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On the other hand, the round, sweet facial features with plump cheeks are similar to those of the boy images of the late seventh century. As a result, it seems that it is possible to position this image in the transition period from the early to late seventh century. Although the pedestal has been replaced by a wooden one (the lotus core and the lower base are made separately and only the lotus core is lacquered), it is worth noting that tenons are created at the bottom of the feet to secure the image on the pedestal.\nThe body, including the tenons at the bottom of both feet, is created in one cast and is solid. There are big mold cavities in the head, hips and abdomen. A large part of the current surface of the image shows the ground metal and gold plating remains only in a small part of the ends of the tenne. There are no traces of the original coloring. \n","@language":"en"},{"@value":" 本像的样式与记有“辛亥年”铭文的N-165造像基本相同,但从其卷曲的垂发、鳍状天衣朝向正面竖直下垂、前端并不翻翘等特点来看,本像的整体风格比N-165的年代更为久远。但本像圆鼓鼓的脸颊及憨态可掬的面容这些特点却与7世纪下半叶的童子像相通,由此推测本像应制作于7世纪上半叶至下半叶之间,即属于过渡时期作品。现有台座已被后补换成木制 (莲肉部分及台脚部为分别制作,只有莲肉部分施有漆箔),本体的双足上造有榫,用于固定台座,这一点值得留意。\n菩萨像包括本体及双足下的榫在内为实芯一次铸成。头部、腰部及腹部等部位可见较大铸造气孔。像表面多处已剥露出底色,镀金极少,仅发现天衣前端等部位施有镀金,色彩状况无法辨认。\n","@language":"zh"},{"@value":" 「신해년」이라는 명문이 있는 N-165와 거의 동일한 형식을 띠는 상이지만, 늘어뜨린 머리를 고사리 모양으로 말았으며, 지느러미 모양의 천의를 정면을 향해 똑바로 늘어뜨리고 그 끝을 휘게 하지 않는 등 전체적으로 N-165보다도 오히려 옛 방식을 따르고 있다. 하지만 둥글게 부푼 뺨과 귀염성 있는 얼굴은 7세기 후반의 동자형 상과 닮은 면이 있어, 본 상은 7세기 전반부터 후반에 걸친 이른바 과도기의 작품으로 추정할 수 있다. 현재 대좌는 목제로 만든 후보(後補)(연밥과 대좌 다리는 따로 만들고, 연밥만 칠박을 함)된 것으로 바뀌었지만 본체의 양 발에 대좌 고정용 촉이 있다는 점은 유의할 만 하다.\n 본체와 양 발 밑의 촉까지를 한 덩어리로 주조했으며 안은 비어있지 않다. 큰 기포들이 머리와 허리, 복부 등에서 발견된다. 현재 상의 표면에는 지금(地金)이 노출된 부분이 많으며, 도금은 천의의 끝 등에 극히 일부만이 확인될 뿐이고, 채색도 명확하지 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