11th century, Tibet, gilt copper, Shakyamuni, is or was at the gTsug Lakhang in Lhasa, published by Ulrich von Schroeder.
The buddha above holds the edge of his garment in his left hand, at hip level. His right hand (with what ought to be the mark of the wheel in its palm) is doing the fear-allaying gesture. The lower part of his garment, which covers both shoulders, forms vertical pleats behind him and ends in a straight line, which makes it look very rigid.
12th century, same as above.
This one holds the end of his garment at shoulder level. The cloth has a broad incised hem and forms pleats shaped into a zig-zag in the middle. On both sculptures, the wide gap between the thighs, together with the rigidity of the legs, gives them a doll-like appearance.
11th century, Tibetk Shakyamuni, gilt copper, is or was at the gTsug Lakhang in Lhasa, published by Ulrich von Schroeder.
This is more in line with the Gupta style as far as body proportions are concerned, with fleshier thighs and broader shoulders but the slanted waist is reminiscent of Nepalese works. The style of the lotus base corresponds to the 11th century Thakuri (Nepalese) style and period, as does the addition of a square or rectangular plinth under it.
11th century, Western Tibet, Shakyamuni, copper alloy, at the Phyi dBang monastery, Tibet.
The silver-inlaid eyes in conjunction with a tiny mouth, straight nose and oval face suggest an influence from Kashmir, as does the shape of the garment, but Kashmiri works do not normally display such disproportionate head and hands, and the robes have more concentric lines.