A removable panel in the back of this image gives access to a hollow interior that would have been filled with offerings at the time of the piece’s consecration. The interior surface of the panel bears a date (1282) and a small bronze mirror that functioned as a protective talisman.
The bodhisattva has a rounded physique and stands in a slightly twisting pose, which creates a sense of depth. Both conventions attest to the introduction of Indo-Himalayan sculptural traditions in China in the thirteenth and fourteenth centuries, when the Mongols controlled both China and parts of Tibet. The elaborate coiffure also derives from these traditions.
Inscription: Dated [on inside of back block]: Da yuan guo zhi yuan shi jiu nian si yue geng yin shuo nian ri (The Great Yüan State, Zhiyüan period, 19th year, 4th month, 20th day [this date concords with May 28, 1282]).