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34-601: During the Dvaravati period (seventh through eleventh centuries), there were two factions of Buddhism practiced in the region that now encompasses present day Thailand, namely Mahayana and Theravada . The types of images constructed during this era reflects the distinction. Much of the basis for the Buddhist artwork of the Dvaravati period was influence from Buddhist art in India , including

68-475: A Bhagadatta and ended by a Sundaravarman and his sons Narapatisimhavarman and Mangalavarman. But at that time, the 12th century, Dvaravati began to come under constant attacks and aggressions of the Khmer Empire and central Southeast Asia was ultimately invaded by King Suryavarman II in the first half of the 12th century. Hariphunchai survived its southern progenitors until the late 13th century, when it

102-486: A bronze chandelier, earrings , bells and cymbals . U Thong Style The U Thong Style is one of the definitive styles for Buddha icons which developed in Thailand (Siam) in the southern capital of Ayutthaya . There are three distinct periods for the style, 12th to 13th century, 13th to 14th century and 13th to the 15th century, with some obvious overlap. Features common to all three types include: To retain

136-572: A bronze gun acquired by the Burmese in 1767, when Ayuthia, Siam's capital at the time, fell to an invading Burmese force, the Burmese still referred to Ayutthaya as Dvaravati. Several genetic studies published in the 2020s also founded the relations between the Mon people and Siamese people (Central Thai people) who were the descendants of the Ayutthaya. The culture of Dvaravati was based around moated cities,

170-540: A son of Prathivindravarman, father of Bhavavarman I of Chenla , which shows the royal lineage relation between Dvaravati and Chenla. However, the name of such a king was missing. The other king was mentioned in the Nern Phra Ngam inscription, found in Nakhon Pathom province , dated mid 5th – mid 6th centuries CE but the name was missing as well. The following is a list of rulers of Dvaravati. Dvaravati itself

204-567: 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 were often large. In the late Ayutthaya period, the images typically depicted

238-586: Is known about the administration of Dvaravati. It might simply have been a loose gathering of chiefdoms rather than a centralised state, expanding from the coastal area of the upper peninsula to the riverine region of Chao Phraya River . Hinduism and Buddhism were significant. The three largest settlements appear to have been at Nakhon Pathom , Suphanburi , and Praak Sriracha, with additional centers at U Thong , Chansen, Khu Bua , Pong Tuk, Mueang Phra Rot, Lopburi , Si Mahosot, Kamphaeng Saen , Dong Lakhon, U-Taphao, Ban Khu Mueang, and Si Thep . According to

272-581: The Amaravati school and Gupta styles, although there was also local and Khmer influence. Such images include the following classical archetypes: Sri Vijaya images are found in Southern Thailand Malay Peninsula . They were created between the eighth and thirteenth centuries. Typically, they reflect the teachings of the Mahayana school of Buddhism, which often emphasized the veneration of

306-567: 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

340-640: The Phra Phuttha Sihing are made in the Lanna style. 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

374-553: The 9-year civil wars in the Angkor in the early 11th century, which led to the devastation of Lavo , as well as the Pagan invasion of Menam Valley around the mid-11th century. All of these potentially are the causes of the fall of the Dvaravati civilization. However, a new kingdom, Ayutthaya , was subsequently founded southward on the bank of the Chao Phraya River in 1351, as

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408-487: The Buddha in royal attire, and the bases of the images bore ornate design. In modern times, Buddha images are often replicas of images from the Sukhothai and other early periods, often more ornately and elaborately adorned. Faces in new innovative depictions are typically more realistic and human-like. An elongated flame aureole is popular. Robes depicted in modern images often depict floral designs. The Indian Gandhara style, as well as western art have also influenced many of

442-511: The Buddha typically has a small smile, while the earlobes are in unusually large proportion relative to the rest of the face, often hanging down nearly to the image's shoulders. A second Lopburi style is the Naga Protected Buddha with the heads of Naga forming a protective taper around the Buddha's head. Chiang Saen and Lanna images were created in northern Thailand between the tenth and thirteenth centuries. Early images were similar to

