|
13. Prajnaparamita Mandala Cambodia, Bayon 2nd half 12th c. bronze, cast in eleven pieces in the lost wax method central figure height 34 cm, total height 38 cm. |
Originating in Tibet in the seventh century, mandalas existed at early Buddhist centres in Asia. The mandala is a visual representation of the spiritual universe and its myriad realms and deities. Early Mahayana literature emphasized the role of the Bodhisattva, who renounced his own liberation in order to help others along the path to enlightenment and who was often described as Prajnaparamita, ‘The perfection of wisdom‘. In Cambodia the mandala was adopted as a powerful aid to meditation and concentration for practitioners of esoteric Buddhism. It comprises the five elements of earth, water, fire, air and space. By adding the sixth element of mind, the perception or spiritual consciousness, these five elements become animate. Standing on an eight-petalled lotus the goddess is depicted with eleven heads and twenty-two arms; in many of her hands she holds an attribute. Each of her heads is adorned with a diadem and decorated with pearls and rows of stylized lotus patterns. A tiny Buddha image is set into the raised chignon of her topmost head, symbolizing Prajnaparamita’s emanation from the cosmic Buddha Amithaba. She is adorned with earrings, a necklace, and bracelets, and wears a fine skirt with engraved designs, folded over a belt hung with numerous pendants. Standing before her on a petal of the lotus a diminutive female Bodhisattva faces her. The group occupies the centre of a larger subsidiary lotus throne, each of whose eight petals supports a standing, inward-facing Bodhisattva. They form a circle (symbolizing the cosmos) around Prajnaparamita, and each is similarly attired and ornamented, with four to eight arms and an urna, the sign of illumination. The great king Jayavarman VII (1181-1219) ascended the throne of Angkor after the capital had been plundered by the Chams of Vietnam. His reign marked the final flourishing of Khmer artistic genius. As a devout Buddhist he set out to restore the glory of the Khmer empire, commissioning innumerable images of Buddha Sakyamuni, Avalokitèshvara and Prajnaparamita to be set up in sanctuaries throughout the empire. As the king identified himself not only with the Buddha but also with the Bodhisattvas, the cult of the latter became more popular than at any time in Khmer history. This bronze image clearly displays the peculiar stylistic characteristics of the Bayon style. This impressive Prajnaparamita mandala is a rare masterpiece of Khmer bronze casting. The brilliant and complex iconographic composition makes it a striking example of esoteric Buddhism. Depicted with lively imagination, the bronze is a striking realization of powerful rhythmic form and poised movement, enhanced by precise and convincing modelling and interaction of arms, heads and surrounding figures. Traces of gilding are apparent all over the bronze, underlining its original importance as a major temple image. Art Loss Register Certificate, Reference S00003275. M. Albanese, Angkor. Splendours of the Khmer Civilization, Asia Books, Bangkok, 2006, p.119, n°119. Cambodia, Hevajra, Bayon, 12th/13th century, Art Gallery of New South Wales, Sydney, Australia. B C. Bunker and D. Latchford, Adoration and Glory. The Golden Age of Khmer Art, Chicago, 2004, p.392-393, n°142. Cambodia, Chandra Mandala, Angkor Vat style, 12th century, height 13 cm. Lopetcharat Somkiart, Thailand, A History in Buddha Image, vol. I, Bangkok, 2005, p.384-385 and p.398. Thailand, Prajnaparamita Mandala, Angkor style, 12th century and Thailand, Prajnaparamita Mandala, Angkor style, 12th century. M. Spink, A Divine Art. Sculpture of South East Asia, exhibition catalogue, Spink, 13th October to 14th November 1997, London, p. 66-67. Cambodia, Dancing Yoginis, Angkor period, Bayon style, late 12th/early 13th century, height 20,5 cm. |