other forms - such as ''[[warihagi]]'' sculpture, formed from one section of a split log, to which smaller pieces were then attached - Unkei sculpted both from the front (exterior) of the image, and from the back or interior.<ref name=morse28>Morse. pp26-28.</ref>
Very often, the head was carved separately and attached to the torso afterward. He is said to have carved the facial details first, before moving on to other parts of the head. Holes were carved in the face for the eyes, and sometimes for the nostrils. Paint was applied to the outsides of the eye sockets on the wooden head, and to the rock crystal eyes, which were held in place inside the statue's hollow head with lacquer paste or bamboo nails.<ref>Morse. pp27-28.</ref> Ritual objects were often placed inside the hollow sculptures as well, including wooden ''[[sotoba]]'' (stupa-shaped) or ''[[gachirin]]'' (full-moon-shaped) plaques inscribed with Unkei's signature, the name of the patron, and other information; crystal ''[[gorinto|gorintô]]'' (stupas/pagodas) were also not entirely uncommon.<ref>Morse. pp29-30, 37.</ref>
Very often, the head was carved separately and attached to the torso afterward. He is said to have carved the facial details first, before moving on to other parts of the head. Holes were carved in the face for the eyes, and sometimes for the nostrils. Paint was applied to the outsides of the eye sockets on the wooden head, and to the rock crystal eyes, which were held in place inside the statue's hollow head with lacquer paste or bamboo nails.<ref name=morse28/> Ritual objects were often placed inside the hollow sculptures as well, including wooden ''[[sotoba]]'' (stupa-shaped) or ''[[gachirin]]'' (full-moon-shaped) plaques inscribed with Unkei's signature, the name of the patron, and other information; crystal ''[[gorinto|gorintô]]'' (stupas/pagodas) were also not entirely uncommon.<ref>Morse. pp29-30, 37.</ref>
He studied and worked under his father [[Kokei|Kôkei]], founder of the Kei school, alongside a number of other disciples. A work completed by Unkei in three weeks in 1175-1176, under the supervision of Kôkei, is the earliest extant known sculpture attributed to a Kei school sculptor. It is a seated [[Dainichi]] dated to 1176 and located at the [[Enjo-ji|Enjô-ji]], near Nara. It features rock crystal eyes, an innovation attributed to Unkei by the ''[[Azuma Kagami]]'' in a section dealing with renovation efforts at the Môtsu-ji. Some scholars, however, question the accuracy of this account.<ref>Morse. pp26-27.</ref>
He studied and worked under his father [[Kokei|Kôkei]], founder of the Kei school, alongside a number of other disciples. A work completed by Unkei in three weeks in 1175-1176, under the supervision of Kôkei, is the earliest extant known sculpture attributed to a Kei school sculptor. It is a seated [[Dainichi]] dated to 1176 and located at the [[Enjo-ji|Enjô-ji]], near Nara. It features rock crystal eyes, an innovation attributed to Unkei by the ''[[Azuma Kagami]]'' in a section dealing with renovation efforts at the Môtsu-ji. Some scholars, however, question the accuracy of this account.<ref name=morse28/>
Following the destruction wrought upon Nara by fighting and fires during the early stages of the [[Genpei War]], in 1180-1181, Unkei is believed to have sought refuge in Kyoto, joining a temple as a monk. An 1183 copy of the [[Lotus Sutra]] is signed by him. The religious rituals performed during the preparation of this scroll indicate something of Unkei's devotion, and of the types of efforts which went into producing many of his works. The wooden dowels around which the scroll is rolled came from the ruins of [[Todai-ji|Tôdai-ji]], burned down in the 1181 [[siege of Nara]]; sacred water from Kyoto-area springs was used for the ink, and monks chanted the Lotus Sutra and engaged in prostrations and other rituals as the lines of the sutra were being copied.<ref>Morse. p28.</ref>
Following the destruction wrought upon Nara by fighting and fires during the early stages of the [[Genpei War]], in 1180-1181, Unkei is believed to have sought refuge in Kyoto, joining a temple as a monk. An 1183 copy of the [[Lotus Sutra]] is signed by him. The religious rituals performed during the preparation of this scroll indicate something of Unkei's devotion, and of the types of efforts which went into producing many of his works. The wooden dowels around which the scroll is rolled came from the ruins of [[Todai-ji|Tôdai-ji]], burned down in the 1181 [[siege of Nara]]; sacred water from Kyoto-area springs was used for the ink, and monks chanted the Lotus Sutra and engaged in prostrations and other rituals as the lines of the sutra were being copied.<ref name=morse28/>
