The sculpture is sublime, showing relatively large head. The sacred jewel was held on the right hand and the beaded ornament was drooped on the left hand. It is distinctive that the hem of inner garment (kun) was folded in triangle and the swirling robe was draped on the lotus pedestal. It is said to have come from Ishanain Temple in Mitoyo city, Kagawa Prefecture.
 
Yasuo Inamoto 
Masterworks from the Nara Buddhist Sculpture Hall at the Nara National Museum. Nara National Museum, 2010, p.137, no.160. 

 The large crown of this statue is rimmed with the design of palmettos, and a small Buddhist figure is described on the front ornament of the crown. The statue is standing on a thick lotus seat with its waist slightly twisted to the right. It is holding a bead in its right hand and touching the rosary with its left hand. The upper half of the body including the head, shoulders, and arms is larger than the lower half, but the drapes hanging from both of the arms balance the proportion of the whole body. Many ornaments on the head, on the breast and around the neck decorate the figure. Flowing drapes are represented over the flap of the costume. The strings hanging from both sides of the crown meander over the shoulders, which is an excellent arrangement. These expressions remind us of the statue of the nine-headed Kannon in Hōryū-ji temple in Nara and the statue of the eleven-headed Kannon in Shinpuku-ji temple in Yamaguchi prefecture, both of which were brought from China. This Kannon-bosatsu is one of the extant gilt-bronze Buddhist statues which clearly reflect the influence of the Chinese statues during the Tang dynasty. 
Masterpieces of Nara National Museum. Nara National Museum, 1993, p.11, no.2.