This is a stone sculpture of a devotee or disciple from Tang Dynasty. Standing on a lotus pedestal, the figure has a kind and serene facial expression, his eyes looking downwards mercifully. Although his arms are missing, we can still clearly see a scarf wraps around his body. He has long earlobes, plump cheeks, and the conventional three folds on his neck. Simplistic keyura hangs from his chest, while an elegant knot on his waist ties together all the garments on his body.

In Buddhist art, a common way to construct a scene is to adopt the “1+2” mode. Devotees and disciples have always been featured accompanying their master, the central deity in trio form. They are usually depicted in a modest form, without dazzling decorations and gemstones. It is extremely rare to have a complete set of a trio since many of them have separated along the ages.

This sculpture bears distinctive features of Tang dynasty art style. The presence of round cheeks, a chubby neck, and a noticeable belly, are coherent with the typical Tang style of richness and substantial physical presence. In Tang aesthetics, being chubby is an auspicious sign since it symbolises prosperity and material abundance. Applying this style to Buddhist sculptures reflect the belief that the figure is spiritually advanced.