Southeast Asia, Burma (Myanmar), ca. 18th century CE. A detailed bronze statue of Buddha, seated on a tiered throne composed of the enormous body of the giant Naga, the serpent king Muchilinda. Muchilinda's hooded head serves as a protective covering for Buddha's back and head, as the tranquil deity sits in lotus position with hands in the Dhyana Mudra, a gesture of meditation, with the hands placed in the lap, right hand on left, with fingers fully stretched out and palms facing upwards. Lavishly adorned in bejeweled bangles, armbands, necklaces, and a pointed crown, Buddha presents a slender body draped in a cascading loincloth and a serene visage with downcast eyes beneath a graceful brow, a sharp nose, and full lips held closed, all flanked by sizeable ear adornments. Size: 5.6" W x 13" H (14.2 cm x 33 cm)

The Naga hood and throne comprised of the coils of the serpent's massive body suggest that Muchilinda is protecting the Buddha from heavy rain. This iconographic depiction of the Buddha was a popular one from the reign of Khmer King Jayavarman VII (reigned ca. 1181 to 1218 CE), who established a cult based around it. Scholars believe that this may be because Jayavarman was disabled, and snakes were associated with healing. Interestingly, the king is also known for the establishment of hospitals throughout his kingdom.

This said, some scholars question the Buddha/Muchilinda story, saying that it is based on a misreading of the sources. Naga cults were prevalent throughout Indian, Sri Lankan, and Southeast Asian artwork during this period, but the symbolism is somewhat unclear. Some have proposed that Nagas could be symbolic vehicles for elevating the deceased, equivalent to transcendence. This interpretation was inspired by the artwork of Angkor Wat and other parts of the Khmer world. Others see the inclusion of the Naga as a holdover from earlier symbolic practices.

Formalistically, Khmer art moved away from Indian styles in the 7th century CE to encompass its own framework. One sign of this, seen here, is that this statue is carved in the round, rather than as a relief on a stela, which was subscribed to by Indian and Javanese Hindu and Buddhist sculptures that were previously influencing Cambodian art. From this, we can infer that Khmer sculptors would have desired their artwork to be viewed from all sides, and thus placed in the center of temples rather than against a wall.

Provenance: ex-Ashland University Museum, Ashland, Ohio, USA, donated to Ashland University between July 1994 to December 1998

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#168673

Expected light abrasions, commensurate with age. Otherwise, intact and excellent with nice patina and rich encrustations on interior.