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A MAJAPAHIT TERRACOTTA FIGURE OF A PUNAKAWAN, SMAR
奥地利
03月11日 晚上10点 开拍 /5天4小时
拍品描述 翻译
A MAJAPAHIT TERRACOTTA FIGURE OF A PUNAKAWAN, SMARThis lot is from a single owner collection and is therefore offered without reservePublished: Editor Paolo Bertuzzi; Author Agus Aris Munandar: Majapahit: Masterpieces from a Forgotten Kingdom, 2023, p. 126, fig. 068.Indonesia, East Java, Trowulan area, Majapahit Empire (1297-1527). Depicting Smar (Semar), one of the most distinctive figures among the punakawan, the group of humorous yet profound attendants in Javanese tradition. The figure is short and stout, with an exaggerated pot belly projecting prominently forward, although technically standing, the pronounced sag of the abdomen creates a visual impression of a seated posture, the body is modeled with deliberate simplicity and mass, the rounded torso, thick limbs, and broad feet emphasizing physical weight. The face is wide and expressive, with a large smiling mouth, heavy eyelids, and softly defined features, the figure wears only sparse adornment, limited to a necklace with a small pendant and an incised sarong, standing on a circular stand.In Javanese wayang performances and in late Majapahit literary works of the 15th century, such as the Sudhamala, a closely related character appears under the name Semar, portrayed as the loyal servant of the Pandavas during their conflict with the Kauravas, according to Javanese scholars, Semar and the other punakawans may have indigenous Javanese origins rather than deriving from India's cultural heritage, as the Ramayana and Mahabharata make no reference to servants or valets known as punakawans, in Javanese tradition Semar was originally a supernatural being named Sang Hyang Ismaya, who descended from the realm of the gods to become a caregiver and serve the Pandavas, with the advent of Islam in Java, the punakawans came to be known in Pewayangan, or Javanese puppet theater, under various other names, including Bagong, Petruk, Gareng, Togog, Bilung, Cemuris, and Bagal Buntung.Provenance: Acquired in the Trowulan area at the end of the 20th century by Paolo Bertuzzi, thence by descent. Paolo Bertuzzi (1943-2022), was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art. He also edited two important books on Asian art: Goa Made - An Archaeological Discovery and Majapahit - Masterpieces from a Forgotten Kingdom, both documenting major excavation projects carried out in collaboration with the respective national governments of Indonesia and Italy. Condition: Very good condition with minor losses and little cracking. With associated surface wear, soil encrustations, and weathering, all consistent with age and material. The dark surface may result from burial in the mud of the Brantas River.Dimensions: Height approx. 48 cmThe Majapahit Empire, which flourished in East Java, Indonesia, from the late 13th to the early 16th century, was one of Southeast Asia's most influential Hindu-Buddhist kingdoms, renowned for its cultural sophistication and far-reaching political power. Under the reign of King Hayam Wuruk (1350-1389), Majapahit's capital, Trowulan, emerged as a vibrant center of religious devotion and artistic production. Among the most distinctive legacies of the Majapahit period is its prolific use of terracotta, employed for both utilitarian and symbolic purposes.Terracotta artifacts from the Majapahit Empire include figurines, architectural elements such as roof tiles, bricks, and columns, as well as everyday objects like water jars, stoves, vases, and piggy banks. These works provide invaluable insight into the daily life, attire, belief systems, and social structures of the time. Majapahit terracotta figures depict a wide range of subjects, from deities, dancers, and mythical beasts to animals and common people, reflecting both the religious and secular dimensions of the empire's artistic output.

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