Wikipedia
Jokei and Jōkei may refer to several Japanese individuals:
- Jōkei (monk) (1155–1212), a monk of the Hossō school of Buddhism during the Kamakura period
- Jōkei (sculptor) (late 11th century), a member of the Kei school of sculpture during the Kamakura period
- Sumiyoshi Jokei (1599–1670), a painter of the Edo period
It may also refer to a visual novel, or the anime based upon the visual novel:
- Jōkei (visual novel), an eroge by Silky's, distributed by ELF Corporation
was a Japanese sculptor of the Kei school, which flourished in the Kamakura period. Aside from his artwork, Jōkei left little record of his life, so sorting out the details of his biography is difficult. The fact that two men by that name were working in Nara in the 13th century only complicates matters.
Jōkei probably began his career as a disciple of Kōkei, the organizer of the Kei school of sculpture, or of Unkei. In fact, Jōkei may even have been Kōkei's son, though others call him the son of Unkei. In this capacity, he sculpted works for the reconstruction of the temples Kōfuku-ji and Tōdai-ji in Nara.
Jōkei followed the lead of Unkei and others in the Kei school in his pursuit of realism. An early example of this is his Guardian King ( Niō), carved sometime in the 1190s. The figure stands beside another by Unkei at the main gateway in front of the Kōfuku-ji. Jōkei's Niō is nude to the waist, exposing a tense musculature. The veins in the neck and head are engorged, only heightening the figure's expression of rage. The pose is action-ortiented, as if the king is in the midst of a fight.
The figures of Yuima ( Sanskrit: Vimalakirti) and Monju (Sanskrit: Manjushri) in the East kōndō of Kōfuku-ji also show Jōkei's interpretation of the Kei aesthetic. The debate between these two men had been the subject of earlier Japanese sculpture, but Jōkei's depiction is different and subject to interpretation. Some see his Yuima as strong and healthy, while others view the figure as aged and ill in keeping with his description in the Vimalikirtinirdesha Sutra. The work also indicates that Jōkei was familiar with the Buddhist sculpture of Song China. His Yuima sits on a pedestal, which is decorated with an elaborately carved lion. The sculpture's high wooden backing, carved to look as if it is covered in cloth, is another Chinese element. An inscription inside the chest portion of the work says that Jōkei worked on it in 1196 for 53 days. It lists Kōen, possibly his son, as the artist who did the coloration.
(1155–1213) was an influential Buddhist, scholar-monk and reformer of the Hosso sect in Japan, posthumously known as .
Jokei was a prolific author, asserting and compiling the Hosso/ Yogacara doctrine, while simultaneously refuting newer Buddhist movements, particularly the Pure Land movement begun by Honen. Like his contemporary Myoe, Jokei sought to make Buddhism more accessible to the public through the promotion of rebirth to Mount Potalaka, the dwelling of Kannon Bodhisattva, or aspiring for rebirth in the Tusita Heaven where the Bodhisattva Maitreya dwells. Jōkei actively promoted devotion to Shakyamuni Buddha, the historical founder, through devotional practices, access to relics of the Buddha, and promotion of ancient Vinaya monastic code.