Naga Asian Art Items - RSS Feed by Antiques.com http://www.antiques.com/ The foremost online resource to buy, sell, and collect antiques, fine arts and collectibles.

Are you an antique dealer or appraiser? Head a flea market or auction? Register and promote your business for free. Visit our magazine for expert advice and news or join the discussion at facebook.com/antiquescom. Happy Hunting!!

Questions about antiques.com? Call our customer service line at 1-800-ANTIQUES http://www.antiques.com//images/antiques_logo.jpg http://www.antiques.com/ Khmer Deity, 12th/13th Century Angkor Wat Style http://www.antiques.com/classified/1108569/Antique-Khmer-Deity--12th-13th-Century-Angkor-Wat-Style Sold this is a 12th/13th century angkor wat style sculpture of a four-armed khmer deity. It is difficult to positively identify the deity without the attributes it would hold in its hands but it is most likely vishnu. The dating of the statue can be established by the overall style of the sculpture, especially the sampot. The deity is wearing a short vertically pleated sampot with double fish-tail sash, a scallop-edge pockets-fold in relief in his left thigh, the belt is carved with a row of double cartouches and beaded borders, a fan-shaped fold in relief at the front and rear. I have attached a copy of the cover page and part of page 33 of a brochure i purchased at the national museum in cambodia in 1997; it includes a drawing of the angkor wat style (c. 1100 â c. 1175 a.D.) sampot with a brief description. the deityâs eyes and lips have incised borders, elongated ears with pierced lobes. His face has defined eyebrows, almond-shaped eyes, a broad nose and pouting lips. It has a tiara in front of a conical-shaped chignon. the sculpture is weathered by long exposure to the elements; however, the details of the sampot, headdress and face are still well defined. sold

Item Price : CONTACT DEALER
]]>
Large Khmer Shiva, Koh Ker, 10th Century http://www.antiques.com/classified/1108581/Antique-Large-Khmer-Shiva--Koh-Ker--10th-Century Sold this very large and refined sandstone head of shiva, in khmer koh ker style, has an expression of divinity, with full bow shaped mouth, moustache, broad nose, double outlined almond shaped eyes with incised pupils, a continuous finely ridged brow, and large ears with pendulous lobes, shivaâs crown is intricate and finely incised with a top boarder of tongues and a latticed foliate band centered by the beaded borders. It is elaborately knotted in the back, above the nape of the neck. The vertical spiral tresses of hair are arranged into a tiered conical usnisa compose of carved bands of lotus petals. The usnisa is surmounted by a bud shaped cintamani. originally, this head was attached to a torso, no other fractures or damage. Signs of weathering, patination and mineral deposits. originally purchased in the late 1960âs from a private collection and was reviewed and authenticated by a subject expert. height without base 15â and 20.25â including the base; width 10.5 â, depth 9.5â, weight 49 pounds. sold
Item Price : CONTACT DEALER
]]>
Khmer Shiva & Uma Sandstone Sculptures, Baphuon Style http://www.antiques.com/classified/1109593/Antique-Khmer-Shiva---Uma-Sandstone-Sculptures--Baphuon-Style Sold the sculptures, probably shiva and uma, convey the beauty that is distinctive of works of the 11th century baphuon period. It is speculated that these sculptures were excavated from the same site; itâs rare to find sculptures that were originally created as a pair. the shiva wears a sampot that is wrapped around his waist, pulled between his legs and tied in the front; the texture of the fabric is represented by finely carved striations. The excess material falls in stylized folds over the garment that is depicted as a series of folds. The sampot is held together with a belt. The intricate belt that secures the garment is positioned low on the hips and is elaborately ornamented suggesting sovereignty. The portion of the garment that covers the back is fashioned higher than the front. the features of the face are imbued with tenderness and solitude. The vertical tresses of his hair are fashioned into a jatamukuta, (symbolic of his ascetic powers or of being an ascetic), and the unique inverted cone-shaped usnisa is surmounted by a gem radiance. most often in baphuon art, whether the sculptures are in commemoration of prior rulers, or of a god or goddess, they are depicted smiling, with powerful upper bodies, slender waists and are typically less monumental in scale than the sculptures of