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Arts in Southeast Asia Database
SculptureGod Vishnu
The sculpture is in the standing posture on the base wearing the cylinder shape crown which is the distinct characteristic of the early style of Vishnu in Thailand and similar with Vishnu of Pallava Dynasty Art.The sculpture has 4 arms as follow the conventional Iconology of God Vishnu.The front right hand lies down to the belly level, hypothesized to held the clod before but has been broken off. The front left hand hold the mace but the mace part has been broken and only the dandle is left. The. The back hands are broken off. When compare to other Vishnu sculptures, it is hypothesized that the left hand would held Chakra and the right hand hold Shankha according to Vishnu iconology. This statue is of Pallava Art. The upper body is naked while the lower part wears Tothi or the thin panung. The piece of long cloth is tied around the hip through the thigh. The sculptor who crafted this statue might be worried about it being fragile, he made the front arms attached to the mace and the tothi. Moreover, the front pleat of the brocade is long down to the base which make the statue has 5 points to carry the weight; the 2 feet, the front pleat, the seam of body cloth and the mace.
SculptureGod Vishnu
The sculpture is in the standing posture on the base wearing the cylinder shape crown which is the distinct characteristic of the early style of Vishnu in Thailand and similar with Vishnu of Pallava Dynasty Art.The sculpture has 4 arms as follow the conventional Iconology of God Vishnu.The front right hand lies down to the belly level, hypothesized to held the clod before but has been broken off. The front left hand hold the mace but the mace part has been broken and only the dandle is left. The. The back hands are broken off. When compare to other Vishnu sculptures, it is hypothesized that the left hand would held Chakra and the right hand hold Shankha according to Vishnu iconology. This statue is of Pallava Art. The upper body is naked while the lower part wears Tothi or the thin panung. The piece of long cloth is tied around the hip through the thigh. The sculptor who crafted this statue might be worried about it being fragile, he made the front arms attached to the mace and the tothi. Moreover, the front pleat of the brocade is long down to the base which make the statue has 4 points to carry the weight; the 2 feet, the front pleat and the mace.
SculptureGod Vishnu
The sculpture is in the standing posture wears the cylinder shape crown which is the distinct characteristic of the early style of Vishnu in Thailand.The sculpture has 4 arms follow the conventional Iconology of God Vishnu. The front right hand is in the forgiving gesture, the back right one holds the mace, the front left hand holds Shankha (conch shell) at the hip level, the back left hand is lost but presumably to hold Chakra. The position of each hands with the carried objects are visible in the Northern Indian Art prior the 10th Buddhist Century. The upper body is naked while the lower part wears Tothi or the thin panung. The piece of long cloth is tied around the hip through the thigh. The characteristic is comparable to Southern Indian Art prior the 10th Buddhist Century.
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.
SculptureBuddha Amulets
These amulets were found in many area of Southern Thailand. These amulets are rounded. The upper part is slightly pointed. Some pieces are made with the bottom pointed with Bodhisattva or other holy figure images imprinted in the middle. For example, The 21-arm and 4-arm Avalokitesvara, or Kubera, Lord of Wealth and the god-king of the semi-divine Yakshas. These amulets are found in the territories of Mahayana Buddhist Kingdoms such as Pala Dynasty of India and Shailendra Dynasty of Java which made them the evidence of the relationship between the Mahayana Buddhist Kingdoms Network.
SculptureSubduing Mara Buddha (Mara Vijaya Posture)
The double lotus seated Buddha with the subduing Mara hand gesture on top of the double layers lotus throne with the singha at the corners. The round halo is on the back while the middle part is penetrated. The edges of halo are decorated by the flowers and the flames. The Chattra is above the Buddha.
ArchitectureChedi Wat Kaew
Chedi Wat Kaew is a prasat-type chedi. In all possibility, the missing superstructure should be a multiple-tiered roof topped with a round stupa reminiscent a Central Javanese candi and the Phra Borommathat Chaiya but Chedi Wat Kaew is larger. The chedi was built with bricks and mortar.Now ruined, the remaining elements are the large square base and the greek-cross plan body. The chedi faces to the east. It stands on the square base with projections and middle deep porches on all four sides. The eastern porch is the entry way to the cella whereas the other three porches once housed statues. This type of structure can be compared with numerous candi of the Central Java. Furthermore, the exterior of the chedi was decorated with pilasters.
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.
