រូបទាំងនេះយកមកពីសៀវភៅកាតាឡុកពិព័ណ៌ Lost Kingdom នៅសារមន្ទីរ Metropolitan Museum of Art សហរដ្ឋអាមេរិចកាលពីឆ្នាំ២០១៤។ ខ្ញុំយកតែរូបដែលអ្នករៀបចំពិពណ៌អះអាងថាជាប្រតិមាខ្មែរមកបង្ហាញតែប៉ុណ្ណោះ៖
This sculpture is a masterful realization of Buddhist dharma. It must have graced one of the major monasteries of Angkor Borei, a leading urban center of Funan. The Buddha is seated in yogic meditation, one leg resting on the other. The highly developed musculature follows Indian Kusana and early Gupta traditions in which the Buddha is celebrated as hero (vira) or great man (mahapurusha). It is arguably the earliest demonstration of this Buddha figure type in mainland Southeast Asia. The imposing scale and robust physique point to an early date.
The Buddha sits on a lotus throne, his hands resting in a meditation gesture. The open robe, with the right shoulder exposed, points to southern Indian or Sri Lankan influences. It was found at the mouth of the Mekong Delta, downstream from the Funan political center Oc Eo. Sanskrit letters are incised on three petals, spelling, in part, Suryadatta—possibly the name of the donor; other syllables may be honorifics associated with the name or may be protective spells (dharani), charms generating mystical power.
The Buddha makes the gesture of granting favors and blessings to devotees and stands on a lotus pedestal to evoke his transcendent nature. The sculpture’s findspot is connected by the Tonle Sap lake and river system to Angkor Borei and the Mekong River, so it could have been produced anywhere in southern Cambodia and transported to Kampong Speu Province. Stylistically, several factors indicate close connections with the workshops of Angkor Borei and an awareness of Buddha imagery produced in the seventh-century Mon territories of central Thailand.
This Buddha preaching the dharma is one of the most imposing from early Cambodia. He has a muscular build and stands on a low octagonal pedestal, right hand raised in exposition. The sculpture’s importance is enhanced by a contemporary Prakrit inscription on the reverse proclaiming the Ye dhamma “stanza of causation” in a version of the text from northern India. It is among the earliest known uses of the Ye dhamma stanza in early Cambodia, foreshadowing its widespread appearance across Southeast Asia from the eighth century onward. The style, like its counterparts in Dvaravati Thailand, looks to the Saranth school of north India.
This sophisticated rendering of the enthroned Buddha seated in bhadrasana (with pendant legs) is the only known example from the Mekong region of this Buddha type popularized in the Mon territories of seventh- and eighth-century Thailand. Its appearance in the Mekong Delta must reflect an influence absorbed from the Mon regions of Thailand to the west. Stylistically, this sculpture fits well into a group of early Buddhist images from the Mekong Delta. The open mode of wearing the robe, one shoulder exposed, also points to an early date.
ប្រភពដើម៖ The Metropolitan Museum of Art: Lost Kingdoms