The Lost Treasure: A SANDSTONE HEAD OF SHIVA

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Summary

A SANDSTONE HEAD OF SHIVA had been made in 13TH CENTURY (Khmer Empire). In 1942, this head had been showed in the "Exhibition of the Sculpture of Greater India" in New York by art collector Ching Tsai Loo. And in 1953, It had been accessioned in the Virginia Museum of Fine Arts.
According to specialist of Christie's, this statue had valued about between USD 12,000 to USD 18,000. It had been finished auction in September 22, 2021 at realised price USD 35,000.

Introduction

The image depicts a sandstone head of Shiva, the Hindu god of destruction and transformation, dating back to the 13th century during the Khmer Empire. This period saw a flourishing of Khmer art and culture, characterized by the construction of magnificent temples like Angkor Wat and a proliferation of sculptural works. This particular sculpture, with its serene expression and intricate details, exemplifies the artistic prowess of Khmer sculptors.  

Artistic Analysis

The sandstone head showcases a serene and benevolent expression, characteristic of later Khmer depictions of Shiva. The god is adorned with a towering headdress, a symbol of his divine power and authority. The delicate carving of the face, with its serene eyes, serene smile, and flowing hair, demonstrates the sculptor's skill and attention to detail. The use of sandstone as the medium lends a warm, earthy tone to the sculpture, enhancing its visual appeal.

Historical Context

During the 13th century, the Khmer Empire was at its peak, with a powerful and prosperous society. Hinduism played a central role in Khmer culture, and Shiva was one of the most revered deities. Numerous temples were dedicated to Shiva, and his image was ubiquitous in Khmer art, appearing in sculptures, bas-reliefs, and architectural decorations.  

The sculpture's style reflects the artistic trends of the 13th century, characterized by a blend of Indian and local influences. The serene expression and elaborate headdress are reminiscent of later Khmer depictions of Shiva, which often emphasized his peaceful and benevolent aspects.

Provenance and Controversy

The sculpture's history is intertwined with the art market and raises questions about its provenance and ethical ownership. In 1942, it was exhibited in the "Exhibition of the Sculpture of Greater India" in New York by art collector Ching Tsai Loo. This exhibition showcased a wide range of South and Southeast Asian art, but it also raised concerns about the ethical sourcing of the objects.

In 1953, the sculpture was accessioned into the Virginia Museum of Fine Arts. However, its ownership history prior to its exhibition in New York remains unclear. Given the history of illicit antiquities trade in the region, it is possible that the sculpture was looted from its original context in Cambodia.

Auction and Repatriation

In 2021, the Virginia Museum of Fine Arts decided to deaccession the sculpture and put it up for auction at Christie's. The auction took place on September 22, 2021, with the sculpture selling for $35,000, exceeding its pre-sale estimate of $12,000 to $18,000.

The auction of the sculpture has reignited discussions about the ethical implications of deaccessioning and selling looted antiquities. While museums often deaccession objects to raise funds or to remove problematic pieces from their collections, the sale of looted antiquities raises concerns about repatriating them to their countries of origin.

Conclusion

The sandstone head of Shiva is a significant piece of Khmer art, offering valuable insights into the artistic and cultural achievements of the Khmer Empire. However, its history raises questions about its provenance and ethical ownership. The auction of the sculpture highlights the complexities surrounding the ownership and repatriation of looted antiquities.

Further Research

  • The Khmer Empire and its cultural significance.
  • The role of Hinduism in Khmer art and religion.
  • The illicit antiquities trade and its impact on cultural heritage.
  • The ethical implications of deaccessioning and selling museum objects.
  • Efforts to repatriate looted artifacts to their countries of origin.









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