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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 0256
A SANDSTONE GUARDIAN FIGURE DEPICTING A BENIGN DVARAPALA, ANGKOR PERIOD, STYLE OF PRE RUP, 10TH
奥地利
2025年10月16日 开拍
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CENTURYKhmer Empire, 10th century. Finely carved kneeling atop a square base with a geometric incised edge, with one knee raised, his right hand clutched in a fist and his left resting on his thigh, wearing a short pleated sampot with fine incision work. The face well detailed with a benign expression marked by open almond-shaped eyes with neatly incised pupils, closely cropped beard and moustache, a broad nose, and full lips, the hair drawn into a conical chignon secured with a foliate tiara.Provenance: Sand Stone Antiques, River City, Bangkok, 1998. A private collection in Luxembourg, acquired from the above, and thence by descent. A copy of a signed certificate of authenticity by Sand Stone Antiques, dated 29 July 1998, confirming the dating and the attribution to the Pre Rup style above, accompanies this lot.Condition: Very good condition, commensurate with age. Expected wear, obvious losses, signs of weathering and erosion, minor structural fissures, nicks, scratches. The stone with a fine, naturally grown, smooth patina overall.Weight: 58.1 kg (incl. stand)Dimensions: Height 58 cm (excl. tang and stand), 72 cm (incl. tang), and 79 cm (incl. stand)Mounted on an associated black-lacquered metal stand. (2)Expert's note: The sculptural styles of Koh Ker and Pre Rup are often closely associated, and at times even confused, due to their shared emphasis on monumentality and strength of form. Both styles, however, would play a pivotal role in shaping the later Angkor Wat aesthetic, superseding the softer contours and more sensual qualities of the Baphuon style. As Martin Lerner observes, for a “ruler concerned with martial campaigns and responsible for such a gigantic personal monument as Angkor Wat, the Baphuon figural style may have appeared too consciously unheroic and sensuous.” (Martin Lerner, Ancient Khmer Sculpture, New York, 1994, p. 46). In contrast, Koh Ker and Pre Rup figures convey mass and power: the sampot, for instance, appears as a thick, heavy textile, while the modeling of the body emphasizes angularity and strength. These elements anticipate the commanding, heroic imagery that would come to define Angkor Wat sculpture. Although documentation is limited and the statuary of the Rajendravarman period shows little originality, a few specific features support the attribution of this deity to the Pre Rup style. In general, the figure recalls the style of Koh Ker, though on a much smaller scale and with a return to hieratic rigidity. The sarong follows the Koh Ker type, with narrow pleats and the distinctive large frontal flap, yet here the pleating is broader, displaying an archaizing tendency.A dvarapala is a temple guardian. In India, where the concept originated, two giant figures, sculpted in high relief, are often found flanking the principal temple entrance. One is formidable, to scare away those of ill intent while the other is seductively handsome, in order to lure the faithful past the portal. In Cambodia the form evolved separately because the temples were built to different plans. There, a succession of courtyards contained secondary buildings and the principal one was only accessible to a limited number of ritual participants. In the 10th century dvarapala were freestanding statues, still sculpted in pairs but resting within the precinct. Although they observed approaching visitors, their essential role was that of bodyguards, protecting the deity lodged within the temple.This latter role appears to have become increasingly dominant in the Koh Ker period when the supremacy of the kings of Angkor was challenged by a powerful royal claimant who established another court to the north of the Kulen mountains, from where he imposed martial rule on much of the kingdom. The achievement of this alternative court is reflected in some of the finest works of art to emanate from Cambodia during the Angkor period. The sculptures are notable for their spontaneous appearance, strong personalities and sense of inner, spiritual energy. Even when the subject is not a recognizable deity, the suggestion of individual personality is always present. This image of a dvarapala exemplifies the style of the period, full of confident swagger but maintaining a deeply serious purpose in his guardian role.Benign dvarapalas can often be found flanking doorways or protruding from corner brackets, while apsaras are ubiquitous to the temples of Angkor. Dvarapalas became integral to temple sculpture in India as early as the 5th century and appear in Cambodia in the earliest of the Angkor Empire's temples, the Roulos group, constructed around the turn of the 10th century. The Shaivite temples at Koh Ker are similar to these in their iconographical programs and architectural structures.Auction result comparison: Type: RelatedAuction: Bonhams Paris, 25 October 2022, lot 59Price: EUR 315,375 or approx. EUR 340,000 adjusted for inflation at the time of writing: A sandstone bust of a female divinity, Cambodia, Angkor period, style of Pre Rup, 10th centuryExpert remark: Compare the closely related modeling, pleated sampot, and crown. Note the size (62 cm). Auction result comparison: Type: Related Auction: Christie's Paris, 14 December 2016, lot 17 Price: EUR 80,500 or approx. EUR 94,000 adjusted for inflation at the time of writing : An important sandstone figure of a half-male half-female deity, Cambodia, Khmer, Koh Ker period, 10th century Expert remark: Compare the closely related pose, pleated sampot, and crown. Note that the sculpture depicts a rare and unidentified androgynous deity and is of larger size (93 cm).

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