other khmer periods. The baphuon style is an understated yet sensuous treatment of the human body that is naturalistically rendered. They have not been encumbered by extensive ornamentation, yet lavish attention has been given to the details of the clothing and belts. The stylization of the back of the garment being higher in the back than the front is typical to the sculptures of the 11th century, baphuon style, as is the thick proportionate modeling of the legs and ankles, that allowed the statues to be free standing. the lovely sculpture of a goddess or deified queen is elegantly proportioned and exhibiting the characteristic harmony typical of the baphuon style. Her face has a sweet gentle expression and her faintly smiling mouth is full and sensuous. The plaited vertical tresses of her hair are fashioned into a jatamukuta that is surmounted with a lotus medallion that is held in place by a similarly fashioned band. The curvature of her voluptuous body is realistically rendered, with full breasts, feminine abdomen and pronounced hips and buttocks. The snug fitting sarong is folded in narrow pleats, represented by incised linear striations that are meticulous in their uniformity. The excessive edges of the sarong are tied in a flat knot and form a fishtail fold that terminates at the hemline. An ornamental belt that secures the garment is positioned low on her hips implying elevated status. No attributes remain to more specifically identify her. these sculptures have excellent provenance; they were originally purchased in the 1960âs from a gallery on madison avenue in new york city. An expert on southeast asian art reviewed and authenticated these sculptures. male deity: height w/o base 22.25â, with base 25â female deity: height w/o base 23.5â, with base 26â
Item Price : CONTACT DEALER
]]>
Khmer Thai Lokeshvara, Bayon Style, Sandstone http://www.antiques.com/classified/1109688/Antique-Khmer-Thai-Lokeshvara--Bayon-Style--Sandstone This is a fine sandstone head; in bayon style 12th or early 13th century, of lokeshvara also known as avalokiteshavara. It is very idealized; it is probably a portrait of king jayavarman vii, rather than a divine image. The meditative âbayon smileâ that so masterfully plays on his lips conveys great tenderness and brings a sense of light and life to the sculpture. The lowered eyelids curve naturalistically, and the incised pupils gaze down between the half opened eyelids. The realistically rendered eyebrows flow naturally into his forehead. The powerful forehead leads naturally in to his finely plaited hair, which is swept up in an elaborate mass of small triangular curls. The base of the chignon is decorated with an image of amitabha, lokeshvaraâs spiritual father, shown seated in meditation. . in approximately 1219 jayavarman viiâs reign came to an end and indravarman ii ascended the throne. As the new ruler he reintroduced shivaism, spawning a period of intolerance that was unique in the khmer civilization. Nearly all buddhist images and statuary were destroyed making this fine example of the head of lokeshvara very rare. . condition: very good, originally this head was part of a larger sculpture but was separated in ancient times. The lower tip of the left ear is missing and at the lower tip of the right ear a small chip is missing. The surface shows age, wear from the elements and deposits from burial. . the sculpture was originally purchased in june of 1965 from a gallery in miami, florida. It was reviewed and authenticated by an expert in southeast asian art. . height without base 12.6â and 15.75â including the base; width 6.75â
Item Price : $6900.00
]]>
Khmer Baphuon Shiva Head http://www.antiques.com/classified/1138041/Antique-Khmer-Baphuon-Shiva-Head Rare baphuon shiva head, 11th century 26.7 cm without stand the extraordinary level of quality displayed in this shiva probably points to an artist working at the royal court. The surprising treatment of the top of the head, with its high chignon, would at first seem inexplicable. Considerable care has gone into its modeling. The volumes are articulated with precision and great sensitivity, but except for the jeweled hair-ring at the base of the chignon, the surface is smooth and undecorated. The problem of the omission of shivaâs plaited strands of hair (jatas) is probably due to allow the acceptance of a royal golden tiara or other form of head covering indicative of the status and importance of the sculpture. The eyes, including the vertical one, have been hollowed out to receive inlays, perhaps of a precious