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
ArchitectureTower-niche: Binh Lam
The Prāsāda-typed niche of Binh Lam is the most beautiful niches of Early Binh Dinh period. The niche is decorated with Kāla-and-Makara gable resembling to Javanese art. The Javanese influence have had an important role since My Son A1 period and still continued up to this period. The superstructure of the Prāsāda-typed niche is designed as four superimposing tiers beautifully ornamented with several miniature towers. The spear-liked tympanum is decorated in the front of the Prāsāda-typed niche.
ArchitectureThap Doi
Thap Doi is the example of Khmer-influenced temple in Cham art. The Khmer influence is noticeable from the insertion of stone into the brick wall and the decoration of several antefixes on the superstructure. These antefixes shape the contour of the superstructure as the curvilinear lotus-bud-liked spire, similar to Angkor Wat and Bayon art. The cornered Garuda is also typical to Khmer art indicating the Cambodian affiliation while Jayavarman VII seized the political role in Champa. This temple therefore is datable to late Binh Dinh art.
ArchitectureSuperstructure: Thap Doi
Thap Doi is the example of Khmer-influenced temple in Cham art. The Khmer influence is noticeable from the insertion of stone into the brick wall and the decoration of several antefixes on the superstructure. These antefixes shape the contour of the superstructure as the curvilinear lotus-bud-liked spire, similar to Angkor Wat and Bayon art. The cornered Garuda is also typical to Khmer art indicating the Cambodian affiliation while Jayavarman VII seized the political role in Champa. This temple therefore is datable to late Binh Dinh art.
ArchitectureCanh Tien
Canh Tien is the temple characterized by the five plain pilasters, typical to Binh Dinh art. However, the stone dressed the corner of the body indicates the Khmer affiliation. The superstructure is of Cham character, composing of the superimposing miniature tiers and the corner towers. The corner towers are however similar to Chinese pagona in design, comparable to the contemporaneous temple Thu Thien. The design of superstructure and the advent of Khmer influence testify that this temple belongs to the later phase of Binh Dinh art.
ArchitecturePo Nagar
Po Nagar tower is assigned to the transition period between the periods of My son A1 and Binh Dinh. Whereas the five-set fluted pilaster is the characteristic of My Son A1 period, the spear-liked pointed arch Is of the later Binh Dinh style.
ArchitectureLocation of Po Nagar
Po Nagar locates on the bank of the river, adjacent to the sea, which is the important landmark. As the goddess is associated with the sea as well as the flatness of the Yonī, this temple is chosen to be by the sea-river.
ArchitectureHoa Lai
There are four pilasters on each wall of the body denoting the early Cham art. The motif band in the middle of the pilaster is typical to Hoa Lai art while the miniature temples decorated at the base are identical to those in Indian and Pre-Angkorian Khmer art. The superstructure comprises the superimposing miniature tiers indicating the south Indian influence.
ArchitecturePediment at Hoa Lai
The arch of Hoa Lai is characterized by the harp-liked arch filled by the foliage motif, The double inner-and-outer volutes are visible at the gable while the animals motif which had been previously popular was now omitted. This is the indigenous characters of Hoa Lai style, different from the Indian-styled of the period of My Son E1.
