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拍品专文
Commanding in both scale and spiritual presence, this monumental gilt copper alloy figure of the Buddha, standing nearly two meters tall, is a superb example of the elegance and authority characteristic of the U Thong B style, a refined sculptural idiom of 14th-century Thailand. Exceptionally well-preserved, the sculpture retains crisp surface detail and subtle traces of gilding, offering a rare glimpse of the luminous devotional power it once radiated.
The Buddha is depicted in abhayamudra, the gesture of reassurance, fearlessness, and divine protection. With both hands raised in a symmetrical and composed posture, the figure emanates spiritual calm and authority. The modelling is confident and restrained, marked by serene volumetric forms and subtle anatomical precision, hallmarks of the U Thong B style, which evolved from the earlier, more rigid and Khmer-influenced U Thong A tradition.
This sculpture was created within the flourishing cultural context of the Ayutthaya Kingdom (1351–1767), one of Southeast Asia’s most powerful and artistically vibrant empires. The capital city, also named Ayutthaya, was a major religious centre, renowned for its monumental temples and Buddhist imagery. Within this environment, large-scale bronzes such as the present work served not merely as icons, but as focal points of public devotion in temple complexes, embodying both religious function and artistic grandeur.
The Buddha’s face, broad and rounded, with softly arched brows, a lowered gaze, and faintly smiling lips, conveys a sense of profound inner composure. Defining features of the U Thong B style are evident in the full cheeks, square jawline, and the tiered lotus-bud finial atop the ushnisha. The tightly coiled snail-shell curls, sharply cast pleats of the monastic robe, and the sculpture’s overall symmetry further enhance the impression of calm authority and divine presence.
These stylistic elements reflect the aesthetic innovations fostered under the patronage of Prince U Thong, founder of the Ayutthaya Kingdom. As noted by scholars such as Hiram Woodward (The Sacred Sculpture of Thailand, 1997), workshops in this period synthesised artistic traditions from Mon, Khmer, and early Thai sources, resulting in a distinctly hybrid visual language. Features such as the squared face, stylised lips, and hair treatment draw directly from Khmer and Lopburi models while advancing a more refined and spiritualised iconography.
A closely related seated Buddha in maravijaya, dated to the 14th century and housed at Wat Pho (Phra Chettuphon), Bangkok, shares similar stylistic traits, including the facial structure and robe treatment in Boisselier, The Heritage of Thai Sculpture, 1975, p. 133, 231, cat. no. 94 and similar treatment of the face, shown on a bronze seated Buddha, U Thong style, 13-14th century, is illustrated in Treasures from the National Museum Bangkok, 2006, p. 41, figure 6.3.
While a few large-scale U Thong B bronzes have appeared on the art market, works of this magnitude and condition are exceedingly rare outside museum collections. Notable examples include a seated Buddha sold at Sotheby’s London, 14 November 1988, lot 58, and a standing figure sold at Sotheby’s London, 7 July 1986, lot 34.
This sculpture distinguishes itself not only through its monumental scale and stylistic purity, but also through its exceptional preservation, which allows its original spiritual and artistic power to resonate undiminished. As a masterwork of high classical Thai art, it stands as a testament to the religious devotion, technical sophistication, and cross-cultural synthesis that defined one of Asia’s great historical civilisations.
The Buddha is depicted in abhayamudra, the gesture of reassurance, fearlessness, and divine protection. With both hands raised in a symmetrical and composed posture, the figure emanates spiritual calm and authority. The modelling is confident and restrained, marked by serene volumetric forms and subtle anatomical precision, hallmarks of the U Thong B style, which evolved from the earlier, more rigid and Khmer-influenced U Thong A tradition.
This sculpture was created within the flourishing cultural context of the Ayutthaya Kingdom (1351–1767), one of Southeast Asia’s most powerful and artistically vibrant empires. The capital city, also named Ayutthaya, was a major religious centre, renowned for its monumental temples and Buddhist imagery. Within this environment, large-scale bronzes such as the present work served not merely as icons, but as focal points of public devotion in temple complexes, embodying both religious function and artistic grandeur.
The Buddha’s face, broad and rounded, with softly arched brows, a lowered gaze, and faintly smiling lips, conveys a sense of profound inner composure. Defining features of the U Thong B style are evident in the full cheeks, square jawline, and the tiered lotus-bud finial atop the ushnisha. The tightly coiled snail-shell curls, sharply cast pleats of the monastic robe, and the sculpture’s overall symmetry further enhance the impression of calm authority and divine presence.
These stylistic elements reflect the aesthetic innovations fostered under the patronage of Prince U Thong, founder of the Ayutthaya Kingdom. As noted by scholars such as Hiram Woodward (The Sacred Sculpture of Thailand, 1997), workshops in this period synthesised artistic traditions from Mon, Khmer, and early Thai sources, resulting in a distinctly hybrid visual language. Features such as the squared face, stylised lips, and hair treatment draw directly from Khmer and Lopburi models while advancing a more refined and spiritualised iconography.
A closely related seated Buddha in maravijaya, dated to the 14th century and housed at Wat Pho (Phra Chettuphon), Bangkok, shares similar stylistic traits, including the facial structure and robe treatment in Boisselier, The Heritage of Thai Sculpture, 1975, p. 133, 231, cat. no. 94 and similar treatment of the face, shown on a bronze seated Buddha, U Thong style, 13-14th century, is illustrated in Treasures from the National Museum Bangkok, 2006, p. 41, figure 6.3.
While a few large-scale U Thong B bronzes have appeared on the art market, works of this magnitude and condition are exceedingly rare outside museum collections. Notable examples include a seated Buddha sold at Sotheby’s London, 14 November 1988, lot 58, and a standing figure sold at Sotheby’s London, 7 July 1986, lot 34.
This sculpture distinguishes itself not only through its monumental scale and stylistic purity, but also through its exceptional preservation, which allows its original spiritual and artistic power to resonate undiminished. As a masterwork of high classical Thai art, it stands as a testament to the religious devotion, technical sophistication, and cross-cultural synthesis that defined one of Asia’s great historical civilisations.