Shakyamuni holds one end of his outer garment and displays the varada mudra. His robe covers both shoulders and has rounded ends, it is shorter at the front and reveals the lower part of his dhoti. His hair forms a conical chignon topped with a gold finial.
This figure comes complete with its one-piece oval-shape flaming mandorla. It starts from the base and ends with a peak at the top.
This is quite a different style, that recalls very much earlier Indian bronze and stone works.
We are back to the small oval face, conical chignon, thin waist and long arms (often seen on buddhas from the earlier Licchavi period), with a more rigid robe, and a (broken) one-piece mandorla attached to the double-lotus base with alternate rows of incised petals.
The long legs and voluptuous hips of this buddha are often seen on sculptures from the late Thakuri period (also known as the Transitional period) but we have seen a 9th-10th century Maitreya with a very similar body shape. The waist line of his dhoti shows through his transparent robe, just below the navel. The left hand holds one end of his garment at hip level, the right hand does the abhaya mudra (fear-allaying).
Being worshipped in Lhasa, these two sculptures have their faces painted with cold gold and pigments and their hair dyed with lapis lazuli powder. They both have a rather big head with a broad forehead.
Later sculptures often portray Shakyamuni with a more flowing outer garment with concentric pleats. The above has a halo behind his head, attached to the one-piece flaming mandorla.
The outer garment can be more or less pleated, at the bottom or on the sides.
The end of the garment he holds in his left hand is not usually as bulky as above.
This fire-gilt buddha has broad shoulders and a rigid robe and straight dhoti similar to the two figures from the Potala. There is a lotus flower incised in the palm of his right hand.