It is very rare to find Tibeto-Chinese examples of Buddhist sculpture incorporating enamel cloisonné, which is employed here to such great effect. An exact mate to this sculpture is in the collection of Berti Aschmann, see H. Uhlig, On the Path to Enlightenment, 1995, cat. no. 34, but missing the openwork gilt throneback topped by Garuda as in the present example. It is possible that they originally formed part of a group of corresponding images, created for an important Imperial birthday, for which images of Amitayus would have been a popular choice, representing longevity, a practice famously adopted by the Kangxi Emperor as well as Qianlong.
Compare a figure of Amitayus with the robes inlaid, see Beijing Publishing House, Buddhist Statues in Yonghegong, 2001, cat. no. 48; a figure of Maitreya attributed to the Imperial workshops in Beijing, see The Palace Museum (ed.), Iconography and Styles: Tibetan Statues in the Palace Museum, 2002, p. 220f., cat. no. 84, and from the Imperial Palace at Chengde, such as a Qianlong enamel stupa, see J. Hsu (publ.), Tibetan Buddhist images and ritual objects from the Qing dynasty Summer Palace at Chengde, 1999, cat. no. 77.