Premium pages left without account:

Auction archive: Lot number 225

† A SANDSTONE FIGURE OF A DVARAPALA, KOH KER STYLE, ANGKOR PERIOD

Estimate
€10,000
ca. US$9,646
Price realised:
n. a.
Auction archive: Lot number 225

† A SANDSTONE FIGURE OF A DVARAPALA, KOH KER STYLE, ANGKOR PERIOD

Estimate
€10,000
ca. US$9,646
Price realised:
n. a.
Beschreibung:

Lot details Khmer Empire, early 10th century. Superbly carved, standing in a wide-legged dancing stance, his back slightly arched and his legs strong and taut. His chest is full, his right shoulder is slightly raised and in keeping with the preferred style of the period, he is stoutly built with a rounded stomach. The position of the upper arms suggests that his hands were placed in namaskara mudra (respectfully greeting) in front of his body and the disc shape on the chest marks an area originally covered by the two thumbs. His head is tilted slightly to the left side, his expression is serene and distinctly confident, given further emphasis by his full lips and broad smile, the hair drawn into a conical chignon secured with a foliate tiara. Provenance: From a notable collector in London, United Kingdom. Condition: Excellent condition, commensurate with age. Extensive wear, some nicks, losses, minor signs of weathering and erosion, few structural cracks. Dimensions: Height 72 cm (excl. stand) and 78 cm (incl. stand) The dvarapala wears a short garment with a curving upper edge that adds emphasis to the massive strength of his body. The fine pleats and delicate curve at the edge of the fabric seem to defy the nature of the stone. A long scarf falls between the legs and would originally have extended to the ankles. Its sway further indicates the sense of movement contained within the figure. Mounted on an associated metal stand. (2) A dvarapala is a temple guardian. In India, where the concept originated, two giant figures, sculpted in high relief, are often found flanking the principal temple entrance. One is formidable, to scare away those of ill intent while the other is seductively handsome, in order to lure the faithful past the portal. In Cambodia the form evolved separately because the temples were built to different plans. There, a succession of courtyards contained secondary buildings and the principal one was only accessible to a limited number of ritual participants. In the 10th century dvarapala were freestanding statues, still sculpted in pairs but resting within the precinct. Although they observed approaching visitors, their essential role was that of bodyguards, protecting the deity lodged within the temple. This latter role appears to have become increasingly dominant in the Koh Ker period when the supremacy of the kings of Angkor was challenged by a powerful royal claimant who established another court to the north of the Kulen mountains, from where he imposed martial rule on much of the kingdom. The achievement of this alternative court is reflected in some of the finest works of art to emanate from Cambodia during the Angkor period. The sculptures are notable for their spontaneous appearance, strong personalities and sense of inner, spiritual energy. Even when the subject is not a recognizable deity, the suggestion of individual personality is always present. This image of a dvarapala exemplifies the style of the period, full of confident swagger but maintaining a deeply serious purpose in his guardian role. Benign dvarapalas can often be found flanking doorways or protruding from corner brackets, while apsaras are ubiquitous to the temples of Angkor. Dvarapalas became integral to temple sculpture in India as early as the 5th century and appear in Cambodia in the earliest of the Angkor Empire's temples, the Roulos group, constructed around the turn of the 10th century. The Shaivite temples at Koh Ker are similar to these in their iconographical programs and architectural structures. Koh Ker, which lies 50 miles (80 km) northeast of Angkor, was the capital of the Khmer Empire from 928-944. Koh Ker's sculptural style is thus distinct from those developed in Angkor's immediate vicinity. The stone sculpture, often monumental in size, is imbued with a heightened sense of movement and a suppleness of form. Expert’s note: A detailed commentary on the present lot, elaborating on the history and architecture of the K

Auction archive: Lot number 225
Auction:
Datum:
29 Sep 2022
Auction house:
Galerie Zacke
Mariahilferstr. 112 /1/10
1070 Wien
Austria
office@zacke.at
+43 1 5320452
+43 1 532045220
Beschreibung:

Lot details Khmer Empire, early 10th century. Superbly carved, standing in a wide-legged dancing stance, his back slightly arched and his legs strong and taut. His chest is full, his right shoulder is slightly raised and in keeping with the preferred style of the period, he is stoutly built with a rounded stomach. The position of the upper arms suggests that his hands were placed in namaskara mudra (respectfully greeting) in front of his body and the disc shape on the chest marks an area originally covered by the two thumbs. His head is tilted slightly to the left side, his expression is serene and distinctly confident, given further emphasis by his full lips and broad smile, the hair drawn into a conical chignon secured with a foliate tiara. Provenance: From a notable collector in London, United Kingdom. Condition: Excellent condition, commensurate with age. Extensive wear, some nicks, losses, minor signs of weathering and erosion, few structural cracks. Dimensions: Height 72 cm (excl. stand) and 78 cm (incl. stand) The dvarapala wears a short garment with a curving upper edge that adds emphasis to the massive strength of his body. The fine pleats and delicate curve at the edge of the fabric seem to defy the nature of the stone. A long scarf falls between the legs and would originally have extended to the ankles. Its sway further indicates the sense of movement contained within the figure. Mounted on an associated metal stand. (2) A dvarapala is a temple guardian. In India, where the concept originated, two giant figures, sculpted in high relief, are often found flanking the principal temple entrance. One is formidable, to scare away those of ill intent while the other is seductively handsome, in order to lure the faithful past the portal. In Cambodia the form evolved separately because the temples were built to different plans. There, a succession of courtyards contained secondary buildings and the principal one was only accessible to a limited number of ritual participants. In the 10th century dvarapala were freestanding statues, still sculpted in pairs but resting within the precinct. Although they observed approaching visitors, their essential role was that of bodyguards, protecting the deity lodged within the temple. This latter role appears to have become increasingly dominant in the Koh Ker period when the supremacy of the kings of Angkor was challenged by a powerful royal claimant who established another court to the north of the Kulen mountains, from where he imposed martial rule on much of the kingdom. The achievement of this alternative court is reflected in some of the finest works of art to emanate from Cambodia during the Angkor period. The sculptures are notable for their spontaneous appearance, strong personalities and sense of inner, spiritual energy. Even when the subject is not a recognizable deity, the suggestion of individual personality is always present. This image of a dvarapala exemplifies the style of the period, full of confident swagger but maintaining a deeply serious purpose in his guardian role. Benign dvarapalas can often be found flanking doorways or protruding from corner brackets, while apsaras are ubiquitous to the temples of Angkor. Dvarapalas became integral to temple sculpture in India as early as the 5th century and appear in Cambodia in the earliest of the Angkor Empire's temples, the Roulos group, constructed around the turn of the 10th century. The Shaivite temples at Koh Ker are similar to these in their iconographical programs and architectural structures. Koh Ker, which lies 50 miles (80 km) northeast of Angkor, was the capital of the Khmer Empire from 928-944. Koh Ker's sculptural style is thus distinct from those developed in Angkor's immediate vicinity. The stone sculpture, often monumental in size, is imbued with a heightened sense of movement and a suppleness of form. Expert’s note: A detailed commentary on the present lot, elaborating on the history and architecture of the K

Auction archive: Lot number 225
Auction:
Datum:
29 Sep 2022
Auction house:
Galerie Zacke
Mariahilferstr. 112 /1/10
1070 Wien
Austria
office@zacke.at
+43 1 5320452
+43 1 532045220
Try LotSearch

Try LotSearch and its premium features for 7 days - without any costs!

  • Search lots and bid
  • Price database and artist analysis
  • Alerts for your searches
Create an alert now!

Be notified automatically about new items in upcoming auctions.

Create an alert