The Khmer civilization, today embodied by the temples and ruins of Angkor, one of mankind's most astonishing and enduring architectural achievements, flourished from 802-1431  More »

The Khmer civilization, today embodied by the temples and ruins of Angkor, one of mankind's most astonishing and enduring architectural achievements, flourished from 802-1431 A.D. From the great citadel of Angkor, the kings of the Khmer Empire ruled over a vast domain that reached from what is now southern Vietnam to Yunan, China and from Vietnam westward to the Bay of Bengal. The original city was built around the Phnom Bakeng, a temple on a hill symbolizing the mountain that stands in the center of the world according to Hindu cosmology. Successive kings enlarged the city, building other temples devoted to various Hindu deities and large reservoirs used for irrigation, which also symbolized the ocean surrounding the holy central mountain.Elephant-headed Ganesha, also known by the title Vighnesvara (the lord of obstacles) during the Angkor period, is probably the most popular and easily recognizable deity in the Brahmanic pantheon. Here he is represented seated in the posture of a yogin with his characteristic potbelly, a feature that may relate back to the Indian legend where Siva, his father, allowed him to be the first to partake in the offerings of food brought by believers. He is worshipped as the protector of new enterprises and the surmounter of obstacles. His relation to the elephant, the largest land animal in the world, no doubt suggests the origin of his powers to triumph over difficulties, whether physical or mental. He holds in his upturned right hand a round object that may be a modaka, or sweet, that Ganesha is typically shown holding in the pre-Angkor period, derived from earlier Indian iconography. In his other hand, he probably holds a broken fragment of his tusk, which is consequently missing from his jaw. This attribute symbolizes his mutilation and rebirth. The decapitation of his human head and the placement of its elephant substitute imbued Ganesha with magical powers and divine enlightenment, literally the powers of man and animal merged into one being. This sculpture, dating from the golden age of Khmer culture, likely would have served as a private idol to be worshipped on a small shrine in the home. - (FZ.420)   « Less

The Khmer civilization, today embodied by the temples and ruins of Angkor, one of mankind's most astonishing and enduring architectural achievements, flourished from 802-1431  More »

The Khmer civilization, today embodied by the temples and ruins of Angkor, one of mankind's most astonishing and enduring architectural achievements, flourished from 802-1431 A.D. From the great citadel of Angkor, the kings of the Khmer empire ruled over a vast domain that reached from what is now southern Vietnam to Yunan, China and from Vietnam westward to the Bay of Bengal. The original city was built around the Phnom Bakeng, a temple on a hill symbolizing the mountain that stands in the center of the world according to Hindu cosmology. Successive kings enlarged the city, building other temples devoted to various Hindu deities and large reservoirs used for irrigation, which also symbolized the ocean surrounding the holy central mountain.During the twelfth century, the image of the Buddha meditating on Naga, the mythical sea serpent, became the most important Mahayana Buddhist cult image in Cambodia. He is traditionally represented in the meditation posture, seated upon the three-coiled throne of Naga’s body. Naga’s hood rises from behind the Buddha, spreading his seven heads outwards resembling the shape of a tree. Indeed, this image recalls the traditional Indian iconography of the Buddha under the Tree of Enlightenment. Typical of the Angkor period, the Buddha is depicted adorned in the sumptuous regalia reserved for Khmer royalty. A jeweled diadem crowns his head. His hair elegantly styled in a conical coiffure that also serves as his usnisha. Furthermore, he wears armbands and bracelets, a necklace and heavy earrings. By relating him to the royal elite, the artist imbues the Buddha with the powers associated with the King. In his hands, he holds a mysterious object. A lotus bud? A jewel? An alms bowl? Sometimes, this object is interpreted as a medicinal flask, leading this type of work to be identified as the “master of remedies.” This identification, although speculative, suggests the inherent power of this work to heal, to cure the sick, to soothe the suffering of humanity. - (FZ.412)   « Less

