Page 66 - Maitri CollectionAsian Art Bonhams

“After piling up merit for many aeons,
and suffering much for the sake of the world
and striving for a very long time,
Sakyamuni attained complete Buddhahood.
Having done this, may the Blessed One who is compassionate
release us all from suffering...”
(Translated from the Thai Jinakalamalipakaranam, Buddhadatta (ed.), London,
1962, pp.78-80.)

3217
A COPPER ALLOY FIGURE OF BUDDHA
CENTRAL THAILAND, SUPHANBURI, 13TH CENTURY
21 1/2 in. (55.1 cm) high

$40,000 - 60,000
泰國中部 素攀武里 十三世紀 銅佛立像

Early Buddhist images from Suphanburi hold an important place within the history of
Thai art, produced within a period of transition between rivaling stylistic traditions among
the diminishing Khmer and Mon, and the emerging Thai Ayutthaya. The narrow band
between the hairline and forehead, the small curls, the rather square face with Mon and
Khmer physiognomy, the arrangement of his monastic robe, and his conical ushnisha
borne from an elegant row of lotus petals bedecked with small circlets, are hallmarks
of the regional style. Compare with another example in the Somdet Phra Narai National
Museum, published in Krairiksh, Art Styles in Thailand, Bangkok, 1977, pp.152-3.

His face is accomplished with an enduring smile, projecting qualities of calmness, nobility,
and contentment. Meanwhile, a perfect array of tiny curls frames his happy countenance.
The palm of his upraised right hand offers reassurance, with the wheel of Buddhist
doctrine nestled in the palm. His monastic robe is superbly executed, hugging the subtle
contours of his torso. The overall figure has a beautiful, layered patina with remains
of lacquer and gilding. The piece is among the finest examples of this extremely rare
Suphanburi style.

Near Ayutthaya and Bangkok, Suphanburi is a historic principality in the Chao Phraya
basin of Central Thailand. It is believed to have been founded in c.877-82 by a Mon
ruler, but in line with the piecemeal conquest of Dvaravati territories by the Khmer,
Suphanburi became one of the latter’s major provincial centers in Thailand by the 11th
or 12th century. Ever the prize, as the Khmer empire disintegrated, Suphanburi became
at least nominally subject to Sukhothai’s great expansionist, Ramkhamkhaeng (r.1279
-1298). But his immediate successor, Lo Thai (r.1298-1346/7), could not hold on to it and
Wyatt surmises that the loss of Suphanburi alone within the early years of his reign was
probably the single greatest factor leading to the demise of the Sukhothai kingdom and
the emergence of the Ayutthaya state that would ultimately absorb it (Wyatt, Thailand:
A Short History, New Haven, 2003, p.48). Finally, Ayutthaya’s founder, U Thong, born
in 1314 (likely not much later than when this sculpture was made) formed a marriage
alliance with a princess of Suphanburi and the principality provided claimants to
Ayutthaya’s throne (albeit rival ones) for several generations.

Published
Marcel Nies Oriental Art, Buddharaja, The King Buddha, Antwerp, 2008, pp.36-7.

Provenance
Collection of Mr. & Mrs. Ngoun, China, before 1975
Private German Collection, 1975-2008
Marcel Nies Oriental Art, Antwerp
Acquired from the above at TEFAF Maastricht, March 2009

64 | BONHAMS