The Kingdom of Champa occupied the Annam region, center and south of current Vietnam. It knew how to develop a unique art of amazing beauty bringing it closer to the Khmer art.

Very early, Nandin, a white bull in the retinue of Shiva, one of the three gods of Hinduism, whose name means ‘He who pleases’ in Sanskrit, gains a great renown in the south-east Asian iconography.

Lying down, his legs tucked up under his belly, his head slightly raised, his rounded ears on both sides short horns with missing ends, it is exceptional by its plainness and naturalness of its appearance.

This sacred bull is exceptional by its origin and dating. Moreover, it is essential by its representation’s almost innocent realism as well as its presence full of strength and softness.

Art of Champa
7^th-9^th century

Gabbro style stone
Length : 83 cm
Width : 39 cm
Height : 46 cm

Childlike Buddha is standing here with his arms hanging down along his body, in ‘mettakurana’, ‘the gracious compassion’.

He is capped by a removable flame, symbol of a ray of wisdom and fusion between earth and sky.

The slightly convex chest, fingers of equal length, the neck’s beauty folds, and elongated ears characterize some of the heavenly perfection according to a canonical list attributed to the Blessed One according to a canonical list.

This is an exceptional bronze Buddha whose gilded gown elicits this light which the old texts say ‘irradiates all around its body over a stroke’s width erasing the sparkle of a thousand suns.’

It is a masterpiece by its origin, its well-preserved state and by its expression full of integrity and compassion.

Art of Laos
Early 16^th century

Bronze with traces of gilded lacquer
Height : 125.5 cm

In 1057, Anawratha, founder of the kingdom of Bagan, conquers the kingdom of Mon Thaton. From then on, a vehement architectural and artistic activity under Theravada Buddhism, official religion, begins for Pagan.

Upright, Buddha is depicted in the ‘Abhaya Mudra’ or ‘The Boon of fearlessness’ : His right hand is upraised, opened and with its palm facing forward ; whereas the palm of his left hand is turned towards the sky as if receiving an offering.

Entirely covered in gilded lacquer, he seems to shine inner light. This radiance, also highlighted by the see through robe, suggests his concentration’s might, his life and spiritual force.

This is an exceptional piece of art by its uniqueness and well-preserved state. Furthermore, it is outstanding by its uncommon beauty and its expression impressed of mystery and profound contemplation.

Art of Burma
Pagan style
15^th century

Gilded lacquered wood
Height : 97 cm

Endowed with an acute sense of perception, Burmese sculptors have excelled in depictions of Buddha and his disciples.

This disciple is represented kneeling, with a bust slightly leaning forwards and hands joint in the epic of prayer or worship.

He is wearing the traditional cloistered gown disrobing his right shoulder, and of which, like a stole, one of its panels is hanging down on his front and back. His wrap’s flexible pleats slide down and unfold under his feet, moreover emphasizing the body of fine motion.

Fine features define his oval-shaped face with his gaze lost in deep contemplation and in Buddha’s words and with an enchanting smile expressing softness.

This is masterpiece by its workmanship, its bearing impressed by naturalness and beauty, and its expression resplendent of happiness. Furthermore, it brings to light his faith’s power.

Art of Burma
Pagan period
16^th century

Pink sandstone of lacquer type
Height : 53 cm

At the end of the 12^th century, Jayavarman VII reinstates the praise of Angkor and, there, erects the Bayon temple in which sculptors exhibit smooth lines in absolute disagreement with previous styles. Here end god-kings’ descendants and Jayavarman converts to Mahayana Buddhism becoming a state religion.

The king is depicted here as Buddha. His mouth with fine lips lights up a disturbing smile, whereas an expression of intense concentration and humbleness brings to light his innermost wisdom.

This Buddha is exceptional by its well-preserved state and more so by its uniqueness. It testifies to the control reached by artists during the Bayon time, when, for the first time, a portrait uprises. Realism, expressiveness, peace, deep feeling of faith and delicate model are as many attributes of this style brought to its climax like the empire itself.

Art of Cambodia
Bayon style
Beginning of the 13^th century

Beige sandstone
Height : 43 cm

Thai history truly begins with the rise of the people of the Sukhothai region, North of Thailand.

