The Thonburi Art is the transitional form derived from the Late
Ayutthaya Art. This period was short-lived; it lasted for only 15 years.
Krung Sri Ayutthaya. After the fall of Krung Sri Ayutthaya, the scarcity
of the necessities of life was inevitable. It also had a considerable
impact on arts and religion. But the artisans, who followed King Taksin
the Great from the old capital, resettled themselves at Baan Chang Loh
(the Village of Castors). Presently the making of Buddha images is, to a
certain degree, a way of life there. At first the artisans were not
meticulous in their works due to fighting that was still going on.
However, the meticulousness and elaboration of the art of making Buddha
images were resumed when peace had returned to the kingdom nonce more.
The skills of the Ayutthaya artisans reemerged but they were also
blended with the skills of the new breed of artisans, creating the
artistic identity of Thonburi in its own right.
As for the Rattanakosin Art, it has been continuity from the Thonburi
period. However, the art of making Buddha images has been developing its
identity by concentrating at the base of the Buddha images. This was
more prominent in the reign of King Rama III, when there was the
creation of the Buddha image wrapped with the robe in specific designs.
The art in this era can be divided into 5 periods, reflecting the
situation at the time. According to the study of art history, these 5
periods are 1st Period (1782-1824 AD, King Rama I & II), 2nd Period
(1824-1851 AD, King Rama III), 3rd Period (1851-1868 AD, King Rama IV),
4th Period (1868-1946 AD, King Rama V-VIII) and 5th Period (1946 AD-the