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国内拍卖首页 > Galerie Zacke > 第一天——精美的亚洲艺术、佛教与印度教 > Lot 0252
A LARGE BRONZE FIGURE OF TARA, SOUTHEAST ASIA, PROBABLY NORTHERN CHAMPA, CIRCA 12TH-13TH CENTURY
奥地利
2025年10月16日 开拍
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A LARGE BRONZE FIGURE OF TARA, SOUTHEAST ASIA, PROBABLY NORTHERN CHAMPA, CIRCA 12TH-13TH CENTURYExpert authentication: Dr. Chang Qing has authenticated this lot, identifying its iconographic and stylistic characteristics as representative of Esoteric Buddhist sculpture in Southeast Asia during the 12th and 13th centuries. A copy of Dr. Chang's expertise, dated 12 May 2012, accompanies this lot. Dr. Chang holds a Ph.D. in Art History from the University of Kansas and has held prestigious positions, including post-doctoral fellow at the Metropolitan Museum of Art and senior research fellow at the Freer and Sackler Galleries of the Smithsonian Institute. He has conducted extensive research in China, participating in archaeological excavations at various historical sites. Dr. Chang is the author of several influential works, including Compassionate Beings in Metal and Stone: Chinese Buddhist Sculptures from The Freer Gallery of Art (2016) and Light of the Buddha in the Desert: Essays on Mogao Grottoes in Dunhuang from 5th-14th Centuries (2012). He is currently a professor at Arts College, Sichuan University.Finely cast standing in samabhanga atop a waisted double-lotus pedestal, the lowered primary hands holding a conch and the stem of a lotus which blooms at the shoulder, the secondary hands raised. The deity is dressed in a fine pleated dhoti and adorned with thickly beaded jewelry. Her face with a serene expression marked by heavy-lidded downcast eyes below elegantly arched brows and a raised urna, her full lips forming a gentle smile, flanked by ears with pendulous lobes suspending large earrings, the hair pulled up into a high chignon centered by a floral ornament behind the ornate tiara.Provenance: The collection of Nik Douglas, acquired in the 1970s and thence by descent to his wife Christi Douglas, New York, United States, 2012. Throckmorton Fine Art, New York, USA, acquired from the above in 2021. A copy of a certificate from Throckmorton Fine Art, confirming the above, accompanies this lot. Nicholas 'Nik' Douglas (1944-2012) was a renowned author, curator, and Asian art expert. Between 1966 and 1974, he traveled through South and Southeast Asia, visiting remote areas of India, Sri Lanka, Nepal, Sikkim, Thailand, and Indonesia, building up his knowledge of the customs, beliefs and spiritual practices of Hindus and Buddhists. He researched Oriental medicine, alchemy, art, sculpture and mysticism, studying with Hindu yogis, Buddhist lamas, and doctors. The Buckingham Collection was built by Nik Douglas, his mother, and his grandfather as well as further collectors in the family. Part of the collection was exhibited in 2010 by The Tibet House, New York, The Buddha Image: Out of Uddiyana.Condition: Very good condition, commensurate with age. Extensive wear, casting irregularities, nicks and scratches, corrosion, small fatigue cracks, old repairs with associated touchups, and signs of weathering and erosion. The bronze with a fine, naturally grown patina with vibrant malachite encrustation. Weight: 2,514 gDimensions: Height 43.5 cmExpert's note: While Dr. Chang Qing holds that this bronze was created in Southeast Asia during a period when the Khmer Empire was the dominant power in the region, we would like to go a short step further and posit that it was probably made in northern Champa while the kingdom was embroiled in a bitter conflict with Angkor and at times was under Khmer occupation.Interesting parallels may be observed between the history of northern Champa (Indrapura and Vijaya) and that of its great rival to the west, the Khmer civilization of Angkor, situated just north of the great lake Tonlé Sap in present-day Cambodia. The Cham dynasty at Indrapura was founded in 875, only two years before King Indravarman I established the Khmer capital at Roluos in 877, uniting previously independent Cambodian regions into a centralized empire. Both civilizations flourished between the 10th and 12th centuries, only to decline and suffer military defeats in the 15th century.During this dynamic period of political rivalry, Champa and Angkor shared not only contested borders but also profound cultural and artistic exchanges. In 1167, Jaya Indravarman IV ascended the Cham throne, remembered in inscriptions as both a skilled warrior and a learned patron of philosophy and Mahayana Buddhism. His campaigns against Cambodia culminated in the dramatic Cham sack of Angkor in 1177, when Cham warships advanced up the Mekong and Tonlé Sap to plunder Yasodharapura and kill the Khmer king. Yet this moment of Cham triumph soon gave way to Khmer resurgence under Jayavarman VII, who defeated the Cham by 1181 and expanded Angkor into its most monumental phase. By 1203, Champa itself had been reduced to a Khmer province, regaining independence only in 1220.It is within this era of intense conflict and cultural exchange that the bronze image before us may be situated. The sculpture exemplifies the syncretic aesthetics of Champa in the 12th-13th centuries, a period when Khmer power loomed large but local Cham traditions remained vital. The slender, upright stance, elaborate coiffure, and refined jewelry echo Indian Gupta and Pala prototypes transmitted through Khmer and Mon-Dvaravati intermediaries. At the same time, the sensuous elongation of the body and the rhythmic sway of the hips are hallmarks of Cham bronze work, which often imbued sacred figures with an elegant, almost dance-like presence.The figure's iconography—a standing bodhisattva holding a lotus—reflects the flourishing of Mahayana Buddhism in both Angkor and Champa. Yet where Khmer works of the same period tend toward monumentality and solemnity, this Cham bronze conveys a more intimate and lyrical refinement, intended perhaps for a smaller shrine or private devotion. Thus, the piece embodies not just a devotional function but also the crosscurrents of power, religion, and art that defined Southeast Asia in the late 12th and early 13th centuries. It is a Cham response to Khmer dominance: deeply influenced by Angkor's Buddhist aesthetic yet preserving a distinctive regional grace. In its poised gesture and serene expression, the sculpture bears witness to a world in which warfare and cultural exchange went hand in hand, leaving behind works of lasting beauty.Literature comparison: Compare two related earlier bronze figures from Champa, one depicting Tara, described as the largest known bronze figure from Champa, 115 cm high, dated late 9th-early 10th century, in the Museum of Cham Sculpture, Da Nang, and the other of Avalokiteshvara, 64 cm high, dated 8th-9th century, in the Museum of Vietnamese History, Ho Chi Minh City, both included in the exhibition La sculpture du Champa: Trésors d'art du Vietnam Ve-XVe siècles at the Musée Guimet, Paris, 2005-2006, p. 210-211 and p. 205, respectively. Compare a related earlier Champa bronze figure in the Museum of Vietnamese History.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

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