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A Daie (formal robe) is slightly draped over its right shoulder, flowing from the underside of its right elbow to its left forearm. The inner robe Naie is worn on its right forearm like a large sleeve. This dressing style is the same as that of the wooden statue of seated Yakushi Nyorai (Buddha of Medicine) in Horin-ji Temple in Nara. Its face is an ancient style with double eyelids and is also common to the Yakushi Nyorai statue. The Hansai-kuyomon (halved pattern of nine luminaries: it seems to indicate Shokko-nishiki, Chinese brocade with a geometric pattern consisting of squares and octagons) arranged on the Sougishi (a robe worn under the outer Kesa robe) is generally seen in the work in the latter half of the seventh century such as statues of boy attendants to Buddhist deities and thus this statue is believed to have been created at about that time. \nThis statue was created in one cast including its body and hanging skirt and is hollowed out up to the lower part of its neck. The bronze thickness is relatively thick and is almost uniform on the whole. The casting of this statue is good as there are not very many pores. Metal inlay is applied to part of the left side of its left shoulder. Its Rohatsu (spiral shaped curls of hair) was created by cutting this part into squares and then dotting it using a Nanakotagane (an indented burin for beating out a fish-roe pattern). A Nanakotagane was used also for the hem of the Sougishi and the pearl pattern in the motif of Hansai-kuyomon. Plating remains ovslmost the entire surface except for its hair. Coloring is found on its hair and lips, which were painted in ultramarine and vermilion (or Indian red), respectively. Drawing in black ink can be found on its eyebrows, mustache and beard. The inner surface of the statue is painted with red lead except for the part between the lower neck and the breast (ground of terra alba is seen in some parts). \n","@language":"en"},{"@value":"这尊佛像脸型稍长，嘴角浮出笑容，这些面容特征残留有古式风格。而手指动作柔软，衣纹曲线流畅，这些表现手法显得自然。大衣稍稍披在右肩，从右肘下垂至左前臂，右前臂的袈裟呈大袖状，这种衣着样式与奈良法轮寺的木造药师如来坐像相同，且古式面容与弯曲的双眼皮等表现风格方面二者也有相通之处。覆肩衣上施有的半截九曜纹（可能为蜀江锦）在童子像等7世纪后半叶的作品中较为常见，因此推测本像的制作年代也大致处于这一时期。\n包括本体和悬裳衣在内为整一次铸成，佛像颈部下缘以下内部为中空。铜层较厚且整体厚度基本均匀，铸造气孔较少，铸造效果良好。左肩侧面有部分镶金。螺发先刻成色子状后用鱼子錾刀整形加工成粒状。覆肩衣的边饰及半截九曜纹上的连珠图案也用鱼子錾刀刻成。除了头发部分之外佛像整体的镀金基本保留完好，现已确认头发色彩为群青，嘴唇为朱色(也可能为铁丹)，眉、髭须、胡须为墨绘。像内除颈下缘至胸部外整面涂有丹朱(部分露出白底)。\n","@language":"zh"},{"@value":"  약간 긴 얼굴과 입가에 미소를 띤 모습에는 옛 양식이 남아있으며, 손가락에는 부드러운 움직임이 있고 의문선도 유려한 곡선을 그리는 등 그 표현에 자연스러움이 느껴진다. 오른쪽 어깨에 살짝 걸쳐진 대의는 오른쪽 팔꿈치 아래에서 왼쪽 팔뚝까지 이르며, 내의를 오른쪽 팔뚝에서 대수(大袖) 모양으로 드리우고 있는데, 그 착의 형식은 나라현 호린지 절의 목조약사여래좌상과 같은 것으로, 옛 양식을 띤 얼굴과 눈꺼풀이 2중으로 굴곡을 이루는 표현 등 그 작풍도 공통된다. 승기지에 표현된 반절구요문(半截九曜文)(혹은 촉강면을 나타냄)은 일반적으로 동자형 상을 비롯한 7세기 후반의 작품에서 볼 수 있어, 본 상의 제작년도도 거의 같은 시기로 추정할 수 있다.\n  본체와 치마까지를 한 덩어리로 주조하여 만들었으며, 목 아래쪽까지 내부는 비어있다. 동의 두께는 비교적 두꺼운 편이며 전체적으로 거의 균일하고 기포도 적어 주조 상태가 양호하다고 할 수 있다. 왼쪽 어깨 측면의 일부에는 땜질하였다. 나발은 우선 주사위 모양으로 만든 후 각각을 어자무늬 정을 사용하여 알갱이 모양으로 다듬은 것이다. 또한 승기지의 가장자리와 반절구요문의 연주무늬에도 어자무늬 정이 사용되었다. 두발을 제외한 거의 전면에 도금이 남아있으며, 두발에 군청색, 입술에 주홍색(혹은 벵갈라)으로 채색했고 눈썹, 콧수염, 턱수염은 먹으로 그려 넣었음을 알 수 있다. 상에는 목 밑부분부터 가슴 부분을 제외한 거의 전면에 단주(丹朱)가 칠해져 있다.(일부에 백토지가 보임)\n","@language":"ko"}],"thumbnail":{"@id":"https://emuseum.nich.go.jp/img/content/100721001001/1/thumbnail.jpeg","@type":"dctypes:Image","height":200,"width":150},"viewingHint":"individuals","viewingDirection":"","license":"https://emuseum.nich.go.jp/about","attribution":[{"@value":"独立行政法人国立文化財機構","@language":"ja"},{"@value":"National Institutes for Cultural 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