Among the treasures of the Asia Society's collection are three sculptures, each an outstanding example of its genre. Two are likely to have been made not in Tibet or Burma (present-day Myanmar), as was previously thought, but in northeastern India, a region where Buddhism and Buddhist art flourished during the medieval period (ca. 8th–12th century). The first, a small (h. 9.5 cm) sculpture of a Buddhist goddess (Fig. 1), may be reattributed to eastern India primarily on the basis of connoisseurship, an assessment of the style and aesthetic quality of the carving. The second sculpture is a plaque depicting the historical Buddha Shakyamuni surrounded by scenes from his life (Fig. 2). It can also be reattributed to eastern India, perhaps specifically to Bodh Gaya, the site where the Buddha experienced his great awakening. The third sculpture, a metal statue of the historical Buddha on the threshold of enlightenment (Fig. 3a), belongs to a group of objects (made in India, Tibet, Burma, Nepal, and Central Asia) that replicate an especially sacred icon, most likely the main image in the Mahabodhi Temple at Bodh Gaya. The reattribution of this statue, the main focus of this essay, involves both connoisseurship and a familiarity with the Himalayan practice of making pilgrim copies of sacred icons.