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Thai art refers to a diverse range of art forms created inThailand fromprehistoric times to the present day, includingarchitecture,sculpture,painting,textiles,decorative arts,crafts,ceramics, and more. WhileBuddhism has played a significant role in Thai art, with many sculptures and paintings depictingBuddha images and religious themes,[1][2]nature, includingflora andfauna, as well asmythical creatures, has been a major inspiration for Thai art, with colorfulmotifs appearing in various types of art forms.[3] Incontemporary Thai art, traditional works remain significant and continue to influence artists' concepts.[4]
One of the earliest examples of artistic expression in Thailand can be found in over 410 documentedrock art sites across the country, featuring bothprehistoric andhistoric art.[5] The majority of these sites showcase monochrome red pictograms that depict animals, humans, geometric shapes, and handprints.[6] While the dating of many sites remains unknown, some rock art sites have been reported to date back 3,000–5,000 years ago.[7]
Nong Ratchawat, situated inSuphanburi province, is an important prehistoric site that provides valuable insights into the lifestyles of the people who settled in the area around 2000–500 BCE. Excavations have unearthed evidence of rice cultivation, animal husbandry, hunting, fishing, building construction, the creation of polished stone axes and pottery using locally available materials. The inhabitants were skilled in weavingtextiles from plants possessing strong fibers, such as flax,hemp, andramie. During theIron Age,Nong Ratchawat became a prominent trading hub in theMae Klong River Basin and theTha Chin River Basin, attracting merchants from different parts of the world and leading to cultural and ethnic diversity. The river watersheds surrounding the site have yielded a plethora of artifacts, includingpottery, bronze and iron tools, glass beads, ivory dice,Roman coins, andLingling-o earrings.[8]Ban Chiang is another important archaeological site in Thailand, located inUdon Thani province. It showcases the artistic achievements of a prehistoric culture that existed from about 2000 BCE to 300 CE. The people of Ban Chiang were skilled metalworkers, and evidence of early metallurgy, including copper and bronze artifacts, has been found at the site. The site also features diverse ceramics, some of which are decorated with distinctive red-on-buff swirl designs painted by hand.[9]
TheDvaravati period, lasting from the 6th to the 12th centuries CE, witnessed the spread ofTheravada Buddhism throughoutcentral,northern,northeastern, andsouthern Thailand. While Theravada Buddhism was the dominant religion during this time, there is also evidence of other religious influences, includingMahayana Buddhism andHinduism. Dvaravati art, which employed hard bluelimestone orquartzite to produce intricatesculptures,stucco, andterracotta decorations,[10] featured symmetricalBuddha images standing or seated on thrones and theWheel of the Law.[11] The art style of Dvaravati owed its influence to the art of theGupta and Post-Gupta periods innorthern India, as well as the Buddhist art ofAmaravati insouthern India.[12] People of Dvaravati were likely theMons, as evidenced by various inscriptions during this period.[13] The Dvaravati period played a significant role in the dissemination of Buddhism across the region, with noteworthy examples of Dvaravati towns including Nakhon Pathom ancient city inNakhon Pathom province,U-Thong inSuphanburi province, Chan Sen inNakhon Sawan province,Si Thep inPhetchabun province,Hariphunchai inLamphun province,Mueang Fa Daet Song Yang inKalasin province, Champasi inMaha Sarakham province, Sema inNakhon Ratchasima province, Baan Dong Lakorn inNakhon Nayok province,Ku Bua inRatchaburi province, and Yarang inPattani province.
During the 8th-13th centuries CE,Southern Thailand may have been influenced by theSrivijaya Kingdom, which encompassedSumatra and theMalay Peninsula. This resulted in similarities between Srivijaya art in Southern Thailand and Central Java art inIndonesia, specifically in bronze sculptures and votive tablets. The ancient sites inChaiya, Southern Thailand, also bear resemblances toCentral Java art, with Wat Phra Borommathat Chaiya being the most similar. The majority of sculptures discovered in Southern Thailand are of religious significance, depicting figures such as theAvalokitesvara, Buddha protected by aNāga, and clay votive tablets with Buddhist iconography. Srivijaya art in Southern Thailand, fromSurat Thani toSongkhla, displays the influence of Indian art styles such asGupta, post-Gupta, andPala–sena, indicating a strong connection toMahayana Buddhism.[14]
Between the 11th and 13th centuries CE,central andnortheastern Thailand was ruled by theKhmers ofCambodia[16] and as a result,Brahmin–Hinduism emerged. It led to the development of artistic styles, sculptures, and architecture similar to theKhmer also known as Khom inThai language. This artistic expression is known as the Lopburi style, named after the ancient city ofLopburi orLavo and refers to both theKhmer-influenced and genuinelyKhmer artistic movement in Thailand.[17][18]
Lopburi artists were primarily associated with Brahmin-Hinduism, and later,Mahayana Buddhism. Surviving examples of their art are mainly stone and bronze carvings. The Lopburi architectural style used bricks and stones, with thePrang style being the most common, influenced by the KhmerAngkor style.[19] In the 13th century AD, theSukhothai Kingdom was established, and theLopburi Kingdom came under its influence. During this time, artistic works aimed to establish a Thai identity.[18]
![Phra Prang Sam Yot, a Khmer temple in Lopburi province[20]](/mt/?noimg=&dark=on&url=https%3a%2f%2fen.wikipedia.org%2fwiki%2fFile%3a%25E0%25B8%259B%25E0%25B8%25A3%25E0%25B8%25B2%25E0%25B8%2587%25E0%25B8%2584%25E0%25B9%258C%25E0%25B8%25AA%25E0%25B8%25B2%25E0%25B8%25A1%25E0%25B8%25A2%25E0%25B8%25AD%25E0%25B8%2594_2020.jpg)
