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The temple wielded great political influence at various times in its history, particularly in the Nara and [[Heian periods]], and became embroiled in armed conflict at times as well. Tôdai-ji, along with nearby [[Kofuku-ji|Kôfuku-ji]], came under attack from the forces of the [[Taira clan|Taira samurai clan]] in [[1181]] for this reason; the temple had opposed the Taira both politically, and militarily, fielding forces of warrior monks in support of the opposing [[Minamoto clan]]. The 1181 [[siege of Nara]] saw the destruction of Tôdai-ji, Kôfuku-ji, and [[Gango-ji|Gangô-ji]], and the deaths of roughly 35,000 people. The temples were rebuilt shortly afterwards, however. The Buddhist priest [[Shunjobo Chogen|Shunjôbô Chôgen]] ([[1121]]-[[1206]]) was placed in charge of the reconstruction project, and of organizing campaigns for collecting monetary contributions. [[Saigyo|Saigyô]] became one of a number of prominent figures of the time who went on a journey to the provinces in order to campaign for contributions.<ref>[[Benkei]] and [[Minamoto no Yoshitsune]] claim to be traveling monks on precisely this campaign for contributions for the reconstruction of Tôdai-ji in the fictionalized [[Noh]] play ''[[Ataka]]'' and [[kabuki]] play ''[[Kanjincho|Kanjinchô]]''.</ref>

The temple wielded great political influence at various times in its history, particularly in the Nara and [[Heian periods]], and became embroiled in armed conflict at times as well. Tôdai-ji, along with nearby [[Kofuku-ji|Kôfuku-ji]], came under attack from the forces of the [[Taira clan|Taira samurai clan]] in [[1181]] for this reason; the temple had opposed the Taira both politically, and militarily, fielding forces of warrior monks in support of the opposing [[Minamoto clan]]. The 1181 [[siege of Nara]] saw the destruction of Tôdai-ji, Kôfuku-ji, and [[Gango-ji|Gangô-ji]], and the deaths of roughly 35,000 people. The temples were rebuilt shortly afterwards, however. The Buddhist priest [[Shunjobo Chogen|Shunjôbô Chôgen]] ([[1121]]-[[1206]]) was placed in charge of the reconstruction project, and of organizing campaigns for collecting monetary contributions. [[Saigyo|Saigyô]] became one of a number of prominent figures of the time who went on a journey to the provinces in order to campaign for contributions.<ref>[[Benkei]] and [[Minamoto no Yoshitsune]] claim to be traveling monks on precisely this campaign for contributions for the reconstruction of Tôdai-ji in the fictionalized [[Noh]] play ''[[Ataka]]'' and [[kabuki]] play ''[[Kanjincho|Kanjinchô]]''.</ref>

Reconstruction of Tôdai-ji's ''daibutsuden'' was completed in [[1195]]; [[Shogun]] [[Minamoto no Yoritomo]] visited the temple at this time, offering a sizeable contribution, and paying his formal respects to the emperor. The Nandaimon, destroyed in a typhoon in [[962]], was rebuilt in [[1199]], and survives from that time today. The structures rebuilt at this time, the Nandaimon in particular, incorporated new elements of architectural style, brought back to Japan by Chôgen, who visited China three times between [[1167]] and [[1176]]. The new architectural style he created based on the latest trends in China at that time came to be known in Japan as ''daibutsu-yô'', or "Great Buddha style," because of its prominent use at Tôdai-ji.<ref>Mason. pp185-186.</ref>

Reconstruction of Tôdai-ji's ''daibutsuden'' was completed in [[1195]]; [[Shogun]] [[Minamoto no Yoritomo]] visited the temple at this time, offering a sizeable contribution, and paying his formal respects to the emperor. The Nandaimon, destroyed in a typhoon in [[962]], was rebuilt in [[1199]], and survives from that time today. The structures rebuilt at this time, the Nandaimon in particular, incorporated new elements of architectural style, brought back to Japan by Chôgen, who visited China three times between [[1167]] and [[1176]]. The new architectural style he created based on the latest trends in China at that time came to be known in Japan as ''daibutsu-yô'', or "Great Buddha style," because of its prominent use at Tôdai-ji.<ref>Mason. pp185-186.</ref>

