此組法像臉型偏方O型臉，豐滿而福氣相，神態嫵媚、五官細緻，眼睛細長、細眉如彎月，以漢白玉表現法像皮膚的豐腴細膩，耳垂下垂過下顎、呈現圓扁形，天冠面積小、小巧粗獷，無法遮蓋髮髻，天冠中央為烏巴拉花，帽穗在天冠兩邊打結垂落，五官特徵和髮髻天冠整體符合唐朝時期菩薩像特徵。
The facial structure of these statues is slightly square with a round O-shaped appearance, conveying a sense of plumpness and auspiciousness. The expression is alluring, and the facial features are delicate. The eyes are slender and long, with finely arched eyebrows resembling crescent moons. The white marble is used to depict the skin's plumpness and delicacy. The earlobes extend past the jawline, forming a rounded and flat shape. The crown's size is small, rugged, and not able to fully cover the hair bun. In the center of the crown is a wubala flower, and tassels on the sides of the crown are tied and hanging down. The overall facial features and the crown's design align with the characteristics of Tang Dynasty bodhisattva statues.
法像身體呈S型、上下半身比例約為一比一，上身袒露、下著羅裙，腰部束帶、衣薄透體，衣擺不及腳踝，天衣皺褶如多個U型規律下垂，身上披掛條帛，條帛細長呈曲現狀垂地，瓔珞珠寶裝飾少而簡單，普賢菩薩右手向上，拇指、中指捻珠持施依印，左手自然下垂持披帛，文殊菩薩左手掌朝上，拇指與中指捻珠持施依印，右手向下持披帛，露雙足立於仰蓮臺上。
The posture of these statues is characterized by an S-curve, with the proportions of the upper and lower halves of the body roughly equal. The upper body is exposed, while the lower body is covered by a robe. A thin belt cinches the waist, and the robe is somewhat translucent. The robe's hem doesn't reach the ankles, and its folds cascade in multiple U-shaped patterns. A strip of cloth drapes across the body, curving and trailing down to the ground. The jewel decorations are minimal and simple. Samantabhadra raises the right hand with the thumb and index finger holding a jewel, forming the gesture of generosity. The left hand naturally hangs down, holding a strip of cloth. Manjushri's left hand faces upward, with the thumb and index finger holding a jewel, also forming the gesture of generosity. The right hand points downward, holding a strip of cloth. Both figures stand on a lotus pedestal.
法像為出土後傳世，上有許多夯土，夯土有年代久遠自然風化、鈣化現象，法像頭部有上彩痕跡，但因年代久遠、掩埋等因素，彩大部分已脫落。法像整體保存完整，然手指處有些微修補痕跡。
After being unearthed, the statues are covered with a layer of compacted earth, displaying signs of long-term natural weathering and calcification. There are traces of paint on the head, but due to factors such as age and burial, most of the paint has worn off. Despite this, the statues remain well-preserved, though there are minor indications of restoration on the fingers.