The post-Bayon khmer style influenced early Lao Buddha images as in the Pra Bang, which was the prototype. latter this model became the principal Lao style, especially with respect to the form of the head and hair shape and lasted until the late era, being influenced by the Lanna and Sukhothai styles especially in Buddha seated with folded legs in the Maravijaya posture, the art of Luang Prabang's craftsmen. Later when Laos further developed its relationships with Ayutthaya and Rattanakosin, the two styles appear in combination with Vientiane craftsmanship. The Ayutthaya and Rattanakosin styles were closely interrelated and were in the same cultural line as Lao art, as were Lanna and Sukhothai. The adjoining styles from the neighboring states of Cham and Vietnam had almost no influence on Lao art because they were distant from the Lao style and derived from a different cultural basis. The art of the Lao Buddha image is conservative and traditional, adopting only influences that blended rather than clashed with it. Thus, present-day Lao Buddha images differ little from those created in the past. A distinctly Lao identity still prevails, and it can be classified into two main periods: the Early and the Late Eras of the art of the Lao Buddha image.
THE FOLK ART OF THE LAO BUDDHA IMAGE: A great number of wood Buddha images
have been found in central and southern Laos and northeast Thailand, the latter
area once being part of the Kingdom of LAN Xang (Laos). Southern Laos bordered
Champa and Cambodia, but they were far distant from the capitals of the two
Lao states. The wooden images found in these areas that are thus different
in style from those of the Luang Prabang and Vientiane Schools. The reason
why such a large number of wooden images was found demands further analysis
and study. In writing about folk art and primitive art, I wish to make a distinction
between what might truly be characterized as being in the latter category.
Over 90% of wooden Buddha images are not very old, the oldest found having
been made not later than the 18th century. Lan Xang craftsmen started to cast
Buddha icons about six hundred years ago, and therefore, the word "folk art"
will be used instead of "primitive art" for images less than six hundred years
old.
Primitive art means primary man-made object created in ancient times by craftsmen.
This art later developed into a fine art, becoming beautiful, refined, and
attractive to the majority of the population. In the beginning, both the style
and technique of primitive art objects look coarse and stiff. These underwent
continuous development over a long period until they became refined.
The folk art of Lao Buddha images is young compared to the exemplars of primitive
art. Although they resemble one another, these objects differ greatly in age.
The differences between these two styles are discussed below.
"Primitive" images developed and matured stylistically and technically until
a unique identity emerged and underwent refinement. "Folk" images, by contrast,
are unique or particular in style, the techniques rarely developing or evolving.
This school of art, to call it such, survived for only a brief period.
Primitive Buddha images were cast to meet the social and environmental demands
of each epoch, responding particularly to the requirements of the powerful
and elite class that ruled the country. Their creation become an occupation
for skilled craftsmen and later developed commercial potential.
"Folk" Buddha images were created to meet specific requirements for a short
time period and possess naturalistic looks. This school of art stemmed from
a faith that was a social tradition that became a culture inherited by later
generations. The makers of these images were not professionals and did not
develop and improve an art as did the craftsmen who produced primitive art.
The images were made from available materials such as wood, sandstone, or
clay. They were very seldom-worked in metal. The techniques were already familiar
ones to village folk and drew on their ability to combine various materials.
Parts of the image that were difficult to make were molded from lacquer, for
example, the curls and ornaments of adorned images. Some Buddha was decorated
with colored stones, glass, and mother-of-pearl. The motives for creating
folk Buddha images lay in the traditions that provincial people believed in.
If a wish was made or was granted, the person who made it would have had to
make an offering of a Buddha image to show gratitude. Some people would offer
Buddha images as an auspicious gesture for them of to gain merit for the dead.
Some would offer images to put an end to a jinx; if they wished to obtain
the expected result, they were supposed to make the image with their own hands.
Folk Buddha images were thus made by individuals who were neither craftsmen
nor artisans, and each image thus displays its maker's craftsmanship, skill,
and mood. They differ widely due to the varied techniques involved in their
marking. Folk Buddha images are usually not very old, are made of rather simple
materials and by simple methods. They were not intended to last long.
Natural factors combined to give these images a short life: they were invariably
placed under Boh or other large trees, near abandoned temples, or inside humid
caves. They were all placed facing north or east, but the most essential point
in their placement was that there be a canal, river, or pond in front of the
location. Such factors caused decay and erosion.
The images have a special charm owing to the very basic techniques used to
make them. Their rough and unpretentious look impresses viewers differently,
creating a mood contrary to the way people feel when they look at exquisite
and refined icons cast by skilled craftsmen working within and identifying
national and traditional styles. It is a commonplace beauty created to serve
the needs of the social majority not those of an elite. Above all, folk art
is a pure and specific art with innocence rarely found in refined and sophisticated
Buddha images. They were created from the heart of the people who produced
them and radiated with this purpose.
