Figure27. Laksmi
Trapeang Totung Thngay temple, Siem Reap
H: 100 cm
Ka. 1580 B. 761 B. 32, 9
Moved from the Conservation d’Angkor to the museum
on 31 January 1948
The goddess is shown standing and making the danamudra
with her right hand, a gesture that symbolizes donation. She wears a
pleated skirt whose back reaches up to the waist, while the front is tied
be3low the navel. The sampot is harmoniously tied at the front in a style
similar to that of the Pre-Angkorian era, with only a small fold hanging over.
But it is narrower at the bottom than sampots were in the previous style.
It must garment is set off by a belt decorated with
hanging pendants. The finely carved belt is decorated with rosettes and lined
by two rows of pearls.
Lastly, her hair is braided and piled at the top of
her head in a domed chignon that is tied with a garland at its base.
Her slender waist, round and firm breasts set close
together, slender fingers, and her eyes set with precious stones that have
since been lost, capture a Khmer beauty bursting with life.
Figure28. Laksmi
Bei temple, Koh Ker, Preah Vihear
H: 114 cm
Ka. 1670 B. 803 B. 71, 9
Moved from the Conservation d’Angkor to the museum
on 19 April 1952
The mukuta in the shape of a truncated cone provides
information for the dating of the Baphuon standing statue.
The large fold of the sampot at the waist is
reminiscent of previous style, but the bottom of lengthwise fold is shaped as a
fish tail.
As a consequence, we may assume that Baphuon style
deities are represented wearing two different style of sampot, the first style
worn by the Trapeang Totung Thngay deity (Ka. 1580) and the second one shown
here (Ka. 1670).
Figure29. Laksmi
Western Mebon temple, Angkor, Siem Reap
H: 159 cm
Ka. 1672 B. 826 B. 32, 11
This sculpture has two unique features; the wavy
eyebrows and full upper lip, and the conical shape of the mukuta. The first one
is a classic example of Baphuon style, while the second is typical of the
Angkor Vat style. This deity can therefore be dated from the late Baphuon style
or early Angkor Vat style.
Laksmi’s legs and feet are large and heavy and
totally unrealistic. This technique will be used again for some Bayon style
sculptures.
Figure30. Adorned Laksmi
H: 133 cm
Ka. 785 B. 313 B. 32, 6
Acquired by the museum on 18 September 1931
This goddess is characterized by a large square
face, dimpled chin, wavy eyebrows and folds beneath her breast. She wears a
lotus bud-shaped mukuta and a wide diadem. Her round necklace is finely
decorated and her loose belt is merely worn as an accessory.
We must consider additional examples to better
understand the various elements of dress and decoration that characterize the
Baphuon style female deities.
Figure31. Body of female deity
Unknown origin
H: 88 cm
Ka. 2999
The jewelry worn by the goddess catches the eye. She
wears a long necklace that reaches down to the top of her breasts and bangles
on her upper arms. These jewels are decorated with rosettes.
In the middle of the sampot, the cloth is folded in
front and the rest of the fold reappears in the shape of a shell. It may be
worn as shown here or folded up.
Figure32. Body of female deity
Unknown origin
H: 57 cm
Ka. 2393
In spite of the mutilated appearance of this piece,
the wide flat belt is still visible, worn loosely on the hips as a decorative
element. The breasts and the stomach are lightly carved.
Figure33. Female deity
Unknown origin
H: 90 cm
Ka. 877
Her hairstyle is typical of the Baphuon style; her
round narrow chignon is held at the base with a garland of pearls.
Figure34. Body of female deity
Unknown origin
H: 58 cm
Ka. 32 B. 474 B. 712, 4
The lower end of the lengthwise fold of the sampot
is shaped as a fish tail. Sampots from the Angkor Vat style will retain this
style.
