One of the earliest examples of artistic expression in Thailand can be found in over 410 documented rock art sites across the country, featuring both prehistoric and historic 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 in Suphanburi 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 weaving textiles from plants possessing strong fibers, such as flax, hemp, and ramie. During the Iron Age, Nong Ratchawat became a prominent trading hub in the Mae Klong River Basin and the Tha 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, including pottery, bronze and iron tools, glass beads, ivory dice, Roman coins, and Lingling-o earrings.[8]Ban Chiang is another important archaeological site in Thailand, located in Udon 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]
Vessel in the form of a water buffalo from Lopburi; 2300 BC; ceramic; height: 18cm (73⁄32 in.)
Bowl; from Ban Chiang site; painted ceramic; height: 32cm, diameter: 31cm
Dvaravati period stone dharmachakra, Phra Pathom Chedi National Museum.
Dvaravati period lion stucco, Phra Pathom Chedi National Museum.
Srivijaya art
During the 8th-13th centuries CE, Southern Thailand may have been influenced by the Srivijaya Kingdom, which encompassed Sumatra and the Malay Peninsula. This resulted in similarities between Srivijaya art in Southern Thailand and Central Java art in Indonesia, specifically in bronze sculptures and votive tablets. The ancient sites in Chaiya, Southern Thailand, also bear resemblances to Central 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 the Avalokitesvara, Buddha protected by a Nāga, and clay votive tablets with Buddhist iconography. Srivijaya art in Southern Thailand, from Surat Thani to Songkhla, displays the influence of Indian art styles such as Gupta, post-Gupta, and Pala–sena, indicating a strong connection to Mahayana Buddhism.[14]
Between the 11th and 13th centuries CE, central and northeastern Thailand was ruled by the Khmers of Cambodia[16] and as a result, Brahmin–Hinduism emerged. It led to the development of artistic styles, sculptures, and architecture similar to the Khmer also known as Khom in Thai language. This artistic expression is known as the Lopburi style, named after the ancient city of Lopburi or Lavo and refers to both the Khmer-influenced and genuinely Khmer 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 the Prang style being the most common, influenced by the Khmer Angkor style.[19] In the 13th century AD, the Sukhothai Kingdom was established, and the Lopburi Kingdom came under its influence. During this time, artistic works aimed to establish a Thai identity.[18]
U-Thong art, also known as Suphannaphum-Ayothaya art, emerged in central Thailand between the 12th and 15th centuries CE, contemporaneously with Chiang Saen and Sukhothai art. This style received its name from the U-Thong Kingdom, which was centered in the U Thong District, although this kingdom's existence is ambiguous. It is characterized by a Buddha image style influenced by Dvaravati, Lopburi, and Sukhothai 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, including Suphanburi, Nakhon Pathom, Chai Nat, Lopburi, and Ayutthaya.[21]
U-Thong architecture is closely related to Theravada 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 as Sankhaburi in Chai Nat province or some temples in Suphanburi. Another type of U-Thong chedi is found at Wat Phra Borommathat in Chai 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 the Ayutthaya Kingdom.[21]
Sukhothai art emerged in the 13th to 15th centuries CE, coincided with the establishment of the Sukhothai Kingdom. This art form was influenced by Theravada Buddhism, which was propagated from Lanka through Nakhon Si Thammarat.[22] One of the most notable characteristics of Sukhothai art is the authentic Sukhothai-style chedi, also referred to as Phum 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 the Sangkhalok 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 the Ayutthaya Kingdom, which succeeded it.[23]
Lanna art, also known as Chiang Saen art, denotes an artistic tradition that emerged in northern Thailand, spanning the period from the 14th to the 19th century AD. Its inception was in Chiang Saen; however, the establishment of the Lanna Kingdom with Chiang Mai as its capital caused a shift in artistic production. Lanna art is deeply entrenched in Theravada Buddhism, which was the dominant religion in the region. While initially, it drew inspiration from Hariphunchai 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 at Wat Phra That Doi Suthep. Some chedis, for example, the one containing King Tilokaraj's ashes at Wat Chet Yot, were influenced by Sukhothai 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]
Ayutthaya art thrived between the 14th and 18th centuries CE, during the rise and dominance of the Ayutthaya 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 of Angkor and Lanna.[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 of lacquerware 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 means Ten 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 the Three Seals Law implemented by King 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 the Rattanakosin Kingdom was founded by King Rama I. The king wanted to revive the artistic traditions that had been lost during the destruction of the Ayutthaya Kingdom by the Burmese. He re-established Chang Sip Mu, a group of ten craftsmen who were responsible for creating fine art in Bangkok. Later, this group became part of the Fine 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 of King 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, the Grand Palace and Wat 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 as Gothic and neoclassical, and also learned about linear perspective from Western paintings. He hired Khrua 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 the Ananta Samakhom Throne Hall and the Vimanmek Mansion and mixed-style such as Chakri Maha Prasat Throne Hall.[37] He also supported the production of Benjarong, 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]
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 to Khrua 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 the School of Fine Arts, which later became Silpakorn 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 of Fua Haripitak and Sawasdi Tantisuk[th], who were Thailand's avant-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 the Chiang Mai Social Installation, which brought art and performance out of the traditional gallery setting and into the streets of Chiang Mai.