material. The technique of inlaying stone is likely a carry-over from bronze sculptures and is periodically encountered on stone sculptures from cambodia and thailand. the expressive face, with its carefully articulated curving moustache, pointed chin-beard, sensitively arched brow, full flaring nostrils and sensual, ridged lips deeply undercut at the edges, all so well composed, shows cambodian art at its apex. The ears are carved with great care and the interior is scalloped into three sections, a popular khmer stylization. The fine proportions and quality of carving added to all the above makes this head a highlight of the baphuon style. this sculpture was purchase approximately 20 years ago from a reputable antique shop in bangkok. similar to plate #25 thai and cambodian sculpture wolfgang felten and martin lerner philip wilson publishers limited 1988
Item Price : $9000.00
]]>
Khmer Ekamukhalinga http://www.antiques.com/classified/1138057/Antique-Khmer-Ekamukhalinga Khmer ekamukhalinga, 8th/9th century size: 11.75 inches high, 5 inches wide, 28 pounds a linga, male phallus, symbolizes shiva and his role in creation, and is called a ekamukhalinga when it has a face depicted on its surface. They usually have three parts: the cubic base represents brahma, an octagonal middle represents vishnu and a cylindrical section with a rounded top represents shiva. shivaism was the main religion of cambodia and shiva was generally represented by his symbol, the linga. This was particularly true of the pre-angkor period. While the linga in the form of a realistic phallus belonged, for the most part, to the pre-angkor period, linga with faces (mukhalinga) is an iconographic characteristic that is exclusively pre-angkorian. like anthropomorphic statues, each linga seemingly has its own identity. A king who wanted to become associated with a divinity or reside in that godâs realm after his death erected a linga during his lifetime and gave it a name linking him to shiva. the extreme popularity of the cult of the linga in cambodia reflects the continuation of the animistic worship of rocks and other nature spirits that existed before contact with indic religions occurred in mainland southeast asia. Thus an earlier cambodian phallic fertility symbol that could inseminate the earth and make it fruitful was blended with shivaism, resulting in a uniquely khmer version of the shiva linga cult.
Item Price : $3000.00
]]>
Pair Of Khmer Lions, 10th Century http://www.antiques.com/classified/1138061/Antique-Pair-of-Khmer-Lions--10th-Century Pair of khmer caparisoned lions, 10th century lion #1: height 62.2 cm, lion #2: height 62.5 cm condition: very good, a few minor losses and some deposits from burial these sandstone sculptures are an impressive and commanding pair of lions (sanskrit: simhas), carved in the round, their robust modeling and vigorous proportions adding to their expressive presence. the menacing faces are characterized by grimacing mouths exposing strong teeth, a wide snout and bulging eyes framed by incised lotus leaf motifs. Outfitted with elaborate trappings, an emblem of sovereignty, they are bedecked with multi-sectioned anklets, a rosette collar, raised rosette and lotus pendants these lions, also referred to as yakshas (sanskrit for âguardianâ or âprotectorâ), sit resolutely on their pedestals, with firmly planted paws, which arise from tense and formidable claws that continue into stout legs. The rear is emphasized by the flicked up tail that runs up the spine, culminating with the tufted tip, which lies upon the thick mane. lions, just like buddhism, made their way to ancient cambodia by way of india, where they are considered secular and religious symbols of the throne. As king of all beasts, the lion is the symbol of buddha shakyamuni, who is also known as the âlion of the shakya clanâ. Iconographically, their primary role is serving as the vehicle or throne for enlightened beings. In the hindu religion and khmer culture, the lion is an avatar of vishnu called narshima. In this form he killed hiranyakashipu, a demon that posed as a god and prohibited the veneration of vishnu. He tears the stomach open of the demon with incredible claws restoring the right of worship to the hindi people. a semi-mythological creature to the ancient khmers, the lion holds an esteemed place in their religions and artistry. Lions act as guardians and protectors of the temples by dressing the entrances, lining the balustrades and flanking the altars of the venerated. originally purchased in new york in 1970.
