Scrawny, as opposed to muscularly Michelangelesque, the recumbent pose angular and uneasy, this Christ recalls the gothic tradition of dying and dead Christs, the contrast of blood congealed and wounds sugaring with pale exsanguinated flesh quite horrifying in its realism, the body's pallor enhanced by the white crumpled sheet beneath it and the soft aquamarine blue of the cloth about his loins.
In this last, the grain of the timber has been deliberately exploited to give the semblance of silk, for unlike the underlying timber of Christ's flesh, this element has not been primed with gesso to obscure the grain - the pale blue, too, was as common in medieval Chinese silk as it is now in moiré silk.
From the wondrously fine fold forms and selvages of this loin cloth, realism extends further in the eyes of glass, the toe and fingernails of ox-horn and the coagulated blood of crumbled cork.
Link (here) with photo of the statue
Standing over the Dead Christ, by Gregorio Fernàndez, Archbishop Vincent Nichols of Westminster has said it showed "the eternal desire of God to embrace all suffering, all human brokenness. There's no place of darkness that He will not reach."