The Bangkok 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]
Sukhothai Historical Park covers the ruins of Sukhothai, literally 'dawn of happiness', capital of the Sukhothai Kingdom in the 13th and 14th centuries, in north central Thailand. It is near the city of Sukhothai, capital of Sukhothai Province.
Ayutthaya Historical Park covers the ruins of the old city of Ayutthaya, Phra Nakhon Si Ayutthaya Province, Thailand. The city of Ayutthaya was founded by King Ramathibodi I in 1351, though it is likely to be significantly older, based on evidence showing that the area was already populated during the Mon Dvaravati period. Sources further mention that around 850 AD, the Khmers occupied the area and established a stronghold there, naming it Ayodhya, after one of the holiest Hindu cities in India of the same name. The early history of Ayutthaya is connected to this Khmer settlement. Additionally, Prince Damrong has also attested to the existence of a city named Ayodhya, founded by the Khmers ruling from Lopburi at the point where the three rivers meet. An excavation map shows traces of an ancient baray close to the southwestern tip of Wat Yai Chai Mongkhon, which could have been built on a former important Khmer temple complex.
Dvaravati was an ancient Mon kingdom from the 6th century to the 11th century that was located in the region now known as central Thailand. It was described by Chinese pilgrims in the middle of the 7th century as a Buddhist kingdom named To-lo-po-ti situated to the west of Isanapura (Cambodia) and to the east of Sri Ksetra (Burma). Dvaravati also refers to a culture, an art style, and a disparate conglomeration of principalities of Mon people. Archaeological research over the past two decades or so has revealed the presence of a "Proto-Dvaravati" period which spans the 4th to 5th centuries, and perhaps earlier.
The national museums of Thailand are operated by the Fine Arts Department of the Ministry of Culture, and are responsible for the safeguarding of state-owned historical and cultural artefacts. In 1926 King Prajadhipok created the Royal Institute of Art, Literature and Archaeology, which then opened the museum in Bangkok at the Wang Na palace. Today there are 43 national museum branches operated across the country.
Silpa Bhirasri, born Corrado Feroci, was a Tuscan-born Thai sculptor. He is considered the father of modern art in Thailand and was instrumental in the founding of today's Silpakorn University.
Nakhon Pathom is a city in central Thailand, the former capital of Nakhon Pathom province. One of the most important landmarks is the giant Phra Pathommachedi. The city is also home to Thailand's only Bhikkhuni temple Wat Song Thammakanlayani (วัดทรงธรรมกัลยาณี), which is also open to women from abroad.
Phra Pathommachedi or Phra Pathom Chedi is a Buddhist stupa in Thailand. The stupa is located in the Wat Phra Pathommachedi Ratcha Wora Maha Wihan (Thai: วัดพระปฐมเจดีย์ราชวรมหาวิหาร), a temple in the town center of Nakhon Pathom, Nakhon Pathom Province, Thailand. Phra Pathommachedi is the tallest stupa in the world. The top of its spire reaches 120.45 meters, with the base circumference of 235.50 meters.
