Avalokiteshvara, surrounded with lotuses, stands on a small double-lotus base over a ‘tortoise pedestal’, both typical of the Pala style (11th and 12th century) in Northeast India. He has a very tall chignon and a small tiara with upward flowing ribbons, an ankle-length dhoti, a sacred thread.
On this singular piece with harmonious proportions, the chignon has been replaced by a pearl topped with a large turquoise finial. Avalokiteshavara stands on a gilt copper alloy lotus base, his right hand doing the vitarka mudra, the other hand holding the stem of a (broken) lotus. The armbands, buckle and one pendant are also rendered with large turquoise cabochons. The pendant on his longer necklace is inlaid with a clear gemstone. His small tiara is decorated with large bows that enhance his gentle Tibetan facial features.
There is a miniature antelope skin over his left shoulder, a tear-shaped urna on his forehead, a broad sash with an incised motif across his chest.
This sculpture depicts Avalokiteshvara standing on a lotus over a throne supported by yakshas, holding the stem of a lotus in his left hand. The back panel is decorated with a row of flames on the outside and scrolls of vegetation on the inside.
There is a ritual water pot in his right hand. he wears a transparent dhoti held in place with a belt and a thin sash across his thighs. He has an idealised torso with a narrow waist and no navel.
There is a garuda at the top of the mandorla and an effigy of Amitabha in his crown.
The body of this Avalokiteshvara is reminiscent of the (Nepalese) Early Malla style although somewhat stiffer and with the arms held rigidly. He has Tibetan facial features (painted with cold gold and pigments and the hair painted with lapis lazuli powder).
There is an effigy of Amitabha on the front panel of his three-leaf crown.