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The shin of the right leg is curved strongly and the knee is raised highly while upturned lotus petals appear alternately between the kun (a skirt) that hangs over the pedestal from both sides to the back. These features exhibit the unique sensitivity of the sculptor. It should also be noted that there are spike-like thin lines engraved on the petals of the lotus pedestal.   \nFor casting, the area above the shoulders seems to have been recast due to a casting failure. The image is hollowed out below the hips and the upper half of the body above the hips is currently solid. However, there is a big cavity in the torso, which seems to have originally been connected with the hollow below the hips. The thickness of the copper in the hollow below the hips is relatively thin and almost even. The right and left thighs and the down-turned lotus petals have been partially tinkered with. There are big mold cavities around the chest and in the upper left arm and in the portion of the pedestal that has been tinkered with. The left decoration of the head ornament is separately made and the tenne (a long cloth) (currently, only part of it remains) that falls down from both thighs is made of copper plate and secured by copper rivets. Gold plating remains over almost the entire surface of the image except the reverse side of the crown and the back of the head. For coloring, lapis lazuli remains on the hair, vermillion (or Bengala) remains on the string tying the hair and the lips and black sumi lines on the eyebrows, the outline of the eyes, the eyeballs, the mustache and the beard can still be seen. The inner area from the pedestal frame to the lower base is painted in Bengala.    \n","@language":"en"},{"@value":"菩萨像眉毛倒竖，眼睛细长，面容奇特。其表现手法独到，例如右脚小腿夸张地向后以突出膝盖，佛裙从台座垂下覆盖住台座两侧面及背面，从裙间一隔一地露出覆莲。另外，踏莲花座的莲瓣上施有棘状微雕，值得留意。\n由于肩部以上曾铸损，故可见部分重铸的痕迹。腰部以下内部为中空，其上方的本体上半部分为实芯，但躯干部位有空洞，似乎原本与腰部以下的中空部分相连续。设为中空部分的腰部以下铜层较薄，整体厚度基本均匀。左右大腿部分和台座右侧面的范围各有部分补铸。胸部周围、左臂上臂及台座补铸部位可见较大铸造气孔。头饰的左边部分为另制，从两条大腿部分垂下的天衣(现只有部分残留)为铜板制并用铜钉固定。除了宝冠内侧及后头部之外整体的镀金保留完好，头发色彩为群青，发髻扎带及嘴唇为朱色(也可能为铁丹)，眉眼轮廓、眼珠、髭须、胡须为墨绘。另外，从台座框至台脚部内侧涂有铁丹。\n","@language":"zh"},{"@value":"  눈썹이 크게 위로 올라가고 눈초리가 길게 째진 특이한 얼굴의 상이다. 오른쪽 다리의 정강이를 심하게 휘게 하여 무릎이 올라간 것을 크게 표현한 것, 대좌의 양 측면에서 뒷면까지 그 위쪽에서 늘어뜨리는 군의의 사이로 1개 걸러 앙련이 보이게 한 점 등에서 독특한 감각이 느껴진다. 또한 연화좌의 연꽃잎에 가시모양으로 모조(毛彫)한 것도 유의할만한 점이다.\n  어깨부터 위쪽을 잘못 주조하여, 그 부분을 다시 주조했음을 알 수 있다. 허리 주변까지 내부는 비어있으며 그 위쪽인 본체 상반부는 비어있지 않다. 몸통에 커다란 공동(空洞)이 있으며, 허리 아래쪽 비어있는 부분과는 본래 이어졌던 듯 하다. 안이 비어있는 허리 아래쪽의 두께는 비교적 얄팍하고 전체적으로 균일하다. 좌우의 대퇴부와 대좌 오른쪽의 복련은 각각 부분적으로 수선했다. 기포는 가슴 주변, 왼팔의 위쪽 팔뚝, 대좌의 수선부에 큰 것이 발견된다. 두식의 좌우 부분은 따로 만들었으며, 양 대퇴부에서 늘어뜨린 천의(현재는 그 일부가 남아있을 뿐)는 동판으로 만들어 구리못으로 고정시켰다. 보관 뒷면과 뒷머리를 제외한 거의 전면에 도금이 남아있으며, 두발에 군청색, 상투를 맨 부분과 입술에 주홍색(혹은 벵갈라)을 채색하였고, 눈썹과 눈의 윤곽, 눈동자, 콧수염, 턱수염에는 먹을 그려 넣었다. 또한 대좌의 하대부와 대 다리 부분의 안쪽에 는 벵갈라가 칠해져 있다.\n","@language":"ko"}],"thumbnail":{"@id":"https://emuseum.nich.go.jp/img/content/100736001005/5/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 Heritage","@language":"en"},{"@value":"国立文化财机构","@language":"zh"},{"@value":"국립문화재기구","@language":"ko"}],"logo":[{"@id":"https://emuseum.nich.go.jp/assets/img/logo.png"}],"rendering":{"@id":"https://emuseum.nich.go.jp/detail?langId=ja&webView=&content_base_id=100736&content_part_id=0&content_pict_id=0","label":[{"@value":"e国宝 - 菩薩半跏像","@language":"ja"},{"@value":"e-Museum - Bodhisattva sitting with his legs 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