Although the hand-held attributes of this once four-armed figure are missing - the vertical ‘third eye’ in the centre of the forehead would seem to identify the deity as Shiva. In the 10th century, the worship of Shiva was paramount in Cambodia (whereas Vishnu became the principle god in the following century).

However, although the sculpture might appear to be the Hindu god - interestingly, a figure of Amitabha Buddha is seated in his chignon, above the crown; this signifies that the figure was originally intended to represent Avalokitesvara or Lokesvara, as the bodhisattva is known in Cambodia. Avalokitesvara is often depicted with his spiritual father, Amitabha in this way, and was also worshipped during the Angkor period; Mahayana Buddhism was prevalent - alongside Shaivite practices - and Buddhist sculpture was known to borrow from Hindu imagery (‘the third eye’ symbolizing wisdom and spirituality). During the 10th century, temples were built and dedicated (by Khmer rulers) to both Buddhist deities and to Shiva (Koh Ker, for example, was a centre of Hindu temples and monuments). Later, in 12thcentury Cambodia, Buddhism became the predominant religion until Hinduism prevailed again in the 14th century.

Although Buddhist, the manifestation of the bodhisattva as Lokesvara is thought to derive from the Hindu pantheon - being a synthesis of aspects of Shiva and Vishnu. Here, the combined influences - Hindu and Buddhist - depict a divine being or bodhisattva protected by another supremely enlightened one - a powerful amalgam! Sometimes existing Buddhist figures were ‘adapted’ to become the focus of Shaivite Hinduism at a later date (for example, Amitabha would be removed - along with any additional defining attributes). The body of Amitabha - but only a fragment of the head - remains in this example; we do not know if this was accidental or an intentional semi-transformation from bodhisattva to Shiva.

Adorning the kindly, appealing and finely modelled face are a stylised moustache and cropped beard that are neatly etched into the sandstone. A diadem is tied at the back of the head and surrounds hair that is twisted and coiled in horizontal layers, and topped by a flat lotus flower carved into the stone; the ears are pendulous. The unadorned torso (tending toward the naturalistic in form - although the nipples and lines under the chest are etched) contrasts with the stylized sampot (lower garment) with its folds and double fishtail pleats. The deity is carved in the round and would have been anchored in place by its long stone peg beneath a small rectangular base - with slim vertical blocks formed at the back of each ankle and calf giving further support to the sculpture.

Koh Ker was the Khmer capital between 928 and 944 AD during the reign of King Jayavarnman IV and his son; it remained abandoned for hundreds of years after the seat of power returned to the Angkor region.

Height: 39 ¾”

Similar examples: ‘The Sensuous Immortals’, Pratapaditya Pal - Los Angeles County Museum of Art, 1977 - no. 139, pages 230 and 231 depict a Koh Ker style figure of Vishnu.