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A RARE AND MASSIVE KHMER SANDSTONE ‘YAKSHA AND KALA’ LINTEL, BAPHUON STYLE, ANGKOR PERIOD, 11TH CENTURY
奥地利
09月11日 晚上8点 开拍 / 09月09日 下午3点 截止委托
拍品描述 翻译
A RARE AND MASSIVE KHMER SANDSTONE ‘YAKSHA AND KALA’ LINTEL, BAPHUON STYLE, ANGKOR PERIOD, 11TH CENTURY This lot is from a single owner collection and is therefore offered without reserve Magnificently carved, the leonine visage of Kala occupies the central lower portion of the composition, clamping within its jaws and grasping with its hands the sinuous torso of a serpent, whose elongated body vertically divides the scene. Above, the flexed figure of a yaksha appears, his torso bare, with well-defined facial features surmounted by distinctive headgear, set within a lobed, leaf-like niche. Both figures are enveloped by elongated scrolling foliage, rendered in varying degrees of relief, which imparts a striking sense of depth and spatial complexity to the arrangement. Provenance: Professor Gert Chesi, acquired circa 1990-2015 for the Museum der V?lker (formerly Haus der V?lker, Museum für Kunst und Ethnographie), Schwaz, Tyrol, Austria, and subsequently de-accessed. Gert Chesi (b. 1940) is an Austrian photographer, author, and art collector. In 1995, Chesi founded the Museum der V?lker (formerly Haus der V?lker, Museum für Kunst und Ethnographie), Schwaz, Tyrol, Austria, a museum of art and ethnography whose collection consists mainly of objects acquired during Chesi’s travels through Africa and Asia, most of which were assembled in the 1990s and early 2000s. He also authored several books on African voodoo and magic rituals, including ‘Voodoo. Afrikas geheime Macht’ (1987) and ‘Die letzten Afrikaner’ (1977). Condition: Good condition with expected wear, obvious losses and fractures, signs of weathering and erosion, old smoothed chips, the sections reassembled using a metal substructure as visible on the reverse. Weight: 185.4 kg Dimensions: Height 69.5 cm (excl. stand), 86.3 cm (incl. stand), Length 122.4 cm With an associated metal stand. (2) Within the architectural and sculptural language of the Khmer Empire, door lintels occupied a prominent position above temple entrances, marking the transition from the exterior approach to the sacred interior. During the Angkor period, and particularly in the refined idiom associated with the Baphuon style of the eleventh century, these architectural elements were enriched with deeply carved relief decoration, their compositions carefully balanced between structural clarity, vegetal ornament, and divine or protective imagery. Such lintels typically spanned the upper part of the doorway, resting upon the projecting jambs and forming one of the principal sculptural focal points of the entrance. Two broad types of lintel compositions may be distinguished within Angkor-period temple sculpture. The first comprises narrative or figural scenes drawing upon Sanskrit literary and religious traditions. The second, to which the present example belongs, is more emblematic and decorative in nature, featuring a single figure seated or standing above the face of a kala, placed at the center of an arrangement of scrolling foliage, sometimes accompanied by smaller subsidiary figures concealed within the vegetal ornament. See Vittorio Roveda, Sacred Angkor: The Carved Reliefs of Angkor Wat, 2002, p. 189. In the present lintel, the image of the kala, known in the broader Indian and Himalayan tradition as kirtimukha, dominates the composition, occupying its customary position in the lower central register. With its leonine features and gaping jaws, the kala constitutes one of the most enduring apotropaic motifs in Khmer art. Incorporated into the visual language of the Empire and prominently displayed on temples of the Angkor period, it served to ward off malevolent forces and to mark the liminal threshold between the human and divine realms. Its presence is therefore particularly appropriate on lintels and other architectural elements associated with sacred entrances. Above the kala appears a yaksha , a member of the broad class of nature spirits widely represented in the religious traditions of South and Southeast Asia. The figure is identifiable by its characteristic asymmetrical bent-knee posture, a dynamic stance that accords well with the animated yet controlled formal language of Baphuon-period sculpture. In temple iconography, yakshas frequently functioned as guardian beings, despite their inherently ambivalent nature. They were regarded both as benevolent tutelary spirits associated with forests, mountains, fertility, and natural abundance, and as fearsome beings inhabiting the wilderness. This dual character endowed them with particular significance as protectors of sacred spaces and intermediaries between the cultivated and untamed worlds. Literature comparison: Compare a closely related sandstone lintel, Cambodia, Angkor period, 11th century, 116.8 cm long, in the University of Michigan Museum of Art, accession number 2000/2.315. Compare a closely related sandstone lintel with a mask of Kala, Thailand, Angkor period, c. first quarter of the 11th century, 170.2 cm long, in the Metropolitan Museum of Art, object number 1994.94. Compare a closely related sandstone lintel, Cambodia, Angkor period, c. 10th-11th century, 120.6 cm long, in the Asian Art Museum, San Francisco, object number B68S14.

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