本展區以「翻攪乳海」的創世神話出發，了解世界秩序的形成。透過印度教的歷史、留存至今的古蹟，見證印度教在東南亞地區的發展，有段輝煌的歷史，雖歷經朝代更迭、佛教及伊斯蘭教的傳播，印度教信仰日漸式微，卻保留大量精美的藝術品，如本展區的「大鵬金翅鳥」，象徵無敵、掃除一切障礙，展示在眾人眼前，賦予重生般的意義。

Creation and Rebirth

Setting out from the myth of “The Churning of the Ocean of Milk”, this gallery traces the origins of universal order and the brilliant history and enduring legacy of Hinduism in Southeast Asia. Although the faith’s influence waned over the centuries with the rise of new empires and the spread of Buddhism and Islam, it left the world an abundant heritage of breathtaking artworks. The Garuda on display—a symbol of supreme power and the vanquisher of obstacles—stands as a testament to this timeless treasure, imbued with the spirit of rebirth.

大鵬金翅鳥
Garuda (The Golden-Winged Bird)

迦樓羅是印度神話中的巨鳥，又名「大鵬金翅鳥」，鳥首人身的形象，為毗濕奴的坐騎。傳說金翅鳥為爭奪不死的甘露而戰，浮雕生動描繪金翅鳥戰勝那伽（龍族）的場景，正抓住兩條蛇的尾巴。

此作品為越南占婆風格的金翅鳥，頭戴寶冠、頸戴珠寶、身著中南半島的桑帕（Sampot）短褲，身體、肌肉線條柔和，鳥喙圓潤，炯炯有神，面目祥和；有別於印尼峇里島、印度金剛乘佛教肅穆的面容，此浮雕帶給觀者濃厚的親切感。

這件作品原本是神廟外牆石雕群的一部分，而今日越南中部的美山可以見到占婆特色的神廟建築群，仍完整保存與本件同年代風格的精美石雕。占婆藝術風格與印度、中國和其他東南亞地區有諸多相似性，反映占婆與各地區文化互動與交流。

Garuda, the legendary giant bird of Hindu mythology, is also known as the "Golden-Winged Bird." Often depicted with a bird’s head and a human body, he serves as the divine mount of Vishnu. In the legend, Garuda fiercely struggles to obtain the nectar of immortality, and this relief vividly captures his victory over the Naga(dragons), showing him triumphantly grasping the tails of two serpents.

This piece embodies the Champa style of Garuda, featuring a jeweled crown and necklace, and dressed in traditional Southeast Asian Sampot shorts. Its body and muscles are softly depicted, its beak rounded, its eyes bright, and its face serene. Distinct from the solemn countenances found in Balinese or Indian Vajrayana Buddhist art, this relief offers the viewer a profound sense of intimacy.

This piece was originally part of a group of stone carvings adorning the outer wall of a temple. Today, in My Son, central Vietnam, a cluster of Cham-style temples still preserves exquisite stone carvings from the same period and in the same artistic tradition. Cham art reflects a rich tapestry of cultural interaction, sharing stylistic affinities with Indian, Chinese, and other Southeast Asian legacies. These similarities highlight the dynamic exchanges between Champa and neighboring regions, underscoring its role as a crossroads of artistic and spiritual influence.

翻攪乳海的故事
Samudra Manthana

翻攪乳海（Samudra Manthana）是印度教著名的創世神話之一，展示了世界秩序的誕生與善惡力量之間的相互作用，並在東南亞地區形成深厚的宗教與文化影響。

傳說善神（提婆）與惡神（阿修羅）約定合作攪拌乳海，均分長生不老的甘露（Amrita）。毗濕奴呼喚眾神將草藥投入乳海，以須彌山（Sumeru）作為攪海的杵，毗濕奴化身巨龜俱利摩（Kurma）沉入海底，作為承受攪拌乳海重量的支點；以蛇神那迦（nāga）的身體，纏繞在須彌山，作為攪繩。九十二個阿修羅持蛇頭，八十八個提婆持蛇尾，輪流轉動巨蛇身體，攪拌乳海，產生乳海翻騰的景象。

