each depicted seated in vajraparyankasana on a double-lotus base, the hands folded in dhyanamudra supporting an ambrosia vase, wearing a dhoti falling into pleated folds around the legs, further embellished by beaded jewellery and a shawl around one shoulder, the face with a meditative expression, the hair gathered into an elaborate chignon save for two curling braids falling off the sides, surmounted by a foliate beaded headdress

This pair of gilt-bronze figures of Amitayus is of particularly high quality casting, the details of the faces, jewellery, robes and base rendered with a distinct quality greater than typical mass-produced 18th century gilt-bronze Buddhist figures, suggesting that they may have been created for use in an Imperial temple. The crisply articulated lotus bases closely matches that on a larger Qianlong gilt-bronze figure of White Tara from the Qing Court collection, preserved in the Palace Museum, Beijing, illustrated in Buddhist Statues of Tibet. The Complete Collection of Treasures of the Palace Museum, Hong Kong, 2008, no. 247. So too does the naturalism of the faces and specific details of the casting, including the beaded jewellery.

Amitayus is perhaps the most popular long-life deity in Tibetan Buddhism and appears here in sambhogakaya, or the apparitional manifestation of the Buddha Amitabha (immeasurable light), wearing celestial adornments and with hands clasped in samadhi mudra holding a long-life vase (Tib. tsebum). Here the deity is depicted in his more commonly seen emanation seated in vajraparyankasana: he may also be portrayed standing upright with his hands in samadhi mudraholding a patra begging bowl, often with hair reaching to the🗹 ankle to indicate longevity. Amitayus is sometimes portrayed in a group of Three Long-Li🐷fe Deities that include Ushnishavijaya and the White Tara.