Immediately following the end of the Genpei War, as Kôkei, Kaikei, and others engaged in repairing and rebuilding the chief temples of Nara, Unkei journeyed to Kamakura, where he may have produced works for [[Minamoto no Yoritomo]] and his newly-established shogunate. In 1186, Unkei received a commission from [[Hojo no Tokimasa|Hôjô no Tokimasa]], and produced images of [[Amida]], [[Bishamonten]], [[Fudo|Fudô]], [[Seitaka]], and [[Kongara]] for Tokimasa's tutelary temple, the [[Ganjoju-in|Ganjôju-in]] in Izu. Three years later, he produced a similar set of images - an Amida, two bodhisattvas, a Bishamonten, and a Fudô - for the [[Joraku-ji|Jôraku-ji]] near Kamakura, at the request of [[Wada no Yoshimori]].<ref>Morse. pp29-30.</ref>
Immediately following the end of the Genpei War, as Kôkei, Kaikei, and others engaged in repairing and rebuilding the chief temples of Nara, Unkei journeyed to Kamakura, where he may have produced works for [[Minamoto no Yoritomo]] and his newly-established shogunate. In 1186, Unkei received a commission from [[Hojo no Tokimasa|Hôjô no Tokimasa]], and produced images of [[Amida]], [[Bishamonten]], [[Fudo|Fudô]], [[Seitaka]], and [[Kongara]] for Tokimasa's tutelary temple, the [[Ganjoju-in|Ganjôju-in]] in Izu. Three years later, he produced a similar set of images - an Amida, two bodhisattvas, a Bishamonten, and a Fudô - for the [[Joraku-ji|Jôraku-ji]] near Kamakura, at the request of [[Wada no Yoshimori]].<ref>Morse. pp29-30.</ref>
*A pair of statues of the [[arhat]]s (''rakan'') [[Muchaku]] and [[Seshin]], and one of [[Miroku]] Buddha in ''yosegi-zukuri'', located at the Hokuendô (North Octagonal Hall) of [[Kofuku-ji|Kôfuku-ji]] and dated to around 1212.<ref>Mason. pp189-191.</ref>
*A pair of statues of the [[arhat]]s (''rakan'') [[Muchaku]] and [[Seshin]], and one of [[Miroku]] Buddha in ''yosegi-zukuri'', located at the Hokuendô (North Octagonal Hall) of [[Kofuku-ji|Kôfuku-ji]] and dated to around 1212.<ref>Mason. pp189-191.</ref>
Around 1199-1201, he produced sculptures of [[Taishaku]], [[Bonten]], and [[Kannon]] alongside his eldest son [[Tankei]], for the [[Takisan-ji]] in [[Okazaki]]. These statues were commissioned in memory of Minamoto no Yoritomo, who died in 1199, and Unkei placed relics of the late shogun inside the Kannon.<ref>Morse. p39.</ref>
Around 1199-1201, he produced sculptures of [[Taishaku]], [[Bonten]], and [[Kannon]] alongside his eldest son [[Tankei]], for the [[Takisan-ji]] in [[Okazaki]]. These statues were commissioned in memory of Minamoto no Yoritomo, who died in 1199, and Unkei placed relics of the late shogun inside the Kannon.<ref name=morse39>Morse. p39.</ref>
Other works created for patrons connected to the shogunate around this time include:
Other works created for patrons connected to the shogunate around this time include:
*An image of [[Daiitoku Myoo|Daiitoku Myôô]], produced in 1216 along with other sculptures, for [[Daini Tsubone]], for the [[Komyo-in|Kômyô-in]] in modern-day [[Yokohama]]
*An image of [[Daiitoku Myoo|Daiitoku Myôô]], produced in 1216 along with other sculptures, for [[Daini Tsubone]], for the [[Komyo-in|Kômyô-in]] in modern-day [[Yokohama]]
*An image of [[Yakushi]] produced in 1218 for [[Hojo Yoshitoki|Hôjô Yoshitoki]]
*An image of [[Yakushi]] produced in 1218 for [[Hojo Yoshitoki|Hôjô Yoshitoki]]
*Statues of the [[Myoo|Five Wisdom Kings]], produced in 1219 for [[Hojo Masako|Hôjô Masako]]<ref>Morse. p39.</ref>
*Statues of the [[Myoo|Five Wisdom Kings]], produced in 1219 for [[Hojo Masako|Hôjô Masako]]<ref name=morse39>
As touched upon above, Unkei enjoyed strong connections with the shogunate and other prominent related figures, as well as in other corners as well. His imperial connections were strengthened when his daughter, Nyoi, was adopted by Reizei Tsubone, a lady-in-waiting to [[Fujiwara Shokushi]], consort to [[Emperor Takakura]] and mother of [[Emperor Go-Toba]]. She inherited an estate in [[Omi province|Ômi]] from Shokushi in 1199.<ref>Mori. p50.</ref>
As touched upon above, Unkei enjoyed strong connections with the shogunate and other prominent related figures, as well as in other corners as well. His imperial connections were strengthened when his daughter, Nyoi, was adopted by Reizei Tsubone, a lady-in-waiting to [[Fujiwara Shokushi]], consort to [[Emperor Takakura]] and mother of [[Emperor Go-Toba]]. She inherited an estate in [[Omi province|Ômi]] from Shokushi in 1199.<ref>Mori. p50.</ref>
He died on the eleventh day of the twelfth month of 1223.
He died on the eleventh day of the twelfth month of 1223.
In March 2008, a statue by Unkei of Dainichi was sold at auction at Christie's in New York for US$14,377,000, the most ever paid for a Japanese art object at auction (see [[Shimo no Mido Dainichi|Shimo no Midô Dainichi]] for further details on this work).<ref>Morse. p39.</ref>
In March 2008, a statue by Unkei of Dainichi was sold at auction at Christie's in New York for US$14,377,000, the most ever paid for a Japanese art object at auction (see [[Shimo no Mido Dainichi|Shimo no Midô Dainichi]] for further details on this work).<ref name=morse39/>