Through decorative motifs, especially plant motifs, Champa art historians have partly identified the stages of development in this art form.
Floral and bird motifs
Champa art historian Phillippe Stern stated that the ancient style - My Son E1 can be considered the oldest in the development of Champa's religious architecture and sculpture. A typical artifact that can be considered is the My Son E1 Altar, currently preserved in the My Son collection, Da Nang Museum of Cham Sculpture.
The altar with alternating four-petaled and diamond or square-shaped decorative motifs, flanked by curved branches and leaves, is typical of this ancient style. This type of decoration was quite popular in Champa temples at My Son, Hoa Lai (Ninh Thuan) from the 8th century and in Khmer art at Sambor Prei Kuk.
This pattern also appears in Dvaravati art in Thailand, confirming the close artistic relationships between regions in the region from the 8th to the 11th centuries.
Notably, the floral and bird motifs on the altar contribute to vividly depicting the daily life of monks practicing asceticism in the mountains. The image of monks meditating in the forest is a popular decorative style in the art of the Hindu and Buddhist traditions of practice leading to enlightenment and attainment of the right path.
Halo and dedication
Dong Duong Buddhist Monastery located in Dong Duong village, Thang Binh district is the most important relic of Champa Buddhist architecture.
The dense and twisted stylized leaf pattern like fern leaves or crawling worms is a typical pattern of Dong Duong style (9th-10th century).
The statues of gods always wear a hat with three large flowers on the bottom, one in the middle and two on the sides, with typical motifs of the Dong Duong style. The images of the gods are carved with jewelry of blooming flowers and leaves, representing the halo and dedication of the devotees.
The Dong Duong style, through its sculptures and decorative motifs, is perhaps the most unique and vigorous style in Champa art. The prominence of this period emphasizes the magical, powerful and majestic, partly reflecting the prosperity of the kingdom at that time (Phillippe Stern).
Perfect naturalism
The ancient Tra Kieu citadel is located in Tra Kieu village, Duy Son commune, Duy Xuyen district. There are still traces of sections of the citadel wall, temple foundations and some stone sculptures, pottery... which are on display at the Da Nang Museum of Cham Sculpture. The sculptures in Tra Kieu show the transformation of Champa art, shaping the Tra Kieu style (10th century).
Compared to the Dong Duong style, the art of this period, instead of emphasizing the fantastic, focused on perfect naturalism, with charm, elegance and softness. Hats with tiers and small, unadorned flowers, overlapping each other, and figures with clasped hands holding lotus flowers were commonly depicted in sculptures and architecture of this period.
The lotus is the most common decorative motif, often seen on Champa artworks of the Tra Kieu period. This flower is a symbol of immortality in Hinduism, so it is often used in temple decoration. In Buddhism, Buddhas are also depicted sitting on lotus flowers, symbolizing purity and serenity.
During this period, the Rinceaux style of floral decoration was also popular in the architectural details of Champa temples. Many works were delicately decorated with scenes of animals hiding behind, interspersed with, or transforming into flowers and leaves. This feature clearly shows the interplay with Khmer art.
The religious architecture of ancient kingdoms symbolized the wealth and the connections with the theocratic world of the ruling dynasties. The rich floral motifs carved on the temples were both realistic and stylized, giving the impression of the constant presence of the gods on earth. These motifs were symbols of purity and immortality, always blooming despite the ravages of time.
Although it spans a wide cultural spectrum, this decorative style still reflects its own indigenous creativity. The botanical motifs on Champa architecture and sculptures are concrete and vivid evidence of the meticulousness, creativity and religious and natural reverence of the Champa people who once lived on this land.
Source: https://baoquangnam.vn/dau-tich-hoa-co-trong-nghe-thuat-champa-3148309.html
Comment (0)