This is a stone sculpture of Vairocana from the Ming Dynasty. Seated in lotus posture in deep meditation, he places his in front of his chest, forming the uttarabodhi mudra, the gesture of supreme enlightenment. His eyes are closed with a serene expression, radiating a serene atmosphere. His simplistic monastic robe elegantly covers both his shoulders.

Vairocana was deemed the embodiment of the Buddhist concept of emptiness, sunyata and encompassing wisdom, one of the qualities of the Five Tathagatas, represented on the pointed crown. The uttrabodhi mudra displayed by the figure represents Supreme Enlightenment, a quality possessed by one of the Five Dhyani Buddhas, of which Vairocana was one, the other four being Aksobhya, Ratnasambhava, Amitabha and Amoghasiddhi. The complete group, with Vairocana at the centre, is depicted on the pointed crown of the present figure.

Approaching the later period of Ming Dynasty, there was a gradual stylistic change. Departing from the slender and slim physique dominating the Yongle and Xuande era, late Ming sculptures have a larger head, a broader chest, and a thicker torso. The most distinctive feature, perhaps, is the characteristically big head, evidently visible in this sculpture.