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U-Thong art, also known as Suphannaphum-Ayothaya art, emerged incentral Thailand between the 12th and 15th centuries CE, contemporaneously withChiang Saen and Sukhothai art. This style received its name from the U-Thong Kingdom, which was centered in theU Thong District, although this kingdom's existence is ambiguous. It is characterized by a Buddha image style influenced byDvaravati,Lopburi, andSukhothai arts, with the Dvaravati influence being the most prominent. The resulting architecture and fine arts are collectively referred to as U-Thong and can be found in various provinces, includingSuphanburi,Nakhon Pathom,Chai Nat,Lopburi, andAyutthaya.[21]
U-Thong architecture is closely related toTheravada Buddhism and features low-roofed ubosot, vihāra, and chedis constructed with wood. A unique style of U-Thong chedi has an octagonal base, eight-sided structure, lotus crystal-adorned roof, and bell. These chedis are commonly found at various temples, such asSankhaburi in Chai Nat province or some temples in Suphanburi. Another type of U-Thong chedi is found at Wat Phra Borommathat inChai Nat province and shows similarities to Srivijaya art.[21]
Bronze sculptures from the U-Thong period exemplify elaborate casting, inheriting from the earlier Dvaravati art. Sukhothai art mixed with U-Thong art, resulting in lighter Buddha statues with flame auras, eventually becoming characteristic of early Ayutthaya art. The U-Thong or Ayothaya Kingdom was dissolved with the establishment of theAyutthaya Kingdom.[21]
Sukhothai art emerged in the 13th to 15th centuries CE, coincided with the establishment of theSukhothai Kingdom. This art form was influenced byTheravada Buddhism, which was propagated fromLanka throughNakhon Si Thammarat.[22] One of the most notable characteristics of Sukhothai art is the authentic Sukhothai-style chedi, also referred to asPhum khao bin, which has a distinct lotus-shaped design.[23]
Another defining feature of Sukhothai art is the Buddha images' graceful and elegant form, which exhibits refined proportions, a distinctive flame-like halo around the head, and a serene expression. These Buddha images are typically seated in the half-lotus posture with the right hand performing the earth-touching gesture or walking with one foot forward and the right hand raised to the chest. The walking Buddha, in particular, is a unique style closely associated with Sukhothai.[24]
The Sukhothai Kingdom was also renowned for its exceptional glazed ceramics, which were produced in theSangkhalok style. These ceramics featured delicate blue-green or grayish-green tints and intricate designs painted in black or a darker hue of the glaze. They were fired at high temperatures, resulting in a durable and robust body.[25][26] Despite its short-lived existence, the Sukhothai Kingdom's artistic legacy remains influential to this day. The kingdom's artistry and craftsmanship were absorbed into theAyutthaya Kingdom, which succeeded it.[23]
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Lanna art, also known as Chiang Saen art, denotes an artistic tradition that emerged innorthern Thailand, spanning the period from the 14th to the 19th century AD. Its inception was inChiang Saen; however, the establishment of theLanna Kingdom withChiang Mai as its capital caused a shift in artistic production. Lanna art is deeply entrenched inTheravada Buddhism, which was the dominant religion in the region. While initially, it drew inspiration fromHariphunchai art, it gradually evolved its distinct style.[27][28]
Lanna chedis are typically bell-shaped, evolving from a round plan to a polygonal plan as seen in the pagoda atWat Phra That Doi Suthep. Some chedis, for example, the one containingKing Tilokaraj's ashes atWat Chet Yot, were influenced bySukhothai architecture. The Buddha images of Lanna are frequently depicted with specific attributes like a round face, a smiling expression, and curled-up hair or an egg-shaped face with a halo of flames.[28]
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Ayutthaya art thrived between the 14th and 18th centuries CE, during the rise and dominance of theAyutthaya Kingdom across much of mainland Southeast Asia. It inherited the artistic traditions of late U-Thong art and developed a distinctive style that blended various cultural influences from Sukhothai, Lopburi, India, Persia, China, Japan, and Europe.[29][30][31] Ayutthaya also exerted its artistic influence over its vassal states ofAngkor andLanna.[32][33]
The art of Ayutthaya was characterized by a diverse array of techniques and styles, including the grand palaces and monasteries decorated with chedis, prangs, and Buddha images. Religious icons were often adorned with regal attire and crowns, emphasizing the close relationship between the king and the Buddha.[29] Artisans showcased their expertise in the creation oflacquerware and mother-of-pearl inlay, producing functional and decorative objects with intricate designs and vivid paintings. These techniques were frequently used to decorate religious objects such as Buddha images.[34]
Chang Sip Mu, which meansTen Essential Traditional Craftsmanship, played a crucial role in both civilian and military fief houses during the Ayutthaya period. This is evidenced by its recognition under theThree Seals Law implemented byKing Borommatrailokkanat. Despite the name suggesting only ten groups of highly skilled craftsmen, the group actually comprised more than ten groups who were experts in various fields.[35] However, after the Burmese army burned down the city in 1767 CE,[36] various branches of fine arts that had thrived during the late Ayutthaya period had to disperse because craftsmen were taken away.[35] Despite this unfortunate event, the city's artistic heritage can still be appreciated today at the archaeological site of the historic city and in various museums.
