A BRONZE FIGURE OF BUDDHA, MON DVARAVATI PERIOD

A BRONZE FIGURE OF BUDDHA, MON DVARAVATI PERIOD
Thailand, 8th-9th century. Finely cast standing with his left hand raised in abhaya mudra and his right lowered in varada mudra, draped in a loose-fitting dhoti and sanghati. His serene face with heavy-lidded eyes, elegantly arched joined brows, full lips, and a broad nose, flanked by pendulous earlobes, his hair in tight curls over a high ushnisha.
Provenance:
From a noted private collector in Paris, France.
Condition:
Good condition, commensurate with age. Expected wear, casting flaws, some losses, signs of weathering and erosion, minor nicks and scratches.
Weight: 2,025.3 g (excl. stand), 2,467 g
Dimensions: Height 31.5 cm (excl. stand), 32 cm (incl. stand)
With a modern stand. (2)
The Mon polity of Dvaravati
was one of the earliest and most important societies in mainland Southeast Asia. Based around the Chao Phraya and Mae Klang river basins of central Thailand, Dvaravati was known from early Chinese textual sources, as well as being mentioned in a single local inscription that dates to roughly 550-650 AD. Due to the large numbers of Buddhist sculptures associated with the culture, it is most likely that the rulers were patrons of the Buddhist faith. The images of Buddha were influenced by contemporary Indian sculptural works, including the Gupta style based around the site of Sarnath. The facial features of the Mon Dvaravati Buddhist images, however, display arched, joined eyebrows which are unlike those found in India, and are therefore characteristic of Mon Dvaravati. Compared to earlier and later Thai kingdoms, Dvaravati was geographically and economically isolated, which contributed to the distinct qualities of its sculpture. Their style was bold, self-assured, recognizable, and highly influential on subsequent Thai sculpture and artistic production throughout Southeast Asia.
Within the context of the dominant Theravada school of Buddhism,
which emphasized the singularity of the Buddha Shakyamuni, bronze sculptures from this area also demonstrate a remarkably cohesive design. As unifying features, the Buddha is clad in the humble dress of a religious renunciant, with the thin garment clinging closely to the body to reveal his delicate proportions and graceful contours that lie beneath. His face is characterized by high cheekbones, full lips, prominent eyes, and - as stated - the curved brows that form the characteristic V-shape at the bridge of the nose.
As expressed by Jean Boisselier,
"The school of Dvaravati may stand alongside the great Buddhist artistic traditions of India, so enduring were its innovations and so persuasive its influence on most of the art of Southeast Asia" (J. Boisselier, The Heritage of Thai Sculpture, 1975, page 73). Bronze sculptures of this type and large size are exceedingly rare.
Further emphasizing the presence of Buddha
in the world of the devotee, the figure is depicted as if in motion, with the hems of the robe gently swaying to the sides. This stance, which also draws upon the classic tribhanga posture of Indian sculpture, presages the famous “Walking Buddhas” of Thailand that would grow prominent many centuries later. The bronze caster has masterfully captured the youthful appearance of Buddha that gives the spiritual themes imported from India their highly unique and refined local expressivity.
Auction result comparison:
Type: Related
Auction: Christie's New York, 17 March 2015, lot 29
Price: USD 269,000 or approx.
EUR 318,000
converted and adjusted for inflation at the time of writing
Description: A bronze figure of Buddha, Thailand, 8th century
Expert remark: Compare the closely related modeling and manner of casting with similar pose, facial features, expression, and robe. Note the size (36.1 cm).