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Temple Bell Cambodia Angkor 12th century Bronze, cast in the lost wax method height 46.5 cm. |
Surmounting on the handle of this temple bell is Shiva, the powerful god of creation and destruction. His presence suggests the original importance of the bell in serving a Hindu sanctuary in Angkor. It probably belonged to the devaraja, the Shiva cult on which foundations of the Angkorian monarchy were based the after the ninth century. Below Shiva kneels a guardian often placed at a sanctuary’s entrance to foil the ingress of evil spirits. Rising on either side of Shiva is a mythical naga or water spirit, and Ganesha is portrayed on the reverse. The bell itself would be rung as a prelude to announcements or to frighten demons and enemies. Shiva is in a dancing posture: like Shiva Nataraja he celebrates his victory over ignorance. His hands are poised in an elegant gesture before chest height; he wears a fine sampot ornamented with fishtails at the front and back, and is adorned with a mukuta, earrings, bracelets and a necklace. The bejewelled Ganesha and the guardian each occupy a nimbused niche. On either side of the god the head of a naga appears among the lotus leaves. The handle consists of a number of different spherical volumes, the central part being enlarged. A delicate small curve separates it from the voluminous body of the circular bell. The Angkor Wat style takes its name from the royal temple founded by Suryavarman II (1113-1150), though is generally regarded as beginning with the reign of Jayavarman VI, his predecessor, who died around 1107 ce. Suryavarman II is known as the great warrior king who expanded the Khmer empire and erected Angkor Wat. This royal temple mountain was his personal funeral monument and is unrivalled in architectural importance. The finely modelled sculptures produced during this period, most often depicting figures standing in grandeur and dignity, are part of the great historical legacy of Khmer civilization. The stylistic characteristics of this bronze are typical of the Angkor Wat period. Although temple bells are rare, the style of the ornamentation on the Shiva image and the way the nagas are depicted are typical elements of the period [1]. This temple bell is finely cast and has a complementary natural greenish patina. There is a convincing interaction between the image of Shiva, the mythical nagas, the handle and the body of the bell, which are all beautifully assembled into a harmonious whole. Being a ritual implement used by high-ranking priests of an Angkor sanctuary the piece has an aura of mysticism and dignity. Most Khmer bells are smaller in size and lack the presence of the three deities. The present bell is a rare example within the art of Khmer Angkor. Provenance: Private collection Belgium. [1] E.C. Bunker and D. Latchford, Adoration and Glory. The Golden Age of Khmer Art, Chicago, 2004, p. 428, no 155. Bell Angkor Wat style, 12th century, with an image of a seated Ganesha. |