Bonhams
Lot 64
TORSE DE DIVINITÉ MASCULINE EN GRÈSCambodge, style de Khleang, fin du Xe/début du XIe siècle A SANDSTONE TORSO OF A MALE DEITYCambodia, Khleang style, late 10th/early 11th centuryThe elegant torso with subtle, yet powerful representation of his pectoral muscles and broad shoulders. The superb sampot is rendered in narrow vertical pleats and spreads across the left thigh in broader fan-like manner. The fabric is drawn between the thighs and arranged on the verso in a double hook that rises from beneath the belt. The observation of the garment by the artist is remarkable in the manner in which it is secured with a delicately depicted overlapping sash on the left side and is pulled under the right side with a fold protruding artfully from the top and the end draped in a scabbard-like fold. 70cm (27 9/16in) high.Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired from Peng Seng, Bangkok, 26 January 1971Jean-Pierre Rousset, Paris (1936-2021)This rare and very important sculpture represents the transition in aesthetic tastes under Sûryavarman I (1002-1010) that defined the Khleang style. It is most likely that the figure portrays Avalokiteshvara due to the presence of four arms and the ruler's favour of Buddhism. The shoulders are quite straight and do not yet have the roundness of the style of the Baphuon and the adaptation of the sampot closer to the style of Banteay Srei. As with an example in the Norton Simon Museum of Art (P.Pal, Asian Art from the Norton Simon Museum of Art, Volume 3, p.184, no.145) the sampot has become shorter and has an oblique edge stopping at mid-thighs. The rendering of a finely pleated fabric replaces the broad vertical panels favoured in the 10th century reflecting the residual hieratic power of Pre Rup (see Jessup and Zéphir, Sculpture of Angkor and Ancient Cambodia, Millennium of Glory, 1997, p.218, no.46), and predicts the following celebrated Baphuon style (see lot 66). Here the sampot circles the waist in a flatter line as opposed to riding high on the hips as seen in Baphuon but is carved with the same delicacy and lightness (see Brand and Phoeurn, The Age of Angkor: Treasures from the National Museum of Cambodia, Australia, 1992, p. 74).Cette rare et très importante sculpture traduit la transition des styles sous Sûryavarman I (1002-1010) qui annonce le style de Khleang. La préférence du souverain pour le bouddhisme suggère que cette statue est une représentation d'Avalokiteshvara, avec ses quatre bras. Les épaules sont assez raides et n'ont pas encore la rondeur du style de Baphuon. Le style du sampot est plus proche du style de Banteay Srei. Dans l'exemple du Norton Simon Museum of Art (P.Pal, Asian Art from the Norton Simon Museum of Art, Volume 3, p.184, no.145) le sampot est plus court avec un bord oblique s'arrêtant à mi-cuisse. Le rendu d'un tissu finement plissé remplace les larges pans d'étoffe verticaux privilégiés au Xe siècle, reflétant le pouvoir hiérarchique résiduel de Pré Rup (voir H.I.Jessup et T.Zéphir, Sculpture of Angkor and Ancient Cambodia, Millennium of Glory, 1997, p.218, no.46), et prédit le célèbre style Baphuon qui suivra (voir lot 66). Ici, le sampot entoure la taille d'une ligne plus plate contrairement au style de Baphuon qui est au-dessus des hanches, mais il est sculpté avec la même délicatesse et légèreté (voir Brand et Phoeurn, The Age of Angkor: Treasures from the National Museum of Cambodia, Australia, 1992, p.74).柬埔寨 克亮風格 十世紀末/十一世紀初 砂岩神像來源：巴黎Robert Rousset（1901-1981）舊藏，於1971年1月26日得自曼谷Peng Seng古董店巴黎Jean-Pierre Rousset（1936-2021）舊藏這尊罕見且十分重要的雕塑代表了蘇利耶跋摩一世時期(1002-1010年) 審美趣味的轉變，奠定了南北倉風格。因其具四臂，且時任統治者更推崇佛教，故此像應為觀世音菩薩。此像肩膀筆直，未見巴普昂寺風格般渾圓的處理手法，其沙龍樣式更接近女王宮風格。參見諾頓西蒙博物館館藏一例，收錄于P. Pal著《Asian Art from the Norton Simon Museum of Art》，卷 3，頁184，編號145，其沙龍長度縮短，裙擺為斜邊，及大腿中部。裙褶處理手法精細，取代流行於十世紀體現比粒寺準則的寬闊垂直布幅（參見 H.I. Jessup et T. Zéphir，《Sculpture of Angkor and Ancient Cambodia, Millennium of Glory》，1997年，頁218，編號46)，並預示此後出現的巴普昂寺風格（見拍品編號66）。此處沙龍環繞腰際，線條處理較扁平，相較而言，巴普昂寺風格的沙龍則繫于臀部上方，但雕刻同樣精緻輕盈（參見 M. Brand 和 C. Phoeurn所著，《The Age of Angkor: Treasures from the National Museum of Cambodia》，澳大利亞，1992年，頁74)。For further information on this lot please visit Bonhams.com
