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There is an opinion that it was created in and after the ninth century in the Heian periond (794 - 1192), however, the style of the drapery (Emon) shown on the Daie (a formal robe) that is worn with the right shoulder exposed and its plump face with a benevolent smile are generally common to the Hakuho sculptures, such as the standing Nyorai statue of Shinnoin and thus there seems to be no need to change the time of its creation.   \nAs the casting of this statue failed once, the upper part from its shoulders were recast by adopting a method of jointing several sections for casting metal statues called Ikarakuri around its shoulders. Only the pedestal is hollowed while the body is solid, however, the section from the middle of the left forearm to the fingers including part of the Daie was cast separately. As for pores, larger ones are concentrated on the recast section. Metal inlay is found on the section between the edge of the Renniku (the central section of a lotus flower pedestal) in the center of the front pedestal and the upward-facing lotus flower (Gyoren). As it was caught in a fire, the surface is burned and thus plating remains only on part of its hair and the lower part of its lips. The coloring is also uncertain except for the vermilion (or Indian red) painted all over the inner surface of the pedestal. \n","@language":"en"},{"@value":"佛像的面容独特，鼻子粗短、嘴唇厚实，且整个作品风格较为朴素。有人认为其制作于平安时代9世纪之后，但从其右肩袒露身披大衣的衣纹结构及笑容大方的表情来看，其与亲王院如来立像等白凤时期雕刻中常见的表现手法具有相通之处，据推测其制作年代也应该不会距此太远。\n本像的铸造曾一度失败，肩部周围施有补铸，其上方为重铸。只有台座内部为中空，本体部分为实芯，但包括部分大衣在内，从左前臂中间部分起为另铸。较大的铸造气孔主要集中在重铸部分。从台座正面中央莲肉边缘至仰莲的一些部位施有镶金。因其曾被烧焚，故佛像整体呈烧焦色，只有头发部及嘴唇下方等部位残留有镀金。在色彩方面，只有台座内侧整面涂有朱色红(也可能为铁丹)，其他已无法辨认。\n","@language":"zh"},{"@value":"  굵고 짧은 코, 두꺼운 입술 등 독특한 얼굴의 상으로, 그 작풍도 전체적으로 소박한 멋을 띤다. 헤이안 시대인 9세기 이후에 제작되었다는 견해도 있지만 편조우견(偏祖右肩)한 대의의 의문 구성과 너그러운 미소를 띤 탐스러운 표정에는 신노인 여래입상 등 하쿠호 조각에서 일반적으로 보이는 표현과 공통된 면이 있어, 제작년대가 좀 더 이를 것이라 추정할 수 있다.\n  한번 주조에 실패하여 어깨 주변을 접합(이카라쿠리 기법)하고 그 윗부분을 다시 주조했다. 대좌만 내부가 비어있으며 본체는 비어있지 않고, 대의의 일부를 포함한 왼쪽 팔뚝의 중간 쯤부터 끝까지는 따로 주조되었다. 다시 주조된 부분에는 큰 기포들이 집중되어 있다. 대좌 정면 중앙의 연밥 가장자리부터 앙련까지의 부분에 땜질 자국이 보인다. 전체적으로 표면이 불에 그을렸으며 도금은 두발과 입술 아래쪽 등의 일부에만 남아있을 뿐이고, 채색도 대좌 안쪽 전체에 주홍색(혹은 벵갈라)이 칠해졌을 뿐 다른 곳은 명확하지 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