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Writer's pictureCabinet Gauchet Art Asiatique
Dec 12, 20244 min read

Cambodian sculptures

Cambodia, in the heart of Southeast Asia, is a cradle of artistic and cultural wealth, of which sculptures are one of the most remarkable testimonies. These works, mainly from the pre-Angkorian and Angkorian periods, embody a spiritual and symbolic art that reflects the beliefs, religious practices and aspirations of Khmer civilizations.

Statue en bronze à patine verte, Cambodge, style Bayon, XIIIe siècle. Expertisé par Gauchet Art Asiatique pour la maison de ventes aux enchères Millon. Adjugé 4 200 €
Statue in bronze with green patina, Cambodia, Bayon style, 13th century, appraised by Gauchet Art Asiatique for the Millon auction house, sold for €4,200

Cambodia, in the heart of Southeast Asia, is a cradle of artistic and cultural wealth, of which sculptures are one of the most remarkable testimonies. These works, mainly from the pre-Angkorian and Angkorian periods, embody a spiritual and symbolic art that reflects the beliefs, religious practices and aspirations of Khmer civilizations. Through their forms, materials and techniques, they reveal a fascinating history of external influences and local innovation.


The earliest Khmer sculptures, dating from the pre-Angkorian period (1st-8th centuries), bear witness to a strong Indian influence. Introduced by merchants and missionaries, Hinduism and Buddhism brought to Cambodia religious motifs and artistic styles that served as the basis for the local sculptural tradition. Hindu deities such as Vishnu, Shiva and their avatars were the main subjects, often depicted in meditative or dynamic postures.


Statuette en bronze à patine noire représentant Shivah, CAMBODGE, Khmer, Période Bayon, XII-XIIIe siècle, expertisé par le cabinet Gauchet Art Asiatique pour la maison de vente aux enchères Millon, adjugé 5 000 €
Bronze statuette representing Shivah, Cambodia, Khmer, Bayon period, 12th-13th century, appraised by Gauchet Art Asiatique for Millon auction house, sold for €5,000

This period also marked experimentation with various materials such as stone, bronze and wood. Local sculptors, while inspired by Indian canons, began to adapt these models to their own sensibilities, giving rise to a hybrid aesthetic characteristic of Khmer art.


The Angkorian period (9th-15th centuries) represents the golden age of Cambodian sculpture. Under the reign of the Angkorian rulers, particularly Jayavarman VII, sculptural art reached an unparalleled level of sophistication. Monumental temples such as Angkor Wat, Bayon and Ta Prohm were adorned with sculptures depicting deities, mythological scenes and human figures.


Harmonious proportions and meticulous detail define this period. The faces of the sculptures, often imbued with serenity and concentration, embody the spiritual ideal of the period. The celestial dancers, known as apsaras, with their graceful movements and elaborate finery, remain among the most emblematic representations of this art.




Fragment of a pillar with dancing Apsaras, Cambodia, 12th century, at the MET, New York


Khmer artists excelled in the use of sandstone, an abundant local material that allowed for unrivalled sculptural finesse. Polishing and engraving techniques were so advanced that some sculptures still retain an impressive lustre today. Bronzes, often used for votive statues or temple ornaments, also bear witness to exceptional metallurgical expertise.


Each sculpture was much more than a decorative object: it carried a profound religious meaning. Artists followed strict rules, dictated by sacred texts, to ensure that their works reflected cosmic harmony and divine power.


Sculptures were not only objects of art, but also essential tools of religious practice. In temples, they served as supports for rituals, prayers and meditations. Statues of Buddha and Hindu deities were often venerated by the faithful, who offered them flowers, incense and food in devotion.



Head of a divinity in sculpted sandstone, Cambodia, Bayon style, appraised by Gauchet Art Asiatique for the Millon auction house, sold for 900 €


These works were also designed to convey spiritual teachings. Narrative bas-reliefs, like those at Angkor Wat, illustrate epics such as the Ramayana and the Mahabharata, educating believers about moral and cosmic principles.


However, Cambodia's sculptural heritage has faced many challenges over the centuries. Wars, temple abandonment and looting led to the dispersal and destruction of many works. During the civil war and the Khmer Rouge regime, many works of art were stolen and sold on the international market, often without documentation.




Aurélien Pestel (1855 - 1897), Angkor Wat - 2nd gallery, view taken from the ground floor gallery, Albumen print, kept at the Musée du Quai Branly, Paris

This loss of heritage raises complex questions about preservation and restitution. While some foreign museums play a crucial role in conservation, other institutions are criticized for acquiring pieces whose provenance is unclear. The provenance of sculptures has become a central issue in the history of Cambodian art. A clear provenance makes it possible to trace the history of a work, from its original context to the present day.


As one of the key players in the Asian art market, Gauchet plays an essential role in the appraisal and evaluation of Cambodian sculptures. Thanks to its cutting-edge expertise, the firm helps to identify the authenticity of the works and to retrace their history, a crucial step in enlightening collectors, museums and authorities about the historical and cultural value of the pieces.




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