For a related figure with similar stance and hairstyle, see Fontein and Wu, Unearthing China's Past, Museum of Fine Arts, Boston, 1973, p. 174, fig. 30. Compare another figure with a similar hair arrangement in the Henan Provincial Museum illustrated in Zhongguo Meishu Quanji, Sui Tang Diaosu, vol. 4, Beijing, 1988, no. 149, where it is referred to as zhui niao ji or "drooping bird hairdo"

This particular figure, however, is most unusual in its attention to detail, seen for example in the two bi-discs attached to the back of the sash and in the voluminous sleeves of the woman's robes

In tomb sculpture of the 8th century, a most substantial female figure type can be seen to have come into favor, in contrast to the willowy figure types of the Sui and early Tang. Although this vogue for plumpness towards the middle of the century is traditionally ascribed to the influence of Emperor Xuanzong's favorite concubine, Yang Guifei, a direct connection with her is rather unlikely