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
ArchitectureCandi Pawon
Despite being small, Candi Pawon is one of the most beautiful temple of the Mid Central Javanese period. The temple rests on the high circumambulatory platform, which is similar to Candi Mendut. The body is divided into three parts. The central projection is beautified by the Kalpavriksha or the wish-fulfilling mythical tree symbolizing the fertility. The side parts of the body are decorated with the standing figures of Bodhisattvas. The superstructure is decorated with the series of Stupikas (miniature stupas which is the identity of the period. Stupikas suggest that the temple belongs to Buddhism. The staircase’s balustrades are also decorated by the the wish-fulfilling mythical tree blessing the fertility to the devotees.
ArchitectureThat Dam
This Stupa must be the main stupa of the deserted temple, now disappeared. The series of octagonal sloping moldings at the base are reminiscent of Lanna art while the main element in lotus-like shape is typical to Laotian art.
ArchitectureMain Pavilion: Wat Ong Tue
The pavilion in Viang Chan school is characterized by the high-elevated side edge of the roof. The pediment depicts Indra mounting on Erawan in the middle of foliage motifs. The lower part of tympanum is the frieze divided into several small square panels, typical to Viang Chan school. Below the frieze is the double-arched fillet which is the character that share both in Laotian and Lanna art. The elongation of the capital of the columns for balustrade is also one of the characteristics of the school.
ArchitectureHor Pra Kaew
Hor Pra Kaew might have been built in the reign of king Anuwong or before as the plan is very similar to Ubosot of Wat Phra Sri Rattan Sasadaram consisting of the circumambulatory inside Palai. However, it was abandoned when king Anuwong died and was restored again. The pediment that has two panels at the bottom can be compared with the pediment of Oung Teu. This shows that it belongs to Vientiane school of art that was carved much later. The three-headed elephant was the royal synbol of the Laos kingdom before the revolution.
ArchitectureScriptural Hall: Wat Peng
Scriptural hall at Wat Peng is the only genuine Lan Chang scriptural hall that survived that destruction of Vientiane in the reign of king Anuwong. It is a small cemeted-brick building in a rectangular plan. The base is a complex Laotian Bua Khao Prom. The chamber has a door and three highly decorated windows on the other three sides. This is the door of the chamber that has an arch at the top. Inside, there are swans facing in, which was influenced by Lanna art. The top of the Prasat and the keepers are similar to Lanna , too.
ArchitectureScriptural Hall: Wat Peng
Scriptural hall at Wat Peng is the only genuine Lan Chang scriptural hall that survived that destruction of Vientiane in the reign of king Anuwong. It is a small cemeted-brick building in a rectangular plan. The base is a complex Laotian Bua Khao Prom. The chamber has a door and three highly decorated windows on the other three sides. This is the picture of the window arch of the top part of the Prasat. The roof consists of a tier of large sloping roof and the lotus flower shaped base on top. The structure of the Prasat is similar to Lanna art. There are traces of stuccos divided into parts,which might have been the storytelling scences. Now, they all have been flaked off.
ArchitectureCandi Bedang Dalam
The architecture of this candi includes sanctum and front hall. The sanctum is the small square room with an entrance and brick wall. Around the structure shows the trace of circumbulatory path with the pillar hole for the wooden beam supporting the tile roof. In front of the sanctum is the open front hall with the pillar hole for the wooden beam supporting the tile roof, too. Compared to other candi in Java art, this candi is not complicated but it still shows the good evidence of the Indian and Java architecture in the ancient Malay peninsula.
ArchitectureZahir Masjid
Stylistically, Masjid Zahir is the combination between several Islamic schools of architecture. The main dome is of Indian Mughal affiliation being noticeable from the flower on the top of the dome. However, the multi-foils arches and the thin columns are the characters of Moorish influence. The combination of the Mughal and the Moorish influence is the characteristic of Islamic architecture in British colonization period of Malaysian art.