Item Price : $29000.00
]]>
Khmer Stele Frieze Depicting Standing Dvarapala, 10th Century http://www.antiques.com/classified/1138063/Antique-Khmer-Stele-Frieze-depicting-Standing-Dvarapala--10th-Century Khmer stele frieze depicting standing dvarapala, 10th century sold dimensions: height 92.2 cm, width 45.7 cm, depth 13.5 cm an impressive large sandstone frieze in very high relief depicting a dvarapala guardian standing elevated on a small leaf-decorated plinth within a highly ornamented arched architectural frame. The dvarapala is seen frontally, while his right hand is held up balancing a lance that is standing on the ground and facing up, and his lowered left hand holds a large lotus bud of a blue lotus. the dvarapalaâs face is that of a young male, with a benign expression. The beard lines were carefully incised, as well as the outlines of his eyes. The elongated earlobes and the three incised rings around his neck reveal the dvarapalaâs divinity. His neatly plaited tresses, represented by carefully incised striations, are swept up and the strands have been arranged into a chignon. the fingernails, toenails, chest and navel are delicately defined with incisions. The elaborate sampot flows in sinuous folds and is secured around the waist with a wide belt. just above the head hangs an umbrella, suspended from the lower scalloped edge of the arch under which the dvarapala stands. The arch is ornamented with intricate vine and foliage scrolls. The arch rests upon two square pillars that have capitals and bases decorated with two bands of overlapping palm leaf motif. Both the pillars and the wide ledge on the bottom upon which the pillars and the plinth rest are adorned with an incised flower pattern. dvarapala guardians are protectors of the hindu god shiva and both the lance and the blue lotus are attributes of shiva. They are somewhat rare in khmer art, as apsaras appear more often as temple guardians or exterior figures. originally purchased in new york in 1970.
Item Price : CONTACT DEALER
]]>
Sandstone Single-sided Dharmachakra, Wheel Of Law Khmer Mon-dvravat, 8th 10th Century http://www.antiques.com/classified/1138073/Antique-Sandstone-Single-Sided-Dharmachakra--Wheel-of-Law-Khmer-Mon-Dv--ravat----8th-----10th-century- Sandstone single-sided dharmachakra, wheel of law khmer mon-dvÄravatÄ«, 8th â 10th century height: 104.1 cm this sandstone dvÄravatÄ« sculpture is composed of two pieces: the top piece with the âwheelâ and base sits on top of another larger base. The upper section has a tenon that fits into the lower base for a secure fit. the âwheel of lawâ or dharmachakra in sanskrit is one of the earliest and most significant of the buddhist symbols. Its association with buddhism can be traced to the first sermon of gautama buddha (c.566-c. 486 b.C.). The dharmachakra is a buddhist symbol of hindu origin that has represented dharma, the buddha's teaching of the path to enlightenment, since the early period of indian buddhism. in the dvÄravatÄ«/mon culture the two indian religious systems--hindu and buddhist--existed side by side without conflict. Hinduism continued to provide the cultural setting in which buddhist religious values and ethical standards were articulated. Although buddhism and hinduism were practiced by the dvÄravatÄ«/mon and the khmer, in popular practice they incorporated many local cults. The dharmachakra of northeastern thailand can sometimes be associated with the worship of the sun. Although this belief is not found in the northeast as it is in the central culture, the featuring of the flame-like motif, which symbolizes the sun around the dharmachakra is evident. The figure in this sculpture is the hindu sun god, surya, who holds a lotus in each hand. the style of the dvÄravatÄ« sculpture borrows heavily from indian sculptures of the gupta period and elements of this period (the columns and capitals) are also employed in the decoration of this wheel. Uniquely in what is present-day thailand, wheels of this type were produced from the eighth through the tenth century c.E. In the buddhist world these three-dimensional stone dharmachakras occur only in two places: in india and in dvÄravatÄ«. dvÄravatÄ«/mon cultures lasted some 400 years, from the seventh through the tenth century and encompassed a large central area of present-day thailand. Yet, it is almost totally without a history. Not one monument or art object is dated and there are no indigenous texts associated with dvÄravatÄ«. In spite of their cultural dominance in the region, the dvÄravatÄ«/mon were repeatedly conquered by their khmer neighbors. In the tenth century the dvÄravatÄ«/mon and the whole of the chao phraya valley came under the control of angkor.
