Zen-en, sculptor of Buddhist images, was active at the beginning of the Kamakura Period in Nara and its environs. Unlike the famous sculptors Unkei and Kaikei, his name is not widely known, mainly because it did not come to light until recent times. In 1955, when the National Institute of Cultural Properties in Nara conducted a survey of the Saidaiji Temple, it was found that the image of Aizen Myōō in the Aizendo Hall of the same temple was the work of Zen-en. At about the same time the Shaka Nyorai image of the Sashizudo Hall of the Tōdaiji Temple was discovered and an inscription on the back of the knee was deciphered as the signature of Zen-en. These two newly discovered images were both small but exquisitely made, and interest was aroused in the sculptor Zen-en. More recently, two of Zen-en's works were discovered in Tokyo and are now introduced in the present article. Of the two, one is the image of an Eleven-Headed Kannon. It is dated the 3rd year of Shōkyū (1221), and is thus the earliest dated work of this sculptor. While undergoing repairs, a sutra scroll was found inside the body and the inner side of the torso was found to be covered with inscriptions. The figure is about 42 centimetres in height, of Japanese cypress in yosegi (assembled wood blocks) technique with rock crystal eyes. Over the centuries, the image has been extensively repaired, and the left arm and leg and the miniature heads are of later origin. Moreover it has been painted over, but the facial features and the folds of the robe show the artist's characteristics. On the inner side of the body are inscribed the names of the faithful, including the name of Han-en, the great abbot of the Kōfukuji Temple. The sutra is moth eaten to the extent that only the latter half is decipherable, The sutra, Kongōhannyaharamittakyū (Vajracchedika), is written seventeen words to a line, and on the back of the scroll is the Buddhist sign of the Eleven-Headed Kannon, and below it the signatures of the faithful. From the inscription at the end of the scroll, it can be assumed that Zen-en produced this image with the help of these pious followers of Buddha. The second statue is that of a Jizō Bosatsu owned by Mr. Horiguchi Sozan. This image is also made of Japanese cypress in the yosegi wood technique, with rock crystal eyes. 42.3 centimetres in height, the image is extremely well preserved, and the original colours and the gold foil (kirikane) decoration remain intact. There are also many inscriptions inside the body but no definite date. Zen-en is clearly inscribed as the maker of the image, and the listed names of the faithful include those of many illustrious priests of the Kōfukuji Temple such as the abbots Jisson and Han-en. Here, Han-en is inscribed as a abbot, which proves that this work is later in date than the Eleven-Headed Kannon. The period when Jisson was abbot and Han-en, former abbot, would fall between the 2nd year of Jōō (1223) and the 2nd year of Karoku (1226), and we may surmise that this image was made during these years. The discovery of these two statues throws more light on Zen-en's style, and suggests that at the beginning of the Kamakura period, a style of sculpture more in the style of Fujiwara art existed side by side with the forceful realistic style of the Unkei school.