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Published: Editor Paolo Bertuzzi; Author Agus Aris Munandar: Majapahit: Masterpieces from a Forgotten Kingdom, 2023, p. 66-67, fig. 031.
Indonesia, East Java, Trowulan area, Majapahit Empire (1297-1527). Exquisitely modeled in terracotta, this seated figure portrays a beautiful young woman in a relaxed and graceful posture, one knee raised and the other folded beneath her, resting atop a rectangular cushion decorated with foliate reliefs. Her right hand rests lightly on her thigh, while her left gathers the long, flowing folds of her garment, which cascades in elegant, curved pleats down the front. The head is gently tilted, and the facial features are delicately rendered: almond-shaped eyes, a narrow nose, full lips drawn in a subtle, introspective smile. Her expression conveys a quiet, almost melancholic stillness.
Her adornment is understated, consisting of a simple necklace with a floral pendant and bangles at each wrist, emphasizing her natural elegance over opulence. Her hair is parted at the front and drawn back into a low bun, framed at the temples by large floral and leaf ornaments, further enhancing her youthful charm.
The identity of the portrayed beauty remains uncertain, yet her emotional subtlety and quiet beauty suggest a deeper narrative. She may evoke a character from Old Javanese court literature, possibly Sekar Taji, the fiancée of King Hayam Wuruk, known from the Panji romances. Alternatively, she could represent Dyah Pitaloka, the Sundanese princess whose ill-fated marriage to Hayam Wuruk is recorded in the Pararaton chronicle. Whether mythological, literary, or commemorative, the sculpture resonates with emotional depth, courtly refinement, and a strong sense of individual presence.
Provenance: Acquired in the Trowulan area at the end of the 20th century by Paolo Bertuzzi, thence by descent. Paolo Bertuzzi (1943–2022), was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother’s business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art. He also edited two important books on Asian art: Goa Made – An Archaeological Discovery and Majapahit – Masterpieces from a Forgotten Kingdom, both documenting major excavation projects carried out in collaboration with the respective national governments of Indonesia and Italy.
Condition: Presenting well and in stable, restored condition. Exhibiting areas of loss and cracking, with associated surface wear, soil encrustations, and weathering, all consistent with age and material.
Dimensions: Height approx. 58 cm
Literature comparison:
Compare to a related terracotta Javanese figure of Avalokiteshvara, 14th century, in the Los Angeles County Museum of Art (LACMA), accession no. M.90.196.5. Compare to a related terracotta woman’s head in the Trowulan Museum, Indonesia, Majapahit Empire, see a photograph in the New York Public Library, image ID 1124885, note the similarly worked hair and facial attributes.
The Majapahit Empire, which flourished in East Java, Indonesia, from the late 13th to the early 16th century, was one of Southeast Asia’s most influential Hindu-Buddhist kingdoms, renowned for its cultural sophistication and far-reaching political power. Under the reign of King Hayam Wuruk (1350–1389), Majapahit’s capital, Trowulan, emerged as a vibrant center of religious devotion and artistic production. Among the most distinctive legacies of the Majapahit period is its prolific use of terracotta, employed for both utilitarian and symbolic purposes.
Terracotta artifacts from the Majapahit Empire include figurines, architectural elements such as roof tiles, bricks, and columns, as well as everyday objects like water jars, stoves, vases, and piggy banks. These works provide invaluable insight into the daily life, attire, belief systems, and social structures of the time. Majapahit terracotta figures depict a wide range of subjects, from deities, dancers, and mythical beasts to animals and common people, reflecting both the religious and secular dimensions of the empire’s artistic output.
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