Female Donor

This female donor is carrying an offering (a fruit?). Her execution is delicate, the soft face is idealized. A double row of flat curls frames the face, while the rest of the hair is gathered on the top of the head and encircled by a band of passementerie decorated with a central rectangular decoration. The hair falls in the form of two English curls in front of the ears, the lobes of which are extended by round curls. A large flat necklace and several bracelets complete the adornment. The necklace is embellished with incised decorations, representing cabochons or inlaid precious stones. The young woman is wearing a dress that leaves the right shoulder uncovered, with a fluid fabric that fits very close to the body. Over this garment, she is wearing a short waistcoat with long sleeves, the edge of which is decorated with incisions. On the left arm, the sleeve is rolled up, revealing the folds of the sleeve of the dress. The garment seems thicker here. Note that this sort of caraco waistcoat covers part of the collar. Under the dress, a second skirt can be seen, in the manner of the antaravāsaka worn under the uttarāsaṅga. Her posture is full of deference, slightly bowed, with her knees straight forward, lifting the offering with both hands.

This figure was made to allow viewing from different angles, and probably decorated the body of a stūpa. Acquired through a fund established by Ernest B. and Helen Pratt Dane for the purchase of Asian art in memory of Benjamin Rowland Jr. this work is held at the Harvard Art Museums/Arthur M. Sackler Museum. In period photographs, it was associated with a donor (HADB 478). It is likely that both were part of a scene depicting the mokṣa ceremony, as can be seen for example in stūpas 17 and 26 of Tapa-e Shotor.

Photo © President and Fellows of Harvard College

https://hvrd.art/o/201655