Dimensions: Height 95 cm Wide 40 cm Depth 18 cm without base
Weight: Approx. 41 Kilograms with base

The eight-armed figure of Vishnu stands upright on a plain base, flanked by a large aureole framing the figure in a monumental, symmetrical composition. The god is shown wearing a tall cylindrical mukuṭa and a short pleated sampot with central fishtail fold. His face is serene, with almond-shaped eyes beneath arched brows, a faint smile, and elongated earlobes.

Of his eight arms, the principal pair extends downward, the right grasping a mace and the left a conch. The remaining hands, arrayed symmetrically along either side, once held additional attributes of Vishnu’s cosmic form, though some are now worn or fragmentary. The overall composition, with its emphasis on balance and frontal clarity, reflects the formal grandeur of the Phnom Da style.

The reverse is finished with equal care, showing the figure’s back and the continuation of the pleated garment, as well as the aureole arch.

This image belongs to one of the earliest Khmer sculptural styles, established at Phnom Da near Angkor Borei. Such multi-armed Vishnu figures embodied the cosmic aspect of the deity as the preserver of the universe, his multiple arms symbolising infinite power and the ability to uphold the cosmic order. These early Phnom Da sculptures set the foundation for the later Angkorian tradition of monumental divine imagery.

Distinction: Phnom Da style (6th–7th century) is characterised by its frontal rigidity, symmetrical balance, and schematic treatment of body and dress — qualities that convey the timeless, cosmic authority of the deity. By contrast, later Angkorian depictions of Vishnu (from the 9th century onwards) show increasing naturalism: more fluid body modelling, softer drapery folds, and dynamic postures. This figure thus represents an early Khmer sculptural phase in which divine imagery was still conceived in terms of abstract cosmic order, before the shift toward humanised naturalism in classical Angkorian art.

Condition Report

The sandstone figure shows age-related wear and weathering consistent with its 6th–7th century origin, with later restorations stabilising the sculpture.

• Restorations: Both legs have been restored below the knees, reattached to the base. The joins are visible under close inspection.

• Aureole: The large framing aureole is broken in several areas, with losses to the outer edges and arms of the halo. Sections have been repaired and consolidated, while other breaks remain unrestored.

• Arms and attributes: Several hands show evidence of modern replacement — the losses appear ancient.

• Surface (original weathering): The sandstone has a granular texture from long exposure, with natural erosion softening details, particularly on the face, torso, and garment pleats. Small chips and surface abrasions are original weathering, consistent with age.

• Surface (later intervention): Filled cracks and stabilisation material are visible in some areas of the aureole and along the side edges. These restorations are sympathetic but distinguishable on close examination.

Overall, the figure is stable. The essential iconography and style remain intact, with restorations limited to structural stability. The combination of authentic surface weathering and visible repair joins is consistent with the survival of large Phnom Da style sculptures.