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 Singosari
The temple of Singosari is of an extraordinary arrangement. The central temple is the non-enterable solid one placed on the top of the high platform. At the platform there exist four enterable sanctum providing for Shiva (East), Agastaya (south), Ganesha (west) and Mahishasuramardani (north) This iconographic program is conceived by following the model from Candi Parambanan in Central Javanese Art. The style of the temple is of the common type of Eastern Javanese architecture. The temple composes of the square body punctuated by the false doors topped by Kala faces. The superstructure comprises the double bands alternated by the row of miniature temples.
ArchitectureCandi Jawi
The temple comprises the body with the small sanctum as being typlcal to the Eastern Javanese art. The body of the temple is decorated with the door, the ferocious Kāla face and the band in the middle of the wall, typical to the period. The superstructure, designed in the typical style, composes of the series of superimposing bands providing the steep contours. This kind of superstructure closely resembles to the Balinese superstructure called Meru. Each corner of the bands of the superstructure is decorated with triangular shaped endings in the form of animal, anticipating Balinese convention of architectural articulation.
ArchitectureThree Courtyards : Candi Panataran
The plan of the temple Candi Panataran resembles to those in Balinese art as it is divided into 3 courtyards. The front courtyard is in the westernmost whereas the main temple locates in the eastern innermost courtyard. In the first western courtyard, there are stone basements supporting the already-lost timbered pavilions. Thee pavilions correspond to the Bale Agung in Balinese art, meant for performing ceremonies. In the third courtyard, the most important one, there is the stepped base symbolizing Mount Meru, the center of the universe and the abode of Śiva. Unfortunately, the main temple is now lost.
ArchitectureDated Tower: Candi Panataran
The plan of this temple resembles to the ones in Balinese art. The temple is divided into 3 courtyards. Between the first courtyard and the second one, there exists the tower which is dated by the inscription to 1369 A.D. Square in plan, this small tower is typical to Eastern Javanese art, composing of the body topped with the ferocious Kāla face. The superstructure comprises the series of bands punctuated with the cloisters of miniature temples, also typical to the period. However, the curvilinear contour of the superstructure seems to be prominent for this temple, more beautifully rendered than the previous Singosari temples.
ArchitectureTower with serpent: Candi Panataran
The most striking tower in the middle courtyard of the complex is the tower surrounded by the body of the serpent. The elongate body of the serpent is supported by several deities with the cylindrical crown and the typical Eastern Javanese dress. One of their hands hold the ceremonial bell while the another holds the body of the serpent. Th original function of this tower is unknown. However the serpent is connectible to the legend of the churning of the milky ocean and the function of this tower is possibly associated with the sacred water consecration.
ArchitectureStepped Pyramidal Base: Candi Panataran
The inner courtyard of the complex is the location of the mon tower with the stepped pyramidal base, symbolizing the central pivot of the cosmos as well as the abode of Śiva. However the tower on the top of the pyramidal base does not survive. The superstructure of this tower is possible to be the Meru style temple as in Balinese art. The first tier of the base depicts the story of Rāmāyana started from the adventure of Hanuman in Lanka to the episode of Lanka burning, the construction of the causeway and the death of Kumbhakarṇa. The style of the narrative is similar to the Wayang (Javanese shadow puppet). The second tier of the base depicts the story of Krishna whereas the uppermost tier is decorated with the statues of winged lions and winged serpents.
ArchitectureCandi Tikus
Trowulan was the capital of Majapahit dynasty. There are a number of monuments in this city, including Candi Tikus(the sacred pond) and several gateways. These monuments are always in brick, different from normal stone temple of the Eastern Javanese period
ArchitectureGapura Bajang Ratu
Gapura Bajang Ratu is of the most beautiful gateways in Majapahit period. Constructed in Brick which is the most popular material for construction at Trowulan, the style of the gateway is of the typical Eastern Javanese architecture. The door is decorated with the ferocious Kāla face gesturing the threatening gesture. The superstructure of the gateway is similar to the tower at Panataran, comprising the double bands punctuated by the cloister of 5 miniature towers. The contour is beautifully rendered in curvilinear shape. The tradition of constructing the gateway infornt of the temple complex in Eastern Javanese art anticipates the popularization of the same tradition in later Balinese art.