476-654: The Chinese record during the Tang Dynasty , Dvaravati has two vassal kingdoms, including Tou Yuan (陀垣) near the present- Chanthaburi , and an island kingdom Tanling (曇陵), whose exact location remains unknown. The excavation in several sites found silver coins dated the 7th century that mentioned the king and queen of the kingdom written in Sanskrit with Pallava script : śrīdvaravatīsvarapunya (King Sridvaravati, who has great merit) and śrīdvaravatīsvaradevīpuṇya (the goddess of

510-534: The Dvaravati Civilization to the Menam Valley around 3000 BCE, which continued to the presence of a "Proto-Dvaravati" period that spans the 4th to 5th centuries, and perhaps earlier. The rise of the Angkor in the lower Mekong basin around the 11th–13th centuries, the Menam Valley and the upper Malay peninsula conquered of Tambralinga 's king Sujita who also seized Lavo in the mid-10th century,

544-412: The earliest of which appears to be U Thong in what is now Suphan Buri Province . Other key sites include Nakhon Pathom , Phong Tuk , Si Thep , Khu Bua and Si Mahosot , amongst others. Legends engraved on royal urns report the following kings: Suryavikrama (673-688), Harivikrama (688-695), Sihavikrama (695-718). A Khmer inscription dated 937 documents a line of princes of Canasapura started by

578-462: The fractions was discovered probably the center of Dvāravatī. The traditional chronology of Dvaravati is mainly based on the Chinese textual account and stylistic comparison by art historians. However, the results from excavations in Chan Sen and Tha Muang mound at U-Thong raise questions about the traditional dating. Newly dated typical Dvaravati cultural items from the site of U-Thong indicate that

612-513: The greatest spiritual potency, Buddha icons in Thai temples had to resemble as closely as possible an original prototype that tradition erroneously believed had been made during the lifetime of the Buddha. Of the three major efforts by Thai kings to establish an "authentic" canon for the icons, the Sukhothai style was the first, followed by the U Thong and the lion types. The populace of Southern Thailand, which captured Sukhothai in approximately 1350,

646-418: The influence of Central Java art ( Shailendra art) . In 1905 Prince Damrong Rajanubhab removed the statue from Wat Wiang, Chaiya, Surat Thani to Bangkok National Museum , Thailand. Although some of Sri Vijayan Buddhist image were made of bronze and stone, most of Sri Vijaya images were generally made of clay, with less emphasis on durability, as their purpose was to benefit the deceased, rather than perpetuate

680-530: 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

714-447: The meritorious King Dvaravati). In addition, the copper plate dating from the 6th–mid 7th centuries found at U Thong also mentions King Harshavarman (หรรษวรมัน), who was assumed by Jean Boisselier  to be one of the kings of Dvaravati, while  George Cœdès considered the plate was brought from the  Khmer Empire , and the name mentioned might be the Khmer king as well. However,

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748-410: The modern images. Bunleua Sulilat 's concrete sculpture gardens ( Buddha Park and Sala Keoku ) give an example of contemporary highly creative and unconventional artistic treatment of Buddhist subjects. See also Wat Rong Khun and Sanctuary of Truth . Dvaravati Dvaravati ( Thai : ทวารวดี ) was a medieval Mon political principality from the 6th century to the 11th century, located in

782-504: 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. There are three categories of U Thong images from the twelfth through fifteenth century in central Thailand. The first such style

816-460: The periods seem unrelated since King Harshavarman I of Khmer reigned from 910–923, 200 years later than the age of the inscription, and Harshavarman I's grandfather was Indravarman I , not Isanavarman as the inscription mentioned. Moreover, the inscription found in Ban Wang Pai, Phetchabun province (K. 978), dated 550 CE, also mentions the enthronement of the Dvaravati ruler, who was also

