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A MONUMENTAL (104 CM) 'GARUDA-GAJASIMHA' ROYAL PLEASURE BOAT PROW, BAYON STYLE, 18TH-19TH CENTURY
奥地利
04月11日 下午5点 开拍
拍品描述 翻译
Rattanakosin Kingdom, Siam, 1782-1932. "The tall prow features Garuda with its wings spread wide, forming a dramatic, halo-like effect in the round. The finely incised plumage terminates in six gajasimha heads, each adorned with an elephant-like snout and scrolling beard. The winged creature rests on a circular medallion, centered by a celestial being holding lotus buds in both hands, flanked by two attendants, all set upon a waisted shaft.Fitted to the top of the prow are three separately cast guardian deities, dressed in short sampots and adorned with tasseled jewelry, each holding a lotus bud aloft.Provenance: RR Collection, Belgium, acquired in the 1970s-1980s by the father of the previous owner and thence by direct descent. A provenance statement by the previous owner, confirming the above and revealing the collector's identity, will be provided to the winning bidder after full payment has been received.Condition: Excellent condition, commensurate with age. Wear, casting irregularities, scattered nicks, dents and scratches, small losses. Signs of weathering, corrosion and erosion. Minor fissures to the back. Small cracks and old fills. Traces of soldering. The bronze covered in a rich, naturally grown patina with vibrant malachite encrustations.Weight: 50.5 kg (incl. stand)Dimensions: Height 102 cm (excl. stand), 103.4 cm (incl. stand)With an associated stand. (2)Garuda-gajasimha motifs originated during the reign of Suryavarman II (r. 1113-1150) and underwent significant experimentation, resulting in various forms. The central figure is always Garuda, depicted in some instances standing on a naga's head, while in others, like the present lot, the naga is absent. The flanking figures, previously identified as nagas, are gajasimhas with elephant-like snouts and short beards.In the ancient Khmer Empire, pleasure boats were lavishly crafted vessels used by royalty and the elite for ceremonies, festivals, and leisure, embodying the kingdom's rich waterborne culture, where rivers played a vital role in daily life. These boats, adorned with intricate carvings and mythological figures such as Garuda and nagas, symbolized divine power and royal authority. Functioning as floating palaces, they featured canopies, cushions, and spaces for relaxation or performances. Beyond their practical uses, they conveyed political status, spiritual significance, and cultural grandeur.Pleasure boats also carried profound symbolic and ideological meaning, with their designs carefully crafted to avoid failure, which carried great personal and material cost. Boat builders exercised great caution in introducing new designs, as these vessels were central to a variety of activities, including warfare, religious pilgrimages, state progresses, festivals, and economic pursuits like fishing and trade.Key features of Angkorian pleasure boats included hulls transformed into zoomorphic shapes, clearly influenced by Indian iconography, and their exclusive use by the elite in socially significant contexts. These boats transcended their utilitarian origins, becoming fantastical mythical creatures with prominent heads, tails, and sometimes scale-like bodies.The connection between decorated boats and the divine creatures they represented elevated these vessels to elite symbols, with their owners embodying the divine attributes of the creatures depicted on the bows. A similar tradition endures in modern Thailand, where the king, considered an avatar of Vishnu, boards the royal barge Ananta Nagaraja. Together, the king and the barge become a living representation of the Vishnu Anantasayin myth.Literature comparison:Compare a closely related bronze boat prow in the form of Garuda, Angkor period, Bayon style, dated late 12th century, 81 cm high, formerly in the Latchford Collection and now in the National Museum of Cambodia. Compare a closely related bronze Garuda head, dated to the Angkor period, post-Bayon style, 93.5 cm high, in the National Museum of Cambodia, accession number Ga.7319.

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