經歷千年的乳海翻騰，各種新生命隨之誕生，靠近須彌山的生命，則因海水攪拌的劇烈而紛紛死亡。而巨蛇也因忍受不了翻攪的疼痛而口吐大量毒液，毒液足以毀滅三界，眾神向濕婆求助。不忍眾生受苦的濕婆，只能將毒液吞入口中，最終三界得以保存，但濕婆的喉嚨被毒液灼成了青紫色。

最終，善神取得甘露，卻違背諾言不願分給阿修羅，其中名為羅喉的阿修羅企圖行竊取得，偽裝成善神，喝了一口甘露，然而甘露還沒喝進肚子，停留在喉嚨，天上的日神及月神辨認出偽裝的善神，立刻告知毗濕奴，砍下羅喉的頭。

羅喉的身體雖然死去，但頭部已飲得甘露，長生不死。羅喉知道日神及月神害自己功虧一簣，不斷追逐日神及月神，試圖吞噬日月，造成日蝕及月蝕。因為失去了下半身，始終無法完全吞噬。

Samudra Manthana, or The Churning of the Ocean of Milk, stands as a pivotal creation myth in Hinduism. It depicts the emergence of universal order through the interplay of benevolent and malevolent forces, and reflects a deep-seated religious and cultural influence that has shaped Southeast Asia over the centuries.

According to legend, the Devas (gods) and Asuras (demons) agreed to cooperate in churning the Ocean of Milk to obtain Amrita, the nectar of immortality. Vishnu summoned the deities to cast sacred herbs into the sea and employed Mount Sumeru as the churning pestle. Taking the form of the giant tortoise Kurma, Vishnu descended to the seabed to serve as the fulcrum for the immense weight. The serpent king Nāga Vasuki was coiled around the mountain to act as the churning rope. With ninety-two Asuras grasping the head and eighty-eight Devas holding the tail, they alternated in pulling the serpent’s body, transforming the ocean into a swirling, frothing spectacle of creation.

Throughout a millennium of churning, new life sprang from the sea, yet many creatures near the mountain died in the turbulence. Suffering from the intense strain, the giant serpent vomited a deadly venom capable of destroying the three realms. The gods appealed to Shiva for help. Moved by compassion for all living beings, Shiva swallowed the venom to preserve the three realms, though the act scorched His throat, leaving it forever stained a deep blue-purple.

Ultimately, the Devas obtained the nectar but broke their vow to share it with the Asuras. One Asura, named Rahu, attempted to steal it by disguising himself as a Deva and drinking a mouthful. Yet before the nectar could pass into his stomach, lingering only in his throat, the sun and moon gods recognized the imposter and alerted Vishnu, who immediately severed Rahu's head.

Although Rahu's body perished, his head—having been nourished by the nectar—attained immortality. Enraged that the sun and moon gods had thwarted his plan, Rahu hunted them relentlessly. His attempt to devour them manifests as solar and lunar eclipses. However, because he lacks a body, the sun and moon always emerge unscathed, passing through his severed neck and restoring light to the world.

乳海攪拌圖瓶
Churning of the Ocean of Milk (Decorative Jar)

這是一件典型高棉吳哥王朝風格的黑褐釉剔花儲物罐現代複製品。瓶身的故事主題是印度教創世神話「乳海攪拌」。陶瓷上描繪此主題，寓意「轉化」與「新生」，作為儲存液體（如水、酒或油）的容器，取其「盛裝甘露」的吉祥寓意。此件作品精彩之處在曲面的陶罐上，工匠重現吳哥窟迴廊宏偉的長卷式浮雕，雖受媒材限制，人物線條不如石雕精細，但整體構圖氣勢與敘事完整性依然非常高。

This piece is a modern replica of a dark-brown carved and glazed jar for storage, rendered in the classic Khmer style of the Angkor Dynasty. The motif depicts the "Churning of the Ocean of Milk," a foundational Hindu creation myth symbolizing transformation and rebirth. A container for liquids, such as water, wine, or oil, it carries the auspicious metaphor of holding divine nectar. The brilliance of this work lies in how the artisan adapted the magnificent, scroll-like bas-reliefs of the Angkor Wat galleries to the jar's curved surface. While the ceramic medium naturally limits the fine detail found in stone carvings, the overall composition and narrative integrity remain remarkably high.