The Shan,  known as Tai Yai style, flourished across the plateau regions of eastern Burma primarily during the 17th to 19th centuries, spanning the Late Ava and Konbaung periods. Situated along the strategic crossroads bordering Yunnan (China), Thailand, and Laos. 
 
The Shan principalities developed a highly distinctive visual identity that elegantly bridged the gap between traditional Burmese iconography and neighboring Lanna artistic traditions. Rather than creating rigid, heavy icons, Shan sculptors favored fluid contours, softer facial expressions, and complex decorative techniques that gave their statues an immediate, lifelike warmth. Their religious art played a central role in local Theravada monastic life, where statues were crafted not only for permanent temple altars but also designed to be light enough to be carried through villages during sacred annual processions.
 
This fine dry-lacquer statue of Sakyamuni Buddha is depicted seated in full lotus posture. His right hand is lowered in the earth-touching mudra, calling the earth to witness, while his left hand rests in his lap in the gesture of meditation. The rounded, serene face features almond-shaped eyes inlaid with glass, set with dark pupils, a hallmark of Shan iconography. A smooth, distinct forehead band separates the face from the hair, which is styled in tight, conical spikes. The elongated earlobes flare outwards from the head.
 
He wears the monastic robe, draped over the left shoulder and leaving the right shoulder bare.
A heavily folded, geometric cloth flap falls over the left shoulder and extends onto the back. The entire surface of the garment is intricately incised with fine floral and geometric textile motifs. The figure rests on an octagonal, molded pedestal decorated with an incised lotus-petal frieze.
 
 
Dry lacquer (man-paya), constructed from lacquered paper-mâché layers reinforced with straw and clay over a temporary core. The hollow interior clearly displays the structural textile layers, rice straw, and residual core materials. Original dark lacquer patina with traces of gilt (thayo) remaining in the incised details and recesses.
 
Report condition:
Excellent structural integrity given the fragile medium. The top of the ushnisha finial is missing, leaving a typical open aperture at the crown. Minor surface wear, light cracking, and lacquer flaking consistent with age.