Amoghasiddhi does the fear-allaying gesture with his right hand, the other held in the meditation gesture. He is seated on a tall double-lotus base with short plump petals, his celestial scarf forming a frame around his shoulders before passing over his inner arms, two features often seen on un-gilt Tibetan works dated to the 14th or 15th century. He wears a five-leaf crown with a broad rim inlaid with copper and a central panel derived from the ‘Kirtimukha design’ (see below).
On the contrary, this Amoghasiddhi wears a crown with vegetation going downwards. The beading on the rim of his crown, on the hem of his dhoti and on some of his jewellery is made of copper. The design of his shorter necklaces was probably very innovative at the time they were made.
This more classical piece depicts him with a vajra on top of his head and many medium-size turquoise cabochons on his jewellery and crown.
The dhyani buddha wears a tall five-leaf crown with the panels widely set apart, the central one with a simplified Kirtimukha design (vegetation buds sprouting upwards), large hoops with a leaf pendant, a necklace with beaded pendants that cover most of the chest, no other jewellery or belt, but a sanghati which covers his left arm – an item of clothing not normally worn by dhyani buddhas (in the Himalayas).
An interesting mixture of Indian, Nepalese and Tibetan elements. There are two peacocks (normally associated with Amitabha) incised at the front of the pedestal.