The Buddha here sits on a lotus seat, in deep meditation, with his legs crossed in the adamantine (Vajraparyanka) pose, with the soles of the feet turned upwards. He wears a sparse monastic garment, leaving both shoulders bare. Like a true ascetic, there is no ornamentation on him.
The Buddha sits with his left hand on his lap, the palm facing upwards. The right hand touches the earth, calling it to witness his victory over Mara, the Evil One, who tried to wean Gautama away from the path of truth. This is the earth touching mudra.
The position of the body, the hand gestures, and the attributes are all symbolic in nature. In fact, the shapes of different parts of the body are prescribed in the sculptor's manual. He has an urna (a small, round protuberance above the bridge of the nose, the fourth of the thirty two superior marks of Buddha), the usnisa (cranial protuberance) and long-lobed ears, signifying that they were once hung with heavy earrings.
The smooth contours of the Buddha's body has graceful modulations and makes it beautiful piece of serenity, spreading out in the immediate milieu.
This sculpture was carved in Bodh Gaya, the important place of Buddhist pilgrimage. The sculptor Shri Rama Chandra Gaur has used Gambhar wood for sculpting this piece.