delicately cast seated in lalitasana on a double-lotus base with the right foot resting on an individual lotus issuing from the base inscribed with a mantra in Lantsa script, depicted with the right hand held in varadamudra and the left in vitarkamudra, the bodhisattva rendered with a benevolent expression framed by a five-tiered crown enclosing the high chignon and ornate earrings, the figure portrayed clad with a scarf entwined with lotus flanking the shoulders, further adorned with elaborate jewellery including beaded necklaces, bracelets and armbands

Another rare gilt-bronze figure of identical size and workmanship, but depicting Amitayus, is illustrated in Robert Bigler, Art and Faith at the Crossroads, Zurich, 2013, cat. no. 36, where he expounds the theory that the presence of small drilled holes between petals on the base, combined with the light weight structure of the base, suggests that figures of this type were originally attached to ritual headgear or helmets.