The exquisitely modeled sculpture depicts one of the finest standing images of Buddha Sakya-muni. He is shown standing on a lotus seat. The face of the Buddha is imbued with subtle concepts like bodhi, prajna, karuna and yoga, imparting a higher level of spiritual experience.

The hair of the Buddha is arranged in curls with prominent usnisa and there is a jewel like object on the top. He has elongated earlobes and meditative half closed eyes. His slanted eyebrows join the bridge of his nose and there is a circle (urna) between and above the eyebrows. Through he has broad shoulders, his body is slim and slender. His right hand is in the gesture of abhaya (fearlessness or reassurance), while the left one is in the pose of varada (a gesture of offering boon). The palms of both the hands are incised with lotus petals.

The Buddha is wearing a sanghati (monastic robe), the upper one of which covers both the shoulders. The vertical hem of the sanghati is held in the left hand of the Buddha. The borders of the robe are incised with a design and the broad sash is tied with a waist-belt. The lower garment has dots in the stylized as flowers and covers the body up to just above the feet.

Pysiognomically, the sculpture is closer to the style of Eastern school of Art (India), while the drapery, the Buddha is wearing is Tibetan or Chinese in style.

References:

A. Getty, The Gods of Northern Buddhism, Tokyo, 1962.

D. L. Snellgrove (Ed.), The Image of the Buddha, New Delhi, 1978

F. M. Asher, The Art of Eastern India, 300-800, Oxford University Press, 1980.

N. R. Ray, Idea and Images in Indian Art, Delhi, 1973.

S. K. Verma, Art and Iconography of the Buddha images, Delhi, 1996.

S. K. Saraswati, A Survey of Indian Sculpture, Calcutta, 1957.

This description by Dr. Shailendra Kr. Verma.

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