Uma Polished brown sandstone Khmer, Baphuon period

The goddess standing on a plinth wearing a long finely striated sarong drawn high over her hips in the Baphuon fashion, secured by a plain sash. Her exquisitely carved face with prominently outlined lips and narrow almond-shaped eyes bears a deeply benevolent expression. Her hair is arranged in fine braided strands and secured in a domed topknot encircled by a floral band.

J.J. Klejman, New York, 1968

The sculpture stands on a customized base. There is a protruding tang beneath the plinth which is inserted into the base. Abrasions/ losses to the stone on the surface of the plinth may be clearly viewed. Clean breaks at both ankles have been rejoined. The losses/ abrasions to the front of the sarong may clearly viewed. There are some further minor losses to the sarong on the sides. There is some restoration to the belly area and to the breasts. A clean break along the neck, starting under the chin, moving down beneath the ears and going all the way around has been rejoined with some restoration/ strengthening to the back of the neck. Absolutely no restoration or losses to any part of the face or hair, save a few minor scuffs to the chin and losses to lower extremeties of earlobes.
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Art of the Baphuon period is marked by subtle, perfectly proportioned sculptures bearing highly polished surfaces that exude grace and sensuality. Nowhere is this better exemplified than in the present image. Uma embodies the ideal of feminine beauty and the arist has expertly captured this in the Goddess' budding, youthful form with her narrow shoulders, small, firm breasts, tiny waist and gently swelling hips.

For another exquisitely carved sculpture of Uma from this period, see W. Felten & M. Lerner, Thai and Cambodian Sculpture, Stuttgart, 1988, pl. 23.