Description Vishnu debout, vêtu d’un ? Dhoti ? long moulant son corps athlétique et juvénile, l’étoffe simplement ourlée sous le nombril remontant légèrement sur les hanches et retombant en un pan frontal vertical rectiligne.
Son torse dénudé au modelé musclé présente sur la partie dorsale aux épaules l’attache des quatre bras.
La tête de Vishnu empreinte d’une expression de béatitude et d’illumination , le visage , aux yeux en amande avec une ligne de sourcils se rejoignant en double arcade pour former le départ de l’arrête du nez ,a conservé des traits délicat malgré une importante érosion.
Vishnu est coiffé d’une mitre cylindrique ? Kiritamukuta ? qui recouvre ses tempes et retombe sur la nuque par un liseré arrondi, laissant très libre le modelé des oreilles aux lobes très allongés.
Pierre grès beige à importante patine du temps .
Période Pre-Khmer.
Vallée du Mékong .
Angkor Bore? .
Phnom Dà .
7eme à 8eme siècle .
80cm .
Bon état de conservation malgré quelques éclats au visage et à la coiffe.
Ancienne collection Fran?aise depuis 1974.
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Literature The history of Asian art, or Eastern art, includes a vast range of influences from various cultures and religions. Developments in Asian art historically parallel those in Western art, in general a few centuries earlier. Chinese art, Indian art, Korean art, Japanese art, each had significant influence on Western art, and, vice versa. Near Eastern art also had a significant influence on Western art. Excluding prehistoric art, the art of Mesopotamia represents the oldest forms of Asian art. Chinese art is visual art that, whether ancient or modern, originated in or is practiced in China or by Chinese artists. The Chinese art in the Taiwan and that of overseas Chinese can also be considered part of Chinese art where it is based in or draws on Chinese heritage and Chinese culture. Early "stone age art" dates back to 10,000 BC, mostly consisting of simple pottery and sculptures. After this early period Chinese art, like Chinese history, is typically classified by the succession of ruling dynasties of Chinese emperors, most of which lasted several hundred years. Chinese art has arguably the oldest continuous tradition in the world, and is marked by an unusual degree of continuity within, and consciousness of, that tradition, lacking an equivalent to the Western collapse and gradual recovery of classical styles. The media that have usually been classified in the West since the Renaissance as the decorative arts are extremely important in Chinese art, and much of the finest work was produced in large workshops or factories by essentially unknown artists, especially in the field of Chinese porcelain. Much of the best work in ceramics, textiles and other techniques was produced over a long period by the various Imperial factories or workshops, which as well as being used by the court was distributed internally and abroad on a huge scale to demonstrate the wealth and power of the Emperors. In contrast, the tradition of ink wash painting, practiced mainly by scholar-officials and court painters especially of landscapes, flowers, and birds, developed aesthetic values depending on the individual imagination of and objective observation by the artist that are similar to those of the West, but long pre-dated their development there. After contacts with Western art became increasingly i