The tall pedestal with two rows of broad petals on which the historical buddha is seated is often seen on late 15th and 16th century gilt copper alloy works made by Nepalese artists.
This one, quite different, is a Yongle-style pedestal, which became very popular in Nepal and Tibet during the 15th century. The buddha has no piece of cloth resting over his left shoulder, something quite unusual. He wears a long dhoti loosely draped over his ankles, the folds neatly gathered into thick pleats.
Like the first figure, this one has a round chignon topped with a large knop. The outer garment covers both shoulders and has one end artistically arranged at the front. The style of the single lotus base is typical of Nepal and often seen on wooden sculptures from the Malla period. The edge of the backplate is decorated with a scrolled vegetation pattern.
This later sculpture displays archaic traits, such as the use of un-gilt copper alloy and the Indian-style gaze and beaked nose, but the plump toes and the coarse piping on the border of the sanghati situate it in the late Malla period, and the disproportion between the large head and the thin elongated torso points to the 17th century. The folds of the garment are arranged in an elegant scallop shape under his ankles. There is a small vajra in front of him.
An inscription on the base tells us that this sculpture was made in 1748. The buddha is seated on a single lotus base over a throne supported by peacocks and holds both hands in the meditation gesture to support a begging bowl (this iconography is also associated with Amitabha). There is a parasol with ribbons on top of the backplate.