===Sculptures===

===Sculptures===

The Daibutsu at Tôdai-ji, a representation of [[Dainichi]] Nyorai (Vairocana), is the largest bronze Buddha sculpture in Japan. It weighs 250 tons, and is 18.03 meters tall (including the platform; 14.98m tall without the platform). Its face is 5.33m long, and each eye is 1.02m long. The statue's ears are each 2.54m long, and its mouth is 1.33m wide. The ''[[urna]]'' is 30cm in diameter, and each of its 966 whorls of hair is 21cm high and 22cm in diameter.<ref name=kotoku>"[http://www.kotoku-in.jp/characteristic.html Kamakura daibutsu no tokuchô]." Official website of Kôtoku-in. 2010.</ref>

The Daibutsu at Tôdai-ji, a representation of [[Dainichi]] Nyorai (Vairocana), is the largest bronze Buddha sculpture in Japan. It weighs 250 tons, and is 18.03 meters tall (including the platform; 14.98m tall without the platform). Its face is 5.33m long, and each eye is 1.02m long. The statue's ears are each 2.54m long, and its mouth is 1.33m wide. The ''[[urna]]'' is 30cm in diameter, and each of its 966 whorls of hair is 21cm high and 22cm in diameter.<ref name=kotoku>"[http://www.kotoku-in.jp/characteristic.html Kamakura daibutsu no tokuchô]." Official website of Kôtoku-in. 2010.</ref>

Many of the other sculptures at Tôdai-ji are also of great art historical significance.

Many of the other sculptures at Tôdai-ji are also of great art historical significance.

[[Kuninaka Kimimaro]] (d. [[774]]) was a prominent Buddhist sculptor (''busshi'') of the time who headed a studio established temporary at the temple in order to produce images for the compound. A number of these original 8th century sculptures are housed in the Hokkedô, where fifteen sculptures, some in clay and some in [[dry lacquer]], are organized in a specific [[mandala]]-like pattern around a dry lacquer Fukûkenjaku [[Kannon]] dating to the 740s, and 142 inches tall. Statues of Nikkô and Gakkô flanking the Kannon, each 81 1/2 inches high, are considered among the finest examples of clay sculpture from this period. This arrangement also includes a pair of [[Nio|Niô]] (Guardian Kings) and set of [[Shitenno|Shitennô]] (Four Heaven Kings) in dry lacquer, each nearly 10 feet tall, as well as dry lacquer sculptures of [[Taishakuten]] and [[Bonten]], each roughly 13 feet in height, all dating to the 8th century, and all considered of great art historical and religious importance. Another set of very significant sculptures of the ''Shitennô'', also dating to the mid-8th century, can be found in the ''kaidan'in''; these are made of clay, rather than dry lacquer.<ref name=mason87>Mason. pp87-93.</ref>

[[Kuninaka Kimimaro]] (d. [[774]]) was a prominent Buddhist sculptor (''busshi'') of the time who headed a studio established temporary at the temple in order to produce images for the compound. A number of these original 8th century sculptures are housed in the Hokkedô, where fifteen sculptures, some in clay and some in [[dry lacquer]], are organized in a specific [[mandala]]-like pattern around a dry lacquer Fukûkenjaku [[Kannon]] dating to the 740s, and 142 inches tall. Statues of Nikkô and Gakkô flanking the Kannon, each 81 1/2 inches high, are considered among the finest examples of clay sculpture from this period. This arrangement also includes a pair of [[Nio|Niô]] (Guardian Kings) and set of [[Shitenno|Shitennô]] (Four Heaven Kings) in dry lacquer, each nearly 10 feet tall, as well as dry lacquer sculptures of [[Taishakuten]] and [[Bonten]], each roughly 13 feet in height, all dating to the 8th century, and all considered of great art historical and religious importance. Another set of very significant sculptures of the ''Shitennô'', also dating to the mid-8th century, can be found in the ''kaidan'in''; these are made of clay, rather than dry lacquer.<ref name=mason87>Mason. pp87-93.</ref>