រូបទាំងនេះយកមកពីសៀវភៅកាតាឡុកពិព័ណ៌ Lost Kingdom នៅសារមន្ទីរ Metropolitan Museum of Art សហរដ្ឋអាមេរិចកាលពីឆ្នាំ២០១៤។ ខ្ញុំយកតែរូបដែលអ្នករៀបចំពិពណ៌អះអាងថាជាប្រតិមាខ្មែរមកបង្ហាញតែប៉ុណ្ណោះ៖
This elegant head fits well into a small group of works from southern Cambodia. The proportions and the restrained modeling point to Buddhist art of the late Amaravati school of Andhra Pradesh as their genesis. The treatment of the hair curls, low wisdom topknot (usnisa), and forehead mark (urna) are in keeping with the Amaravati practice of depicting the auspicious marks of Buddhahood (laksana).
This head of the Buddha signals the processes of reception and acculturation of Indian styles of religious imagery into Southeast Asia. It may be assigned to the earliest known period of Buddhist art production in the Funan territories. The styling follows southern India models, specifically the Amaravati-style of Andhra Pradesh. The pronounced hair curls and the subtle modulation of the upper eyelid follow Indian conventions, evoking introspection and detachment, as does the sweet countenance.
This over-life-size head of the Buddha is a testament to the grandeur of the monumental sculptural tradition in the Zhenla kingdom. It was carved from a sandstone characteristic of southern Cambodia, which is consistent with its stylistic assignment to Angkor Borei or a related site. The Buddha has a strong, broad face; lightly modeled eyelids and pupils; and full lips that turn up at the corners in a hint of a smile. The hair curls, like those of other Buddhas of this period and region, are large and flat—a memory of the southern Indian style favored in the early period of contact.
The simplicity and beauty of this standing Buddha attest to the skill of seventh-century bronze casters in ancient Cambodia. The Buddha wears simple monastic robes unadorned with the rhythmic folds or pleats seen in the so-called export bronzes from Sri Lanka. This bronze was recovered near Angkor Borei and Phnom Da, major centers of mid-first-millennium Khmer culture. While it has some affinities with Mon Buddha imagery of neighboring Thailand, it is more closely related aesthetically to Angkor Borei stone sculpture.
Early in the seventh century a new Buddha type appeared in Southeast Asia, inspired by innovations that were taking place in northern India. The wellspring was the important monastic school at Sarnath. Its workshops undoubtedly supplied Buddha images to a great variety of clients, including pilgrim-monks who would have purchased small images—often, one may surmise, made of wood—easily transportable to their homelands. This Buddha, slender and ethereal, is a superb example of the early acceptance of the northern Indian model of ideal Buddhahood, seen in the increasingly detached and otherworldly expression and the use of body-defining drapery.