Item Price : $29000.00
]]>
Khmer Pre-angkor Stone Ganesha http://www.antiques.com/classified/1138093/Antique-Khmer-Pre-Angkor-Stone-Ganesha Sold khmer pre-angkor stone ganesha height: 33.7 cm ganesha was an important god in southeast asia; he is the hindu elephant-headed son of shiva and parvati. As a deity who removes obstacles, ganesha is a god of success; in this sense, he is a deity that has great importance in terms of everyday existence. He was venerated before turning to other gods, thus removing potential obstacles between the worshipper and the divine. In southeast asia, ganesha had a more independent status than in india; his images were often housed in separate temples as primary icons of worship. the vehicle of this enormous creature is the rat, implying the fusion of the great and small, a duality of macro- and microcosm that is also inherent in the combination of the elephantâs great strength with the intelligence of man. the absence of a headdress and any arm or belt ornamentation indicates a pre-angkor period. The well-proportioned head is beautifully modeled and details are still clearly visible. In his left hand he holds a bowl of sweets that he enjoys, his trunk dipping into the treat, and in his right hand he holds the broken-off tusk. Ganeshaâs remaining tusk is intact but the natural fracture of the stone can be seen and follows a similar natural fracture in the trunk. The sculpture is in excellent condition and has had no repair.
Item Price : CONTACT DEALER
]]>
Khmer Sandstone Head And Torso Of Shiva Sambor Style, Ca. 650 A.d. http://www.antiques.com/classified/1138105/Antique-Khmer-Sandstone-Head-and-Torso-of-Shiva-Sambor-Style--Ca--650-A-D-- Khmer sandstone head and torso of shiva sambor style, ca. 650 a.D. dimensions: height w/o base 51 cm condition: very good. Originally this sculpture had arms and legs, and the tip of the nose is missing, but they were broken off in ancient times. There is evidence of prolonged burial and deposits throughout the surface. this is a beautiful depiction of shiva before enlightenment, in the act of meditation at the inspiration of nandi the bull, which ultimately resulted in his enlightenment and the opening of his third eye. The eyes are downcast under the arched eyebrows, and the long hair is pulled up into a coif with loops cascading along the neck and upper back. The pendulous ears and the three rings around the neck are attributes of his divinity. Nandi, the divine bull, is represented on the sash over the right shoulder. The navel and the nipple are depicted celestially, as a representation of the direction of shivaâs meditations. A garment is tied around the waist with a simple loos bow at the front, while pleats hang from the right hip, indicated with incised lines. this sculpture has excellent provenance, formerly in the private collection of a french antique dealer, and was originally purchased in the early 1970âs.