Wat Phra That Doi Suthep is a Theravada Buddhist temple (wat) in Chiang Mai Province, Thailand. The temple is often referred to as "Doi Suthep" although this is actually the name of the mountain where it is located. It is a sacred site to many Thai people. The temple is 15 kilometres (9.3 mi) from the city of Chiang Mai and situated at an elevation of 1,073 meters. From the temple, impressive views of downtown Chiang Mai can be seen.
Thai temple art and architecture is the art and architecture of Buddhist temples in Thailand. Temples are known as wats, from the Pāḷi vāṭa, meaning "enclosure". A temple has an enclosing wall that divides it from the secular world. Temples served as a stabilizing center in these communities because their sacred teachings became a basis of authority and boundaries, their precincts became places of instruction, their regimes of common ownership of property formed them into economic centers, and their functions allowed them to serve at the heart of these communities in a variety of ways.
The architecture of Thailand is a major part of the country's cultural legacy and reflects both the challenges of living in Thailand's sometimes extreme climate as well as, historically, the importance of architecture to the Thai people's sense of community and religious beliefs. Influenced by the architectural traditions of many of Thailand's neighbors, it has also developed significant regional variation within its vernacular and religious buildings. Although Siam urged to identify themselves as a modernized state, Western culture and influence was undesirable and inevitable. In an attempt to become distinguished, Thailand's ruling elite gravitated toward selective Modernization to avoid the undesired Western influence.
Wat Phra That Phanom is a Buddhist temple in the That Phanom District in the south of Nakhon Phanom Province, all within the Isan region of Thailand near the Lao border. According to local legend, the temple contains in the pagoda the Phra Uranghathat (พระอุรังคธาตุ)/Phra Ura (พระอุระ)/Buddha's breast bones. As such, it is one of the most important structures for Theravada Buddhists and the most important Buddhist site in the province, with an annual week-long festival being held in the town of That Phanom to honour the temple. These festival attract thousands of people who make pilgrimages to the shrine. In Thai folk Buddhism, Wat Phra That Phanom is a popular pilgrimage destination for those born in the year of the Monkey.
The lands situated in the present-day Phitsanulok Province of Thailand have been inhabited since the Stone Age, although the neolithic inhabitants of the region are not likely to have been the ancestors of the modern Thai people who reside there today. The earliest historical records relating to what is now Phitsanulok Province indicates that at a time prior to or during the 11th century, the present-day city of Phitsanulok was but a small strategic Khmer outpost known as Song Khwae. During the next century, in 1188, Nakhon Thai, located near the center of the present Phitsanulok Province, was established as the capital city of the Singhanavati Kingdom, an early city-state of Thailand. Later, during Thailand's Sukhothai Period, the city of Phitsanulok emerged as a major city in the east of the Sukhothai Kingdom, and the great temples of Wat Chula Manee, Wat Aranyik and Wat Chedi Yod Thong were constructed. In 1357, the renowned Wat Phra Sri Rattana Mahathat was erected, and the Ayutthaya Period witnessed the construction of several of the province's other chief temples. Phitsanulok served for 25 years as the capital city of the Ayutthaya Kingdom. In 1555, King Naresuan the Great was born in the city of Phitsanulok. Naresuan played a significant role in the history of Thailand, as he expanded the kingdom to its greatest territorial extent, by conquering sizable portions of modern-day Burma and Cambodia. In recent times, Phitsanulok Province has become an important agricultural center, part of the Bread Basket of Thailand, providing rice and other crops to consumers in Thailand and throughout the world. Extensive agricultural development over the last hundred years or so has spawned a modern infrastructure in the urban areas of the province, bringing with it an array of modern roads, universities, hospitals and other conveniences. Over the years, the Nan River and its tributaries have played a substantial role in the history and development of the region by providing a route for transportation, fertile soil for agriculture, and water for irrigation. The river waters have also served as a route for enemy invaders, and have been the source of periodic widespread flooding throughout the province.
A Buddha image in Thailand typically refers to three-dimensional stone, wood, clay, or metal cast images of the Buddha. While there are such figures in all regions where Buddhism is commonly practiced, the appearance, composition and position of the images vary greatly from country to country in Buddhist art.
