The Bodhisattva seated half-cross-legged which the author takes up here is a statue carved out of one block of Hinoki (Japanese cypress) from its top-knot of hair to the core of the lotus pedestal. But the portions from the elbow to the fingers of both arms and also the tips of both legs were evidently repaired at a later time. A small part of the rear of the core of the lotus pedestal is also a supplement and the emblems the image holds, as well as the lower part of the pedestal, are more recent. The lotus petals also are of later periods. The work is remarkably well preserved for such an old statue and retains the original colours, which are easily distinguished; namely, the skin colour on the face, body and limbs, the reddish key-tones of the drapery on which floral patterns are painted in green, etc. The four-lozenge patterns of cut-gold-foil (kirikane) are also observed on some parts of the drapery. Moreover, along the natural pleats of the drapery, wide strips of cut-gold-foil are laid to give it a naturalistic feeling. The technique of using copper sheets for hair which flows down from the back of the ears is one quite rarely seen. Regretfully, this image, now in a private collection, has lost any relation with the temple which originally owned it and also lacks its name. As old examples of independent seated statues with the right leg hanging down and the left leg bending horizontally ―― what we generally call the seated half-cross-legged type ―― we can find among others a Bodhisattva of the Hōbodai-in, Kyoto and Kokuzō (Skt. Ākāśagarbha) of the Konshōji, Shiga, and also in old Buddhist iconography books image of Kokuzō of the same type is mentioned. These facts seem to suggest that the image now in question may have been intended as Kokuzō. However, if this statue was not independent but an attendant of a main image, it can be identified either as Gakkō (Candra-prabha) attending Yakushi Buddha (Bhaiṣajya) or Seishi (Mahāsthāmaprāpta) attending Amida (Amitābhā), both being often given this form. Thus it is difficult to decide the name of this Bodhisattva. Its characteristics are the technique of carying the main part out of one block of wood, the facial expression with round cheeks and a small chin, the depth of the profile, massive modelling of the body, and the naturalistic and deep rendering of the drapery, which is explicitly different from the formalized, shallow rendering generally seen on statues of the eleventh and twelfth centuries. A comparison of this image with other works of the ninth and tenth centuries suggests that it was made between the mid-ninth century and the mid-tenth century. Especially interesting are the wide strips of cut gold foil laid along natural pleats of the drapery and the hanging hair made from copper sheets. We find in Japanese Buddhist sculpture several examples of statues with this kind of goldfoil strips, which are effective in making the drapery clear even in a dark hall. On the Shaka (Śākyamuni) of the Seiryōji, Kyoto which was brought from China in 987 by Priest Chōnen, as well, we see the same technique. Probably this method come to be used in our country under the influence of Chinese sculptures brought from China in the ninth century. As for the hanging hair made from copper sheets ―― a material different from that used in the body of the statue ―― we have no examples in Chinese sculpture. But, to judge from the fact that the above-mentioned Shaka of the Seiryāji and the Godai Kokuzō (Five Ākāśagarbhas) of the Kyōōgokokuji, Kyoto which were imported by Priest Eun in 847 have factile hair curls and hanging hair, it is presumed that this method of using copper sheets must have been adopted in China as well, since it is a far from Japanese taste to express the hair of wooden sculptures by a different material. Thus this statue has extraordinary features peculiar to the ninth and tenth centuries, and, for this reason, it is an important example in the history of wooden sculpture.