Gyōkai is a noted disciple of a great Buddhist sculptor Kaikei in the early Kamakura Period. Some of his works have been newly discovered recently. In the present article the author studies the artistic activities of Gyōkai, who has hitherto been taken into consideration only in relation to Kaikei. and his signdficance in the history of Japanese sculpture. The first known activity of Gyōkai is that under Kaikei in the production of the statue of Kṣitigarbha, which is now in the Fujita Art Museum, Osaka. This statue bears an inscription, “eye-opening by Gyōkai,” which not only indicates Gyōkai's involvement in the making of the eyes but also his significance as a sculptor, for this manner of inscription was unique to Kaikei's studio. In 1216 Gyōkai received the title of Hokkyō through Kaikei's recommendation. Later in 1219 Kaikei and his disciples worked on the statue of the Eleven-headed Avalokitesvara in the Hasedera in Yamato. Gyōkai then provided significant assistance to Kaikei by making the plans and estimates and was entrusted with the carving of the halo. Around 1221 Kaikei and his group produced the statues of Śākyamuni and the Ten Disciples at the Daihōonji in Kyoto. At this time Gyōkai held the title of Hōgen, as did Kaikei, and even worked on the principal image of Śākyamuni, while his master Kaikei made two of the accompanying Ten Disciples images. Gyōkai's last work that is known was one of the thousand statues of the Thousand-armed Avalokitesvara at the Rengeōin, most of which were re-produced between 1251 and 1266. Though undated, works from his Hōgen period have been found recently which are the standing image of Amitābha in the Amidaji, Shiga, and another in the Kitajūman, Osaka. Both of them succeeded the style of Kaikei. Gyōkai's works on the whole display greater strength than Kaikei's, and his treatment of drapery folds shows realism. Gyōkai was trying to add his own expression to the style of his master and he seems to have been inspired by another great sculptor Unkei who equalled Kaikei. Gyōkai was active when the two styles of Unkei and Kaikei were fusing into one. On the contrary, Unkei's son Tankei received some inspiration from Kaikei. While most of Kaikei's disciples faithfully followed their master's style, Gyōkai extended the stylistic boundary, being conscious of the trend of the time. Kaikei made Gyōkai his assistant perhaps because he was aware of the talent of his disciple Gyōkai.