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ARTISTIC PERIODS

The development of Thai religious art and architecture is broken into different periods or schools defined by the patronage of the ruling capital. The best examples of a period’s characteristics are seen in the variations of the chedi shape and in the features of the Buddha sculptures. Chedi styles often vary in the shape of the pedestal and of the central bell before it begins to taper. For Buddha sculpture, artistic periods often show differences in the facial features, the top flourish on the head, the dress and the position of the feet in meditation.

Dvaravati Period (7th–11th Centuries)

This period refers to the Mon kingdom that occupied areas of northwestern and central Thailand. The Buddha sculptures borrowed heavily from the Indian periods of Amaravati and Gupta, with the Buddha’s body shape being thick, along with large hair curls, arched eyebrows to represent a flying bird, protruding eyes, thick lips and a flat nose. Examples can be seen at Phra Pathom Chedi (Click here) in Nakhon Pathom. Lamphun (Click here) in northern Thailand was also an outpost of the Mon kingdom and today contains several temples displaying the needle-like chedi spires associated with this period.

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Steven Van Beek’s The Arts of Thailand (1999) is a thorough account of artistic movements in Thailand from the Bronze Age to the Ratanakosin era.

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Srivijaya Period (7th–13th Centuries)

A southern kingdom that extended throughout the Malay peninsula and into parts of Indonesia, Srivijaya’s artistic creations were closely linked to Indian forms and were more sensual and stylised than what is found in central and northern Thailand. Examples can be found in Chaiya’s Wat Phra Boromathat and Nakhon Si Thammarat’s Wat Phra Mahathat Woramahawihaan (Click here).

Khmer Period (9th–11th Centuries)

The great Angkor empire based in present-day Cambodia, which once carved its artistic signature into Thai soil, is reflected in images of Buddha meditating under a canopy of the seven-headed naga and atop a lotus pedestal. The most famous Khmer contribution to temple architecture is the central corn cob–shaped stupa, called a prang. Examples can be seen at Sukhothai Historical Park (Click here) and Phimai (Click here).

Chiang Saen-Lanna Period (11th–13th Centuries)

This northern Thai kingdom drew inspiration from its Lao, Shan and Burmese neighbours in depicting Buddha, who appears with a plump figure and round, smiling face, with both pads of the feet facing upward in the meditation position. Standing Buddhas were often shown in the pose of dispelling fear or giving instruction. Lanna-style temples were typically made of teak and the chedi are often indented. Examples can be found in the temples and museums of Chiang Mai (Click here) and at Chiang Saen National Museum (Click here).

Sukhothai Period (13th–15th Centuries)

Often regarded as the first ‘Thai’ kingdom, Sukhothai set forth the underlying aesthetic of successive Thai art. Buddha images were graceful and serene and were often depicted ‘walking’, but without anatomical human detail. The intention was to highlight the Buddha’s spiritual qualities rather than his human status. The telltale Sukhothai chedi are fairly slim spires topped with a lotus-bud motif. Examples can be seen at Sukhothai Historical Park (Click here).

Ayuthaya Period (14th–18th Centuries)

Incorporating elements inherited from the Khmer and Sukhothai kingdoms, Ayuthaya morphed the Buddha image into a king wearing a gem-studded crown and royal regalia instead of an austere monk’s robe. The period’s bell-shaped chedi, with an elongated, tapering spire, can be seen at Ayuthaya Historical Park (Click here).

Bangkok-Ratanakosin Period (19th Century–)

The religious artwork of the modern capital is noted for merging traditional Thai styles with Western influences. Wat Phra Kaew and the Grand Palace (Click here) are a good starting point.

Contemporary Art

Adapting traditional themes and aesthetics to