This finely decorated sculpture depicts the Buddha seated in a half-lotus position upon a gold and red platform with three layers, each wider than the last as they descend. His right foot rests upon his left calf, and his hands are laid in his lap, palms upwards, with the right placed on top of the left. Pointed spikes protrude from his knees and shoulders, mirroring the shape of his extended ears and the flame upon his head. Within East Asian belief, particularly Buddhism, large ears are seen as a sign of wisdom and compassion. The Buddha is often depicted with elongated ears to symbolise his ability to hear the cries of those who are suffering, and his sympathy and willingness to help ease their pain. It is therefore a comforting image, as it reminds those who see it that there is hope for an end to their sufferings through the search for enlightenment and the compassion of those who have reached it. The repeated pointed motif, as well as the triangular shape created by the platform, give this sculpture a sense of elegant symmetry. The Buddha’s head is covered in tight curls, forming the protuberance known as the ushnisha which is one of his key characteristics and which symbolises his enlightenment. Ascending from the summit of this is a tall flame, which is an added feature of the ushnisha representing illumination. The gesture which the Buddha is forming with his hands is known as the Dhyana mudra, and is associated with meditation. This, in combination with his peaceful expression, is a reminder that he was able to achieve nirvana through focused spiritual practice.

Ayutthaya period images, created in Thailand between the 10th and 18th centuries, often depict the Buddha dressed in royal clothing, contrasting with other depictions of the Buddha which choose to portray him wearing very simple clothing, showing that he has given up the desire for worldly possessions. It is also common in Ayutthaya period images to show the Buddha sitting on a highly decorated base, as can be seen in this example.