The Khmer civilization, today embodied by the temples and ruins of Angkor, one of mankind's most astonishing and enduring architectural achievements, flourished from 802-1431  More »

The Khmer civilization, today embodied by the temples and ruins of Angkor, one of mankind's most astonishing and enduring architectural achievements, flourished from 802-1431 A.D. From the great citadel of Angkor, the kings of the Khmer empire ruled over a vast domain that reached from what is now southern Vietnam to Yunan, China and from Vietnam westward to the Bay of Bengal. The original city was built around the Phnom Bakeng, a temple on a hill symbolizing the mountain that stands in the center of the world according to Hindu cosmology. Successive kings enlarged the city, building other temples devoted to various Hindu deities and large reservoirs used for irrigation, which also symbolized the ocean surrounding the holy central mountain.During the twelfth century, the image of the Buddha meditating on Naga, the mythical sea serpent, became the most important Mahayana Buddhist cult image in Cambodia. He is traditionally represented in the meditation posture, seated upon the three-coiled throne of Naga’s body. Naga’s hood rises from behind the Buddha, spreading his seven heads outwards resembling the shape of a tree. Indeed, this image recalls the traditional Indian iconography of the Buddha under the Tree of Enlightenment. Typical of the Angkor period, the Buddha is depicted adorned in the sumptuous regalia reserved for Khmer royalty. A jeweled diadem crowns his head. His hair elegantly styled in a conical coiffure that also serves as his usnisha. Furthermore, he wears armbands and bracelets, a necklace and heavy earrings. By relating him to the royal elite, the artist imbues the Buddha with the powers associated with the King. In his hands, he holds a mysterious object. A lotus bud? A jewel? An alms bowl? Sometimes, this object is interpreted as a medicinal flask, leading this type of work to be identified as the “master of remedies.” This identification, although speculative, suggests the inherent power of this work to heal, to cure the sick, to soothe the suffering of humanity. - (FZ.416)   « Less

The Khmer civilization, today embodied by the temples and ruins of Angkor, one of mankind's most astonishing and enduring architectural achievements, flourished from 802-1431  More »

The Khmer civilization, today embodied by the temples and ruins of Angkor, one of mankind's most astonishing and enduring architectural achievements, flourished from 802-1431 A.D. From the great citadel of Angkor, the kings of the Khmer empire ruled over a vast domain that reached from what is now southern Vietnam to Yunan, China and from Vietnam westward to the Bay of Bengal. The original city was built around the Phnom Bakeng, a temple on a hill symbolizing the mountain that stands in the center of the world according to Hindu cosmology. Successive kings enlarged the city, building other temples devoted to various Hindu deities and large reservoirs used for irrigation, which also symbolized the ocean surrounding the holy central mountain.Buddhist works of art such as this beautiful bronze Buddha often have symbolic elements that relate to the very early stages in the development of this highly complex religion. Elements of nature were an integral part of the early religions of India. The roots of Buddhism formed an alliance with these ancient popular cults of the soil and nature, including nature-spirits. In this example, the bronze Buddha sits on the coiled body of a Naga, the ancient Indian spirit of water that takes the form of a cobra. As the head of the snake forms a dramatic nimbus around the upper portion of the Buddha, individual serpent heads frame the Buddha's expressive face. The Buddhist religion spread throughout the east and nowhere is the artistic rendering of this spiritual religion more expressive than in the 12th and 13th century Khmer culture of Cambodia. This bronze Buddha illustrates the unique artistic craftsmanship of the Khmer. It is boldly expressive in form yet delicate in its sensibility. Graceful and powerful at once, the combined images of Buddha and Naga capture both the aesthetic and spiritual elements of our soul. - (FZ.417)   « Less

The Khmer civilization, today embodied by the temples and ruins of Angkor, one of mankind's most astonishing and enduring architectural achievements, flourished from 802-1431  More »

