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
SculptureThe crown-topped Busabok Pulpit
The crown-topped Busabok is consist of the base, the middle part and the top part. The base is in the Singha style with additional corners with the large piece of wood in the front for the monk to get to the pulpit. The middle part is penetrated with the recessing corners (12-piece) at all four corners. The top part of Busabok has the details similar to the details of Phra Maha Pichai Mongkut (Great Crown of Victory, the Coronation crown of Thailand) featuring the 3-tier of diadem, each tier is decorated with moving flowers. Above it is the funnel.
PaintingThe Painting of the Royal 12-month Ceremonies
The powder-color painting used the western techniques that taking into account the principles of visualization which make the paintings seems dimensional both farway and close-up. The pictures of the buildings within the palace is used as the background while the people’s households, the costumes of the people, military men, the nobilities and the villagers are in line with the contemporary style of the period.
PaintingThe paintings of Chala Bhi Chati Tale
There is the Inscription at the bottom of the pillars read;“The Buddhist Proverbs of the tale of ‘Chala Bhi Chati are explained as follow;”1. Kanha Bhi Chatiya - The ones who were born black and follow black (dark), representing their harsh upbringing with low social status and poverty which makes them follow the dark side to the evil path. 2. Kanha Bhi Chatiya - The ones who were born black but follow the white (bright) path which means the merit way of life. 3. Kanha Bhi Chatiya - The ones who were born black but determined to reach nirvana, the color of their skins is meaningless. 4. Sukka Bhi Chatiya - The ones who were born white (bright) which means they were born to the high status and wealthiness but follow the dark to evil life. 5. Sukka Bhi Chatiya - The ones who were born white and follow white path. 6. Sukka Bhi Chatiya - The ones who born white and determined to reach nirvana, the color of their skins is meaningless.The paintings of the tale of ‘Chala Bhi Chati’ or six types of humans located in the lower frame of the 6 pairs of the inner principle pillars near the Principle Buddha Image in the following order; 1st pairs: The picture of Lord Buddha receive food offerings on the ivory white background. 2nd pairs: The picture of monks and priests on the white background. 3rd pairs: The picture of Upāsaka and Upāsikā (male and female attendants( wearing white attires on the yellow background. 4th pairs: The picture of the King, Royal family, Brahmins and Elites on the red background. 5th pairs: The picture of judiciaries (judges), Prison Officers, and Inmates on the green background. 6th pairs: The picture of the hunters or poachers on the indigo blue background. When compare with the verses from Tripitaka together with the composition of the paintings, it can be assumed that the paintings are classified to be the depiction of 3 groups of humans;1. The group of people who wish to attain or will attain nirvana - The picture of Lord Buddha and disciples on the first 2 pairs. This group included those who were born and wish to attain nirvana as mentioned in the proverbs. 2. The group of people that follow the white path - The picture of Upāsaka and Upāsikā and the picture of the King, Royal family, Brahmins and Elites reflecting those who behave properly and appropriately to their social status. It should included those who were born low but wish to follow the white path to become decent. 3. The group of people who follow dark path - The picture of judiciaries (judges), Prison Officers, and Inmates and the picture of the hunters or poachers reflecting those who follow the dark path regardless of their social status.
PaintingThe Wall Painting of Wat Kong Kha Ram
The Wall Painting of the Ubosot of Wat Kongkaram has the composition that similar to the artwork in Bangkok during the reign of King Nangklao. At the back of the Principle Buddha is the Buddhist Cosmology while the opposite side of the Buddha Image is the painting of the “Defying Mara” part of Lord Buddha’s life. The Wall between the 2 windows painted with the Mahanipata Jataka (Last 10 jataka). The area above the windows is the depiction of Lord Buddha’s life. The gates were painted with the pictures the Guardians subduing Maras. The characters from Buddhist Cosmology such as Bodhisattvas, God Indra, and other devas (angels) are depicted in the traditional Thai art positions. Other human characters like slodiers and villagers are depicted in the natural realistic positions. The pictures of the palace, forts and walls are depicted realistically using the grey line to separate some parts of the story but mostly used the bush, trees, and stones as the natural partition of the story.
PaintingThe Wall Painting of The Pilgrimage to Phra Phutthabat, Saraburi
The powder color-painting depicted the Phra Phutthabat Mondop in the middle of the wall surrounding by other buildings and constructions in the temple. Under the Mondop is the depiction of people visiting the place by various methods such as by foot, by boat or by animal-drawn carriage. The people visiting Phra Phutthabat including both monks and villagers. The painting used the western-style technique of coloring with realistic shading and dimensions. Each parts used the bushes to separate them and to make the path for people to follow to the Mondop. The colors of the sky, clouds, and trees are realistic as in nature.
ArchitectureWat Chalerm Phra Kiat
The Ubosot and the Vihara both are on the rectangular bases while the walls are made of brick and mortar. The Ubosot is larger than the Vihara, surrounded by Semas in 8 directions. Both buildings are of Chinese style of architecture which was the King’s favorite style of art. The architecture style of both buildings are similar to each other with squared Sao Palai (Thai style column)decorated with lotus on the top of the pillars surrounded the building without Kan Tuay (corbel), the roof is stacked up porcelains while the flat triangular Na Ban (tympanum) reflected the Chinese influence with the flowers and leaves decoration. The frame of Na Ban is decorated with Naga’s heads.
SculptureKhantharrath Buddha image
Imitated Khantharrath art Buddha image, standing in Rainfull gestures, look up, the right hand is in the signal for the rain gestures, left hand placed on the leg to receive rain. The face has a Greek-Roman gods style. Tie hair, no halo. The body shows human muscles. Wear the oblique thick streaks robe. Stand on the lotus above the top of staircase of BokKoranee Pool. There is a railing nearby decorate with Goddess of Land squeeze the hair and Naga man which means water and abundance.
ArchitectureUbosot Wat Phra Si Mahathat Bang Khen
Concrete ubosot. Tetrahedron plan. western porch enshrined main Buddha image. Northern and southern porches are lined with cloister in square plan around the ubosot. The roof is covered with glazed tiles. Decorated the gable frame with gable apex, ฺBai-ra-gaa(toothlike ridges on the sloping edges of a gable) Haghgss, and Naga structure. It has a concrete structure. Each gable is decorated with simple Thai motifs doesn’t emphasize on delicacy.