Item Price : CONTACT DEALER
]]>
Khmer Sandstone Sculpture Of Brahma Koh Ker Style, 10th Century http://www.antiques.com/classified/1138110/Antique-Khmer-Sandstone-Sculpture-of-Brahma-Koh-Ker-Style--10th-Century- Khmer sandstone sculpture of brahma koh ker style, 10th century dimensions: height 55.4 cm, width 46.4 cm condition: very good, the tip of the top flame was chipped off in ancient times. The base was broken off in ancient times but was found not far from this piece when excavated. There are small nicks throughout the sculpture, and the attribute on the lower right hand was slightly damaged. There are deposits from burial. given the extreme intricacy, delicacy and three-dimensional aspect of this work, it is in remarkably good condition considering its great age and the fact that i was buried and lost for centuries. description: this is a sandstone sculpture of brahma in a powerful vanquishing stance, garbed in royal attire, with an attribute in each hand. The four faces of brahma are directed towards the four cardinal points and are adjoined by one central neck. The countenance on each of the faces is calm and smiling. The incised spiral tresses of hair are pulled up into one four-lobed cylindrical chignon stylized as a tall cylindrical tuft. Embellishing the top the carefully arranged curls are four small, incised lotus blossoms and one large central lotus blossom. Fitting snugly into each forehead is an elaborate wide frontal diadem. Adorning brahmaâs neck is a heavily ornamented wide royal collar, which culminates with a large central bejeweled pendant. Ornamenting the muscles of each of the four arms, wrists and both ankles are wide beaded bands. covering the lower portion of the adequately proportioned body is a fine pleated sampot with wide frontal border scalloping across the upper left leg and a narrower fold across the right, which is followed by a single foliated border. The double tassel produced by the excess folds of the garment merges into an anchor-shape and cascades down to the lower edges of the feet, which are positioned with the heels in an upright position while remaining firmly planted together. Large and ferocious naga heads are positioned to the left and right of the brahma: their upright bodies merge over his head forming a protective flaming aureole. brahma is considered the god of wisdom and allegedly the creation of brahmaâs heads resulted from the four vedas that issued forth from this mouth. Therefore, the four faces of this work are joined and adorned with four diadems while there is only one, four-lobed conical tuft which is fashioned with carefully arranged curls. The four faces represent the characteristics of the earth and each of the faces is positioned towards the four cardinal points: north, south, east and west. jayavarman iv left angkor in 921 and founded koh ker as his new capital. It was during this reign that the sense of movement and expression that had been absent from sculpture since the beginning of the eighth century was reintroduced. The gods were once again portrayed less rigidly with expressions that reflected gentleness and spirituality. Koh ker style sculptures are very sumptuous, impressive and graceful. The statuary is a testimony to the skill and exceptional level of craftsmanship of the sculptors during the tenth century and the dynamic stylization is in direct contrast with the hieratic attitude of earlier reigns. Characteristics that are attributed to works dating to the koh ker period that are also obvious with this particular work of art are the high cylindrical chignon stylized as a tuft of carefully arranged curls, the adequate proportioning of the body, the top front down turned folds of fabric which frame the finely pleaded and snugly fitting sampot and the floor length anchor-shaped tassel of the garment. this sculpture was originally purchased from a u.S. Antique dealer in the late 1960âs and was part of a larger collection that was exhibited in the columbus museum of arts and crafts, columbus, ga.
Item Price : $27000.00
]]>
Pre-angkor Bronze Vishnu, 8th/9th Century http://www.antiques.com/classified/1138361/Antique-Pre-Angkor-Bronze-Vishnu--8th-9th-Century Pre-angkor bronze vishnu, 8th/9th century height: 66 cm without tenon more information upon request.
Item Price : $25000.00
]]>
Khmer Dvarapala, Koh Ker, 10th Century http://www.antiques.com/classified/1138385/Antique-Khmer-Dvarapala--Koh-Ker--10th-Century Large khmer dvarapala, koh ker, 10th century height: 38 cm without base dvarapala, the âguardians of the gateâ, are placed around the outside of a temple to serve both as greeters and defenders, they were specifically intended to protect the principle entrances of temples.
Item Price : $24000.00
]]>
Khmer Female Deity, Prei Kmeng Style, 7th Century http://www.antiques.com/classified/1138455/Antique-Khmer-Female-Deity--Prei-Kmeng-Style--7th-Century Khmer female deity, prei kmeng style, 7th century height: 31.75 cm without stand this stone pre-angkor sculpture is of a youthful goddess. Although some of the features of her face seem slightly exaggerated, they are very skillfully integrated into a harmonious relationship. The long almond-shaped eyes beneath the great arch of the full brow, the well-shaped fleshy lips and delicate nose combine to form an autocratic expression â dignified but authoritative. her hair is arranged into a sloping mound of individual strands. These are carefully looped and fall down in three distinct tiers. The sections of hair crossing her forehead follow the prei kmeng styles as seen on the lakshmi of prasat thleang. The style designation of this goddess, possibly parvati, seems to indicate the late prei kmeng period, the third quarter of the seventh century.
