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Lot Essay
This figure dates from the Angkor Wat period, in the twelfth century, when the Khmer Empire was at its territorial zenith. This starts with the reign of Suryavarman II (r. 1113-1145), who ordered the construction of Angkor Wat, the largest temple of the Angkor period, dedicated to Vishnu. The last great king of the period, Jayavarman VII (r. 1181-1218), expanded into the territories of the Champa to the east. Jayavarman VII also adopted Mahayana Buddhism as the official state religion, replacing the cult of Vishnu which had predominated in the Khmer Empire for previous centuries.
Stylistically, the sculpture of the Angkor Wat period is marked by a return to the somewhat angular and upright modeling of the periods preceding the Baphuon style of the eleventh century. This angularity can be seen in the wide shoulders and hips of the upper torso, as well as in the drapery of the sampot, which sits roughly straight across the hips, and in the fish-tail folds which fall in heavy vertical pleats, in contrast to the earlier Baphuon period in which the drapery is full of curling flourishes.
The present figure is expertly modelled, suggesting an elite commission. The range of geometric and ornamental forms that decorate the garments is testament to the complexity and detail of Khmer craftsmanship that persisted throughout the empire. The short sampot is arranged in multiple patterns, including tightly spaced vertical pleats around the right leg enhanced by a fishtail fold, and loosely fanned diagonal waves across the left. A double-anchor fold bridges the thighs reaching the hem of the sampot which is well known on male sculptures during the Angkor wat period. The gathered fabric is pulled snugly between the legs from the verso and then set in an elegant crest on back and front just below the top of the sampot. The whole arrangement is secured with a broad belt of double ovals pattern which is characteristic for the Angkor Wat period.
Stylistically, the sculpture of the Angkor Wat period is marked by a return to the somewhat angular and upright modeling of the periods preceding the Baphuon style of the eleventh century. This angularity can be seen in the wide shoulders and hips of the upper torso, as well as in the drapery of the sampot, which sits roughly straight across the hips, and in the fish-tail folds which fall in heavy vertical pleats, in contrast to the earlier Baphuon period in which the drapery is full of curling flourishes.
The present figure is expertly modelled, suggesting an elite commission. The range of geometric and ornamental forms that decorate the garments is testament to the complexity and detail of Khmer craftsmanship that persisted throughout the empire. The short sampot is arranged in multiple patterns, including tightly spaced vertical pleats around the right leg enhanced by a fishtail fold, and loosely fanned diagonal waves across the left. A double-anchor fold bridges the thighs reaching the hem of the sampot which is well known on male sculptures during the Angkor wat period. The gathered fabric is pulled snugly between the legs from the verso and then set in an elegant crest on back and front just below the top of the sampot. The whole arrangement is secured with a broad belt of double ovals pattern which is characteristic for the Angkor Wat period.