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A BRONZE FIGURE OF GANESHA, SOUTHEAST ASIA, CHOLA EMPIRE SPHERE, 12TH-13TH CENTURY
奥地利
04月16日 下午5点 开拍 /19天13小时
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A BRONZE FIGURE OF GANESHA, SOUTHEAST ASIA, CHOLA EMPIRE SPHERE, 12TH-13TH CENTURYExpert's note:The Chola Empire was a medieval thalassocrat power based in southern India, ruled by the Chola dynasty, and distinguished by its far-reaching overseas sphere of cultural influence, as well as numerous dominions and protectorates across Southeast Asia. The scale of Chola's power and influence among elites in South, Southeast, and East Asia is evidenced by their expeditions to the Ganges, their naval assaults on cities of the Srivijaya Empire on Sumatra, and their repeated diplomatic embassies to China. At its height, the Chola navy represented the pinnacle of premodern maritime capability.The empire reached its imperial apogee in the late eleventh and early twelfth centuries under Rajaraja I and his successor Rajendra I, whose campaigns against Srivijaya destabilized that long-dominant maritime network and reshaped patterns of trade and political authority across the Indian Ocean, with significant repercussions in maritime Southeast Asia, including Java.Wealth generated through territorial expansion, maritime control, and elite patronage was reinvested in monumental stone temples and exquisite bronze sculptures, achievements that came to define the Chola Empire's cultural production.Chola craftsmen perfected lost-wax bronze casting all over Southeast Asia at an unprecedented scale and refinement, producing images of remarkable technical precision and expressive vitality, much like the present lot.These works profoundly influenced sculptural traditions in nearby regions such as Sri Lanka, as well as mainland and island Southeast Asia, shaping local artistic idioms in Cambodia, Thailand, Indonesia, and beyond.The present bronze stands as a compelling testament to this far-reaching cultural influence. Its confident stance, tall ja?amuku?a headdress, and rhythmically articulated treatment of jewelry and drapery closely correspond to a Chola-period bronze figure of Ganesha in the New Orleans Museum of Art (accession number 2010.227), underscoring the enduring visual coherence of Chola sculptural canons across all of Southeast Asia.Finely cast, the elephant-headed deity is shown striding forward on his left leg. His primary hands hold a broken tusk and a modak (sweet), which he tastes with his long, curling trunk, while the radiating secondary hands carry a goad, mala, fly-whisk, and lotus blossom. He wears a short sampot secured at the waist with an embellished belt, with the upavita (sacred thread) draped across his left shoulder. His body is richly adorned with foliate jewelry and the naturalistically modeled face is crowned by a tiered crown, applied with foliate appliqués, all backed by a circular nimbus.Provenance: A.H. Collection, acquired in France between 1980 and 2005. London trade, acquired from the above. A noted collection of Asian and Himalayan Art in the United Kingdom, acquired from the above, and thence by descent.Condition: Very good condition with expected wear, casting irregularities, minor warping, traces of weathering, signs of burial, encrustations, losses. The bronze with a thick, naturally grown, vibrant patina with extensive malachite encrustations:Weight: 1,910 g (incl. stand) Dimensions: Height 24.2 cm (excl. stand), 31 cm (incl. stand)Mounted on an associated stand. (2)Expert's note on Metallurgy:Metallurgical analysis carried out on a polished cross-section by SEM-EDS confirms the present bronze to be cast from a copper-based alloy composed of Cu 85.9% ; Zn 5.7% ; Sn 5.9% ; Pb 0.6% ; Fe 0.8% ; Ni 1.1%, with traces of manganese. The results indicate a copper-tin-zinc alloy with minor lead, consistent with historic copper-alloy formulations employed in the Indian subcontinent, where moderate tin and zinc contents were used to balance casting characteristics and structural properties. The presence of minor nickel, iron, and trace manganese falls within the range of naturally occurring constituents detectable in such metallurgical systems. The cross-sectional examination confirms the integrity of the alloy matrix. Overall, the analytical results are technically compatible with late Gupta-period copper-alloy casting traditions.In Southeast Asia, Ganesha occupied a particularly prominent and increasingly autonomous role in Southeast Asian religious life. Unlike in much of India, where he typically functioned as a subsidiary deity, images of Ganesha in Southeast Asia were frequently enshrined as primary icons, housed in independent temples and serving as focal points of worship. In Cambodia, Ganesha was introduced to local artistic traditions as early as the seventh century, and over the ensuing centuries his form evolved from the rounded, childlike Indian archetype into a more slender, anthropomorphic figure adapted to Khmer aesthetic sensibilities. In maritime Southeast Asia, particularly within the cultural orbit of Srivijaya and on the island of Java, Ganesha imagery flourished between the eighth and twelfth centuries, reflecting the deity's importance in mercantile, royal, and scholastic contexts. As a remover of obstacles and patron of learning and success, Ganesha resonated deeply within trading polities that depended on ritual protection for navigation, commerce, and political legitimacy. In Thailand, where he is known as Phra Phikanet or Phra Phikanesuan, Ganesha similarly emerged during this period as a powerful deity of fortune and achievement, his cult persisting long after the decline of direct Indian political influence.Literature comparison: Compare a related Southeast Asian bronze figure of Ganesha, 43 cm high, dated to the 12th century, in the State Museum of Oriental Art, Moscow. Compare also a related bronze Ganesha from Central Java, dated to the 8th century, with Alexander Goetz, Gallery 101, Bali.

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