The Khmer civilization, today embodied by the temples and ruins of Angkor, one of mankind's most astonishing and enduring architectural achievements, flourished from 802-1431 A.D. From the great citadel of Angkor, the kings of the Khmer empire ruled over a vast domain that reached from what is now southern Vietnam to Yunan, China and from Vietnam westward to the Bay of Bengal. The original city was built around the Phnom Bakeng, a temple on a hill symbolizing the mountain that stands in the center of the world according to Hindu cosmology. Successive kings enlarged the city, building other temples devoted to various Hindu deities and large reservoirs used for irrigation, which also symbolized the ocean surrounding the holy central mountain.During the twelfth century, the image of the Buddha meditating on Naga, the mythical sea serpent, became the most important Mahayana Buddhist cult image in Cambodia. He is traditionally represented in the meditation posture, seated upon the three-coiled throne of Naga’s body. Naga’s hood rises from behind the Buddha, spreading his seven heads outwards resembling the shape of a tree. Indeed, this image recalls the traditional Indian iconography of the Buddha under the Tree of Enlightenment. Typical of the Angkor period, the Buddha is depicted adorned in the sumptuous regalia reserved for Khmer royalty. A jeweled diadem crowns his head. His hair elegantly styled in a conical coiffure that also serves as his usnisha. Furthermore, he wears armbands and bracelets, a necklace and heavy earrings. By relating him to the royal elite, the artist imbues the Buddha with the powers associated with the King. In his hands, he holds a mysterious object. A lotus bud? A jewel? An alms bowl? Sometimes, this object is interpreted as a medicinal flask, leading this type of work to be identified as the “master of remedies.” This identification, although speculative, suggests the inherent power of this work to heal, to cure the sick, to soothe the suffering of humanity. - (FZ.418)   « Less

This striking bronze sculpture portrays the important Hindu Goddess Uma, and originates in the Khmer Empire. Known mainly for the staggering city of Angkor, the Khmer empire  More »

This striking bronze sculpture portrays the important Hindu Goddess Uma, and originates in the Khmer Empire. Known mainly for the staggering city of Angkor, the Khmer empire covered much of SE Asia between the 9th and 15th centuries AD, and was a trading hub for much of the surrounding area. From the great citadel of Angkor, the kings of the Khmer empire ruled over a vast domain that reached from what is now southern Vietnam to Yunan, China and from Vietnam westward to the Bay of Bengal. The original city was built around the Phnom Bakeng, a temple on a hill symbolizing the mountain that stands in the center of the world according to Hindu cosmology. Successive kings enlarged the city, building other temples devoted to various Hindu deities and large reservoirs used for irrigation, which also symbolized the ocean surrounding the holy central mountain. The finds made from this dynamic period of Asian history have been highly informative as to the cultural and religious characteristics of Khmer society, and this is an astonishing example of their sculptural traditions.Uma is also known as Parvati, and is a goddess, reincarnated from Sati, who is the second consort of Shiva (the Hindu god of destruction and rejuvenation) and mother of Ganesha and Skanda. Her role in Hinduism varies between groups and areas; Shaktas consider her to be the ultimate Shakti, the embodiment of universal energy. She is given a gentler interpretation elsewhere – such as being a representation of Shakti, softened by her maternal leanings – and is widely considered to be the Daughter of the Himalayas. Generally held to be fairly benign, she is also believed to have a malevolent and destructive side. When she finally attracted Shiva, after a long and physically grueling courtship, he shared with her the secrets of the world, a conversation that would lead to the dispersal of this elite knowledge amongst the wise. Shiva’s exploits were represented on the relief carvings of Angkor Wat; Uma’s presence in this World Heritage monument reflects her stature as a major deity in the Hindu pantheon.This outstanding bronze sculpture portrays Uma standing with head raised, bearing a lotus flower in her right hand (the lkeft, now empty, presumably held another such item). She is naked from the waist up, with a slim waist, firm breasts and broad shoulders that convey both delicacy and strength. Her elbows are flexed, with floral-motif armlets around each bicep and an ornate diademic torque around her neck. She has a square, determined jaw, her face dominated by sardonically arched eyebrows, a broad nose and a half-smile on her lips. She has pendulous earlobes and an ornate coiffure that imitates the form of a lotus bulb, decorated with medallions and a central spike at the apex. She is wearing something approximating to a sari, tied at the waist with a textile belt. The cloth flows down to the mid-calf, exposing bare feet, each ankle decorated with a large anklet. The impression conveyed is one of strength and solidity, which is perhaps appropriate for the bride of the god of destruction. This is a beautiful piece of ancient art and a credit to any serious collection. - (FZ.410b (LSO))   « Less

