The nakedness of this tirthankara indicates that he belongs to the Digambara or 'sky-clad' sect of Jainism, which is the more austere of the two primary branches of the religion. His erect, motionless stance and elongated arms and earlobes are physical marks that indicate his spiritual advancement, and his posture and downcast eyes show that he is in meditation. He has the same idealized body used for Buddhist and Hindu divinities, however, the depiction of a roll of flesh at the waistline appears to be more common in Jain sculpture. The small leaflike mark on the upper right of his chest may have been intended to distinguish this tirthankara from the other twenty-three, however, it is not possible to identify him without further information. The lack of motion or activity in this figure embodies the Jain emphasis on living carefully and inflicting no harm.
The full, compact, and somewhat fleshy physique date this sculpture to the 7th or early 8th century. Moreover, the shape of the face and treatment of the features are typical of works cast in and around Tamil Nadu, a region that was famous for its bronze casting during the 9th through 12th centuries. The treatment of the figure's hair as a cap of loose but full curls is also characteristic of early sculptures from that part of India.