.jpg?w=1)
拍品專文
This elegant figure of a standing Buddha is the product of a confluence of South Indian and Mon stylistic traditions. The slight physique sensitively modeled through slender forms, with delicate lines suggesting a diaphanous robe, echo Anuradhapuran forms. The snail-shell curl hair and physiognomy of the face speak to Mon influence.
The Cham artists during the seventh and eighth centuries, well-known for their consummate repoussé skill, were drawing heavily from Indian, Sri Lankan, and Thai prototypes. Indian monks and brahmins oversaw the production of Buddhist icons in the Southeast Asian regions over the course of several centuries. This spurred the development of particularly refined repoussé technique in these workshops. The hammered sheet gold over a resin core enabled a precise delineation of details and facial features that are not achievable through solid metal casting methods. The details and fine areas were rendered through chiseling and chasing. The present example is rare for not only its superb modeling, but also for its size and state of preservation.
The Cham artists during the seventh and eighth centuries, well-known for their consummate repoussé skill, were drawing heavily from Indian, Sri Lankan, and Thai prototypes. Indian monks and brahmins oversaw the production of Buddhist icons in the Southeast Asian regions over the course of several centuries. This spurred the development of particularly refined repoussé technique in these workshops. The hammered sheet gold over a resin core enabled a precise delineation of details and facial features that are not achievable through solid metal casting methods. The details and fine areas were rendered through chiseling and chasing. The present example is rare for not only its superb modeling, but also for its size and state of preservation.