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Description

Divinity; Dong Duong, Quang Nam province, Champa, Vietnam. 11th century. Stone. It presents faults. Measurements: 70 x 42 x 32 cm. Stoneware sculpture carved in round bulk, which by its dimensions is likely to be part of the ornamentation of a temple. Although it is not possible to specify which divinity the piece represents, we can identify numerous lakshana, iconographic symbols that identify the Buddhas. The first we see is the bun hairstyle, symbol of meditation, of spiritual life (with the Ushnisha inspired by a stupa). Together with the half-closed eyes, a serene face is completed by the sketched smile, symbol of the balance and serenity of a perfect being. The elongated earlobes allude to the large earrings worn by members of the upper classes in India at the time of Sakyamuni, and represent the concepts of greatness, nobility and wisdom. Champa was a Southeast Asian civilization that flourished along the coasts of what is now central and southern Vietnam for a period of approximately 1,000 years, between 500 and 1700 AD. The Cham created free-standing sandstone sculptures in round bulk, as well as high and low relief sandstone carvings. In general, they seem to have preferred to sculpt in relief, and excelled especially in high relief sculpture. Cham sculpture went through a marked succession of historical styles, the main one of which produced some of the finest works of Southeast Asian art. Presents faults.

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Divinity; Dong Duong, Quang Nam province, Champa, Vietnam. 11th century. Stone. It presents faults. Measurements: 70 x 42 x 32 cm. Stoneware sculpture carved in round bulk, which by its dimensions is likely to be part of the ornamentation of a temple. Although it is not possible to specify which divinity the piece represents, we can identify numerous lakshana, iconographic symbols that identify the Buddhas. The first we see is the bun hairstyle, symbol of meditation, of spiritual life (with the Ushnisha inspired by a stupa). Together with the half-closed eyes, a serene face is completed by the sketched smile, symbol of the balance and serenity of a perfect being. The elongated earlobes allude to the large earrings worn by members of the upper classes in India at the time of Sakyamuni, and represent the concepts of greatness, nobility and wisdom. Champa was a Southeast Asian civilization that flourished along the coasts of what is now central and southern Vietnam for a period of approximately 1,000 years, between 500 and 1700 AD. The Cham created free-standing sandstone sculptures in round bulk, as well as high and low relief sandstone carvings. In general, they seem to have preferred to sculpt in relief, and excelled especially in high relief sculpture. Cham sculpture went through a marked succession of historical styles, the main one of which produced some of the finest works of Southeast Asian art. Presents faults.

Estimate 5 000 - 6 000 EUR
Starting price 2 000 EUR

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Trà Kieu style Lakshmi; Vietnam, Champa civilization, 10th century. Sedimentary rock. Attached certificate of authenticity from the specialist Ha Thuc Can. Measurements: 65 x 39 x 26 cm. Sculpture carved in sedimentary rock representing Lakshmi, sitting with her legs crossed and her hands on her knees, her torso naked and her eyes closed in a praying attitude. The piece has not been worked in the back area, a feature that indicates that it was conceived to be seen from the front. As for the carving, the voluptuousness of the forms stands out. Lakshmi is one of the main goddesses of Hinduism. She is the goddess of wealth, fortune, power, beauty, fertility and prosperity and is associated with Maya. Together with Parvati and Saraswati, she forms the Tridevi of Hindu goddesses. Lakshmi is both the consort and the divine energy (shakti) of the Hindu god Vishnu, the Supreme Being of Vaishnavism; She is also the Supreme Goddess in the sect and helps Vishnu to create, protect and transform the universe. Whenever Vishnu descended to Earth as an avatar, Lakshmi accompanied him as a consort, for example, as Sita and Radha or Rukmini as consorts of the avatars of Vishnu, Rama and Krishna, respectively.Trà Kieu was the first capital of the Hindu kingdom of Champa, then called Simhapura, between the 4th and 8th centuries AD. Nothing remains of the ancient city today, except for the rectangular walls. Although the Cham monuments of Trà Kieu, in Quang Nam province, have been destroyed, several magnificent pieces of sculpture associated with the site are still preserved in museums. Attached certificate of authenticity from specialist Ha Thuc Can.

Brahma; Vietnam, Thap Nam, Binh Dinh province, Champa, 12th-13th century. Sandstone. Measurements: 95 x 52 x 11 cm. Stele made of sandstone representing the figure of Brahma in relief. In the framework of Hinduism, Brahma (literally "evolution" or "development", in Sanskrit), is the creator god of the universe and member of the Trimurti, the triad formed by himself (creator god), Vishnu (preserver god) and Shiva (destroyer god). There are several myths about the origin of the Trimurti, although the first myth is the one that supposes Brahma as the first being created by Brahman, and even as the first personification of this absolute deity, by whom everything was created. Thus, the three gods would be avatars of a single god, in his facets of creator, preserver and destroyer. Brahma is the husband of Sarasvati, the goddess of knowledge. However, being the Creator, all his children are born of his mind, and not of his body. Brahma intervenes only occasionally in the affairs of the gods, and rarely in those of mortals. Champa was a Southeast Asian civilization that flourished along the coasts of what is now central and southern Vietnam for a period of approximately one thousand years, between 500 and 1700 AD. The Cham created free-standing sandstone sculptures in round bulk, as well as high and low relief sandstone carvings. In general, they seem to have preferred to sculpt in relief, and excelled especially in high relief sculpture. Cham sculpture went through a marked succession of historical styles, the main one of which produced some of the finest works of Southeast Asian art.