Adorant - Ava Kingdom - 17th century - 雕塑 - 缅甸

Disciple Figurine in Prayer
Kingdom of Ava (17th century)
Myanmar
Carved wood, brown/black lacquer (thit-si) and traces of pigments
Height: 26 cm (including base)

This statuette is a rare and charming example of monastic art from the Ava kingdom. Far from the court bronzes standardized, the wood sculpture of this period captivates with its spontaneity, naive fervor, and the introspective gentleness that emanates from the pose. The preservation of its original lacquer makes it a preferred piece for studying Burmese lacquer techniques and 17th-century Buddhist devotion in Burma.

This monoxylous wooden work represents a kneeling disciple in a devout pose on a lotus-form pedestal. The figure is depicted with hands joined in front of the chest in the gesture of salutation and respect (anjali mudra), with fingers pointing upward.

The face features the typical and endearing characteristics of Ava-era statuary. Stylized and naive traits, almost rudimentary yet deeply expressive. Almond-shaped eyes slightly protuberant and lowered in a sign of contemplation. Prominent eyebrows and a broad nose above closed lips displaying a serene smile. Ears with elongated lobes fall along the neck, recalling traditional Buddhist iconography. The hairstyle, visible from different angles, shows hair shaved or arranged in fine geometric strands outlined by a clear border on the forehead. The monastic garment or devotee’s robe drapes the body fluidly. On the back, the drapery folds are finely engraved in the mass, emphasizing the backward curve of the back and falling into a central festooned band at the heels. The figure rests on a sculpted base of broad lotus petals double inverted, a classical symbol of spiritual purity.

State of Conservation: The statuette bears witness to superb antiquity and prolonged devotional use. It retains a thick layer of traditional Burmese lacquer (thit-si), which has beautifully crazed over time across the entire body, creating a dense and authentic network of craquelure. A significant loss of material and lacquer is noted at the back of the skull, exposing the raw bare wood. The wooden base also shows slight erosions and surface wear at the edges, typical of pieces from this period that survived tropical climates.

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

Shipped with UPS