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全球拍卖首页 > Venduehuis der Notarissen > 亚洲陶瓷和艺术品｜第一部分 > Lot 3001
A Khmer bronze Buddha Muchalinda
荷兰 北京时间
2022年12月14日 开拍 / 2022年12月12日 截止委托
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拍品描述 翻译
, Cambodia, 12-13th century, A Bayon style Khmer Buddha seated in samādhi (concentration) on the coils of the snake Muchalinda, with a seven-headed hood sheltering Buddha, his face with a serene expression with downcast eyes and hands held in his lap in Dhyānamudrā. A narrative image referring to the story of the meditating Buddha who was protected by a seven-headed snake during heavy rains. According to the Vinaya-pi?aka text the snake Muchalinda sheltered the Buddha by winding his coils seven times round the Buddha's body and holding his hood over the Buddha's head [1] which follows a different description than this Khmer Buddha Muchalinda, sometimes also called Nāga-Buddha. The event of Muchalinda protecting Buddha happened in the sixth week after the enlightenment of the Buddha [2] in the 6th Cen. B.C. when the Buddha was seated under a Nighrodha tree in the city of Muchalida. The Nighrodha tree is also called the Muchalinda tree (possibly denoting the place) under which or near the roots of which (Muchalindamūle) the Buddha sat to meditate. The earliest narrative image referring to Buddha Muchalinda is from Pauni, Maharashtra India discovered in 1967. [3] This image is dated to the 2nd Cen B.C., when there were references in (Hīnayāna) aniconic art to Buddha, but Buddha himself was not depicted. The sculpture from Pauni therefore shows only Buddha's throne being protected by Muchalinda. From the Gāndhāra period onwards, Buddha Muchalinda is depicted as described above and in the Vinaya-pi?aka, where Buddha's body is wrapped by the snake Muchalinda. Only a few, probably four [4] depictions exist of the “original” form of Buddha Muchalinda, while the rest, including this Khmer Buddha Muchalinda, are the region-influenced or doctrine-influenced depictions. With the rise of Mahāyāna Buddhism, new forms and iconography of Buddha Muchalinda appear in various schools of art like Mathurā, Amarāvatī, Gupta and Vākā?aka including the base form of this Buddha Muchalinda from Khmer Cambodia where Buddha is sitting on the nāga. The earliest known depiction of this form appears in the Indian village Goli, Andhra Pradesh, dated to 3rd-4th century A.D., now in the Los Angeles County Museum of Art. The shape of this Goli Buddha corresponds to the Khmer Buddha, except for the fact that the Indian Buddha sits on four rings of snake instead of three. Most likely by the sixth century, images of the Nāga enthroned Buddha had been introduced to mainland Southeast Asia simultaneously from Sri Lanka [5]. In Khmer mythology, it is not unlikely that the description and therefore depiction of Buddha sitting on a nāga was highly subject to new interpretations by the sculptor and patron. The Muchalinda episode is never quoted in Khmer inscriptions, but the relationship between the Khmer people and nāgas go long back. In one of the versions, a local Nāgini princess, Somā, who was conquered by an Indian Brahmin, Kau??inya (or Preah Thaong) rose an army to defend her island of Khok Thlok. Both fell in love and married. As a marriage gift, the Nāgarāja father of Somā, Phaya Nakh, drank the waters to create the land of Kambuja. In both India and Kambuja, nāgas are believed to be agricultural and fertility deities that live either in rivers or the underworld. The original iconography of Buddha Muchalinda from India could well have appealed to the ancient Khmers because of its resonance with indigenous beliefs, which may have been the main motivation for its adoption. After a long absence since the introduction in the 6th century, Buddha images reappeared in Khmer art in the second half of the 10th century when Jayavarman VII (1181–1220 AD, Bayon period) converted the state religion from ?aivaism to Vajrayāna Buddhism. Almost all of the Buddha depictions represent the Nāga-Buddha, which is the preferred representation of the Buddha in Khmer art during the Angkor period and this became the central deity of the empire during the reign of Jayavarman VII. [6] Stylistically this Buddha Muchalinda depiction appears to have derived from the Baphuon prototype. The three nāga coils of this Bayon Khmer Buddha Muchalinda are of equal size, just as those of the Baphuon style, but the nāga hood is rounder and lower, resembling a tree leaf with a shriveled edge, features typical for the Bayon period. While most of the larger stone Nāga-Buddha images are without jewels or regalia, or display only earrings and a conical tiered chignon-cover, the smaller bronze images like this Buddha Muchalinda are mostly crowned and diademed, in some instances fully bejeweled like the Angkor Vat images. Most metal images of the Bayon Nāga-Buddha’s like this sculpture bear a small object on the right palm, with their hands placed on their lap in the gesture of meditation. Most likely a lotus bud is depicted here. Such objects never appear in stone images whose hands are only adorned with the lotus-cakra symbol. Most of the smaller images of the Bayon Nāga-Buddha appear as the central element of the Khmer Mahāyānic Triad where it is flanked by a four-armed Loke?vara and Praj?āpāramitā. Very likely, this Buddha Muchalinda was also part of a similar Triad., H 25.7 cm, [1] H. Oldenberg, The Vinaya Pitakam; one of the principal Buddhist Holy Scriptures in the Pa?li language, Williams and Norgate, London, 1879-1883, i.3. [2] D. Geary, M. Sayers and A. Singh Amar, Cross-Disciplinary Perspectives On A Contested Buddhist Site: Bodh Gaya Jataka. 2012, 1st ed. New York: Routledge, p. 133. [3] G. Schopen, G. Bones, Stones, And Buddhist Monks: Collected Papers On The Archaeology, Epigraphy, And Texts Of Monastic Buddhism In India, 1997, Honululu: University of Hawaii Press, p.p. 9 [4] J. Johns and J. Rani Nag, Journal of Archaeological Studies in India, Muchalinda Buddha: An Interdisciplinary approach to Reinterpret the Depiction of the Buddha with Muchalinda Naga, Vol. 1, No. 1, 2021, p. 141. [5] P. Pal, ‘An Unusual Naga-Protected Buddha from Thailand’. Buddhist Art: Form and Meaning. Mumbai, 2007 Mārg, p. 58 [6] J.P.G. Aubert, ‘Nāga-Buddha Images of the Dvāravatī Period: A Possible Link between Dvāravatī and Angkor’, Journal of the Siam Society, Volume 98, 2010, p. 117,

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拍品估价：3,500 - 4,500 欧元 起拍价格：3,600 欧元  买家佣金：
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