Arts in Southeast Asia
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PaintingMural Paintings Depicting Ramayana
The mural paintings show a combination of traditional and modern painting techniques as follows: the traditional painting techniques are demonstrated through the main characters’ dresses are similar to those in the Masked dance drama, they are showing the same dance movements, and the characters’ adornments are gilded. The modern painting techniques include the use of horizon lines and perspective, imitation of real buildings such as palaces in the Grand Palace, and depiction of real landscapes. In addition, the paintings also show ways of life of people in the Thai Royal Court and ordinary Thai people and humor through the supporting characters. There are 178 painting panels in total; and each painting comes with verse of Ramayana poetry on the lower part of the panels, 224 verses in total.
SculptureAvalokitesvara Bodhisattva
The sculpture is in the damaged condition. Only the head and upper body in ‘Tribhanga’ posture (standing body position or stance used in the traditional Indian sculpture, art and Indian classical dance forms) are left. The lower part of body is lost.The face is plump and well-crafted. The eyelids are half closed. The Unalome is visible at the forehead while head wears the triangle crown with jewelries. The hair bun on the top of the head is broken and lost, only the hair that is down to the shoulders left. The body wears many accessories such as the leather body bracelet with the chamois head on the left shoulder. This body bracelet is overlapped by a pearl body bracelet. Two necklaces, the top one is of pearls and the lower one is jewelries with flowers decorated. The jewels bracelet is also visible. Overall, this sculpture reflects the relationship between the Network of Mahayana Buddhist Kingdoms such as Pala Dynasty of India and Shailendra Dynasty of Java. However, the study by Assoc Prof Chet Tingsanchali points out the traits of the sculpture that do not exist in Java Art which means this sculpture might be crafted in Thailand.
ArchitecturePhra Sri Rattanachedi
Phra Sri Rattanachedi is a bell-shaped stupa in circular plan. Its four niches which have doors leading to the inner chamber, where the relics are kept in the small golden stupa, have smaller bell-shaped stupa on the top. The stupa is on a set of pyramidal lotus-shaped pedestals with wires in round plan. Its Ballang is in square plan, surrounded by supporting pillars.
ArchitectureChedi Phukhao Thong
Chedi Phukhao Thong is a monumental architecture. It comprises a pyramidal ambulatory platform with a staircase projecting from the middle of all four sides and a 12-angle indented (recessed) body. The upper part of the chedi, which now tilted slightly, is composed of Buddha niches on four sides, triple rings moulding, anindented bell-shaped dome and a spire.
ArchitecturePhra Ubosot Wat Phra Sri Rattanasatsadaram
Phra Ubosot Wat Phra Sri Rattanasatsadaram is a traditional Thai brick-and-stucco architecture in rectangular plan with boundary and faces the east.The three-tiered wooden roof is decorated by blue roof tiles, with orange and yellow roof tiles at the edge line. The cornice is decorated with Chorfah, Bairaka, Naksadung and Hanghong. The floral-carved-wooden pediment is coated with gold lacquer and glass, whose centre displays Vishnu riding Garuda.The exterior wall is decorated with gold-lacquer-and-glass Phoom Khao Bindh pattern, while there are Garuda holding Naga sculptures around the pedestal. Three doorways can be found both in the front and the back, with three pairs of bronze lion figures at the front staircase. There are pillars in dodecagonal plan surrounding the ubosot in the veranda area. Its echinus is a lotus shape and brackets are supporting the eaves.
ArchitecturePrasat Phra Thep Bidorn
Prasat Phra Thep Bidorn is a four-portico building with Prang top. The front projecting portico is in the east. The wall is decorated by tiles in Phoom Khao Bindh pattern on blue background. The cornice is decorated with Chorfah, Bairaka, Naksadung and Hanghong. A prang is on the top of the building, which is made from plaster and decorated with coloured tiles. Its four pediments display the royal coats of arms. The northern portico’s pediment displays Unalom of King Rama I. The southern portico’s pediment displays Garuda holding Nagas of King Rama II. The western portico’s pediment displays Phra Viman of King Rama III and the eastern portico’s pediment displays Phra Makamongkut of King Rama IV. The windows and doorways has Mongkut tops which are coated with gold lacquer and glass, while the sided walls show the royal coats of arms of King Rama I – V.
SculptureYakṣas at the Temple of the Emerald Buddha
The 12 sculptures are made of stucco with colorful glazed porcelain adornments according to Rammakian including different types of crowns, blouses, costumes, pointed sandals, etc. Their bodies were also painted according to the literary work.6 pairs of Yakṣas are as follows: 1.Suriyaphop – Intharachit 2.Mangkonkan – Wirunhok 3.Thotsakhichanthon – Thotsakhiriwan 4.Chakrawat – Atsakanmarasun 5.Thotsakan - Sahatsadecha Maiyarap - Wirunchambang
ArchitecturePhra Ubosot Wat Benchamabophit Dusitwanaram
Phra ubosot is in projecting cross plan and faces the east The easterm portico is extended, while the duplicated Phra Phuttha Jinaraj is installed in the western wing. The northern and southern porticos are linked to the cloister that leads to the back of the building.The front edge of the boundary stand concrete pillars with lotus-bud-shaped echinus, which signify “Sema”, while the back of the ubosot shows through Dharmacakra Sema on a granite-carved floor tiles. The boundary floor uses pink and gray granite tiles, while the wall is a white marble.The eastern and western porticos have four marble pillars in circular plan. Beside the staircase of each side stand a pair of marble-carved lions, which Prince Naris designed and molded by Khun Sakolpradit, the royal artisan.The exterior door was embossed with Dvarapala, while the interior door was painted the same figure with golden lacquer. The windows use the same technic, however, with Mara Baek. The niches were decorated by stained glass.The roof was built in traditional Thai form with yellow corrugated tiles and Thepphanom at the eaves, which once were the roof tiles of Wat Kalayanamite that later had been coloured in China. The pediment of phra ubosot displays the important state coat of arms. The eastern portico’s pediment displays Vishnu riding Garuda which stands for Phra Krooth Pah emblem. The western portico’s pediment display Unalom in Bussabok which stands for Maha Unalom or Maha Ongkarn emblem. The northern portico’s pediment displays three-headed elephant carrying bussabok which stands for Aiyarapot emblem. The southern portico’s pediment displays Cakra which stands for Cakraroth or Dharmacakra emblem.
