明清两代，出于民间供奉和安抚、笼络西藏的政治需要，朝廷大力扶持藏传佛教在中原的传播。藏传金铜造像迅速发展，形成了金铜佛像制作的高峰期，尤其是在明代的永乐、宣德时期和清代的康熙、乾隆两朝。

During the two dynasties, for the folk worship and comfort, to win over Tibet's political needs, the support of Tibetan Buddhism spread in the central plains. The rapid development of Tibetan bronze statue has formed the peak period of the production of gold and bronze statues, especially in Yongle and Xuan De periods of Ming Dynasty and the two dynasties of Qing Dynasty, such as Kangxi and Qianlong.

明代以前的金铜佛像体量都很小,20厘米高者就算了不起了,可是到了明代,佛像都做得很大,二三十厘米高的已不鲜见。

Before the Ming Dynasty, the amount of gold and bronze statues was very small. The 20 centimeters were even great. But in the Ming Dynasty, the Buddha statues were very large. The height of twenty or thirty centimeters is not rare.

明代铸造铜佛像非常兴盛。明早期的汉传佛教造像，身材比例比较适中，身躯饱满结实，线条简洁流畅，丰腴而不虚，近人而不俗。造像胸部、腹部的起伏和平简的外衣形成对照，富有整体感。这一时期的佛造像多头大身长，体态丰臃，传世品较多。从造像的风格上来看，更加贴近了生活，世俗化的味道更加浓厚。从造型佩饰上看，菩萨基本上是袒露上身，下着大裙，肩上搭有帔帛等等。服饰贴体而轻柔，衣纹和衣饰的刻画运用写实手法，视觉效果非常逼真。

The cast copper Buddha in the Ming Dynasty was very prosperous. In early Ming Dynasty Chinese Buddhist statues, is relatively modest, the body full of fruit, clean lines and smooth, plump and not false, but not vulgar. The undulating and peaceful coats of the chest and abdomen form a contrast, with a sense of integrity. During this period, the big Buddha statues long length, body Feng Yong, handed down more. From the style of the statue, it is more close to life, and the taste of secularization is more strong. From the other accessories, the Bodhisattva is basically a bare chested, big skirt, shoulder a silk Cape etc.. The clothes are fitted and soft, and the portrayal of clothing and clothing uses realistic techniques, and the visual effect is very realistic.