Buddha statues in all cultures are usually depicted as stern in stature, pose, and dress. The Buddha's ethereal features are emphasized, while its human features are de-emphasized. The Sakyamuni Buddha does not have a very defined body shape. Its clothes are draped over the body in a way, which does not reveal the Buddha's body. The face is extremely fat with no distinct features. The Buddha's features are unrealistic and very abstract. It is not the ideal Greek statue, and its purpose is not to look strong and muscular. These are all characteristics present in Buddha statues in various different cultures.

Another important aspect of this work of art is the mudras, or hand gestures conveying certain ideas. (ex: concentration, knowledge, and fulfillment of vows). Because the understanding and meaning of Sakyamuni Buddha were so new in China, mistakes were made in the mudra. Sakyamuni Buddha clasps his hands across his stomach, whereas he should have his palms upward and his thumbs barely touching in front of his stomach, which is the standard meditative gesture. Parts of the Sakyamuni Buddha are probably missing. There is a large lug on its back thought to have held a halo, and three scrolls in the dais may have had an attached incense burner with lions or attendants on either side. This can be inferred because Buddha was often displayed with scrolls and attendants. It is apparent that Buddhism was new to China because of the errors in pose and gesture, which are vital to the Buddha. 
  
Sakyamuni Buddha was the first Buddha worshipped with its origins in India. Buddha statues were later brought to China where they were sculpted to provide an object for meditation and to promote Buddhism in China. The gilded bronze statuette of Sakyamuni Buddha resembles in style the example developed at Ghandara in present day Pakistan, which is stocky and youthful. Also adopted from the Ghandaran images is the ushnisha on the head of the Buddha, as well as the cross-legged position he is seated in. He wears loose monastic robes, similar to a Roman toga. Buddha also has features, which resemble the Greek god Apollo, who represents harmony and civilization. However, there are also many ways the statuette is more Chinese. The geometric head is one change the Chinese sculptors made to the statue. Some other Chinese elements of the statuette include the simple-wedged nose, Chinese eyes, and rectilinear folds. These are all ways Chinese people chose to represent the Sakyamuni Buddha. The Buddha clearly demonstrates the two cultural influences on this work of art.

Buddha statues in all cultures are usually depicted as stern in stature, pose, and dress. The Buddha's ethereal features are emphasized, while its human features are de-emphasized. The Sakyamuni Buddha does not have a very defined body shape. Its clothes are draped over the body in a way, which does not reveal the Buddha's body. The face is extremely fat with no distinct features. The Buddha's features are unrealistic and very abstract. It is not the ideal Greek statue, and its purpose is not to look strong and muscular. These are all characteristics present in Buddha statues in various different cultures.

Another important aspect of this work of art is the mudras, or hand gestures conveying certain ideas. (ex: concentration, knowledge, and fulfillment of vows). Because the understanding and meaning of Sakyamuni Buddha were so new in China, mistakes were made in the mudra. Sakyamuni Buddha clasps his hands across his stomach, whereas he should have his palms upward and his thumbs barely touching in front of his stomach, which is the standard meditative gesture. Parts of the Sakyamuni Buddha are probably missing. There is a large lug on its back thought to have held a halo, and three scrolls in the dais may have had an attached incense burner with lions or attendants on either side. This can be inferred because Buddha was often displayed with scrolls and attendants. It is apparent that Buddhism was new to China because of the errors in pose and gesture, which are vital to the Buddha.