The Khmer civilization, today embodied by the temples and ruins of Angkor, one of mankind's most astonishing and enduring architectural achievements, flourished from 802-1431  More »

The Khmer civilization, today embodied by the temples and ruins of Angkor, one of mankind's most astonishing and enduring architectural achievements, flourished from 802-1431 A.D. From the great citadel of Angkor, the kings of the Khmer empire ruled over a vast domain that reached from what is now southern Vietnam to Yunan, China and from Vietnam westward to the Bay of Bengal. The original city was built around the Phnom Bakeng, a temple on a hill symbolizing the mountain that stands in the center of the world according to Hindu cosmology. Successive kings enlarged the city, building other temples devoted to various Hindu deities and large reservoirs used for irrigation, which also symbolized the ocean surrounding the holy central mountain.The Bayon style of Khmer art flourished under the rule of a wise and powerful monarch, Jayavarman VII. The sculpture became more lifelike, reflecting more of a human ideal of beauty than the monumental art of the previous Brahmanic periods. Bayon works combined a tempered realism with an intense expressiveness. The famous “Angkor smile,” as epitomized by this bronze Buddha, dates to this period. The Bayon period was characterized by its allegiance to the Sakyamuni, a temporary religious trend that would only last until the resurgence of Brahmanic sects shortly after the passing of Jayavarman VII.This sculpture is composed of three individual pieces that fit securely together to form the whole work: the tiered throne, the seated Buddha, and the prabhavali, or body aureole, complete with a floral frame and interior halo. The Buddha rests upon a lotus seat, or padmapitha, a symbol of his divine birth and total purity, posing in the Bhumisparsa mudra, or “gesture of touching the earth.” This mudra portrays the Buddha taking the earth as witness; it is a gesture of unshakable faith and resolution. More than a gorgeous work of art, this sculpture is a memorial to one of the most flourishing creative periods in the great history of Angkor. - (FZ.424)   « Less

The Khmer civilization, today embodied by the temples and ruins of Angkor, one of mankind's most astonishing and enduring architectural achievements, flourished from 802-1431  More »

The Khmer civilization, today embodied by the temples and ruins of Angkor, one of mankind's most astonishing and enduring architectural achievements, flourished from 802-1431 A.D. From the great citadel of Angkor, the kings of the Khmer empire ruled over a vast domain that reached from what is now southern Vietnam to Yunan, China and from Vietnam westward to the Bay of Bengal. The original city was built around the Phnom Bakeng, a temple on a hill symbolizing the mountain that stands in the center of the world according to Hindu cosmology. Successive kings enlarged the city, building other temples devoted to various Hindu deities and large reservoirs used for irrigation, which also symbolized the ocean surrounding the holy central mountain.The small size of this linga suggests that it was an idol worshipped within the private confines of a family’s household altar. As an added benefit, its compactness would have made it easily transportable during business or diplomatic voyages. Clearly, the workmanship of this piece and the preciousness of the materials suggest that it would have been the treasured possession of an elite member of the Khmer hierarchy, someone likely to venture to other territories on behalf of the king. Originally, the pedestal may have even been gilt. The pedestal is modeled on a larger, real life snanadroni, or ablution slab, used for the ritual bathing of sacred monuments in lustral waters. However realistically modeled, it is doubtful that this linga was washed in this pedestal. While it may not have served as a snanadroni, we can assume that, like its real life counterpart, this pedestal was always positioned with the conduit beak facing north. The small cylindrical linga, the phallic idol of Shiva, fits snuggly into the base. This is one of the rarer examples of Khmer art, an object of profound personal piety that embodies the most venerated god of the Brahmanic trinity. - (FZ.425)   « Less

