Bouddha - Ayutthaya - 17th century - Statue - Thailand

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

The 17th century marks 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 global trade in Asia, the kingdom developed a cosmopolitan court culture and a highly theatrical state art.

Religiously, this prosperity translates into the emergence of a sophisticated sculptural style in which the image of the Buddha is assimilated to that of the earthly sovereign. The ideal of renunciation inherited from earlier periods (such as Sukhothai) gives way to a baroque and ornamental aesthetic, characterized by the multiplication of adorned Buddhas (Song Khreuang), symbols of universal spiritual power as well as the king’s divine legitimacy.

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

The face, characteristic of Ayutthaya art of the 17th century, adopts an softened oval shape. The eyebrows, finely carved in a continuous double arc, meet at the base of the nose. The eyes are closed, almond-shaped toward the temples, inviting introspection. A serene slight smile appears on full, well-defined lips, underscored by a fine incised outline. 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 through the sacred. He wears a low frontal crown (mukuta), richly chiseled with geometric and lattice diamond motifs, crowned by a stepped pyramidal ushnisha terminating in a lotus bud. Behind the ears, sharp fins typical of the royal stage costume of the period extend upward. The torso is bare, smoothly and stylizedly modeled with raised nipples. The monastic robe (sanghati) is so fine that it is barely discernible, closely following the body's contours to allow the purity of the bronze lines to shine through.

The figure rests on a smooth, pared-down semi-hexagonal base, beveled, characteristic of small devotional bronze works of the era.

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

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

Shipped with UPS