This free-standing Bodhisattva is related to the image style of the Xiangtangshan cave temples and stylistically dates to about the same time, ca. 560s–70s during the Northern Qi Dynasty in northeastern China. It possesses the characteristically columnar form of the Xiangtangshan sculptures, though the jewel forms appear slightly more subdued than usual. The posture is frontal and unbending, indicating, as with the Xiangtangshan sculptures in general, a sense of inner, irrevocable solidity and firmness. The human body is disclosed in its most primordial shape with thin, close-fitting robes smoothing out the surfaces. Jewelry makes its own symmetric patterns of heavy, raised, textured pearl chains, X-crossed in shape as they cover the frontal expanse and contrast with the sharp edges of the bands of the hems and long shoulder scarves that descend as a framing statement to the lotus pedestal. A youthful, serene face appears remote and distant, though still human, above the rather massive form. Impressive in its monumentality, this bodhisattva exemplifies the sixth-century style of early Buddhist art in China. He stands on a lotus pedestal, which signals his transcendent nature as a being that has surpassed the mundane human state in knowledge and compassion. The mass of his body and the equal distribution of weight on both feet impart an iconic quality to this object of worship.