The Buddhist goddess Laksmi

This second print of Kichijoten represents either a state variant or a recut version of the subject, a practice common in [sosaku-hanga](/glossary/sosaku-hanga) where the artist working alone could revisit a composition with adjusted color, key block, or paper. Where commercial Edo-period publishers issued tightly controlled editions, sosaku-hanga prints often exist in small, subtly differentiated runs reflecting the artist's continuing engagement with the image. Sasajima would have re-inscribed the deity's posture and attributes — typically the cintamani jewel and continental-style robes derived from Nara-period Buddhist iconography — through fresh carving rather than preserved blocks. The subject extends his interest in Buddhist devotional culture, the same scholarly attention that produced his repeated returns to the temple complexes of Nara and Kyoto. Heavy [karazuri](/glossary/karazuri) embossing and pronounced gouge marks, hallmarks of his hand-printed practice under Onchi Koshiro's influence, would carry the same tactile weight he brought to depictions of stone foundations and timber gates.