Page:Brinkley - Japan - Volume 7.djvu/140

 splendour and beauty, the exterior of the receptacle richly lacquered, its hinges and metal mountings elaborately chased, its interior refulgent with gold foil and profuse carving, while the statuette itself, mounted on a delicately sculptured pedestal, sometimes offered a contrast of plain white wood or dark bronze, and sometimes outshone the shrine in grandeur.

The names of the most eminent sculptors from the end of the thirteenth century to the end of the fifteenth are as follows:—

Kwaikei, Kōkei (teacher of Unkei), Kaikei, Unkei (son of Kaikei), Tōkei (son of Unkei), Jokaku (pupil of Unkei), Koun (priest), Kanyen (son of Koun), Kōben, Kōshō, Kōyō, Kōson, Kōyu.

Kōshun (thirteenth in descent from Jōchō), Kōyei (son of Kōshun), Kōtan (son of Kōyei), Kōkitsu (son of Kōtan), Kōyei (son of Kōkitsu), Kōshin (son of Kōyei) Kōrin (son of Kōshin).

Jōyen, Senyen, Inko, Injin, Inbo, Inken, Inku, Inso, Inshu, Injo, Inchu, Inyu, Unga, Unshō.

Shunkei (priest), Rwaiken, Eiyen, Kōshū (son of Kōrin of the Western School), Kōsei (son of Kōshū), Kōsei (son of Kōsei).