850-480: The region now known as central Thailand , and was speculated to be a succeeding state of Lang-chia or Lang-ya-hsiu ( หลังยะสิ่ว ). 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 ), to the east of Sri Ksetra ( Burma ), and adjoined Pan Pan in the South. Its northern border met Chia-lo-she-fo , which

884-440: The sacred figure of Boddhisattvas . The Srivijayan art are noted for its naturalistic style, ideal body proportions, natural pose and body elegance, and richly adorned jewelries, akin to Indonesian Javanese Buddhist art. A famous example of Sri Vijayan art is the bronze torso statue of Boddhisattva Padmapani (Avalokiteshvara), 8th century CE Srivijayan art, from Chaiya District, Surat Thani, Southern Thailand. The statue demonstrate

918-655: The starting point of the tradition of Dvaravati culture possibly dates as far back as 200 CE. Archaeological, art historical, and epigraphic (inscriptions) evidence all indicate, however, that the main period of Dvaravati spanned the seventh to ninth centuries. Dvaravati culture and influence also spread into Isan and parts of lowland Laos from the sixth century onward. Key sites include Mueang Fa Daet in Kalasin Province , Sema  [ th ] in Nakhon Ratchasima Province , and many others. Little

952-580: The succeeded state, as its capital's full name referred to the Kingdom of Dvaravati; Krung Thep Dvaravati Si Ayutthaya ( Thai : กรุงเทพทวารวดีศรีอยุธยา ). All former Dvaravati principalities, Lavo, the northern cities of the Sukhothai Kingdom , and Suphannabhumi, was later incorporated to the Ayutthaya Kingdom in 1388, 1438, and the mid-15 century, respectively. According to an inscription on

986-507: The teachings of the Buddha. Lopburi images date back to the eleventh century. They are typically found in Northeast Thailand, and their style is essentially similar to Cambodian Buddha images. Such images typically have a cone-shaped cranial protuberance in the form of tiers of lotus petals. The hair depicted in the images is considerably more realistic than the hair of the Dvaravati images, and may be either straight or curly. The face of

1020-411: Was a fusion of the Dvaravati and Khmer style images. They would typically adorn a lotus bud aureole and Khmer facial features. The second style was similar to the Lopburi images. The third and most recent U Thong style had considerable influence from the Sukhothai images, but often had hair bands unique to U Thong images. Ayutthaya images were created between the tenth and eighteenth centuries. They had

1054-494: Was heavily influenced by Indian culture, and played an important role in introducing Buddhism and particularly Buddhist art to the region. Stucco motifs on the religious monuments include garudas , makaras , and Nāgas . Additionally, groups of musicians have been portrayed with their instruments, prisoners, females with their attendants, soldiers indicative of social life. Votive tablets have also been found, also moulds for tin amulets , pottery, terracotta trays, and

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1088-418: Was in the 14th century still largely Mon , and the fusion of styles resulted in the more solid, corporeal, and squared-off U Thong image. Although the resulting changes may be seen most readily in the shape of the head, now more square than oval, and the broader, more sober features, there is also an increased heaviness of the body, no longer weightless but firmly seated on the ground. While the Sukhothai style

1122-582: Was incorporated into Lan Na . The term Dvaravati derives from coins which were inscribed in Sanskrit śrī dvāravatī . The Sanskrit word dvāravatī literally means "that which has gates". According to the inscription N.Th. 21 found in 2019 in Wat Phra Ngam in Nakhon Pathom, dated the 6th century, three regional cities were mentioned, including Śrīyānaṁdimiriṅga or Śrīyānaṁdimiriṅgapratipura, then Hastināpurī and Dvāravatī, which made Nakhon Pathom where

1156-478: Was speculated to be either Kalasapura , situated along the coast of the Bay of Bengal somewhere between Tavoy and Rangoon , or Canasapura in modern northeast Thailand . Dvaravati sent the first embassy to the Chinese court in around 605–616. Dvaravati also refers to a culture, an art style, and a disparate conglomeration of principalities of Mon people . The Mon migrants as maritime traders might have brought

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