Born around 1170 (dates uncertain), he trained under Kokei—the same master as Unkei—making them fellow disciples. He established his own distinctive style early and played a central role among the sculptors working on Chogen's Todai-ji reconstruction project. For the Great South Gate Nio statues (completed 1203), he is said to have carved the "a-gyo" figure (mouth open), while Unkei carved "un-gyo." A deeply devout Pure Land Buddhist, he took the name "An-Amidabutsu" and his style came to be called the "An-Ami style" (anami-yo). In contrast to Unkei's bold realism, his work is characterized by refined elegance, dignity, and intellectual serenity. He left numerous masterpieces, including the monk-form Hachiman at Todai-ji, the Maitreya at Daigoji, and the Amida triad at Jodoji. He specialized in Amida (Amitabha) images, producing them prolifically to serve Pure Land devotion among ordinary people. He is also noted for carefully inscribing his works—records invaluable to modern research. He died around 1227.

A refined and intellectual artist whose deep Pure Land faith imbued his works with serene elegance. He opened an aesthetic realm contrasting with Unkei's power.

Alongside Unkei, the greatest sculptor of the Kamakura era. The "An-Ami style" profoundly influenced later Buddhist sculpture. The Todai-ji Nio remain a supreme treasure of Japanese art.