The folds in the draping robes of this tranquil statue offer a sense of naturalistic dimensionality; its form is otherwise characterized by the restraint in modulation to its elegant expression. These contrasting modes place this statue at the border of two stylistic periods. The seed syllable (Skt. bīja; J. shuji) that represents the Sanskrit sound embodying Amida, hrīḥ, is inscribed continuously inside the statue, spanning across the surface of its hollowed out interior. It is an image from the religious context of esoteric Buddhism (mikkyō).
 
NAITO WataruEnglish by Mary Lewine 
Buddhist Art Paradise: Jewels of the Nara National Museum. Nara National Museum, 2021.7, p.338, no.146. 

Dated to the latter part of the Heian period (794-1185), this image manifests the style of that time, particularly in its sense of tranquility and calm. The hands rest atop one another before the stomach with the palms up and thumbs and forefingers touching, forming a gesture known as the meditation mudrā (J. jō'in), which identifies this deity as Amida. The seed syllable (J. shuji) that represents Amida is inscribed countless times inside the statue, spanning across the surface of its hollowed-out interior.　 
Audio guide 

The hands demonstrated as the meditative position (jōin). This mudra is derived from the Esoteric Buddhism, however it can be applied to the statues harmonized with the Pure Land Buddhism. The hollow of the statue was densely decorated with Sanskrit letter representing Amida, suggesting the influence of the Esoteric Buddhism. The lotus pedestal was formed with seven layers which is a popular style in the late Heian period.
 
Shigeki Iwata 
Masterworks from the Nara Buddhist Sculpture Hall at the Nara National Museum. Nara National Museum, 2010, p.142, no.127.