Abstract
Problem statement: This study is caused by the problem of conservation of the Buddha images to exist in the original condition and by the problem of transference and adherence to indigenous knowledge of local craftsmen. At present there have not yet been systematic and wide conservation and adherence to the Buddha images. Other causes are such as incorrect techniques of conserving the Buddha images, lack of encouraging people and the community to appreciate the Buddha images, incorrect techniques of restoring the Buddha images, lack of increment of economic and cultural values in terms of tourism, lack of correct techniques of studying styles of the Buddha images to rebuild the styles for the community to appreciate local art, lack of clear examination of the background and there have not been comparative studies to find out relationships with other localities. Purposes were to examine backgrounds of Isan Buddha images and iconology, to examine current conditions and problems of the Buddha images and to investigate models of conservation and adherence to cultural values in Iran. Study area covered Changwat Maha Sarakham, Changwat Kalasin and Changwat Roi Et where there have been long backgrounds and continuous developments of the Buddha image in all Ages. Approach: This study used qualitative methodology by collecting data from related literature and from field studies by interviews and focused group discussion from totally 66 informants. Findings were presented by means of a descriptive analysis. Results: The result of this research revealed that there were 5 models of the Buddha image art found in Isan: Sandstone Buddha images, baked-clay votive tablets, cast motar Buddha images, bronze Buddha images and wooden Buddha images. They were in the Periods of Dvaravati, Lop Buri and Lan Chang. The Buddha images were popularly built in many different styles such as concentration style, double-miracle style, nag-over-his-head style, blessing style, world-opening style, relatives-stop style, dharma consideration style and others. In addition, they popularly made 4,9,12 or 168 votive tablets on each of a large number of baked-clay plates. Significant characteristics of the Buddha images were different based on the outside influences they received. Conclusion: The Buddha images of the Dvaravati Period were influenced from India in the art styles of Kupta, Pala, Sena and Pallava to central of Thailand. Those of the Lop Buri Period were influenced by Khmer art. Those of the Lan Chang Period were influenced by Lan Chang art which had been influenced by Lan Na Savana. The bronze Buddha images were popularly made in the concentration style and the maravijaya style. The wooden Buddha images were popularly made in the styles of maravijaya, concentration, dharma consideration and others.
Highlights
The Buddha images are works involving objects of art discovered in Suvarnabhumi (Southeast Asia Peninsula)
All of the Buddha images as mentioned were made for use in supplement to religious ritual performance. These art objects can be seen as Buddhist art in Isan but they lack care and conservation, causing the value of art objects to decrease; craftsmen of the elder generation are discouraged and craftsmen of new generation lack motivation for creating Buddha image art and for adhering to local indigenous knowledge of Isan people
The cast motar Buddha images were found in the Lan Chang Period only by local craftsmanship mixing with capital city craftsmanship
Summary
The Buddha images are works involving objects of art discovered in Suvarnabhumi (Southeast Asia Peninsula). There have been the Buddha images adhering to one another in the 3 periods, i.e., the Dvaravati period, the Lop Buri Period and the Lan Chang Period. In particular during the Dvaravati Period, the sandstone Buddha images in different sizes including baked-clay amulets and bronze Buddha images were made and kept in large-sized stupas in the middle of towns. All of the Buddha images as mentioned were made for use in supplement to religious ritual performance. These art objects can be seen as Buddhist art in Isan but they lack care and conservation, causing the value of art objects to decrease; craftsmen of the elder generation are discouraged and craftsmen of new generation lack motivation for creating Buddha image art and for adhering to local indigenous knowledge of Isan people
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