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
ArchitectureAbeyadana
The dim interior seems to be the most popular concept for the early Pagan art. That is why the lattice window is so popular during this period. The window-niche is beautified with the short leafs on the top of the pediment, characteristic of the period of Early Pagan. The superstructure comprises the series of sloping roofs, typical to the early period of Pagan art, and the Pāla style stupa as the pinnacle. The Pālal styled stupa is characterized by the multi-angled square Harmikā and the Chatravali decorated with the tiny triangle. Abeyadana is the fine example of the Ku or temple of the early Pagan art.
ArchitectureNagayon
The dim interior seems to be the most popular concept for the early Pagan art. That is why the lattice window is so popular during this period. The series of sloping roofs on the transition zone between the body and the spire are also the typical character of the early Pagan period. However, some characters of this temple anticipates the late Pagan art, including the elongate leafs decorating the tympanum. The series of niches decorating vertically at the central portion of the Śikhara is typical to the reign of King Kyanzittha.
ArchitectureAnanda
Anada is the most significant example of the temple (Gu) in Early Pagan art. The temple was designed as four-sanctum-and-four-Madapa temple, hence cruciform plan. The central core is the solid core supporting the Shikhara spire. This kind of plan has been continued from several temples in Pala art, including Paharpur and VikramShila. The roof of the temple is characterized by the sloping roof with four-cornered Stupika supporting the main Shikhara spire. These identities can be compared to the temple built during the same reign, such as Nagayon. However, the absent of the windowed screen allowing the light to penetrate into the interior circumambulatory path is vey different from other earlier temple.
ArchitectureInterior circumambulatory path of Ananda
The inner circumambulatory paths of Ananda are double in number surrounding the central solid core and the sanctums of the temple. There are also numerous sculptures embedded in the wall of the ambulatory path depicting the life of the Buddha. These sculptures are meant for educating the devotees while ambulating around the temple. The arch of the roof supports the sloping roof of the temple. This kind of inner circumambulatory path can be traced back to Pāla temples, including Paharpur and Vikramshila.
ArchitectureKyubyauk Gyi at Myinkaba
Temple of Early Pagan art is normally squat in shape. The windows here are closed by the screens which make the interior ambulatory path and the sanctum very dim. The short leafs at the pediment edge and the prominent sloping roofs are the characteristics of the period. Shikhara with the column of niches in the central offset bears the style similar to that of other temple of contemporaneous period, including Nagayon and Ananda.
ArchitectureThat Binyu
That Binyu is the first double-storeyed temple in Pagan art. The upper storey is supported by the massive solid core hidden inside the lower storey. The plan of both storeys is in sanctum-and-front-hall scheme. This kind of temple would be very popular during the late period of Pagan art and That Binyu seems to be the prototype of the later double-storeyed temple including Sulamani and Htilominlo.
ArchitectureShwegugyi
Shwegugyi is considered to be the example of the transition period, between the tradition of the dim and the bright interior. The windows of this temple become fully-opened without any lattice allowing the light to penetrate inside the temple. The door at the centre of the body also allows the brightness light to penetrate into the interior. The roof is devoid of sloping roof but it is now designed in the form of the stepped pyramidal roof. These characters anticipate the later style of the temple in Late Pagan art.
ArchitectureDhammayangyi
Dhammayangyi is obviously the copy of Ananda. The temple is laid in cruciform plan and the roof is sloping. Inside the temple, there are four Maṇḍapa and the circumambulatory path. As these characters are closely similar to Ananda, this temple seems to be the copy of Ananda. However, the innermost circumambulatory path has been filled up with brick to strengthen the structure of the temple. This strengthening seems to be one of the evidences of the architectural modification.
