{"id":10680,"date":"2026-10-03T22:58:20","date_gmt":"2026-10-03T20:58:20","guid":{"rendered":"https:\/\/www.daltonsomare.com\/?post_type=approfondimento&p=10680"},"modified":"2026-10-04T09:15:50","modified_gmt":"2026-10-04T07:15:50","slug":"sculpture-khmere-harihara-le-corps-divin-et-le-dessin-du-vetement","status":"publish","type":"approfondimento","link":"https:\/\/www.daltonsomare.com\/fr\/approfondimenti-tematici\/sculpture-khmere-harihara-le-corps-divin-et-le-dessin-du-vetement\/","title":{"rendered":"Sculpture khm\u00e8re : Harihara, le corps divin et le dessin du v\u00eatement"},"content":{"rendered":"

Une t\u00eate de Harihara du VIIe\u2013VIIIe si\u00e8cle et un torse de divinit\u00e9 masculine du Xe si\u00e8cle, tous deux en gr\u00e8s et document\u00e9s dans les archives Dalton Somar\u00e9, permettent d\u2019observer deux aspects de la sculpture sacr\u00e9e cambodgienne. Dans la t\u00eate, haute de 40 centim\u00e8tres, la coiffure identifie le sujet ; dans le torse de 84 centim\u00e8tres, la construction du corps et le dessin du sampot d\u00e9finissent la pr\u00e9sence de la figure. Leur distance chronologique rend le rapprochement utile pour \u00e9tudier des solutions appartenant \u00e0 des phases diff\u00e9rentes.<\/p>\n

Harihara r\u00e9unit Vishnu et Shiva dans une seule image. Dans la t\u00eate de la galerie, la mitre cylindrique de Vishnu et le chignon asc\u00e9tique de Shiva occupent les deux moiti\u00e9s de la coiffure. Le visage conserve un model\u00e9 unitaire : la distinction des attributs s\u2019int\u00e8gre \u00e0 l\u2019axe vertical de la figure. Le rapport entre l\u2019unit\u00e9 du visage et la division de la coiffure donne ainsi un moyen concret d\u2019\u00e9tudier l\u2019\u00e9laboration locale d\u2019une iconographie d\u2019origine indienne.<\/p>\n

L\u2019Harihara du Metropolitan Museum, inventaire 1977.241, dat\u00e9 de la fin du VIIe\u2013d\u00e9but du VIIIe si\u00e8cle, offre une comparaison pour ce programme. La notice mus\u00e9ale souligne la distinction entre la mitre et les cheveux relev\u00e9s, ainsi que la moiti\u00e9 du troisi\u00e8me \u0153il du c\u00f4t\u00e9 de Shiva. Le rapprochement porte sur l\u2019organisation des attributs ; la t\u00eate Dalton Somar\u00e9 s\u2019\u00e9tudie aussi dans sa coh\u00e9rence propre, \u00e0 travers la continuit\u00e9 des traits et la hauteur de la coiffure.<\/p>\n

Dans le torse khmer du Xe si\u00e8cle, l\u2019attention se d\u00e9place vers le rapport entre anatomie et v\u00eatement. Les \u00e9paules larges, les pectoraux d\u00e9finis et le resserrement de la taille organisent de grandes surfaces reli\u00e9es au volume des hanches. Le sampot introduit un r\u00e9seau de plis plus dense et g\u00e9om\u00e9trique. Le contraste entre le model\u00e9 du buste et le dessin du tissu donne son rythme \u00e0 la figure et r\u00e9v\u00e8le le travail du sculpteur sur deux qualit\u00e9s diff\u00e9rentes de la surface.<\/p>\n

Les deux \u0153uvres montrent combien l\u2019\u00e9tude d\u2019une sculpture sacr\u00e9e d\u00e9pend aussi de sa construction mat\u00e9rielle. La coiffure identifie Harihara ; les proportions et le v\u00eatement articulent le corps de la divinit\u00e9 masculine. Le rapprochement conserve ces diff\u00e9rences et invite \u00e0 examiner s\u00e9par\u00e9ment attributs, volumes et habit. Le catalogue Lost Kingdoms de John Guy situe la premi\u00e8re \u0153uvre dans le contexte plus large de la circulation et de l\u2019adaptation des images hindoues et bouddhiques en Asie du Sud-Est.<\/p>\n

R\u00e9f\u00e9rences et \u0153uvres de comparaison<\/h3>\n

The Metropolitan Museum of Art, Harihara, 1977.241<\/a><\/p>\n

John Guy, Lost Kingdoms: Hindu-Buddhist Sculpture of Early Southeast Asia, 2014<\/a><\/p>\n

\u0152uvres de la galerie<\/h3>\n

Harihara, Cambodge<\/a><\/p>\n

Divinit\u00e9 masculine khm\u00e8re, Cambodge<\/a><\/p>\n

Lectures compl\u00e9mentaires<\/h3>\n

Harihara : Shiva et Vishnu<\/a> \u00b7 La sculpture sacr\u00e9e du Sud-Est asiatique<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"

Une t\u00eate de Harihara du VIIe\u2013VIIIe si\u00e8cle et un torse de divinit\u00e9 masculine du Xe si\u00e8cle, tous deux en gr\u00e8s et document\u00e9s dans les archives Dalton Somar\u00e9, permettent d\u2019observer deux aspects de la sculpture sacr\u00e9e cambodgienne. Dans la t\u00eate, haute de 40 centim\u00e8tres, la coiffure identifie le sujet ; dans le torse de 84 centim\u00e8tres, la construction du corps et le dessin du sampot d\u00e9finissent la pr\u00e9sence de la figure.<\/p>\n","protected":false},"featured_media":10501,"menu_order":46,"template":"","area_approfondimento":[148],"class_list":["post-10680","approfondimento","type-approfondimento","status-publish","has-post-thumbnail","hentry","area_approfondimento-arte-orientale-antica"],"acf":[],"yoast_head":"\nSculpture khm\u00e8re : Harihara, corps et v\u00eatement | Dalton Somar\u00e9<\/title>\n<meta name=\"description\" content=\"Une t\u00eate de Harihara et un torse du Xe si\u00e8cle : attributs, proportions et sampot dans la sculpture cambodgienne, avec comparaisons mus\u00e9ales.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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