Item Price : $12000.00
]]>
Khmer Male Deity, Angkor Wat Period, 12th Century http://www.antiques.com/classified/1138459/Antique-Khmer-Male-Deity--Angkor-Wat-Period--12th-Century Khmer male deity, angkor watt style, 12th century height: 99 cm without stand contact for more information.
Item Price : $25000.00
]]>
Khmer Sandstone Bodhi Tree High Relief 10th Century, Koh Ker Style http://www.antiques.com/classified/1138467/Antique-Khmer-Sandstone-Bodhi-Tree-High-Relief--10th-Century--Koh-Ker-Style- Khmer sandstone bodhi tree high relief 10th century, koh ker style height 50.3 cm width 69 cm depth 5.3 cm condition: very good, a few minor losses and some deposits from burial this stunning semi-circular representation of the bodhi tree was formed with breathtaking attention to detail and refinement, the culmination of highly advanced technical skills and ingenious artistic abilities. the vertical plane of the relief is expressed through the tapered trunk of the tree, presented in high relief, which gracefully descends the length of this magnificent work of art. The expanses of its diminishing width and the lateral plane of this sculpture are accentuated by the incised motifs supporting the six symmetrically placed, undulant branches, which issue forth from the upright and centrally located element of this piece. The tips of the branches and the top of the tree appear to continue around the boulder, which imparts a soft, natural and three-dimensional quality. Densely populated and lightly textured foliage, with raised central ridge and sinuous elliptical tips, creates a rich contrast against the smooth poised branches. Emanating from the tender young stems, each verdant form dances upon the surface of this stone in the same way a leaf, dangling from outstretched limbs, flutters in the wind. all the major religions of india spread to cambodia hundreds of years prior to the 10th century. Thus, the sculptors of the khmer devarajas were obligated to follow rules, conventions and motifs originally devised in india that were just as syncretic as their religions. With that being said, this particular stele was created with three representations, of equal importance. The bodhi tree is symbolic of the brahmanic trimurti. Brahma is represented by the roots, shiva the trunk and vishnu the branches. All are equal within the trimurti, no deity can take precedence over the other, and sometimes their functions are interchangeable (inspired by the syncretic religious practices). The buddhist connotation of the bodhi tree is prince siddarthaâs attainment of the sambodhi, (âfull enlightenmentâ), which is said to have occurred under such a tree. Indian and buddhist legends refer to the sacred site of bodh gaya as the âvajrasanaâ (âthe diamondâ/âadamantine seatâ), the only place where all buddhas, past, present and future did, do and will attain enlightenment. Additionally, historical buddhist texts use the term bodhimandda when referring to the site of enlightenment at bodh gaya and believe it to be the location that prevents the destruction of the worlds, indicating the end of the cosmic period. one of the most significant characteristics of koh ker art and architecture is the use of immense blocks of sandstone. The sculpture of this period is sometimes large in scale. In fact, most of the massive pieces housed in the phnom penh national museum are in the koh ker style. Sculptures of this style are also imbued with movement and grandeur, rather than the anatomical accuracy and formality of subsequent and prior periods. Each of these traits is present in this important relief. this sculpture was originally purchased in the early 1970âs from a gallery in new york city.