The Bayon style of Khmer art flourished under the rule of a wise and powerful monarch, Jayavarman VII. The sculpture became more lifelike, reflecting more of a human ideal of  More »

The Bayon style of Khmer art flourished under the rule of a wise and powerful monarch, Jayavarman VII. The sculpture became more lifelike, reflecting more of a human ideal of beauty than the monumental art of the previous Brahmanic periods. Bayon works combined a tempered realism with an intense expressiveness. The famous “Angkor smile" dates to this period. The Bayon period was characterized by its allegiance to the Sakyamuni, a temporary religious trend that would only last until the resurgence of Brahmanic sects shortly after the passing of Jayavarman VII.The deity Hevajra is the chief deity of the Tantric Buddhist path to enlightenment. Unlike the two other major schools of Buddhism – Theravada and Mahayana – the Tantric school believed that, with serious application and the guidance of a religious teacher, an initiate could achieve enlightenment in this life. Multi-headed, with sixteen arms, Hevajra in fact is the personification of enlightenment here and now; a focal figure in the practice of meditative immersion. This mold, shaped like a lotus blossom, would have been used to make clay idols for personal use by the middle class. The Mandala imagery depicts Hevajra dancing at the center of the square surrounded by eight dancing yogini. Tiers of seated figures meditating, probably representations of Bodhisattvas are represented above. Buddha meditating upon Naga is recognizable at the very top. The image of Hevajra had begun to appear in Tibet around the 10th century, and there is no evidence of a cult in Southeast Asia before the 12th century, thus dating this piece as an important early example of the cult While the reasons for the popularity of the Hevajra cult in Cambodia are still unclear, it has left the world a magnificent legacy of images such as this, quite distinctive and different from Tibetan Tantric prototypes. - (FZ.427a)   « Less

The Bayon style of Khmer art flourished under the rule of a wise and powerful monarch, Jayavarman VII. The sculpture became more lifelike, reflecting more of a human ideal of  More »

The Bayon style of Khmer art flourished under the rule of a wise and powerful monarch, Jayavarman VII. The sculpture became more lifelike, reflecting more of a human ideal of beauty than the monumental art of the previous Brahmanic periods. Bayon works combined a tempered realism with an intense expressiveness. The famous “Angkor smile" dates to this period. The Bayon period was characterized by its allegiance to the Sakyamuni, a temporary religious trend that would only last until the resurgence of Brahmanic sects shortly after the passing of Jayavarman VII.The deity Hevajra is the chief deity of the Tantric Buddhist path to enlightenment. Unlike the two other major schools of Buddhism – Theravada and Mahayana – the Tantric school believed that, with serious application and the guidance of a religious teacher, an initiate could achieve enlightenment in this life. Multi-headed, with sixteen arms, Hevajra in fact is the personification of enlightenment here and now; a focal figure in the practice of meditative immersion. This mold, shaped like a lotus blossom, would have been used to make clay idols for personal use by the middle class. The Mandala imagery depicts Hevajra dancing atop a prostrate demon at the center of the circle contained within a square surrounded by a circle of eight dancing yogini. Tiers of seated figures meditating, probably representations of Bodhisattvas are represented above and below. Buddha meditating upon Naga is recognizable at the very top. The image of Hevajra had begun to appear in Tibet around the 10th century, and there is no evidence of a cult in Southeast Asia before the 12th century, thus dating this piece as an important early example of the cult While the reasons for the popularity of the Hevajra cult in Cambodia are still unclear, it has left the world a magnificent legacy of images such as this, quite distinctive and different from Tibetan Tantric prototypes. - (FZ.428b)   « Less