Under Khmer rule until mid of the 13th century, this region conquered by the Sukhothai kingdom will, nevertheless, be occupied by Ayutthaya’s might two centuries later.

The art of Sukhothai and its provincial towns such as Kamphaeng Phet offers extraordinary depictions of Buddha impressed with subtle stylization and unearthly beauty, which no other fine art school will ever even up to again.

Made of bronze, this Buddha commends itself by its countenance full of inner nature. The line of his hairdo made of rows of gyred locks forming a V at the hair’s roots, underlined by the elegant curve of his eyebrows’ arches joining to form the bridge of a largely long, thin and hooked nose.

Whereas his neck’s beauty pleats, another divine attribute, emphasize his perfectly oval-shaped face of full cheeks, his mouth with well-defined and hemmed lips stretches out into an ill-defined smile.

This is an exceptional work of art by its workmanship ; its expression’s stylization impressed with majestic serenity and glorified beauty. All of these are specific of uncommon art and solely directed towards the spirituality of Sukhothai School.

Art of Thailand
Sukhothai School
Kamphaeng Phet style
16^th century

Bronze with traces of lacquer
Height : 27 cm

The goat was the first animal domesticated by Chinese ancestors. Many of the Chinese characters originate from the ‘Yang’ character meaning goat. Furthermore, the goat is one of the twelve animals of the Chinese Zodiac, and symbolizes longevity, solar power and life-force.

The Chinese have always granted a worthy place to animals and worshiped as well a legendary and a real bestiary.

Withal, Taoism, one of the three paramount worships in China, honors nature and its close connection to mankind. Moreover, in Chinese art, painted landscapes or depictions of animals in sculpture in the round are traditional themes.

This goat made of granite is standing with his head slightly inclined downwards. This is an exceptional work of art by its plainness, and the charm of its natural stance and its harmonious proportions. Impressed with sincerity, it, also, commends itself by its neat workmanship and its significant size.

Art of South China
Jia Ching Dynasty
End of the 18^th century

Granite

In 1350, the prince of U-Thong founds the Ayutthaya kingdom. This event symbolizes the birth of a unified Thailand and the accession of one of the most promising eras of its history and art. Indeed, the school of Ayutthaya establishes itself by the riches of its inspiration and means of expression. Its art is characterized by varied appearances, richer body movements, pursuits of perfection likewise harmony.

Sculptors sought to exhibit the most of Buddha’s life renowned moments. This image of the ‘Pra-Sangajaya’ Master, seldom represented in South-East Asia, is a fantastic example.

Sitting in ‘Virasana’, his right leg placed on his left, and with his two hands brought towards his belly, Buddha is wearing a traditional cloistered robe disrobing his right shoulder, and of which, one of its panels is hanging down from his left shoulder to his front and back. A gown without pleats, only adorned with tassels, hugs the chubby body. The Blessed One bestows a comforting image, symbol of integrity.

This illustration refers to a scene that took place at the beginning of his quest. Fleeing his father’s, King Shuddhodana Gautama, palace, Prince Siddhartha decides to learn more about asceticism’s strictness. Faced with weakness, he gives up on it as he understands that this path will never bring him to spiritual illumination. Thus he learns to nourish himself and to live again. This well-endowed depiction, thus, becomes a metaphor to happiness and to the best path to reach it. The full figure and the spirited model emphasize the feeling of well-being emanating from his fine-featured round face. His daintily outlined slim nose and his charmingly drawn mouth add further to the beauty of this gleeful face of exquisitely full cheeks. The absence of the usnisha, cranial protuberance, throne to his earthly wisdom, reminds one that the Prince has not yet reached the Awakening.

This outstanding and unique art work commends itself by the care granted to its workmanship, its fine features and its delightful curves. The gilded glow with traces of lacquer lighting up the bronze emphasizes the wholeness of its expression.

This ‘Pra-Sangajaya’ Buddha, illustration of wealth and well-being, asserts itself as an invitation to happiness and prosperity.

Art of Thailand
Ayutthaya school
17^th century

Bronze with traces of gilt
Height : 24 cm