In the 19th century, Khmer sculpture, profoundly influenced by the Siamese Rattanakosin style, favoured representations of the crowned Buddha in royal regalia, characterised by strictly symmetrical drapery and serene, idealised facial features. These devotional images, at once hieratic and richly ornamented, directly reflect the synthesis between sacred kingship and Buddhist patronage under the influence of the Bangkok court.
 
The work should not, however, be regarded as a Siamese sculpture. Rather, it represents a Cambodian interpretation of the Rattanakosin artistic vocabulary, adapted by Khmer craftsmen to local traditions.
 
The Buddha is represented seated, with the legs folded one over the other, the left hand resting in the lap while the right hand descends over the knee, the fingers pointing towards the ground in the earth-touching gesture (bhūmisparśa-mudrā). This posture refers to the moment of Enlightenment, when Sakyamuni called upon the Earth Goddess to bear witness to his merits in the face of Māra’s assaults.
 
The figure is distinguished by its extraordinary richness of ornamentation. The Buddha appears in the guise of a universal sovereign, adorned in sumptuous courtly regalia. A tall tiered crown, surmounted by a slender removable finial, rises above the head. The elongated ears are complemented by imposing lateral ornaments and heavy movable pendants. Flame-like elements also extend from the shoulders and the extremities of the throne, emphasising the verticality and majestic character of the composition imported from Thailand. The broad and serene gilded face features strongly defined eyebrows, elongated eyes, a straight nose, and a mouth forming a subtle smile. The expression retains a remarkable sense of inward contemplation.
 
The body is almost entirely covered with a complex network of carved and applied ornaments, enhanced with black lacquer, gilding, red, green and blue polychromy, as well as coloured glass inlays. Necklaces, pectoral ornaments, armlets, bracelets and broad crossed bands articulate the torso. An imposing diamond-shaped ornament occupies the centre of the chest. The reverse, treated with comparable care, reveals the crossed bands of the costume and an extensive vegetal decoration on the back of the seat.
 
The base and garments are covered with dense geometric decoration composed of interlocking angular motifs and stylised scrolling foliage. The combination of black lacquer and gilding, together with coloured inlays and flame-like ornaments, creates a powerful decorative contrast characteristic of the courtly taste that developed in Southeast Asia, particularly during the 19th century.
 
Condition:
The sculpture retains a substantial proportion of its original lacquer, gilding and polychromy. Extensive wear, craquelure, lifting and losses to the gilding reveal the underlying layers and wood in places, lending the surface remarkable historical depth. Several applied and articulated decorative elements remain present, as do the metal pendants attached to the ears. The upper finial is removable, in accordance with its original tenon-mounted construction.