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11th Century Khmer Baphuon Kneeling Tantric Deva

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11th Century Khmer Baphuon Kneeling Tantric Deva
Details: A handsome and classically Khmer example of a Baphuon kneeling Deva from a Tantric Mandala, probably centered on Chandra. This attractive bronze Deva is shown kneeling with on one knee with the other raised. His right hand is holding a lily and his left is in the boon giving gesture incised with a geometric design. The figure is clothed in a low cut pleated sampot can kpin that dips below the navel with graceful folds below the belt, and the piece that folds between the legs forms a jaunty bow in the back, typical features of early Baphuon style sampots. A scarf is tucked into the belt and hangs down over the sampot that terminates in a double fishtail panel at the front. He is wears a conical chignon cover surrounded by a diadem and is heavily bejeweled, his face has been masterfully incised considering the size of the bronze, showing in wonderful detail a handsome regal face. The eyebrows, eyes, moustaches lips and ears have been created in classic Khmer stylistic excellence to create a piece with real spirit and presence.

This piece would have originally been part of a three dimensional Mandala (sacred diagram) consisting of eight deities surrounding a larger image probably of Chandra. Chandra would be seated in the centre surrounded in a circle by eight figures representing the rest of the nine Devas, Chandra making the ninth. The nine Devas from the Khmer version of the Indian Navagraha are the planetary deities. Tantric Hinduism and astrology played an important role in Khmer culture and state religion particularly in the Angkor Wat period. Chandra and Surya are given equal prominence in the great Churning of the Sea of Milk relief in Angkor Wat.

Age: Baphuon style, middle of the 11th Century.

Height: On base13.5 cm, off base 8.5cm.

Provenance: The late Dr. Henry Ginsburg, curator of the South East Asian collections at both the British Museum and the British Library. He was a renowned expert in the field of Thai, Laos and Cambodian manuscripts and paintings.

Remarks: For a similar image and a complete Khmer Chandra Mandala from the later 12th century Angkor Wat period see Plate 142, “Adoration and Glory, The Golden Age of Khmer Art” by Emma Bunker and Douglas Latchford.



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