Item Price : $25000.00
]]>
Khmer Bronze Hevajra, 12th/13th Century http://www.antiques.com/classified/1138750/Antique-Khmer-Bronze-Hevajra--12th-13th-Century Khmer bronze hevajra, 12th/13th century this hevajra has eight heads that are built up on three levels and sixteen arms radiating around him. The hevajra's short sampot has a sash hanging in the front and is decorated with dangling jewels. the god is shown in dancing pose reminiscent of images of shiva nataraja. The three heads in the lowest tier may represent the buddha with the bodhisattva lokeshvara and vajrapani, while the middle row of four and the single upper head may suggest the five supreme buddhas or jina. The grooves on his feet indicate that the apparent two are in fact four. The bronze is intact with no repairs and has an excellent patina. tantric buddhism, also known as vajrayana and the diamond way, of which hevajra is the most important deity, increased in importance in cambodia from the eleventh century onwards. Hevajra tantra was brought to cambodia during the khmer empire and was practiced both in cambodia and thailand from the 10th to 13th centuries. up until jayavarman vii, brahmanism and shiva worship was predominant. Jayavarman vii was responsible of changing the khmer religion to what was thought to be a form of mahayana buddhism, although recent research shows that tantric influence has been greater than previously imagined. Earlier, when bronze figures of tantric deities were found, they were considered to be of lesser importance as they were interpreted as representing a minority in the religious sphere. Recent evidence shows that the tantric cult indeed was of a greater scale than what has been previously thought. this is an authentic khmer bronze that was purchased from an antique dealer in bangkok in the mid-1990âs. It is 20.25 inches tall.
Item Price : $3500.00
]]>
Khmer Koh Ker Sandstone Lokeshvara, 10th Century http://www.antiques.com/classified/1138784/Antique-Khmer-Koh-Ker-Sandstone-Lokeshvara--10th-Century Khmer koh ker sandstone lokeshvara, 10th century this is a 10th century khmer sculpture of avalokiteshvara from the koh ker period; in cambodia he is called lokeshvara. It is sandstone and is approximately 35 inches tall. behind lokeshvaraâs diadem, his hair is drawn into a high chignon encased in a stiff, closely woven covering or mukuta, which is one of the distinctive features of the bodhisattvas as depicted in southeast asia. Against the chignon, above the crown, is seated his dhyani-buddha, amitabha. avalokiteshvara in sanskrit means "the lord who oversees, in cambodia he was referred to as lokeshvara or âlord of the worldâ. According to mahayana doctrine, avalokiteshvara is the bodhisattva who has made a great vow to listen to the prayers of all sentient beings in times of difficulty, and to postpone his own buddhahood until he had assisted every being on earth in achieving nirvana. he is referred to as kannon in japan, guanyin in china, quan-am in vietnam and chenrezig in tibet. The dalai lama is considered an incarnation of avalokiteshvara by tibetan buddhists. Among the bodhisattvas, it is avalokiteshvara who has the largest number of forms and is perhaps the most venerated and most popular buddhist deity. His sex, originally masculine, is sometimes considered feminine in china and japan, although this is not supported by canonical text. This may be because men are often tempted to attribute a feminine quality to all the deities who appear to them to be endowed with essentially âfeminineâ virtues such as compassion, gentleness, and goodness of heart or purity.
Item Price : $25000.00
]]>
Buddha Sheltered By The Naga Muchalinda, 12th/13th Century http://www.antiques.com/classified/1140934/Antique-Buddha-sheltered-by-the-naga-Muchalinda--12th-13th-Century Buddha sheltered by the naga muchalinda height: approximately 36.5 inches without base although hinduism was the dominant religion during the angkor wat period, images of the naga serpent king muchalinda sheltering the buddha were popular in khmer art throughout the twelfth century. This sculpture appears to have been created in the late angkor wat or early bayon period (1177â1230) when, under the leadership of king jayavarman vii, buddhism again came to prominence in cambodia. this sculpture derives from the episode in the life of shakyamuni, the historical buddha, when muchalinda coiled his body beneath the meditating buddha and fanned out his hoods to protect him from a storm. Seated beneath the canopy of serpentâs hoods, with hands in a gesture of meditation, the buddha wears a slight smile and an expression of compassionate serenity. His hands and feet, as well as the back of the serpent, are marked with symbols of the wheel of law. Representing the endless cycle of birth, death and rebirth (samsara), the wheel alludes to the teachings of the buddha as a path to enlightenment and release from this cycle.
Item Price : $28000.00
]]>