Seated in the vajra position, on a single-lotus base over a Kashmiri-style throne supported by lions and decorated with an upright vajra, Akshobhya holds his left hand in the meditation gesture (dhyana mudra) and his right hand in the ‘calling-Earth-to-witness’ gesture (bhumisparsha mudra). There are some rings at the back to fit a back panel (mandorla) now lost.
This Akshobhya may have held an upright thunderbolt in his cupped left hand. Unlike the previous (and unusual) example, his hair is dyed with lapis lazuli powder, the top knot is adorned with a golden finial.
The thunderbolt is often placed before him, as above. We will notice the deeply grooved facial features (except for the slightly marked urna), the incised motif on the edge of his garment, and the end of the garment neatly arranged like a fishtail over his shoulder.
Sometimes, the vajra in front of him is incised. On this sculpture and the following ones, a feature which helps date the work is one end of the robe resting on the crook the elbow.
The facial features on this buddha are painted with pigments. The elongated earlobes which once supported earrings could be those of the historical buddha but the absence of a dharma wheel (or a lotus) incised in the palm of his hand and the soles of his feet points to Akshobhya.
The artist has inlaid the eyes with silver and the hem of his robe with copper. There is a small vajra in front of him.