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再有材料与质地，这是鉴定中最为直观的。铜佛像的材料主要有青铜、黄铜和红铜。我们在鉴定时，要注意不同的时期用铜是不同的。如同样是清代，早、中期是不同的，特别是乾隆时期，因为国力强盛和皇室对佛像的崇奉，这时造的佛像用材料特别好，所以乾隆时期佛像一上手，就有特别沉的感觉，而到晚清的佛像，手感要轻许多。再有就是不同地区或受不同地区影响而生产的佛像，用铜和用料也不相同。如藏佛教造像，内地宫廷的造像注重整体鎏金上光，藏地的佛像则注重远视效果，喜欢镶嵌各种矿物，包括绿松石、青金石等，有的只在脸部鎏金或贴金。而同为藏地造像，受克什米尔风格影响的造像，多以黄铜铸造，澄黄亮丽，他处少见。同时，眼与白毫常以白银镶嵌，唇部和衣纹喜欢用红铜镶嵌，使整体造像显得非常华丽。而受尼泊尔风格影响的造像，则多用红铜铸造，鎏金并镶嵌宝石。
In addition, material and texture are the most intuitive in identification. Bronze Buddha statues are mainly made of bronze, brass and red copper. In the identification, we should pay attention to the difference of copper used in different periods. For example, in the Qing Dynasty, the early and middle periods are different, especially in the Qianlong period. Because of the strong national strength and the Royal worship of the Buddha statues, the materials used for the Buddha statues made at this time were very good. Therefore, the Buddha statues in the Qianlong period had a very heavy feeling when they first started. However, the Buddha statues in the late Qing Dynasty felt much lighter. Another is that the statues produced in different areas or affected by different areas have different copper and materials. For example, the statues of Tibetan Buddhism in the mainland court focus on the overall gilding and glazing, while the Buddhist statues in Tibet pay attention to the far-sighted effect. They like to inlay various minerals, including Turquoise and lapis lazuli, and some of them are only gilded or gilded on their faces. However, the statues in Tibet, influenced by Kashmir style, are mostly made of brass with bright yellow color, which are rare in other places. At the same time, the eyes and pekoe are often inlaid with silver, and the lips and clothing patterns like to be inlaid with red copper, which makes the overall statue look very gorgeous. The statues influenced by Nepalese style are mostly cast in red copper, gilded and inlaid with gems.