This buddha is wrapped in a see-through garment covering both shoulders, which reveals a slender waist, broad chest, and large nipples and navel, a long dhoti underneath. His facial features (pointed nose, thin eyebrows almost joined at nose level, pursed lips) correspond to the Kashmiri style extensive to the former Tibetan Kingdom of Ladakh and Western Tibet. He sits on a double -lotus base with no beading at the top or at the bottom, an inscription at the back gives us information on the date and origin of the sculpture. There are traces of lapis lazuli powder in his hair, made of particularly large curls.
When Akshobhya is depicted as a buddha, i.e. without his princely attire, it is difficult to distinguish him from the historical buddha. Both call Earth to witness with their right hand and hold a begging bowl in the other. Normally, Akshobhya has a thunderbolt or vajra in front of him but the historical buddha may have one too. The fact that there is no urna on his forehead indicates that this is likely to be Akshobhya. The absence of dharma wheels on the soles of his feet and the palm of his hands confirms it.
This much smaller and worn sculpture was made in a different style. The mouth is wider, the proportions of the chest less realistic. His see-through garment covers only one shoulder and there is no flap resting on it. He wears a long dhoti too. His short curly hair is topped with two spherical protuberances, probably a double chignon (or a chignon and a finial). This hairstyle can be observed on a few Tibetan and Mongolian sculptures thereafter. The lotus base consists in a single row of thick lotus petals with squarish contours and small dots incised on them with no beading at the top or at the bottom. There is a small vajra sceptre in front of him.