Treatment of two more sculptures, Amida, the Buddha of Infinite Light and the elaborate Dainichi, the Buddha of Infinite Illumination with mandorla and an eight-part pedestal, is now complete. Amida had evidence of considerable insect damage from its long history, but a thorough examination confirmed there is no active infestation. Areas of damage were strengthened, and insect tunnels were filled with Japanese tissue and adhesives to provide stability.

Dainichi was in comparatively good condition, having been extensively treated in the 1980s. That work was fairly invasive and involved partially disassembling the object as well as regilding areas of loss. The current treatment focused on stabilization and primarily consisted of consolidating areas of flaking gilding with adhesives. The inscription in the hollow interior of Dainichi was also photographed using infrared reflectography, a technique that can help image carbon-based materials, such as ink.

Visitors often think that the sculpture are made of gilt metal and are surprised to hear they are actually fashioned completely from wood. Nearly all Japanese Buddhist sculptures throughout the centuries are made of wood, many from Japanese cypress (hinoki) due to its valuable properties. To confirm the types of wood used for some of the sculptures included in this project, conservators enlisted help from an international team of wood anatomists, including Mechtild Mertz in Paris and Suyako Tazuru of Kyoto University, who used synchrotron micro-CT scanning to examine very small and degraded wood samples. (Their work was recently published in the Journal of Wood Science.) Results are pending for the Dainichi sample, which is of particular interest as it is suspected to be of a different species than hinoki, such as camphor. If this proves to be the case, it may help fill in some of the missing history of the object, including its region of origin.