Movement Away From Indian Models
By the 7th century, Khmer sculpture begins to drift away from its Hindu influences – pre-Gupta for the Buddhist figures, Pallava for the Hindu figures – and through constant stylistic evolution, it comes to develop its own originality, which by the 10th century can be considered complete and absolute. Khmer sculpture soon goes beyond religious representation, which becomes almost a pretext in order to portray court figures in the guise of gods and goddesses. But furthermore, it also comes to constitute a means and end in itself for the execution of stylistic refinement, like a kind of testing ground. We have already seen how the social context of the Khmer kingdom provides a second key to understanding this art. But we can also imagine that on a more exclusive level, small groups of intellectuals and artists were at work, competing among themselves in mastery and refinement as they pursued a hypothetical perfection of style.
The gods we find in Khmer sculpture are those of the two great religions of India, Buddhism and Hinduism. Priests supervised the execution of the works, attested to in the high iconographic precision of the sculptures. Nonetheless, unlike those Hindu images which repeat an idealized stereotype, these images are treated with great realism and originality because they depict living models: the king and his court. The true social function of Khmer art was, in fact, the glorification of the aristocracy through these images of the gods embodied in the princes. In fact, the cult of the “deva-raja” required the development of an eminently aristocratic art in which the people were supposed to see the tangible proof of the sovereign’s divinity, while the aristocracy took pleasure in seeing itself – if, it’s true, in idealized form – immortalized in the splendour of intricate adornments, elegant dresses and extravagant jewelry.
The sculptures are images of a gods, royal and imposing presences with feminine sensuality, giving impressions of figures at the courts with considerable power. The artists who sculpted the stones doubtless satisfied the primary objectives and requisites demanded by the persons who commissioned them. The sculptures represent the chosen divinity in the orthodox manner and succeeds in portraying, with great skill and expertise, high figures of the courts in all of their splendour, in the attire, adornments and jewelry of a sophisticated beauty.
But if we go beyond this initial impression, we can pause to observe some of the details of the sculptures, such as the double arc drawn by the eyebrows on the foreheads, evoked below by the wisely sketched curve of the noses and further down, by the double arc which masterfully outlines the lips and the double chin. Following a hypothetical vertical line down still further, we find another double arc outlining the breasts, and then, continuing down from the waist all along the skirts and ending in the ankles, we find almost at the bottom, a twisted double arc intended to represent the other side of the skirts. This detail serves, above all, to eliminate a certain hieratic fixedness, which was relatively common in the Khmer statues of lesser quality.
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