Champa Sculpture (dedikált)

It is likely to say that over ten centuries of existence and development of Champa sculpture art (from 2nd to 15th century) is considered as an interchanging period and absorbtion of overseas culture features. Those features .3!became the motive forces to create many new styles in Champa sculpture history. Despite being influenced by Indian ) the 7th century, by Chan Lap in the style of My Son El, by Giava in the style of Tra Kieu, by Angco art in the Thap ..Cham people did not absorb as its original form but they selected and aboriginalized them to build its own facial ssion and particular beauty in the world of Hinduism sculpture found in India and the Southeast Asia. s and religious themes were displayed lively, vividly, and seductively. In some stages, many Gods were personalized lect the living people; dancing girl Apsara with full of feminities, or animals with mysterious characters as lion, Hu(1a...that became glamorous ornaments and expressed its own typical features of Cham people. most typical and also the most common feature of Champa ancient sculpture is the trend of round creatures in iiiii() it sculptures in the line of relief. Champa sculptures are not vivid, exciting as Khome ones which can be felt very I iiillow and mainly made from carved lines. They are not vivid and realistic as prominent sculptures of Giava art. The ii•iiacters of Champa sculpture are always in the trend of escaping from the space of their surrounding things. There few scenes in Cham sculpture and do not link with one another or in ungainly assemblyment. In some sculpture ks as My Son El pedestal, the pedestal of Tra Kieu, Dong Duong pedestal...,each figure or each group of figures is Ily separated.

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