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 imagery depicts Hevajra at the center surrounded by a ring of nine smaller seated figures. Buddha meditating upon Naga is recognizable directly above Hevajra. The other figures probably represent Bodhisattvas or yogini. 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.428a)   « 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" 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 mold, shaped like a lotus blossom, would have been used to make clay idols for personal use by the middle class. Here, the Buddha is depicted seated upon a throne, resting his hands on his thighs in the Dhyana mudra, the posture of meditation. The leafy foliage above him may represent a tree, suggesting that this image may depict the Buddha meditating under the Bodhi tree. This bronze mold is an intriguing relic of Khmer art. It provides us with rare insight into the artistic process of Khmer sculptors. This mold would have been used to make mass-produced clay sculptures; yet while the clay works were numerous, this bronze mold is unique. - (FZ.427b)   « Less

After the fall of Angkor and the great Khmer Empire in the 15th Century, Cambodia fell under the control of the Thai. The Ayutthayan invasion initiated a period of foreign  More »

After the fall of Angkor and the great Khmer Empire in the 15th Century, Cambodia fell under the control of the Thai. The Ayutthayan invasion initiated a period of foreign influence and occupation that lasted until the French granted Cambodia independence on November 9, 1953. Initially, in 1864, the French were welcomed in the 19th Century by King Norodum, the ruler of Cambodia. Having been alternately controlled by the Thai and Vietnamese for over four hundred years, Norodum expected the French to protect his country from his neighbors. While the French where unable to thwart Siam (Thailand) from temporarily annexing western regions of the nation, they did manage to stop the country from being completely divided between Siam and Vietnam.This silver sculpture of the Buddha reveals the influence of foreign cultures on the art of Cambodia. It is ironic that Thailand, which began as a breakaway province of the Khmer Empire with the establishment of the Sukhothai Kingdom in 1238, was initially artistically and culturally indebted to the Khmer. For by the time this sculpture was created, the art of Cambodia was wholly reflective of the Thai influence on the culture and politics of this once mighty nation. Here, the Buddha is seated in the Vajraparyanka lotus posture (Padmasana) resting his arms in the Bhumisparsa mudra, or “gesture of touching the earth.” A symbol of unshakable faith and resolution, this mudra portrays the Buddha taking the earth as his witness. The Sakyamuni is enthroned upon a high, tiered, triangular shaped lotus throne. Highly ornamented with incised stylized foliage and partially covered in a draped fabric, this type of pedestal is characteristic of Thai examples. Furthermore, the modeling of the Buddha himself is related to the art of Thailand. Specifically, the Buddha’s tightly curled hair and the flame of enlightenment that rises out of his ushnisa. This precious work, rendered in silver atop an earthen core and featuring an inscription on its back, was a sacred relic worshipped in its own time. Today, it is gorgeous testament to the tumultuous history of Cambodia and the spiritual beliefs of the people that have allowed them to thrive.The inscription on the reverse dates this piece to the Buddhist year 2424, equivalent to 1881. - (FZ.421)   « 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, bracelets, anklets, and a necklace. By relating him to the royal elite, the artist imbues the Buddha with the powers associated with the King. In his palm of his right hand, 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.431)   « 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, bracelets, anklets, and a necklace. By relating him to the royal elite, the artist imbues the Buddha with the powers associated with the King. In his palm of his right hand, 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.432)   « Less

The Khmer civilization, today embodied by the temples and ruins of Angkor, one of mankind's most astonishing and enduring architectural achievements and the largest religious  More »

The Khmer civilization, today embodied by the temples and ruins of Angkor, one of mankind's most astonishing and enduring architectural achievements and the largest religious monument in the world, 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 most celebrated of the Angkor temple complexes is Angkor Wat, constructed under King Suryavarman II (reigned 1113-1150).Khmer art depicting armies on the march shows images of elephants carrying the king or nobility into battle. Bells such as this pair hung from the elephant's saddle, ringing as the animal moved. Massive, yet elegant in their simplicity, these bells may well have once adorned a royal elephant. Even silent, they suggest timeless power and privilege. The large nature of these bells is opposed by the delicate, sinuous lines of the pair of palanquin hooks. A palanquin is a covered traveling litter used by oriental nobility. The beauty of these hooks almost makes us forget that they originally had a practical function. Two rings attached to the wooden body were suspended from two hooks through which passed a pole. The litter was borne on the shoulders of two or more porters. Only the highest classes were permitted palanquin fittings of bronze, and this stunning piece was no doubt worthy of royalty. These gorgeous bronze artifacts are stunning examples of the majesty of Khmer art. Although they were used for starkly different purposes as evident by their sizes and shapes, both reflect a mastery of bronze working and elegant decorative elements that characterize Khmer art. - (X.0224)   « Less

The Khmer civilization, today embodied by the temples and ruins of Angkor, one of mankind's most astonishing and enduring architectural achievements and the largest religious  More »

The Khmer civilization, today embodied by the temples and ruins of Angkor, one of mankind's most astonishing and enduring architectural achievements and the largest religious monument in the world, 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 greatest of the Ângkôr temple complexes is Angkor Wat, constructed under King Suryavarman II (reigned 1113-1150) to celebrate the king as the incarnation of the god Vishnu.The goddess Uma, also known as Parvati, daughter of the mountains, was the consort of Shiva. 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, the center of the Khmer dynasty and the largest religious monument in the world. Thus, Uma was a favored goddess of Khmer artists for her important stature in the Hindu hierarchy. This extraordinary bronze sculpture depicts the goddess standing straight, adorned by a floral diadem and necklace. The intricate carving of her conical coiffure imitates the form of a lotus bulb. Her ears droop down to her shoulders from the weight of her ear ornaments. She wears two bands high up on her arms. Her voluptuous torso is exposed while a long, pleated sarong covers her lower body. A slight over-fold wraps around her waist and a central sash falls in two layers between her legs, tapering off in a curving fishtail shape. The sensuous form of the goddess recalls a timeless beauty. Her sumptuous jewelry further attests to this elegance. It is clear from this sculpture why Shiva, the destroyer and recreator of the universe, chose to love this woman. - (X.0231)   « 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. - (X.0235)   « Less

Origin: Cambodia Circa: 13 th Century AD Dimensions: 18.875" (47.9cm) high Collection: Asian Style: Bayon Period Medium: Terracotta

Origin: Cambodia Circa: 13 th Century AD Dimensions: 18.875" (47.9cm) high Collection: Asian Style: Bayon Period Medium: Terracotta   « Less

The serene figure of Buddha stands atop a plinth, wearing a flowing robe incised with floral patterns. A slight but sweet smile plays about his lips, his hair is arranged in  More »

The serene figure of Buddha stands atop a plinth, wearing a flowing robe incised with floral patterns. A slight but sweet smile plays about his lips, his hair is arranged in tight curls, and his right hand is raised in a gesture of benediction. Though the Buddha is youthful in appearance, he radiates an aura of timeless wisdom; he seems truly "the enlightened one". Whether or not one follows the teachings of the Buddhist faith, this elegant statue evokes a feeling of peace and calm. Its benevolent message transcends cultural boundaries and speaks directly to the human heart. - (PF.1386)   « Less