This statue came from Shin Yakushi-ji Temple. The wooden mandorla was decorated with pigments, which was widely applied to the Buddhist sculptures at Nara in Heian period. The face was expressed in gentle appearance with downcast eyes, the slender body was expressed with narrow shoulders, and the robe was delicately carved in low relief; recognized as characteristic techniques transmitted in late Heian period.
 
Yasuo Inamoto 
Masterworks from the Nara Buddhist Sculpture Hall at the Nara National Museum. Nara National Museum, 2010, p.141, no.131. 

 This eleven-headed Kannon (Ekādaśamukha) on the lotus seat, stretching its right arm downward, holding a flower vase with its left hand, and twisting its waist slightly to the left, was originally kept in Shin-yakushi-ji temple in Nara as an attendant of the principal Buddha's image. The body and head parts were carved from a single piece of hinoki wood (Japanese cypress), which was then split into two parts (front and back) in order to allow the carving of the inside. The naked part of the body is coated with lacquer foil, and the garment is colored over a layer of white clay. Red color, which is extant on some part of the stole and the skirt, and the design of flowers painted on the front side of the skirt reflect the graceful way of selecting colors in the late Heian period. The modeling of this high statue with its small head, which emphasizes the tall body even more, the gentle face and smoothly curving lines of the drapes reflect the characteristics of sculptures in the late Heian period. The halo which is decorated with large arabesque vines, is also characteristic for the work done during the late Heian period. 
Masterpieces of Nara National Museum. Nara National Museum, 1993, pp.22-23, no.11.