Following the fall of the Konbaung dynasty and the British annexation of Upper Burma in 1885, Mandalay retained its major importance as a centre of Theravada Buddhism and artistic production. During the first half of the 20th century, local workshops continued to produce devotional images for monasteries, shrines and acts of religious merit. These sculptures deliberately perpetuated models established under the last Burmese kings, accounting for the strong stylistic continuity between certain works of the late 19th century and those produced during the first decades of the 20th century.
 
This imposing representation of the historical Buddha Shakyamuni is seated with his legs crossed upon a high pedestal. His right hand extends towards the knee and points to the earth in the earth-touching gesture, while his left hand rests in his lap, palm facing upwards. This iconography evokes the moment immediately preceding Enlightenment, when the Buddha called upon the Earth Goddess to bear witness to the merits accumulated throughout his previous existences, thereby affirming his victory over Māra.
 
The sculpture belongs to the artistic tradition of Mandalay, one of Burma’s foremost religious and artistic centres. The particularly serene face is characterised by elongated, half-closed eyes, delicately arched eyebrows, a straight nose and a mouth forming a subtle smile. The markedly elongated earlobes recall the Buddha’s former princely status.
 
The hair is rendered as a multitude of tightly arranged curls covering the head and the ushnisha. The body, with its full and balanced volumes, is enveloped in a monastic robe articulated by deeply modelled folds. The garment leaves part of the chest exposed and falls in successive folds, particularly elaborate across the front and back. This decorative treatment, combined with the gentle modelling of the face and the monumentality of the figure, perpetuates conventions developed in Mandalay workshops during the late 19th and early 20th centuries.
 
The statue is also distinguished by its substantial dimensions and considerable weight of 15.5 kg. The hollow casting, visible from beneath the base, reflects the traditional technique employed in the production of large Buddhist images in copper alloy. The surface retains a warm golden and honey-brown patina, punctuated by darker nuances and occasional areas of green oxidation, particularly within the recesses and around the base.
 
Condition: Good overall condition. Surface wear, scratches, casting irregularities and minor old marks are visible throughout. Well-established old patina.