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Expert’s note
Cast in bronze and enriched with fine silvering, traces of which remain across the figure, this image would originally have presented a lustrous, light-reflecting surface. More than a sumptuous embellishment, the precious coating intensified the Buddha’s radiant presence, creating a compelling tension between hieratic simplicity and material splendor. The expressively modeled face and elegantly attenuated proportions are hallmarks of the Mon-Dvaravati style.
Thailand, 7th-8th century. Superbly cast standing in samabhanga, clad in a diaphanous robe gracefully falling from the left shoulder in a semi-circular line below the knees, the face with downcast eyes, elegantly arched brows, and a crisply lined moustache framing a subtle smile, the hair arranged in large snail-shell curls over the ushnisha, topped by a bud finial.
Provenance: A private collection in Japan and thence by descent. Gallery UR, Y. Yamanishi, Japan, by 1997. A private collection in New York, United States, acquired from the above and thence by descent. Sotheby’s New York, 19 March 2008, lot 250, mid-estimate USD 30,000 or approx. EUR 40,500 (converted and adjusted for inflation at the time of writing). A private collector, acquired from the above, and thence by descent. A copy of the invoice from Gallery UR, dated 12 November 1997, signed by Yamatomo Yamanishi, and stating a purchase price for the present lot of USD 20,000 or approx. EUR 36,000 (converted and adjusted for inflation at the time of writing), accompanies the lot.
Condition: Good condition, commensurate with age. Extensive wear, casting irregularities, signs of weathering, obvious losses, minor fatigue cracks, small nicks, old repairs at the neck, legs, ankles, and part of the robe. One foot with a later mounted peg. The bronze with a rich, naturally grown, lustrous dark patina with malachite, azurite, and cuprite encrustations.
Weight: 3.3 kg (incl. stand)
Dimensions: Height 34.8 cm (excl. stand), 40.8 cm (incl. stand)
Mounted on an modern stand. (2)
The Mon polity of Dvaravati was one of the earliest and most important societies in mainland Southeast Asia. Based around the Chao Phraya and Mae Klang river basins of central Thailand, Dvaravati was known from early Chinese textual sources, as well as being mentioned in a single local inscription that dates to roughly 550-650 AD. Due to the large numbers of Buddhist sculptures associated with the culture, it is most likely that the rulers were patrons of the Buddhist faith. The images of Buddha were influenced by contemporary Indian sculptural works, including the Gupta style based around the site of Sarnath. The facial features of the Mon Dvaravati Buddhist images, however, display arched, joined eyebrows which are unlike those found in India, and are therefore characteristic of Mon Dvaravati. Compared to earlier and later Thai kingdoms, Dvaravati was geographically and economically isolated, which contributed to the distinct qualities of its sculpture. Their style was bold, self-assured, recognizable, and highly influential on subsequent Thai sculpture and artistic production throughout Southeast Asia.
Within the context of the dominant Theravada school of Buddhism, which emphasized the singularity of the Buddha Shakyamuni, bronze sculptures from this area also demonstrate a remarkably cohesive design. As unifying features, the Buddha is clad in the humble dress of a religious renunciant, with the thin garment clinging closely to the body to reveal his delicate proportions and graceful contours that lie beneath. His face is characterized by high cheekbones, full lips, prominent eyes, and – as stated – the curved brows that form the characteristic V-shape at the bridge of the nose.
As expressed by Jean Boisselier, "The school of Dvaravati may stand alongside the great Buddhist artistic traditions of India, so enduring were its innovations and so persuasive its influence on most of the art of Southeast Asia" (J. Boisselier, The Heritage of Thai Sculpture, 1975, page 73). Bronze sculptures of this type and large size are exceedingly rare.
Further emphasizing the presence of Buddha in the world of the devotee, the figure is depicted as if in motion, with the hems of the robe gently swaying to the sides. This stance, which also draws upon the classic tribhanga posture of Indian sculpture, presages the famous “Walking Buddhas” of Thailand that would grow prominent many centuries later. The bronze caster has masterfully captured the youthful appearance of Buddha that gives the spiritual themes imported from India their highly unique and refined local expressivity.
Literature comparison:
Compare a closely related silver alloy figure of Buddha preaching, dated Mon Dvaravati period, 39.4 cm tall, in the Metropolitan Museum of Art, object number 1993.387.6. Compare a closely related bronze figure of Buddha Shakyamuni, Thailand, Mon-Dvaravati, c. 8th-9th century, 22.9 cm high, in the Los Angeles County Museum of Art, accession number AC1997.208.1.
Auction result comparison:
Type: Closely related
Auction: Christie’s New York, 17 March 2015, lot 29
Price: USD 269,000 or approx. EUR 330,000 converted and adjusted for inflation at the time of writing
Description: A Bronze figure of Buddha, Thailand, 8th century
Expert remark: Compare the closely related modeling and manner of casting with similar pose, robe, expression, and size (36.1 cm).
Auction result comparison:
Type: Closely related
Auction: Sotheby’s New York, 21 March 2012, lot 244
Price: USD 43,750 or approx. EUR 55,000 converted and adjusted for inflation at the time of writing
Description: Standing Buddha, silver, Thailand, Mon Dvaravati
Expert remark: Compare the closely related modeling and manner of casting with similar pose, robe, and expression. Note the smaller size (21.6 cm) and silver alloy.
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