Rattanakosin art is a style of art that emerged in 1780, when theRattanakosin Kingdom was founded byKing Rama I. The king wanted to revive the artistic traditions that had been lost during the destruction of theAyutthaya Kingdom by the Burmese. He re-establishedChang Sip Mu, a group of ten craftsmen who were responsible for creating fine art in Bangkok. Later, this group became part of theFine Arts Department.[35][37]
The early Rattanakosin art was influenced by the late Ayutthaya art, which was characterized by the use of bright colors, gold leaf, and solid backgrounds in paintings. The artists also restored some of the art forms that had been damaged or lost, such as lacquerware and mother-of-pearl inlay.[37]
During the reign ofKing Rama III, Rattanakosin art began to incorporate elements from other cultures, such as European and Chinese. This was especially evident in architectural art, which blended Thai and Chinese styles. For example, theGrand Palace andWat Pho were built with Chinese-style roofs and decorations.[37]
King Rama IV introduced more changes to Rattanakosin art, as he was interested in Western science and culture. He adopted European architectural styles and techniques, such asGothic andneoclassical, and also learned about linear perspective from Western paintings. He hiredKhrua In Khong, a talented painter who applied linear perspective to Thai paintings and created realistic scenes of nature and society.[37]
King Rama V continued the modernization and westernization of Rattanakosin art, as he traveled to Europe and brought back new ideas and materials. He commissioned many buildings that combined Thai and European styles, such as theAnanta Samakhom Throne Hall and theVimanmek Mansion and mixed-style such asChakri Maha Prasat Throne Hall.[37] He also supported the production ofBenjarong, a type of porcelain with colorful patterns that had previously been imported from China with Thai patterns but later began to be produced locally.[38]
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Contemporary Thai art emerged in the 1990s, blending old and new Thai cultural features with a diverse color palette and patterns to create modern and appealing art.[39] However, its roots can be traced back toKhrua In Khong, the first Thai artist to adopt the Western realist style in his paintings, which added more depth and realism to his works.[40]
Silpa Bhirasri, an Italian sculptor who came to Thailand in 1923 and founded theSchool of Fine Arts, which later becameSilpakorn University, played a pivotal role in introducing modern art concepts and techniques to Thai artists and students. He taught them perspective, anatomy, composition, and color theory, and established the National Art Exhibition in 1949, providing a platform to showcase and promote Thai art.[41] Silpa Bhirasri's famous sculptures and paintings reflected his artistic vision and appreciation of Thai culture and history, making him widely regarded as the father of Thai contemporary art.[40]
Silpa Bhirasri's influence can be seen in the works ofFua Haripitak andSawasdi Tantisuk [th], who were Thailand'savant-gardes in the 1950s and 1960s. These artists challenged the conventional norms and expectations of Thai art by creating abstract and expressive works that explored their personal feelings and experiences. They used bold colors, shapes, and textures to convey their emotions and ideas, incorporating elements of Thai culture and spirituality, such as Buddhist symbols, folk motifs, and astrological signs, into their works. Their trailblazing efforts paved the way for many more artists of later generations, such as Damrong Wong-Upraj, Manit Poo-Aree, Pichai Nirand, and Anant Panin, to experiment with new forms and styles of expression.[40]
In the mid-1990s, a group of artists created theChiang Mai Social Installation, which brought art and performance out of the traditional gallery setting and into the streets ofChiang Mai.
TheBangkok Art Biennale, launched in 2018, provides a platform for artists to showcase their work on an international stage. These developments reflect a growing interest in Thai contemporary art and the increasing willingness of artists to experiment with new forms of expression[42]
The style was comparable with those styles of Khmer sculptures and architectures in Cambodia, therefore, the 'Ancient Khmer Style of Thailand' is used as an alternative term for 'Lopburi Style'.
This crowned Buddha image was cast in Lopburi, the Khmer provincial capital located in central (modern day) Thailand in the early centuries of the second millennium.
La ville de Lopburi (à 130 km au nord de Bangkok), qui a donné son nom à l'école khmérisante, et authentiquement khmère, de Thaïlande, est située à la bordure nord-est du Delta
The Thai word refers on the one hand on the Angkorian tower structures, on the other hand on towers that build on this heritage style.
The Prang Sam Yod ("Three-Spired Sanctuary"), the symbol of the Lop Buri region, was built by the Khmers.
