Bronze Buddha and the Buddhist Sinhalese. (Source: Guimet Museum)

In 1911, a bronze statues with a height of 119cm was discovered in the ruins of the Dong Duong (Binh Thang, Vietnam) and are currently on display at the Museum of CITY history. Ho Chi Minh. Statues of Buddha expression Like Ca (Sakyamuni) robed monks, standing upright on the Lotus-shaped pedestal, hand to hand or preaching of Indian culture (vitarkamudra) and left hand holding tie gown (katakamudra). Buddha face having looks calm, open eyes to, long earlobes and shaped curly hair look parki snails. On the top of the Buddha a humiliation the top (unisha), probably a Spire decorated in the shape of a flame that was attached on the humiliation of this Summit but now got lost (?). Statues is interesting evidence on the impact of Buddhist art in India to Champa sculpture. The question is capable of this statue is cast in Champa along with the Bodhisattva statue in bronze has the same date or it is a work that is imported from India? The history shows a number of iconic sculptures include Buddhist and locate worship small size, convenient for carrying his party appears in Champa by the end the century VII. The traders or missionaries might have brought the to Champa to worship or for the exchange of goods. Another possibility is that some Royal Family Health has required the facilities outside handicrafts crafted artifacts and then enter on Champa. Bronze statues depicted the Buddha Sakyamuni was not shown the characteristics of anthropology as often seen on the Cham sculptures and sculptural style is also different than the works belong to the Same Ocean and Champa sculpture styles soon. Moreover until today we still have the compelling evidence of bronze casting techniques as well as the forges of Champa. So, can eliminate the possibility that this precious statues were cast in Champa by the local artisans. In research published in 1963, Jean Bosselier, the art of Champa, the French based on the Buddha's costume has argued, the statues of Amaravarti style influence, derived from the region of Andhra Pradesh, Southeast India, and dating of the work around the end of the century IV-VI century. However, recent studies suggest a later date for this standing Buddha statues. Can recognize the same almost absolute path in standing, face, clothing, raw materials manipulated between the statues of Buddha found in the Dong Duong with the Sinhalese Buddha style Anuradhapura later found in Sri Lanka. Few differences lies in the details: a bronze Buddha Ocean bring insight on fine forehead (the URN contains) while the statue in Sri Lanka do not have details; pair of eyebrows on Bronze Buddha was represented as a curve that connects to each other and have round eyes. On the contrary, the Buddha to Sri Lanka are drawn with double curved eyebrows, slender, detached from each other, and have no eyes; the right hand of Dong Duong mudra Buddha preaching or Indian culture (vitarkamudra) but in the Buddha to Sri Lanka, the right hand usually hand reassure or turn as captain of India (abhayamdra). However, if you ignore the differences, can still argue that the gay statues were manipulated in an artisan workshop in Sri Lanka at the request of the Royal family to take and then the statues were taken to worship Buddha Bronze Institute for Ocean surges. If this hypothesis is accepted, the age of Bronze Buddha Ocean can be folded at the end of the century VIII and IX century, along the time line with the works in Sri Lanka in the late Anuradhapura style. Geographically on the haicang, Sri Lanka occupies a convenient position in the traffic axes from the far East to Central Asia. The school of Buddhist art, especially from the region of Southern India were introduced to Sri Lanka and flourished in this island nation before continuing to spread to other Southeast Asian countries along the trade route across the sea. The wave of development of Buddhism and Buddhist art was John Guy (Metropolitan Museum, USA) such as "Trans-Asia road of Buddhism". Comment on the influence of the Indian Buddhist art onto the Southeast Asian Buddhist art, Ulrich Von Schroeder, researcher with the Sri Lanka Buddhist art, Swiss people affirm that: "we cannot explain the development of Buddhist art in Southeast Asia if only perceived influence of Indian art styles that bypass Sri Lanka Buddhist art…". Bronze statues depicted the Buddha Sakyamuni discovered in the ocean along with the same style found in South East Asia are referred to as "the bronze statues of evangelization" (Missionary Bronzes) by the important role of these works in the path of Buddhist Asia. According to John Guy, the metal statue in early Buddhist period have the ability to be manipulated in the craft workshops of the monasteries along the eastern coast of South India or Sri Lanka and then imported into Southeast Asia. In that context, Buddha stands at Dong Duong also is not an exception. This work can be seen the influence of artistic styles or come directly from Amaravati in the South Indian region; or indirect, through the Island Nations of Sri Lanka. Tara statue crafted by artisans Take? A masterpiece in the Group discovered in bronze is the statue of Bodhisattva Laskmindra-Lokeshvara/Tara [BTĐN535]. Statues found by accident on May 8-1978 by the inhabitants of the village of Dong Duong while digging the tiles in this sector. The statue has a height of the female bodhisattva, embodied a suit Pack must in standing with the body on to the ceiling and two hand put forward. Originally, the female bodhisattva holding a flower shower right hand and shell in the left ear; However two things this handheld has been broken at the time the statue was discovered. Currently two artifacts are kept at the people's Committee of Binh Dinh, Quang Nam province district; While the statue is preserved and on display at the Museum of Cham sculpture in Da Nang. In 1979, Tran Ky Phuong, Champa art researcher has published his research on this statue. According to his theory, the statues depicted Bodhisattva Laskmindra-Lokeshvara, is deity worship in the Buddhist Institute of Copper plate inscriptions Ocean as c. 66 was referring to. In 1984, Jean Bosselier after studying characteristics of this statue statue goofy gave conclusion that pho statue of Tara, a form of expression of the female Bodhisattva, the embodiment of compassion, fairness. Jean Bosselier given his conclusions based on the collation comparison between hand posture of this statue with bronze statues of Tara. He also said that the bronze statues of Tara brought the influence of both Indian and Chinese art, however, indigenous Health factors are still outstanding expression. Again the question is this statue crafted in Champa or is a work of imported from India or Sri Lanka. The same opinion with Boisselier, some researchers claim that the statue of Tara is a masterpiece of the art of Champa by the indigenous elements bold depicted on statues. However, we should note that really don't have a difference perfectly between the traditional Cham art and India. Large breasts are a common occurrence on the sculpture of the statue throughout the length of the history of art. And there is also a type of sculptural forms characteristic of the Hindu religious art, are visible on the statues of Tara appeared from the VI onwards. Statue of Tara with the body on to the ceiling almost very rare in Chinese art, but very popular in northern India especially along with the development of Vajrayana Buddhism. In addition, folds above raiment reminds to the art of Buddhism to Sri Lanka and beyond is the Mathura style. Tara's outfit consists of two layers of the skirt wrapped around the waist. The meticulously folded folds of the outer dress layer steadily embracing the hip joint and butt makes me associate to tie gown exquisitely carved on the statue depicted the Buddha in the standing posture in Sri Lanka. Can conclude that the Cham artisan impact or borrowed some elements from the art of India. Yet still need for more research on metallurgical and bronze castings of ancient people from which can confirm this statues is purely a product of the Cham people. NGUYEN H.DUY ISRAEL