The relief shows the seven historical Buddhas or Tathagatas together with the Buddha of the Future, the Bodhisattva Maitreya, within an architectural setting. The figures stand in a row filling the space between a plain two-tier base and an architrave supported on a pair of squat pillars at either end of the relief. The shafts, which each have an incised longitudinal line with serifs at the top and bottom, carry two-tiered foliate capitals. The entablature above has plain fillets ornamented with saw tooth mouldings above and below a frieze of plain volutes which are decorated with vestigial pearl decoration in central grooves.

The figures of the Buddhas and Maitreya all have plain disc aureoles behind their heads. The Buddhas are all clothed in monks’ robes, which comprise an outer robe (uttarasanga) over an inner one (antaravasaka) the hem of which shows below the top garment. They all have similar facial features with lowered eyes and moustaches, but they are shown in a variety of poses and, although all have ushnishas on their heads, their hair is dressed in different ways.

Describing them from the left hand side, the first is shown standing up straight with his right hand raised in the Abhaya mudra. His hair is dressed into horizontal ridges with segmental partings. The second figure stands with his left leg slightly bent with his right arm held across his body enfolded in his robe like a sling, while his left hand, which is turned outwards, holds a rounded object in his palm. His hair is twisted in coils which are swept up to his ushnisha. The third figure also stands with his right leg bent at the knee. He makes the Abhaya mudra with his right hand while the left one rests on his hip. His hair is shown in twisted coils that are swept up to his ushnisha. The fourth Buddha stands up straight with his right arm enfolded in his robe and the left hand rests loosely on his hip. His hair is carved in oblong-shaped curls round his head with his ushnisha surrounded by two alternate tiers of rounded curls. The fifth has a missing right hand, but it was likely to have been raised in the Abhaya mudra, with the other one held against his right hip above his leg which is bent at the knee. The hair is loosely swept back to a cottage-loaf-like ushnisha which is carved in the same fashion. The sixth Buddha has a full frontal stance with his left forearm held up and the hand grasping the edge of his robe, while the right arm hangs down under the cover of his robe. The features of his face are largely abraded, but his hair is carved in horizontal ridges with segmental partings. The seventh Buddha has his left leg bent at the knee and he is holding up his right hand in the Abhaya mudra and the left hand is held against his hip. His robe is twisted round his left wrist and grasped in his hand.

The last figure on the right is that of the Bodhisattva Maitreya, whose face and torso are somewhat abraded. He wears an elaborate headdress with fat ringlets tumbling out from the top. He is wearing an antariya ( a lower garment with the ends pulled up and tucked in on his left to form a fluted drape) and an uttariya draped over his shoulders, looped across his body with the ends hanging down on each side. He makes the Abhaya mudra with his right arm and he holds his distinguishing pot dangling from his right hand. Traces of elaborate jewellery can be seen hanging across his torso round his neck.

The sides of the relief have been damaged resulting in jagged edges.