Elegant representation of the seated Buddha, with the right hand lowered in the earth-touching gesture, calling the earth to witness at the moment of Enlightenment. The left hand rests in the lap. The Buddha is seated upon an imposing multi-tiered architectural pedestal, several sides of which bear engraved Burmese inscriptions.
 
The sculpture belongs to the Tai Yai tradition developed in the eastern and north-eastern regions of Burma. It is distinguished here by a particularly elongated silhouette, a narrow torso, long arms, an oval face with delicately stylised features, and large ears terminating in greatly extended earlobes. The half-closed eyes and subtly smiling mouth give the face the introspective expression characteristic of many Burmese Buddhist images.
 
The hair is rendered as a multitude of strongly individualised small curls, rising into a high ushnisha. The monastic robe, closely following the contours of the body, is indicated by fine incised lines and by a section of fabric falling down the back. The pedestal is enriched with repetitive friezes evoking petals and stylised vegetal motifs.
 
The 19th century represents a particularly interesting period in the development of Buddhist sculpture in the Shan States. While central Burma was ruled by the Konbaung Dynasty (1752–1885), the Shan territories remained organised into principalities governed by saophas. This relative autonomy encouraged the continuation of distinctive regional artistic traditions while allowing exchanges with the major Burmese artistic centres, as well as with northern Thailand and the wider Tai cultural world. Buddha images produced within this context should therefore not be regarded simply as provincial variants of Mandalay art.
 
The votive character of the work adds further interest. The inscriptions engraved on several faces of the pedestal may correspond to a dedication, the name of a donor, or the commemoration of a religious offering.
 
Condition:
The surface is particularly attractive, with an old brownish-black patina enriched by warmer tones, areas of wear and patches of green mineralisation, particularly around the pedestal. Numerous marks, abrasions and surface irregularities contribute strongly to the archaeological character of the piece and bear witness to its material history. Some old breaks and losses.