exquisitely and crisply cast with preserved gilding, the meditating Buddha seated with arms folded in dhyanamudra, the robes falling into neat pleats over the rounded figure, with a serene expression framed by pendulous ears and wavy hair piled into a domed ushnisha, the figure cast in front of an elaborate mandorla of multiple layers, consisting of a plain aureole around the head, swirling flames emanating from the body and distending to reticulated flickering flames, all supported on a stepped plinth raised on four splayed legs, the front with a band of geometric decoration above two robed devotees cast in low relief with their hands clasped prayerfully at the waist standing to either side of a cusped perimeter, the reverse of the flaming mandorla further impressed with an image of Buddha seated on a similar four-legged pedestal in front of a leaf-shaped mandorla with one hand raised in abayamudra and the other resting in dyanamudra, cast with a dedicatory inscription dated to the twelfth year of Taihe spreading two sides of the pedestal