A figure of Krishna playing the flute (now missing), in the cast lost wax technique with flesh areas in dark copper but his costume and jewellery in lighter brass in a combination termed as 'Ganga-Jumana' with the flesh areas in a dark copper colour contrasting with his jewellery and clothing in a lighter coloured brass T.N. Mukharjii of the Indian Museum, Calcutta described this metalwork treatment in his book, Art-Manufactures of India in 1888, which he compiled for the Glasgow International Exhibition of that year. He states that' Ganga-Jamuna is a favourite pattern with Indian artists, which they love to introduce into all sorts of manufacture. It got its name from the two rivers Ganga |(Ganges) and Jamunsa (Jumna).... The colour of the waters that the Ganges carries down to the sea is described in the books as white, while thjose of its tributary the Jumna deep blue. Hence when on the same article patterns of two colours meet or run side by side, the vessel is described to be of Ganga-Jumuna pattern'. This form of Krishna relates to his pastoral life as a cowherd, when the music from his flute charmed all of nature.
A group of three stylised cows stands on the left hand side with four on the right with one licking the sole of the god's right foot. There is a large openwork riveted halo (siraschakra) at the back.
The flat square base beneath the lotus probably originally slotted into a larger base and is now fitted to a small carved wooden base which may be from the early twentieth century.