The present book argues for the intrinsic beauty of Lao Buddha art, emphasizing
its originality and unique identity. The folk art of Lao Buddha is a separate
field that should not be confused with the general art of the Lao Buddha image.
The art of any nation and cultural group begins in primitive and archaic styles.
The word "Lao" as interpreted by Buddha images collectors means "not beautiful"
or "of lesser quality." As interpreted by people from countries bordering
Laos and now spread throughout the world, the word suggests Buddha images
created by craftsmen of lesser skill such as in the Chiang Saen Lao Buddha,
the Khmer Lao Buddha, the Burmese Lao Buddha, or even the Ayutthaya Lao Buddha.
I disagree with the view that "Lao" means something not beautiful, not cultured,
and unrefined. It is unfair to interpret the word in this manner, even when
it is used without contempt. I hope that the meaning of "Lao" will, as the
result of the present work, be reviewed and altered in the future.
Since ancient times people of many religions have cast midget or miniature
idols including Buddha. A vast number of midget icons have been discovered
in India and Sri Lanka, dating to the 8th-9th centuries. Tibetan Mahayana
and Chinese style Buddha images have also been found, and these are highly
popular in Thailand.
The oldest midget Buddha discovered in Suwannaphum, both in alloy and of terra
cotta, was created by the Pyu of the Burmese prehistorically period. Images
in the Pagan style of the early Burmese historic period dating to the early
11th-14th centuries have also been discovered. The oldest midget Buddha amulets
discovered in Thailand is in the Dhavaravati style, dating to the 9th-10th
centuries. Midget images cast later are being discovered all the time. Most
ancient midget Buddha found in Thailand are of a poor quality alloy of lead
and mixed with a small quantity of silver. This is called the "chin" texture.
The erosion of the face and of the upper part of the eyes of used midget images
suggests that in ancient times, people kept their idols with them while travelling
for ling distances. Monks in Sri Lanka record that Sri Lankan people would
take midget Buddha with them, displaying them and praying before bedtime.
They would perform an eye-opening ritual by anointing clean water to the eyes
of the Buddha after finishing their prayers. Brahmans performed a similar
rite but simply washed and rubbed the faces of their gods with holy water.
Used Sri Lankan and Indian ancient midget idols thus have eroded faces.
It is not known and there is no definite evidence indicating when necklaces
began to be worn with Buddha images as pendants. But the Suwannaphum people
wore charms such as amulets and talisman in the form of animal teeth on which
magic spells had been cast.
In ancient times midget Buddha were always wrapped up in a piece of cloth
and tied about the head above the ears while people were at work or in battle.
A king would pin Buddha images around his hat, as did King Naresuan the Great
in the 16th century (Ayutthaya period) fighting in the battle of Phra Mala
Bieng or King Buddhayodfah Chulaloke the Great (King Rama I) during the 18th
century (Rattanakosin period). It has been assumed that the tradition of wearing
Buddha image pendants began in the reign of King Rama IV during the 19th century
as an adaptation of European style. Priests wore crucifixes, as did Europeans
who also wore lockets that contained devotional images or had pictures of
family member.
Ancient Cambodia has been influenced by the Indian civilization
probably since the beginning of the Christian era. The two main religions
of India, Hinduism an Buddhism, were practiced by Cambodians. Jean Boisselier
noted that "the oldest records indicate the presence of Buddhism in Fou-nan
did not date not earlier than the V Century."1 As much as Cambodians were
inspired by this influence, they also modified it according to their own character.
With regards to religious practices, whether in Hinduism or Buddhism, the
ancient Khmers have left behind many works of arts as well as temples, sculptures
and household utensils. Some of the temples are in Cambodia, while others
are outside the country, mostly in Thailand. These temples are magnificent;
such as the temple of Angkor Wat humans built that we have trouble believing.
All these creations are concrete proof that ancient Cambodia already had a
glorious civilization in the angkorian period.
Before beginning, let us highlight three important relevant characteristics
that we describe briefly below:
1- History
a- Pre-Angkorian Period (Ist-XVIII Centuries)
At this time Cambodia was called "the country of mountains" or Nokor Phnom.
The Chinese called it Fou-nan. Afterwards, Chen-La, the vassal of Fou-nan,
conquered it and divided the country in two: the Chen-LA of Land (that did
not flood) and the Chen-La of Water (that flooded).
b- Angkorian Period (IX- XIII Centuries)
At this period Cambodia became an empire extending to today's Thailand. Historical,
archeological and literary evidence proves that at that time Cambodia was
a high civilization whose influence extended to other countries in Southeast
Asia.
c- Post- Angkorian Period (XIV-XX Centuries)
The period is marked by the decline of the grand Angkorian era. Angkor was
abandoned in 1431. The most important events are internal crises and invasions
from neighboring countries. Thailand occupies part of northern Cambodia until
1907.
