Yhis bronze maiden exhibits all the characteristics of a beautiful classic Tang woman. Unlike the early aesthetic of the Northern Wei, the Tang gave way to a new aesthetic that favored a fuller rounder, softer physique. The maiden wears a long billowing gown with loose fitting arms. The hems of the gown trail the floor revealing crescent moon toecaps on her slippers. Her hair is coiffed into a distinctive coiffure, a high chignon balanced at the center of her head. Her hands are gently folded in front of her, with head slightly bowed reveals a sublime supplication. The molded figure appears to be buried underground for a long period, overall in aged deep black patina from sulphide corrosion, random patches of tin and copper culprite, imbedded with heavy layers of encrusted malachite inside and out, which is consistent in a 10th century artifact. However, we can only confirm to this date with further research. If it is a replica it is likely exceeded three hundred years old. We find this a highly convincing bronze defined by classical markers and grace.

Placed in a tomb to serve as protection and company for the diseased a serving maiden such as this Tang bronze was considered an essential attendant in the afterworld. To insure the well-being of the diseased musicians, servants, acrobats, guards, dancers, grooms, horses, camels and other animals, carriages, warriors, and in some cases an entire household, including living quarters, farming out-buildings were put inside the tomb.