Bouddha - Ayutthaya Kingdom - 17th c. - Statue - Thailand

Buddha statue, adorned and crowned
Thailand, Kingdom of Ayutthaya
17th century
Bronze
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 global trade in Asia, the kingdom develops a cosmopolitan court culture and a highly theatrical state art.

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

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

The face, characteristic of Ayutthaya art of the 17th century, adopts an softly oval shape. The eyebrows, finely incised in a continuous double arc, meet at the base of the nose. The eyes are closed, almond-shaped toward the temples, inviting introspection. A light serene smile tints the full and well-defined lips, underscored by a fine incised lip line. The earlobes are stretched by 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 chiselled with geometric and lattice diamond motifs, crowned by a tiered pyramidal ushnisha ending in a budding lotus bud. Behind the ears, pointed finlets typical of the royal stage costume of the time extend upward. The chest is bare, smoothly and stylizedly modeled with rounded nipples. The monastic robe (sanghati) is so fine that it is barely discernible, perfectly following the curves of the body to leave space for the purity of the bronze lines.

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

Condition: The piece shows a very beautiful patina of natural oxidation, ranging from dark brown to greenish gray in spots. Residues of excavation earth are visible in the crown recesses and under the base. Traces of lacquer persist as well as traces of gold. Overall good condition for its age. A few chips and cracks. Normal wear of the reliefs due to age and ritual handling is noted (notably on the crown of the head and the headdress). 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

Sent with UPS