明代十分推崇藏传佛教，藏传佛教造像的制作在帝王的扶持下，在宫廷中得到了大力发展。仿效元朝，明代在宫廷专设造像机构，称“佛作”，隶属于“御用监”，制作藏式佛像。在当时赐封和西藏僧侣的朝觐活动中，朝廷便经常以宫廷制作的金铜佛像作为重要礼品赏赐或馈赠给西藏宗教上层人士。在明代宫廷佛教造像中，以永宣两朝的制品为最佳。从现存实物看，这两个时期造像的艺术风格和手法基本一致，都是在西藏定型的造像模式基础上融入内地传统审美情趣、表现手法和工艺特点，是汉藏艺术完美融合的艺术模式。

In the Ming Dynasty, Tibetan Buddhism was highly praised. The production of Tibetan Buddhist statues was supported by the emperor, and has been greatly developed in the court. In the Yuan Dynasty, in the Ming Dynasty, the imperial statues were set up in the palace, which was called the "Buddhist work", which belonged to the "imperial prison" and made the Tibetan Buddha. During the pilgrimage activities at that time, the imperial court often used the gold and bronze statues produced by the court as gifts or gifts to the top religious figures in Tibet. In the palace Buddhist statues of the Ming Dynasty, the products of Yongxuan two dynasties were the best. From the existing objects, the artistic styles and techniques of the two statues are basically the same. They are integrated into the traditional aesthetic taste, expression and technological characteristics of the mainland based on the stereotype statues in Tibet, and are the perfect combination of Chinese and Tibetan art.

其具体表现为：造像躯体浑厚，造型敦实，体态优美大方，面相宽平，双目平直。衣纹都采取内地传统的写实手法，有较强质感，工艺上采取内地传统的失蜡法铸造，胎体厚重，表面都镀金处理，金质纯厚，亮丽悦目。莲座处都有封藏。

The specific performance: statues body vigorous, stocky shape, beautiful and elegant posture, wide flat face, eyes straight. Yi Wen take mainland traditional realist style, with strong texture, the process to take the mainland traditional lost wax casting, thick matrix, surface plated gold, pure thick, beautiful and pleasing to the eye. Are hiding rosette.