Cham Sculptures from Viet Nam and their Interface with Indian Art: From the Collection of Da Nang Museum of Cham Sculpture
Contents: Introduction. Catalogue: 1. Brahma. 2. Anantasayana Visnu. 3. Anantasayana Visnu. 4. Visnu Adi-Sesa. 5. Seated Visnu. 6. Krsna Govardhanadhari. 7. Garuda. 8. Garuda. 9. Tympanum Fragments Featuring Garuda. 10. Sixteen-armed Dancing Siva. 11. Four-armed Dancing Siva. 12. Four-armed Dancing Siva. 13. Ten-armed Dancing Siva. 14. Siva Natesvara Holding a Vina. 15. Siva Natesvara Holding a Vina. 16. Siva Yogisvara. 17. Standing Siva. 18. Siva. 19. The Tra Kieu Pedestal. 20. Jatalinga. 21. Dancers. 22. Saiva Pedestal. 23. Ravananugarahamurti. 24. Standing Ganesa. 25. Seated Ganesa. 26. Standing Skanda. 27. Skanda. 28. Skanda. 29. Skanda. 30. Bejewelled Nandi. 31. Ten-armed Durga Mahisasurmardini. 32. Eight-armed Durga Mahisasuramardini. 33. Six-armed Durga Mahisasuramardini. 34. Sri. 35. Sri. 36. Sri. 37. Gajalaksmi. 38. Sarasvati. 39. Dancing Sarasvati. 40. Sarasvati. 41. Indrani Dancing. Dikpalas: 42. Agni on a Rhinoceros. 43. Rhinoceros, The Vehicle of Agni. 44. Varuna on a Swan. 45. Vayu on a Galloping Horse. 46. Vayu on a Galloping Horse. 47. Yama Riding on a Bull. 48. The Pedestal of the Main Shrine at Dong Duong: Life Scenes of Buddha. 49. The Pedestal of the Dong Duong Vihara. 50. Sibi Jataka. 51. Sibi Jataka. 52. Bronze Tara. 53. Vasudhara. Glossary. Bibliography. Index.
This catalogue is the result of a collaborative project between Da Nang Museum of Cham Sculptures, Viet Nam and National Museum Institute of History of Art, Conservation and Museology, New Delhi. Fifty-three sculptures from the collection of the Da Nang Museum have been studied in detail along with Indian sculptures to trace the historic relations between India and Viet Nam in the domain of art for a better understanding of the shared traditions of the two countries. The synergies between Indian and Cham art is evident particularly in its early phase of development when Cham art shows interface with artistic traditions across the Indian subcontinent. This catalogue also highlights the deep understanding of the silpasastras that the Cham sculptors possessed as these sculptures often follow iconographic injunctions given in ancient texts. The Cham sculptors also brought forward the indigenous interpretation of Indian canons and developed their own unique iconography. Influence and inspirations that voyaged between India and Viet Nam travelled through other Southeast Asian countries like Cambodia, Indonesia etc., binding together the entire region of South and Southeast Asia in a close-knit fabric.
