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Arts in Southeast Asia Database
SculptureThe attitude of subduing Mara
The stucco Buddha image is sitting simple cross-legged on the lotus base. The hand is in the attitude of subduing Mara. The image has a round face, yet rather oval which could indicate the time during the change from the round face in early Sukhothai Buddha images to the oval face the Major Group. The eyebrows are arched. The eyes are gazing down. It also has a pointed nose, well-proportioned lips and small finer hair curls. The robe is worn across the body without drapery folds. The outer robe is worn on the left shoulder. It has a special feature that makes it different from other images in the Major Group which is that the whole outer robe is folded while other images in the Major Group will be folded only the edge.
SculptureThe attitude of subduing Mara
The Buddha image is in meditation posture sitting simple cross-legged on the plain base. The hands are performing the attitude of subduing Mara which is the remarkable feature of Sukhothai Buddha images under the Major Group and the features are including the oval face, the arched eyebrows, the low gazing eyes, the aquiline nose, the well-proportioned lips, the big spiral-liked hair curls, the high Usnisa, flame-liked aureole, wearing cross-body robe with no crease, the long small outer robe strip with the edge reaching the navel, and the folded edge known as centipede fangs.
SculptureBuddha image
The Buddha image is damaged in many parts that it cannot be detected of which manner and attitude it was originally made. As it is a high relief sculpture, it is believed that the image was used to decorate a religious place attached to the wall. It has a round face with arched eyebrows and pointed nose. The eyes are gazing down. The lips are fairly well-proportioned, though curvy-shaped like a wave. The hair is tightly curled into finer small curls. Usanisa (cranial bump) is swelling high. The halo on top of the head is damaged and missing. The image has prominent chest with the robe worn across the body, no drapery folds. The outer robe is small and short only above the breast. The edged is folded in many layers and this is known as centipede fangs.
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.
SculptureNaga-Protected Buddha
This bronze Naga-Protected Buddha can be separated into 3 parts; the body (Buddha), the Naga’s head, and the Naga Coil.The Buddha is seated in the lotus position with subduing Mara hand gesture which is unusual as most Naga-Protected Buddha would be craft in the meditation posture. This unique style is classified as the characteristic of the Chaiya School of Art. The hole on the forehead of the Image was likely made later. The Usaneesa is in the half circle shape, undecorated. There are triangular panels that originally had gems adorned in the front side. The seam of the robe runs pass through the left shoulder to the belly is in a square bars overlapping in several layers. The 7 heads of Naga are in triangular shape, similar to Bodhi leaf. The Middle head is the largest with 3 smaller heads that turn toward the main head on each sides. All of them were placed next to each other in the panel form comparable to the Naga Heads in Lavo or Khmer Art in Thailand during the Angkor Era like the ones at Angkor Thom and Bayon. The 3-layer Naga Coil is comparable to the Naga coil of Lavo or Khmer Art in Thailand during the Angkor Era as well especially the ones in Angkor Wat. The characteristic of this style is that each layers is not equal. It goes from the largest one on the top to the smallest one in the bottom in the reverse triangle shape. Moreover, on top of the coil is the lotus base for the Buddha Image.
SculptureAvalokitesvara Bodhisattva
The Avalokitesvara Bodhisattva is in the standing posture with 8 arms but all the arms has only the upper part left. The lower body part from the knees down are gone.he face is plump and well-crafted. The eyelids are half closed. The head wears the triangle crown with jewelries. The hair bun is in the cylinder shape with the image of Amitabha Buddha. The hair is curvy and lies 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.
