Bouddha - 18th c. - Ayutthaya - Sculpture - Thailand

Seated Buddha in meditation (Dhyanamudra)
Thailand, Late Ayutthaya style (Rattanakosin dawn / Provincial School)
End of the 18th century
Carved sandalwood with traces of red lacquer (nam kliang) and residual gold leaf gilding.
Original two-part structure (tenon and mortise)
Dimensions: Overall height: 17.5 cm

This private devotional statuette depicts the historical Buddha, Shakyamuni, seated in a serene meditation posture (sattvaparyanka). The hands rest one atop the other in the lap, palms facing upward, forming the gesture of absolute concentration (Dhyanamudra).

The work is characteristic of the late Ayutthaya period and the early Rattanakosin era (Bangkok) sculptural production. The face presents stylized features of great sweetness with almond-shaped, half-closed eyes, a straight nose that flares slightly at the base, and a mouth with full lips that hints at a slight smile. The ear lobes are stretched and elegantly flare outward without touching the shoulders, a feature typical of Thai sculpture of this period.

The hair is carved into tight, regular curls. It is topped by a conical ushnisha ending in a terminal flame-shaped knop (rasmi), symbol of supreme spiritual emanation. The Buddha is draped in his monastic robe (uttarasanga) leaving the right shoulder exposed. The robe’s hem (sanghati) descends over the left breast in a markedly geometric pleated band, stopping just above the navel. At the back, the drapery envelops the back in a fluid manner.

The statuette is distinguished by a traditionally meticulous two-part technical design:

The Buddha is carved from a single sandalwood block, ending at the base with a robust rectangular original tenon for mounting. The pyramidal architectural base receives the Buddha’s body through a precisely fitted mortise. The base features several molded registers: a upper seating surface carved with interlocking diamond motifs imitating stylized lotus petals (padmapitha), surmounting two stepped molded terraces. The reverse of the pedestal is cut straight and vertical, a deliberate design intended to butt the statue firmly against the wall of a domestic altar or sanctuary niche.

Condition:
The right arm has sustained an old fracture resulting in the loss of the forearm section (between elbow and wrist). The rest of the wood structure is sound, stabilized, and presents a beautiful density. Very fine remnants of the period red lacquer forming a preparatory base (plate) for gilding remain visible. The original gold leaf highlights persist in the hollows of the hair, on the chest, the drapery, and the reliefs of the lotus-pedestal. The bare wood on exposed areas shows a superb dark satin patina due to age.

Provenance: Kanaka The Collection Portugal

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