This Yakushi nyorai (Skt. Bhaiṣajyaguru) has a round face with a gentle smile and plump body. The depiction of the lotus pedestal below the hem of the robe is a style frequently seen in examples from the High Tang. The influence of the Chinese type is evident here. The expression of the clinging robe, which calls to mind that of dry lacquer statues, is another special characteristic of this work.
 
Yasuo Inamoto 
Masterworks from the Nara Buddhist Sculpture Hall at the Nara National Museum. Nara National Museum, 2010, p.138, no.158. 

 The whole body was cast by a single mold. The gilded surface of the statue is no longer extant because of the damage by fire in the past, and the right hand was repaired with wood. The contour line of the plump face, three deep lines across the neck, and the sturdy build of the body reflect the characteristics of the statues made during the mid-Tempyō era. The realistic description of the drapes hanging over the lotus seat indicates the influence of Chinese sculptures of the Tang dynasty. 
Masterpieces of Nara National Museum. Nara National Museum, 1993, p.10, no.1.