Stylistically and iconographically this sculpture represents the most well-known type of Dvaravati style examples of Buddha Sakyamuni. His rather broad and sturdy appearance seems to be based on the idealized formula of Post-Gupta West-India. This sturdy shape of the body suggests an earlier phase of the Dvaravati style of Central Thailand (7th/8th century).
Although both fore-arms are now missing, it is almost sure that, seeing the symmetrical composition of this image, they would have jutted out. Both hands probably would have been executed in the vitarkamudra, the most characteristic hand posture of this period.