A Buddha image in Thailand

Lecturer: Dr. Pintong Chatnarat

VEN. LE TRUNG TIN

ID.6101506016
 Dvaravati period

During the Dvaravati period (seventh through eleventh centuries),

there were two factions of Buddhism practised in the region that now
encompasses present-day Thailand, namely Mahayana and
Theravada. The types of images constructed during this era reflect
the distinction. Much of the basis for the Buddhist artwork of the
Dvaravati period was influence from Buddhist art in India, including
the Amaravati and Gupta styles, although there was also local and
Khmer influence. Such images include the following classical
archetypes:
Buddha in the Tribhanga (leaning) position with somewhat Indian
facial features and no aureole. The right hand is typically free, while
the left is depicted grasping the Buddha's robe.
Buddha in the Amaravati style with loosely folded legs and a lotus-
shaped aureole. Such statues have a continuous eyebrow, a flat nose
and thick lips.
Square faced cleft chin Buddha with some Khmer features. Legs are The bronze torso statue of the bodhisattva
typically fully folded. The Buddha sits on a lotus base. Padmapani, 8th century CE Srivijayan art,
Chaiya, Surat Thani, Southern Thailand.
 Chiang Saen and Lanna images
Chiang Saen and Lanna images were created in
northern Thailand between the tenth and thirteenth
centuries. Early images were similar to the Pala style
Buddha images of India, with lotus bud or orb-shaped
hair curls, round faces, narrow lips and prominent
chests. Such images were usually in the subduing
Mara position, cross-legged, with the soles of the
Buddha's feet visible. Many later Chiang Saen and
Lanna images began to be constructed from crystals
and gemstones.
Two of the most important Buddha images in
Thailand, the Emerald Buddha and the Phra Phuttha
Sihing are made in the Lanna style.
Chiang Saen Style Buddha
image
 Ayutthaya period
Ayutthaya images were created between the tenth and eighteenth
centuries. They had a unique hair frame and tell-tale narrow
carvings above the lips and eyes. Early Ayutthaya images were
carved in stone with heavy influence from the Lopburi images.
Middle Ayutthaya images were similar to the Sukhothai images
and were in similar poses. During this period, the images were
often cast in Bronze, and the size of the images was often large.
In the late Ayutthaya period, the images typically depicted the
Buddha in royal attire, and the bases of the images bore ornate
design.

Big Buddha in Wat Phanan

Choeng, Ayutthaya
 Sukhothai period
During the Sukhothai period (fourteenth century), the style of the Thai Buddha
images radically changed due to the influx of new ideas from Sri Lankan
Buddhism. Buddha images were cast with the intention of depicting superhuman
traits of the Buddha and were designed to express compassion and serenity in
posture and facial expression. The Sukhothai period witnessed the innovation of
the four modern postures of the Thai Buddha, i.e. walking, standing, sitting and
reclining. Images often had a flame-shaped aureole, finely curled hair, a slight
smile, broad shoulders and an oval face. A common pose was the subduing Mara,
with the Buddha seated on a plain base. Notable variations within the Sukhothai
period include the Kamphaengpet, the Phra Buddha Chinnarat (such as the most
famous Chinnarat at Wat Phra Sri Rattana Mahatat Woramahawihan), and the
Wat Ta Kuan groups of images.

Wat Traimit Golden Buddha, which is a famous tourist attraction in Bangkok, is

made in the Sukhothai style, so it may indeed date from that period.
Phra Buddha Chinnarat, Wat Phra Si
Rattana Mahathat in Phitsanulok,
Sukhothai Art