This gilt bronze Buddha statue is made up of five major parts: a mandorla, a lotus pedestal, a dragon pillar, a Sumeru pedestal and a square-shaped base.  Each exquisitely designed part was molded separately and then pieced together as one whole unit.

The statue shows the Buddha’ s hair tied in a tall topknot.  His right hand shows the Preaching-Dharma mudra.  He wears a robe with low-hanging collars over an inner robe with a knotted belt.  He sits in a full lotus posture on a pedestal with double layers of upward facing lotus petals.   Behind his back stands a mandorla with openwork flame-shaped borders, and a round halo that frames his head.

A soaring dragon lifts up the lotus pedestal where the Buddha is sitting. A flamboyant dragon and a serene Buddha; motion and stillness; stretching outward and looking inward; fury and gentleness, all blend harmoniously in this masterpiece.  The harmonious combination of Eastern and Western styles has made this piece a rare discovery in the history of archeology.

The opening in the sutra storage bricks is for preserving sutras. The diameter of the opening is 2.5 cm, and the depth is 10 cm.  These bricks are rarely stamped with any inscriptions.  Among the thousands of unearthed sutra storage bricks, this is the only piece found with the character “Tian,” which means “sky” or “heaven,” stamped atop the opening.  This is a rare survival piece.

This gilt silver container is made up of a cover and a vessel that interlock.  The cover is carved with a pair of flying phoenixes, each holding a blade of grass in its mouth, with wings spread among the intertwining peonies. Four Chinese characters “Qianqiu Wansui,” which means “A Thousand Autumn; Ten Thousand years,” are carved in regular-script calligraphy around the cover. The exquisitely engraved flying phoenixes among flower brocades, blended in with the good wishes of "Qianqiu Wansui," which carries the meaning of longevity and eternity, express the public's longing for prosperity, wealth and blessings.  This exquisite piece fully displays the super standard of silverware craft in the Wuyue Kingdom.

This is a thin round mat with openwork carvings.  A ring of bead chain divides the mat into an inner and outer ring.  At the center of the inner ring is a round coin with a square opening.  Around the square opening is the inscription of four Chinese characters “Qianqiu Wansui,” meaning “A Thousand Autumn, Ten Thousand Years.”  Surrounding the inscription are two pairs of mandarin ducks sitting on a pond with intertwining lotus flowers.  The outer ring shows six wild geese with their wings spread, flying on top of intertwining honey-suckle plants.  The layout of the design is clear, orderly and precise.  It gives the impression of a joyous day in spring, harmonious, warm, and fragrant.

This piece is carved in bluish white jade. There is a tenon at the base of the statue, which is inserted into the square-shaped jade base pedestal. Some portions of the statue are carved in openwork. The back and the front are carved in intaglio with delicate floral motifs. The Boy of Good Fortune wears a robe with cross-over collars, half sleeves, and a belt that ties around the waist. His hands are pressed against the sides of his waists. His robe flows in the wind. His body is bent sideway to the left. Below his feet are floating auspicious clouds. On the surface of the jade base pedestal, low relief engravings and intaglio incisions are both used to depict the cosmic universe of “Nine Mountains and Eight Seas.” Of all the “Boy of Good Fortune” jade statues discovered in China, this piece is the most ancient.