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This striking silver Buddha dates to one of the
most troubled and dynamic periods of
Cambodian history. After the fall of Angkor and
the great Khmer Empire in the 15th Century,
Cambodia fell under the control of the Thai until
the French granted independence in 1953. In
many senses the piece looks back towards the
Golden age of Khmer civilization, when the
kingdom of Kambuja ruled vast territories from
its capital in the region of Angkor in western
Cambodia. The empire was enlarged at
considerable cost to neighbouring Vietnam and
the Cham peoples, but Khmer cultural creativity
and artistic production was admired throughout
the region. However, socioeconomic
deterioration saw the gradual collapse of this
great empire in the 15th century. The so-called
Dark ages were characterised by the Cambodia’s
increasing powerlessness to prevent being used
as a pawn in the struggles between Vietnam and
Siam (Thailand), which resulted in annexation of
rich mineral and agricultural lands and a
resulting impoverishment of the populace. Partly
to stave off a total defeat at the hands of their
voracious neighbours, Cambodia signed a treaty
with France that was designed to provide
revenue for the latter, and protection for the
former. While the exact terms of the deal were
amended to Cambodia’s cost, the effect was
positive. Perhaps most significantly, from our
point of view, they retained a highly active and
creative artistic and cultural identity, which is
manifested in the current piece.
This silver sculpture of the Buddha reveals the
influence of foreign cultures on the art of
Cambodia. Thailand, which began
as a breakaway province of the Khmer Empire
with the establishment of the Sukhothai Kingdom
in 1238, was initially artistically and culturally
indebted to the Khmer. By the time this sculpture
was created however, the art of Cambodia had
come to
reflect Thai artistic trends. Here, the Buddha is
seated in the Vajraparyanka lotus posture
(Padmasana) resting his arms in the Bhumisparsa
mudra, or “gesture of touching the earth.” A
symbol of unshakable faith and resolution, this
mudra portrays the Buddha taking the earth as
his witness. The Buddha is seated upon a
high, tiered, triangular lotus throne. Highly
ornamented with incised stylised foliage and
partially covered in a draped fabric, this type of
pedestal is characteristic of Thai Buddhas.
Furthermore, the modeling of the Buddha
himself is related to the art of Thailand,
specifically the Buddha’s tightly curled hair and
the flame of enlightenment that rises out of his
ushnisa. This precious work, rendered in silver
atop an earthen core and featuring an inscription
on its back, was used as a means for reflective
focus. Today, it stands as a beautiful testament
to the tumultuous history of Cambodia and the
spiritual beliefs of her people.
The inscription on the reverse dates this piece to
the Buddhist year 2414, equivalent to 1871.
- (FZ.422)
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