The artist seems to have kept the Dalai Lama's maxim in mind when sculpting this masterpiece. The almost perfectly proportioned portions conjoined together in a balanced, well integrated organic whole forming the Buddha's physical presence here lends credence to this impression.
Buddha has a slim, gentle face, and the eyes framed by arched eyebrows are in a state of semi-closure. He has sharp nose, and the lips are neither too thick or thin, though the lower one is slightly thicker than the other. The artist has managed to concentrate an awesome aura of calm and quiet on the Buddha's features. This is as much true for the face as it is for all the aspects of his anatomy which have been skilfully fused together to give rise to a perfectly proportioned figure, bordering on the theoretical.
The three lines on his neck are symbolic of the conch and signify the sweetness of his speech. Beneath lies the upper part of his torso, erect and majestic like a vertical column. The two legs are effortlessly folded under him with the soles turned upwards. His left hand rests, palm upwards, on his lap making the mudra of meditation. The right however engages in dual action. Firstly, the inclined palm makes the Varada Mudra (boon-granting gesture). The Medicine Buddha's specific boon is that of a healthy body and a healthy mind. Secondly, between the thumb and the index finger he gently grips a vegetative stem which terminates into a full-blown flower at his right shoulder. This is the myrobalan, a healing plant well-known in Tibetan medicine. It is a symbolic reminder here of Buddha's insistence on the virtues of herbal healing.
Buddha sits on an oval lotus pedestal. The entire sculpture has been hued in the dual tones of silver and gold with his body being entirely silver and the raiment golden. A fascinating contrast to say the least. The flowing drape falls in a golden puddle at the master's feet as if expressing its own gratitude at being granted the honor of draping the great Buddha himself.
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