Thai art
[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 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.
The people of Ban Chiang were skilled metalworkers, and evidence of early metallurgy, including copper and bronze artifacts, has been found at the site.
Dvaravati art, which employed hard blue limestone or quartzite to produce intricate sculptures, stucco, and terracotta decorations,[10] featured symmetrical Buddha images standing or seated on thrones and the Wheel of the Law.
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.
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.
Another type of U-Thong chedi is found at Wat Phra Borommathat in Chai Nat province and shows similarities to Srivijaya art.
[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.
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.
[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.
[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.
[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.
[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.
He hired Khrua In Khong, a talented painter who applied linear perspective to Thai paintings and created realistic scenes of nature and society.
[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.
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.
