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
SculptureBuddha image
These embossed silver plate buddha images group are in dilapidated condition, some has only head, some has only body. There are both standing and sitting buddha images. The overall style depicts the art of Hariphunchai. At the same time, it was associated with Burmese art in Pagan era : The buddha image wearing a feather crown, diamond squat.
SculptureHead of Buddha image
This buddha image’s head has long face. The unique form of Hariphunchai clay sculpture : The eyebrows are brace and embossed, the eyes are bulging and the eyelids are half lower, flared nostrils, protruding mouth, has Mustache. There is a groove to highlight the borders in different parts. Has the “Oona Lom” (hair between eyebrows) in the center of forehead, spiral hair and the hairline is embossed.
SculptureBuddha image
This bronze Buddha is very worn not all parts are found. Found only the head, the upper body, the hands and the feet. The characteristic of this Buddha Image is related to art before Ayutthaya or U-Thong in the Central: Square face. While other parts showcase the artwork of Hariphunchai created earlier: eyebrow is like wing and sharpen, A mustache above mouth, dim half of the eyes, wear non streak yellow robe, the separated hands show sermon symbol that shows the relationship with the art of Dvaravati Central.
SculptureThe attitude of subduing Mara
The Buddha image is in the attitude of subduing Mara siting simple cross-legged on the plain base. It has the oval-shaped face. The hair curls are not small, yet not big. The aureole is flame-liked and quite short. It has arched eyebrows. The eyes are partially open gazing low and the outer corners of the eyes are uplifted. It has a hook nose with curvy lips like a wave. The body is well-proportioned. The outer robe is long reaching the navel and its edge is folded like the centipede fangs. The fingers are not equal in length and the index finger is a little bit lifted. The image has Thai alphabet during Rattanakosin period specifying “Sankhalok”, written in Rama I period which means this Buddha image was respectfully engaged from Sawankhalok or Si Satchanalai during the respectful invitation event from Sukhothai.
SculptureThe attitude of subduing Mara
The image is seated in a basic cross-legged gesture on the plain base while the hands are doing the attitude of subduing Mara. The significant features that classify the image under the General Group are the oval face, the curved eyebrows, the low gazing eyes, the aquiline nose, the well-proportioned lips, the big hair curls like a whorl, high swelling Usanisa, the flame-liked halo, wearing cross-body robe with no crease, and the long small outer robe reaching the navel which the edge is folded known as the centipede fangs. There is the name of its creator and the desire in building it.
SculptureSangkhalok
There are a lot of architectural decoration parts, the important ones are Makara, decorated the finial of a gable and it would develop to be Hang Hong (finials on the outer corners of the lower roof sections), the ridge that would become Cho Fa (gable finials), Barali (finials evenly spaced on the roof-ridge) for roof ridge decoration, purlins , banisters, and floor tiles.
SculptureThe attitude of subduing Mara
The Buddha image is seated simple cross-legged on the plain base. The hands are in the attitude of subduing Mara. The distinctive features that point out the relations with Lan Na Buddha images and to be classified under the Wat Takuan Group are the round face and the protruding chin. Other parts that indicate the connection with Sukhothai Buddha image in General Group are the flame-liked aureole, it looks more motionless than the Sukhothai aureole, wearing cross-body robe with no crease. The outer robe is long across the left shoulder reaching the nave and there is a streak on the edge of the outer robe known as the centipede fangs. The image is sitting in mediation posture on the plain base.
SculptureThe footprint of the Buddha
The footprint is engraved on a rectangular stone. Some parts of the stone are damaged. There are actually four overlapped footprints detected by the lines on the sides and heel. The footprint that was used for pattern studying is the smallest one as other three have only the lines on the sides and heel. The toe fingers on the smallest footprint are not equal in length. Each finger has a whorl motif decorated. In the middle of the sole, there is Chakra symbol which are decorated with the 108 propitious motifs. Two points on the area connected to the toe fingers are decorated with whorl motifs , while the heel is decorated with lotus petal motif.