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Minaret of Masjid Kampong Kling
The Southeast Asian-styled mosques are different from Indian or Persian masjids. The mosque has a square plan with 4 pillars supporting the sloping roof with the wooden beam supporting the tile roof without any dome. Other interesting point is the minaret that has stacked body with the Chinese sloping roof at the top. The shape of the minaret is similar to Chinese pagoda. At the same time, the minaret is also look alike the Dargarh type tower in Nagapattinam in South India
Dutch Colonization Period
17th – 18th century
Architecture
SculptureGod Shiva
God Shiva is standing on a square base. Both hands are at hip’s level.The square-serious face, eyes decorated with pearls, a third-eye in the middle of the forehead, the hair curled in a decorated bell shape, sharped earrings, all of these are the clear influence of Brahmanism in Lopburi or Khmer culture in Thailand. The top part of the body is decorated with filter neck and bracelet. The lower part appears shorts with three layers seem in the middle; they are decorated with flowers. The fabric is beautifully decorated. It is related to Lopburi arts or Bayon style of Khmer arts in Thailand. At the same time, the decorated flowers are similar to central Ayutthaya style.
SculptureBodhisattva
The Bodhisattva is sitting on an inscribed base. The right hand is at the chest level. The left hand is placed above the lap. The hair is long and it is curled. The Bodhisattva wears some jewelry such as filter neck, bracelet.
SculptureThe attitude of subduing Mara
The statue is sitting with the hands in the gesture of subduing Mara. It is supported by a lotus base. The style of the statue reflects the influence of Lanna style. The main characteristics are rounded face, lotus-bud halo, plump body, slanting rope with a zig zag seam across the left chest.
SculptureBuddha
The attitude of subduing Mara is sitting on the plain lotus base with a lot of decorations. There is a decorated crown, sharped earrings. The body is full decorated with filter neck, breastplates, and breast chain. It is then called “Full-decorated Buddha image”.
SculptureBuddha
The Buddha image is in a standing position. Both hands are lifted and the palms are facing out; this is called “The attitude of forgiving” or “The attitude of stopping the rainstorm”.The Buddha image wears a very thin rope so the strap of the rope can be seen clearly. The undergarment falls to the front of the rope. The face of the Buddha image is quite round just like the Buddha images in central Ayutthaya. They wear the crown, round earrings, the style of the face frame is influenced by Sukhothai arts but the prototype is from Khmer arts. The band Whittle is in ring style with peaked top. It is also influenced by Sukhothai arts but the prototype is from Lanka arts.The story behind building this Buddha image is connected to the story found in Jambupati-sutra. In the story, the Buddha showed his power over Maha Jamphu to loosen his ego. Maha Jamphu respected the Buddha very much until he decided to become a monk. He became an Arahant at the end.
SculptureBuddha
The Buddha image is in a standing position. Both hands are lifted and the palms are facing out; this is called “The attitude of forgiving” or “The attitude of stopping the rainstorm”.The Buddha image is wearing a crown. The face can be seen clearly. Other decorations are not shown hence it is called “less decorated Buddha image”.The Buddha image wears a very thin rope so the strap of the rope can be seen clearly. The undergarment falls to the front of the rope. The general characteristics of the Buddha image such as the oval face, curve eyebrows, lower gaze, prominent nose, and small face show the relation with Sukhothai arts. The face frame reflects the connection with Sukhothai arts which derived from Lopburi arts. The face frame is decorated with different patterns.
SculptureThe attitude of subduing Mara
The Buddha image is sitting cross-legs with one top of another supported by a high base decorated with petals of the lotus blossom and the event of Enlightenment or subduing Mara. The hands are in the position of the attitude of subduing Mara.The significant characteristics of this Buddha image are oval face, flame-like halo which are the liberation of Sukhothai art. The Buddha image wears a thin rope.The base of the image is decorated with the event of the Enlightenment. The bottom line shows the devils’ army that were trying to interrupt the Buddha. The leader of the devil was on an elephant on the right side of the Buddha image. In the middle shows the image of Phra mae thorani twisting her hair. On the left of the Buddha image shows the leader of the devil losing the battle.
SculptureThe attitude of subduing Mara
The attitude of subduing Mara is sitting on the plain lotus base without any decorations. This style reflects the style of before Ayutthaya – early Ayutthaya or the 1st and the 2nd generation of U-Thong Buddha images. It is also related to the large section of Sukhothai arts.The significant characteristics that transfer from the 1st and the 2nd generation of U-Thong Buddha images are the sitting position on a plain lotus base in the attitude of subduing Mara. The hair looks like the thorns of jackfruit. The oval face, flame-like halo, and curve eyebrows show the relation with Sukhothai arts. The not wavy hairline style is also associated with a large section of Sukhothai arts. This Buddha image wears the rope with a long-large straight seam. The right hand is on a leg. The style is gentler than the 1st and the 2nd generation of U-Thong Buddha and this might relate to Sukhothai’s Buddha image style.