The Si Satchanalai Historical Park is a historical park in Si Satchanalai district, Sukhothai Province, northern Thailand. The park covers the ruins of Si Satchanalai and Chaliang. Si Satchanalai, which literally means "City of good people", was founded in 1250 as the second center of the Sukhothai Kingdom and as a residence of the crown prince in the 13th and 14th centuries.
A wat is a type of Buddhist temple and Hindu temple in Cambodia, Laos, East Shan State, Yunnan, the Southern Province of Sri Lanka and Thailand. The word wat was borrowed from Sanskrit vāṭa, meaning 'enclosure'. The term has varying meanings in each region, sometimes referring to a specific type of government-recognised or large temple, other times referring to any Buddhist or Hindu temple.
The Lavo Kingdom was a political entity (mandala) on the left bank of the Chao Phraya River in the Upper Chao Phraya valley from the end of Dvaravati civilization, in the 7th century, until 1388. The original center of Lavo civilization was Lavo, but the capital shifted southward to Ayodhaya, the port city on the right side of the Ayutthaya island around the 11th century, whereupon the state was incorporated into the Ayutthaya Kingdom in the 14th century.
Phitsanulok is a city, municipality, the capital and the largest populated place of the Thai province of Phitsanulok. It is also the headquarters of the Mueang Phitsanulok District. In 2022, it had a population of 62,000, making it the second–largest cities by population in the lower northern Thailand. The city is one of the centre of Thailand's tourism industry, and it is a historic city in the country.
Dvaravati art is a form of artistic work originating from Mon. Dvaravati flourished from the Dvaravati Mon ancient artifacts are in present-day Thailand and Burma, Mon states to the west in southern Myanmar (Burma) and with the Mon state in northern Thailand. Dvaravati experienced political domination by neighbouring peoples on three occasions: in the 10th century, when the Burmese conquered the Mon state of Thaton west of the Tenasserim Yoma; from the 11th to the 13th century, when the Khmer Empire (Cambodia) arose in the east; and finally, in the late 13th century, when Dvaravati was absorbed by the Thai empire.
Mueang Uthong is an archaeological site located in the U Thong district, Suphan Buri province. It was inhabited from around the 10th century BC and became the state society in the third to sixth-century CE. Uthong was one of the largest known city-states that emerged around the plains of central Thailand in the first millennium but became abandoned around 1000 AD due to the endemic and lost in major trading cities status. It was resettled in the Ayutthaya period but was abandoned again after the fall of Ayutthaya in the 1760s.
↑ "Lop Buri". Thai Heritage. Retrieved 2023-11-13. 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'.
↑ Boisselier, Jean. "Lopburi". Encyclopædia Universalis France (in French). Retrieved 2023-11-13. 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
↑ "Prang (architecture)". Menim. Retrieved 2023-11-13. 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.
↑ Albert, Melissa. "Lop Buri". Britannica. Retrieved 2023-11-13. The Prang Sam Yod ("Three-Spired Sanctuary"), the symbol of the Lop Buri region, was built by the Khmers.
↑ Chularatana, Julispong (2017). "Indo-Persian influence on late Ayutthaya art, architecture, and design". The Journal of the Siam Society. 105: 43–72.
Lippe, Aschwin (1961). "A Dvaravati Bronze Buddha from Thailand". The Metropolitan Museum of Art Bulletin. 19 (5): 125–132. doi:10.2307/3257880. JSTOR3257880.
Rama IX Art Museum – Virtual museum of Thai contemporary artists. Listings of museums, galleries, exhibitions and venues. Contains muchinformation on Thai artists and art activities.
Golden Triangle Art – Introduction of contemporary art and artists living and working in Northern Thailand and Myanmar. Guide to art galleries, art News and exhibitions with focus on Chiang Mai.
Thai Buddhist Art – Thai Buddhist Art Website Project to Promote and play a part in the growth of the Thai Fine Art Community of Collectors and Aficionados. Representing a host of Thailand's Most Outstanding Artists.
Online display of the 19th-century Thai Manuscript Traiphum (Illustrated Text on Cosmology) from the Harvard Art Museums' collections.
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