Bouddha - Ayutthaya - 17th century - Statue - Thailand

Bronze Buddha statuette, adorned and crowned
Thailand, Kingdom of Ayutthaya
17th century
Height: 23 cm

The 17th century corresponds to a period of great opulence, political stabilization and international openness for the Siamese kingdom of Ayutthaya, notably under the reigns of Prasat Thong (r. 1629–1656) and Narai (r. 1656–1688). Having become a hub of world trade in Asia, the kingdom developed a cosmopolitan court culture and a highly theatrical state art.

Religiously, this prosperity is reflected in the emergence of a sophisticated sculptural style in which the image of the Buddha assimilates the figure of the earthly sovereign. The ideal of asceticism inherited from earlier periods (such as Sukhothai) yields to a baroque and ornamental aesthetic, characterized by the multiplication of adorned Buddhas (Song Khreuang), symbols of universal spiritual power as well as the divine legitimacy of the king.

The Buddha is shown here seated in meditation (dhyanamudra), legs crossed in the lotus posture (virasana), the right foot resting on the left thigh. Both hands are superimposed in the center of the lap, palms facing upward, symbolizing a state of concentration and inner spiritual awakening.

The face, typical of Ayutthaya art of the 17th century, adopts an ovoid shape softened. The eyebrows, finely carved in a continuous double arc, meet at the base of the nose. Closed almond-shaped eyes, stretched toward the temples, invite introspection. A serene slight smile appears on full, well-defined lips, underscored by a fine incised line. The earlobes are elongated from the weight of ancient princely ornaments, but here left bare, nearly touching the shoulders.

The Buddha bears the attributes of the Universal Monarch (Chakravartin), a highly prized iconographic motif in Ayutthaya to legitimize royal power by sacred means. He wears a low frontal crown (mukuta), richly carved with geometric and diamond-meshed motifs, topped by a stepped pyramidal ushnisha ending in a lotus-flower bud. Behind the ears, pointed fin-like projections typical of the royal stage costume of the era extend upward. The chest is bare, smoothly and stylishly modeled with nipples expressed as spherical reliefs. The monastic robe (sanghati) is so fine it is barely discernible, closely following the contours of the body to allow the pure lines of bronze to prevail.

The figure rests on a smooth, pared-down semi-hexagonal base, moulded on a bevel, characteristic of small devotional bronze productions of this period.

Condition: The object shows a very beautiful natural patina of oxidation, ranging from dark brown to localized gray-green. Residues of excavation soil are visible in the crown creases and under the base. Traces of lacquer persist as do traces of gold. Generally good for its age. Some chips and cracks. Normal wear on the reliefs due to age and ritual handling (notably on the top of the skull and the crown). The hollow base reveals the lost-wax casting technique with a core still partially present inside.

Provenance: Kanaka The Collection, Portugal
Sent with certificate of authenticity

Shipped with UPS