This inspired and original interpretation of a globular-shaped pot bears the instantly recognisable features of an elephant. Revered by the Khmer people in their daily lives, the animal also appears in much Buddhist and Hindu iconography. This particular example is a stunning marriage of ornamental impulse and practical need. Ceramics such as this were neither ceremonial vessels nor ritual objects, but articles of daily use. Because they were not made for export they remained free of outside influences, retaining their highly distinctive Khmer character. Made from a light buff-coloured low-fired stoneware, and covered with a brittle brown glaze that is prone to flaking, such wares are the hallmark products of the Khmer ceramic tradition.
Art Gallery Handbook, 1999. pg. 298.
The Asian Collections Art Gallery of New South Wales 2003, 2003, 317 (colour illus.).
Bruce James (Australia) (Author), Edmund Capon (England; Australia, b.1940) (Director), Art Gallery of New South Wales handbook, Domain, 1999, 298 (colour illus.).
Ewen McDonald (Australia) (Editor), The Art Gallery of New South Wales collections, Sydney, 1994, 180 (colour illus.).
'South-East Asian Art', pg. 83-96., Asian Collection Handbook, Art Gallery of New South Wales 1990, 1990, 90 (illus.).
Annabel Davie (Editor), Art Gallery of New South Wales Handbook, Domain, 1988, 92 (illus.).
Art Gallery of New South Wales (Australia, estab. 1874) (Author), Three years on: a selection of acquisitions 1978-1981, Sydney, 1981, 93 (illus.). cat.no. 13
Oriental art [vol 27, no 1] Spring 1981, Spring 1981, (illus.). Bluett advertisement featuring this work.
Roxanna M Brown (Editor), Adrian Joseph (Editor), South-East Asian and Chinese Trade Pottery, Hong Kong, 1979, 220. cat.no. 241
Dean Frasche (Author), South-east Asian Ceramics, New York, 1977, 38. cat.no. 10
Roxanna M Brown (Author), The ceramics of South-East Asia: Their dating and identification, Malaysia, 1977. plate J; No. 3; NOTE: See plate I, no. 4 for a pale green glazed jar