male deity, probably Vishnu sandstone Khmer, style of the Bakong

A rare figure of a four-armed male deity probably Vishnu, wearing an unpleated, knee-length sampot secured with a plain, wide belt, the folds of the cloth overhanging the top and falling in two 'fishtails' down the front, and forming 'pocket' shaped pleats on the left thigh. At the back the sampot is drawn between the legs and passes beneath the belt, the pleated ends fanning out. His tall, tiered crown sits high on his head behind a jeweled diadem, otherwise he is unadorned, his body generously proportioned.

Acquired 1973

The diadem is chipped along the top edge and a section on the right is missing. The tip of the nose is chipped. The bottom of the left earlobe is broken. All four arms are broken at or just under the elbow and the legs are broken at just above ankle level. There is a tiny chip on the end of the lower 'fishtail' pleat on the left. The originally polished stone is rough in places most notably on the left side of the chest from the earlobe to the underarm. There are chips, scratches and a blackish discoloration throughout, but basically in good condition.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Bakong, the great stepped-pyramid temple and mausoleum built by Indravarman I (reigned 877-889), gives its name to the style of sculpture from this period.  It is noted for being iconic and heavily proportioned with a strong sense of authority conveying the ideas of universal kingship just beginning to be prevalent in Southeast Asia. The voluminous form encapsulates the concept of the body as container of the prana (sacred breath) and the diaphragm expansion is almost visible here. The style of the headdress is a new development from previous styles and continues to be seen throughout subsequent centuries. Bakong sculpture is the first to be carved completely in the round dispensing with the supporting arch previously used to reinforce the structure, an innovative development during this period and a significant step away from the Indian model. There are few examples of almost complete Bakong sculptures where the drapery and the headdress are in such good condition. Cf. Helen Ibbitson Jessup and Thierry Zephir, ed.; Sculpture of Angkor and Ancient Cambodia: Millennium of Glory, Washington 1997, p. 200, fig. 34.