Because of these crises, the capital is moved on various occasions: from Angkor
to Kompong Cham, to Long Vek, to Uddong and finally to Phnom Penh. These events
weaken Cambodia and almost result in the country's disappearance from the
world map.
2- Religion
it is not clear which of the great religions - Hinduism or Buddhism - arrived
first in Cambodia.
a- Pre-Angkorian Period
According to the inscriptions and archeological findings, Hinduism and Buddhism
played the same role. Many brick temples were dedicated to Hindu gods and
Buddhist Mahayana divinities.
b- Angkorian Period
Hinduism and Buddhism remain important religions for Cambodia. At the end
of this period (XIIIth Century), a great Cambodian King, Jayavarman VII, followed
the Buddhist Mahayana faith. One of the most important events during his reign
was the birth of Theravada Buddhism (Singhalese Buddhism), which has made
Cambodia what it is today. This event is marked by this king who sent his
son, Tamalinda, to study Theravada Buddhism in Ceylan.3 Historians mentioned
that Tamalinda brought Theravada Buddhism to Cambodia for the first time and
developed it. This Buddhism is based on the pali cannon. Tcheou Ta-Kouan,
a Chinese envoy who came to Cambodia in 1296, mentions this Buddhism at the
time. Based on the inscriptions of Wat Nokor, Jean Filliozat notes that the
presence of Theravada Buddhism probably occurred at the end of the XIII Century.
c- Post-Angkorian Period
The most important events of this period are the abandonment of Hinduism and
Mahayana Buddhism, which had been replaced by Theravada Buddhism. The influence
of this new religion pushes the Khmers to build vihara(Temple), Pagodas and
Buddhist statues.
Moreover, they modified some of the Hindu temples to turn them into Buddhist
temples. These temples include Angkor Wat (north gallery), Preah Palilay,
Baphuon, Banteay Kdei, and North Thnot Chum (Kompong Thom). The process of
transformation is marked by the construction of a vihara next to or within
the Hindu temple enclosure.
3- Art
The ancient Khmers left many masterpieces of sculpture and archaeology highlighting
Hindu and Buddhist religious practices. These are considered Khmer art. In
this sense, Khmer art is a religious art. For this text we study only statuary.
a- Pre-Angkorian Period
Different names have been assigned to the various styles of classical Khrmer
art. For this period, there are four: Phnom da, Sambor Prei Kuk, Prei Khmeng
and Kompong Preah. The national Museum of Phnom Penh has Hindu and Buddhist
statues in the collection in the Phnom Da style, Lokesvara for Mahayana Buddhism,
and the Buddha for Hinayana Buddhism. The statues are carved in sandstone.
b- Angkorian Period (IX-XIII Centuries)
There are ten styles: Kulen, Preak Ko, Bakheng, Kok Ker, Pre Rup, Banteay
Sri, Khleang, Baphuon, Angkor Wat and Bayon. Khmer angkorian and pre-angkorian
art are classical arts. In angkorian art there are two important styles that
stand out: the Angkor Wat and Bayon styles. These are the basic styles for
this study of post-angkorian Buddha statues. We have not discussed Hindu divinities
or Mahayana Buddha statues, only certain Hinayana Buddha statues.
The Angkor Wat style Buddha statues in the Museum's collection are for the
most part adorned. These are usually made of stone or bronze. There are only
two wooden sculptures. We note that the adorned Buddha of this period wears
many accessories: mukuta, ear pendants, pectoral collars, armbands, bracelets
on the wrists and ankles, etc.
One of the most important items for a comparative study is the mukuta. It
is composed of a broad wide diadem adorned with pearls, diamond shapes, and
a serrated design interspersed with blue lotus flowers. These play an important
role in the decorative pattern. The cone-shaped hair cover is decorated with
layered lotus petals. Altogether these comprise the basics elements of the
evolution of the tip of the mukuta. The characteristics of the Angkor Wat
style are rigidity and a frontal perspective. The main characteristic of the
Bayon style is naturalism: the face shows a semi-smiling expression and rounded
cranial protuberance. We note that classical Khmer art emphasizes naturalism
and rigidity (Buddha), for example the length of the fingers are unequal.
c- Post-Angkorian Period
This period dates from the abandonment of Angkor in 1431 to the XX century.
For structures that do not require hard materials like sandstone (vihara,
kuti, pagoda, image of the Buddha) or in case of lack of sandstone, Cambodians
used wood as a substitute. This does not mean that there are no pieces made
of stone - these do exist, but there are very few.
Other masterpieces include the bas-relief of temples where an art style inspired
by Theravada Buddhism begins to appear. Despite its hardness, wood is much
more delicate than stone and is easily damaged by nature and other factors.
As a result, very few wooden sculptures remain today.
In addition, during the Pol Pot Regime, there was a general destruction of
artworks in the Pagodas, considered centers of cultural heritage because Cambodians
do not usually keep art objects in their home. Because of this, the lack of
post-angkorian art creates many challenges for researchers.