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This 38 inch tall brass piece stands on a raised pedestal, a high podium like base, such as a dancing figure like this requires. It consists of conventionalised lotus motif. The represented figure is apparently a drummer but her twisted knees giving her legs an outward bend and thrust and her correspondingly positioned feet, the widened toes and the close heels, or rather the entire geometry of her figure, correspond to a dance mode. She has been, thus, cast as both, dancing and drumming, in simultaneity. She is a superhuman being, a dancing yakshi, or apsara from the realm of gods and not a denizen of this earth. Beauty is the body of this rendition and the enshrining bhava, the emotional bearing, its presiding spirit and these are what render the statue so unique and exceptional.
The emotionally charged figure of the yakshi, endowed with a celestial bhava enshrining in her eyes and upon her face, is holding a mradanga, which she is beating with a stick on its left and by her hand on its right. For giving it a natural touch, the artist has tagged in its strings a scarf, which the drummers usually have. The instrument is supported on a beautiful chain, which, besides holding the mradanga, also serves as an ornament around yakshi's neck. She is dressed in male like shorts down to her knees but is putting on it a sash with beautiful holds. Its knot on front is highly artistic. Her circular well moulded breasts gently rolling from beneath her ornaments and from down her neck, her round face with an upward tilt of left cheek, her well-defined neck and her subdued belly are the most delightful members of her physiognomy. Sharp features, pointed chin, broad forehead, long fingers, amorous large eyes, a gentle smile floating on her lips and a slim, tall, slender and well proportioned figure define the beauty of the celestial damsel represented in the statue.
The carved figure delights most by its unique headdress. Her combed hair is arranged in four compartments divided by a lavish gold headdress. Upon the central hair parting there is a floral pendant. On her ears she is putting on karna-phools, an ornament consisting of floral design. Each karna-phool rises in diminishing floral order and a lace, consisting of small floral beads, which connects the karna-phools of both ears, divides the skull in two parts, the back one consisting of a coiffure covered with golden net. A number of gold chains and necklaces cover her entire breast and neck. A larger necklace suspends upon her breasts and imparts to them added projection and charm. On her arms she is wearing as attractive armlets and on her wrists as beautiful gold bangles. The statue is superb in both, her ornamentation and figure.
This description by Prof. P.C. Jain and Dr Daljeet. Prof. Jain specializes on the aesthetics of ancient Indian literature. Dr Daljeet is the chief curator of the Visual Arts Gallery at the National Museum of India, New Delhi. They have both collaborated on numerous books on Indian art and culture.