In the mediaeval period woman remained a favourite theme for sculptors, whether Buddhist or Brahman. She appears, as here, in the traditional aspect she kept throughout the following centuries: sensual. This woman with a tree leaning on a fragment of scrollwork, and of which only her bust remains, presents a generous bosom. Her head, slightly bent towards the right, as well as the torsion of the bust, may render the original tribangha posture, or “triple flexion” characteristic of Indian sculpture. The many ornaments adorning her (earrings, long studded necklace) illustrate Indian women’s passionate fondness for adornment elements since the remotest times.
The naturalistic treatment of the body, the roundness of the forms, purity and grace make this sculpture an enchanting work, intended to adorn the walls of the sanctuaries filled with throngs of secondary goddesses known as devatâ, who charm the gods with their presence, and “women with a tree” or shâlabhanjikâ, symbolising fertility.
Production of Northern Indian art in mediaeval times (9th-14th centuries) is abundant and varied. Brahminical art developed there with extraordinary power and richness in the large provinces of the North – like for instance in Râjasthân, as well as western Madhya Pradesh, on the site of Khajurâho – where particular styles of architecture and sculpture arose. In most of these regions the architectures, often grandiose, are always extremely decorated.
