STATUE DE DIVINITÉ MASCULINE EN GRÈSCambodge, style du Baphuon, XIe siècle A SANDSTONE FIGURE OF A MALE DEITY Cambodia, Baphuon style, 11th century The elegant elongated torso with a sampot rendered in narrow vertical pleats around the right leg and spreading across the left in broader fan-like manner. The fabric is drawn between the thighs and arranged on the verso in a fan-like fold that rises from beneath the belt. The observation of the garment by the artist is remarkable in the manner in which it is secured with a delicately depicted overlapping sash on the left side and is pulled under the right side with a fold protruding artfully from the top and the end draped in a scabbard-like fold, stand. 98cm (38 5/8in) high. (2). Provenance: Robert Rousset, Paris (1901-1981), acquired from Peng Seng, Bangkok, 27 April 1965 Jean-Pierre Rousset, Paris (1936-2021) This large torso of an unidentified male sandstone deity presents all the characteristics of the Baphuon style. Departing from the earlier modelling focused on power and plumpness, the emergences of tendency to greater abstraction with slender and more attenuated representation of the human form. This is especially evident in the more naturalistic treatment of the torso tapering to narrow hips. The most notable departure was the new fashion of sampot that dominated the Baphuon sculptural style that drew upon the Banteay Srei but adopts the pleated fabric. pare with an a closely related example in M.Brand and C.Phoeurn, in the The Age of Angkor: Treasures from the National Museum of Cambodia , Melbourne, 1992, p.74. Ce grand torse d'une divinité masculine non identifiée en grès présente toutes les caractéristiques du style Baphuon. S'écartant du modelage antérieur axé sur la puissance et la rondeur, on observe l'émergence d'une tendance à une plus grande abstraction avec une représentation plus élancée et plus affinée de la forme humaine. Ceci est particulièrement évident dans le traitement plus naturaliste du torse accentué par des hanches étroites. Le changement le plus notable est la nouvelle mode du sampot qui domine le style sculptural de Baphuon, inspiré de celui de Banteay Srei, mais adoptant le tissu plissé. paré avec un exemple très proche dans M.Brand et C.Phoeurn, The Age of Angkor: Treasures from the National Museum of Cambodia , Melbourne, 1992, p.74. 柬埔寨 巴普昂寺風格 十一世紀 砂岩神像 來源： 巴黎Robert Rousset（1901-1981）舊藏，於1965年4月27日得自曼谷Peng Seng古董店 巴黎Jean-Pierre Rousset（1936-2021）舊藏 此佚名砂岩神像軀幹具備巴方寺風格雕塑所有的特點。脫離早期雕塑著重對力量及豐盈體量的表現模式，呈現出更為抽象、纖柔的人體形像。尤其從軀幹向狹窄臀部逐漸收細的處理手法，明顯更趨自然含蓄。最顯著改變為雕像穿著的紗籠裙，為主導巴普昂寺雕塑的嶄新風格，此特式借見於女王宮風格雕像上，惟裙帶褶襉。 見近似一例，圖載於M.Brand及C.Phoeurn，《吳哥時代：柬埔寨國家博物館的瑰寶》，墨爾本，1992年，頁74。