This work, which exemplifies the Northern Wei style (386–535), predates the sculpture on the left by several centuries. The earlier figure, although somewhat squat and two-dimensional, has characteristic Indic attributes: lotus bud over his right shoulder, bodhisattva ornaments, and upswept hair. The Tang dynasty statue departs more dramatically from these precedents. Calligraphic curves encircle the bodhisattva’s sinuous, elongated body, forming a complex arrangement of void spaces. In comparing these two examples, we can see an evolving stylistic and iconographic transformation in the Chinese Avalokiteshvara.