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Vishnu Cambodia, Angkor 12th c. Bronze, cast in the lost wax method, 19.5 cm. |
Hindu literature describes Vishnu as eternal and all-pervading, associating him with the primeval waters from which the universe emerged. As the second god of the trimurti (the Hindu trinity) he is the preserver of the universe. The two other members of the trinity, Brahma and Shiva, are regarded respectively as the creator and destroyer. It is believed that man attains salvation by faithfully following predetermined paths of duty, and that powers of good and evil (gods and demons) are in contention for domination over the world. When these powers are thrown out of equilibrium Vishnu or his avatar descends to earth, to redress the universal balance. Vishnu is portrayed here in dynamic motion. His four arms symbolize his fulfilment of manifestations in all forms of life. They represent the four directions of space, the four stages of human development, and the four aims of life: pleasure, success, righteousness, and liberation. In his raised left hand the god holds a sankha, symbol of the origin of the five cosmic elements; with this conch he raises a deafening noise to terrify the enemy and marshal his own forces. In his lower left hand is his invincible weapon, the gada or mace, which symbolizes the power of knowledge. The cakra in his raised right hand is the symbol of the mind, a discus he hurls at his enemies to destroy them. His lower right hand holds a lotus. Vishnu is adorned with a crown, heavy earrings, a necklace, bracelets and anklets and wears a fine asymmetrical sampot. Suryavarman II, who ruled from circa 1113 to 1150, is known as the great warrior king who expanded the Khmer empire and built Angkor Wat. This royal temple mountain was his personal funeral monument and is unrivalled in architectural greatness. The finely modelled sculpted figures produced during this period are part of the great historical legacy of Khmer civilization. The present bronze exhibits the typical stylistic characteristics, including the jewellery and the asymmetrical sampot with its fishtail at the back. The bronze is imbued with remarkable movement, recalling numerous images in the low reliefs of the famous outer galleries of the Angkor Wat temple [1]. This rare sculpture has a lively character enhanced by a superb free natural movement and an inspired facial expression. A striking realization of powerful elegant rhythmic form and graceful proportion, the piece convinces and mesmerizes from every angle. This well preserved bronze is a masterpiece of Khmer art, a classic image, and among the finest examples of its kind. [1] M. Giteau, Sculptures Khmer à Angkor, 1965, n.p., cat. 72, 73, and fig. 79 apsara, bronze, 12th century, height 25.5 cm, National Museum, Phnom Penh and E. C. Bunker and D. Latchford, Adoration and Glory. The Golden Age of Khmer Art, Chicago, 2004, no. 90, temple dancer, 12th century, height 20.8 cm, and no. 147 B, yogini, 12th century, height 18 cm. |