An uncommon figural depiction of Sho-Kannon, the bodhisattva of compassion.

An engaging Jizo stone, showing stylistic signs of a post-Edo manufacture.

While stylistic signs clearly indicate an Edo-Period manufacture, this Jizo stone shows a degree of smoothly striated surface erosion typically seen only on pre-Edo stones.

A classic Edo-Period standing Jizo sculpted with charming simplicity from a relatively soft brick-hued sandstone.

A solid Jizo stone demonstrating a distinctive aspect of much of Japanese stone sculpture, i.e., a tendency to accumulate lichen and moss. Among the climates of the Asian Buddhist nations, that of Japan is most conducive to lichen and moss growth. Furthermore, many of the stone types commonly employed in the production of sculpture in Japan are softer and more water permeable than the stone types commonly employed elsewhere. Upon such stone types moss and lichen flourish.

A thoroughly classic relief-sculpted sandstone Edo-Period Jizo in laudable condition and with irrefutable mid-18th-century temporal provenance.

Although showing a largely pre-Edo stylistic characteristic, i.e., a bottom surface sculpted pointedly for insertion into the ground as opposed to flatly for placement upon the ground, this is an Edo-Period (1603–1868) stone, simply sculpted from a blue-green schist. For outdoor display, the lower portion of the stone can be sunk into the ground.

A fairly massive rendering of a joyously radiant Nyoirin Kannon, sculpted in bold relief from andesite, an extremely hard, heavy igneous stone.

Sculpted in bold relief with undulating flair, a joyous Nyoirin Kannon, the only deity in the Buddhist pantheon depicted in the pose of royal ease.

Sculpted with charming simplicity from an extremely hard, fine-grained stone, an enchanting little Senju Kannon, stone depictions of which are exceedingly uncommon.