The pagoda of the Ishiyamadere, Shiga, is well known as a monument from the beginning of the Kamakura Period, but the Mahāvairocana statue, the main image in it, had not fully attracted the attention of scholars. By the examination of the author's team, the inscription including Kaikei's religious name “Annamidabutsu” was found inside its head and it became clear that the sculpture is a work made by Kaikei no later than the second year of Shōgen Era (1208). The inscription does not refer to the background of production, but a cited name which seems to read “Nun Kakunin” is perhaps one of the donors. It reminds one of a woman called the nun of Kamegayatsu, mentioned in Ishiyamdera Engi (Origin and Histrory of the Ishiyamadera) as a wet nurse of MINAMOTO no Yoritomo, the first shogun of Kamakura Shogunate. For, according to this literature, Chikayoshi NAKAHARA, a subject of the Shogunate, won a battle by the protection of Vaišravana of the Ishiyamadera and founded the Shōnan-in section of the temple around the Kenkyū Era (1190-1199) and furthermore he and his wife, “the nun of Kamegayatsu”, constructed the pagoda, putting the hair of Yoritomo in the hollow of the Mahāvairocana, its main image. The fact that the platform in the pagoda bears a dated inscription of the fifth year of Kenkyū Era (1194) coincides with the description in Ishiyama dera Engi and the author considers that it could well be the case that Chikayoshi NAKAHARA and his wife were actually involved in the construction of the pagoda and the donation of its main image. It is likely that Chikayoshi NAKAHARA became acquainted with Priest Chōgen who reconstructed the Tōdaiji perhaps through his partial patronage of the producition of a new image of Ākāśagarbha in the Tōdaiji's Great Buddha Hall. He ascended Mt. Koya to invite Chōgen, who had receded to Mt. Kōya as a hermit, by the order of Yoritomo and succeeded in it. “Namuamidabutsu...” seen in the inscription may be a pseudonym of Priest Chōgen. The author imagines that Chōgen, asked by Chikayoshi, took charge of the ritual essential to the preparation or the dedicaiton of the image. The author also theorizes that Kaikei, the sculptor, too, might have been recommended by Chōgen. An inscription of the time of repairs probably in Keian Era (1648-1652) is inside the image and the over-lacquer gilding, the fine cut-leaf patterns and the base of the mandorla seem to be from the time of repairs.