5. Avalokitesvara images in Thailand

The iconography of Avalokitesvara was the most popular in Thailand during the Dvaravati and Srivijaya. A sandstone Avalokitesvara found at Wieng Sa south of Chaiya and dated in the mid 7th century is the earliest known in South East Asia.^[1] It is in the Gupta tradition of the Sarnath school of northern India and was probably imported. A triple flexioned body common to all Dvaravati and Srivijayan Vishnus and Avalokitesvaras is covered by a sarong tied at the waist by a cord. Such images were variously depicted with an antelope skin draped over the left shoulder or a tiger skin tied at the waist, the latter affectation a symbol of Avalokitesvara found only in peninsular Thailand and Indonesia.

It is in the bronze images, notably the famous statue from Buriram Province, Prakhon Chai.^[2] This bronze image of Avalokitesvara, one of the largest of some forty Buddhist sculptures found in Prakhon Chai in 1964, is also one of the best preserved. It is remarkable that the arms and legs have survived with every finger and toe intact. Characteristic of this image is tall and svelte with long legs and thin hips. The feet must originally have been placed on a rectangular base, missing in all large examples. Although the right hip swings out minimally, the image’s animated repose is enhanced by the expressive hand gestures and sensitively rendered fingers. Unfortunately, all the emblems are missing, but almost certainly the hands once held a book, lotus, rosary, and pot. Nevertheless, the image can be identified with certainty because of the effigy of the parental Buddha Amitabha depicted against the tall chignon.

In proportion and plastic qualities this Avalokitesvara and the Maitreya are remarkably alike. The Maitreya’s slightly more elongated legs and broken arms add to its slim appearance, whereas this image is somewhat more robust. The four arms of the Avalokitesvara contribute to a composition that is a perfect balance between restrained and compact volumes and rhythmic, graceful contours. The subtle delineation of the body’s structure is matched by the stylish elegance of the short sampot with its sharply etched overlapping pleats and simple knot. The only touch of luxuriousness is in the treatment of the hair with its beautifully designed chignon, embellished with exquisite, orderly curls. Almost stone and bronze Avalokitesvara images are in a standing position.

In the Angkor period, while the architecture of the Northeast Thailand (Lop Buri area) from the 7th to 13th centuries is virtually indistinguishable from the monuments built by Khmer architects, sculpture of the Lop Buri has a flavor all its own. Lop Buri’s location on the outer rim of the Khmer empire contributed to its artists’ sense of independence while the pervasive influences of Mon sculpture, with which much of the period was contemporaneous, gave a unique stamp to its art. Another important factor was Lop Buri’s long-standing reputation as a thriving religious center, at first professing Mahayana Buddhism and later Theravada Buddhism. Thus while Hindu deities provided the key subjects for early Angkorian sculptors, it was the Buddha and Bodhisattvas which were the principal subjects of Lop Buri art. Some Khmer influences found their way into Lop Buri sculpture.^[3] The solidity and gravity of Angkorian architecture can be seen in its sculpture as well.

Even when the images are slender, they have a weight quite distinct from the Srivijayan lightness and more closely akin to the Mon sculptures.

“The early Lop Buri sculptors concentrated their energies on creating Mahayana Buddha images including Bodhisattva Avalokitesvaras and Maitreya Bodhisattvas. The standing Avalokitesvaras display the vitarka mudra like Mon statues. Identifying marks include thin mustaches, no ornaments and very short robes bordering on skirts. The chignon is high and full and often set with strands of braided hair.”^[4]

Nandana Chutiwongs judged that, most of the Avalokitesvara images in ancient Thailand style depict the Bodhisattva in the likeness of human beings. This feature, which we also come across in Burma, may have resulted from the predominance in both regions of the Theravada teaching which fundamentally discourages the exaltation of superhuman elements.

Two Armed Form

The bronze image of Avalokitesvara from U Thong, Suphanburi, middle of 9th century A.D., the gold image from Sithep, Phetchabun, 2nd half of 8th and first half of 9th century A.D., the bronze image from Muang Fa-daed, Kalasin, 2nd half of the 8th and first half of 9th century A.D., the bronze image from the main Prang of Wat Rajapurna, Ayutthaya, 1st half of the 8th century A.D., and some bronze images unknown, decades of 8th century and early years of 9th century A.D.^[5]

Four Armed Form

The bronze image with four arms, from unspecified provenance in Thailand, 2nd half of 9th century A.D., the bronze image from Buriram Province, Prakhon Chai, 8th century A.D.^[6], the terracotta on votive tablet image from Nadun, Mahasarakham, 10th century A.D.

Twelve Armed Form

The bronze image of Avalokitesvara with twelve arms from Prachinburi, last decades of 8th century or early years of 9th century A.D.^[7]

The representation of Avalokitesvara in Thailand is reminiscence of the Gupta hairstyle, and also the idealized Indian form, posture and countenance. The iconography is based on a formula which probably originated in north India, a similar pattern of attributes also exists among the early images of Avalokitesvara from Cambodia.

Footnotes and references:

[1]:

Steve Van Beek & Luca Invernizzi Tettoni, The Arts of Thailand, Periplus HK: 2000, p. 75.

[2]:

See the picture.

[3]:

Steve Van Beek & Luca Invernizzi Tettoni, The Arts of Thailand, Periplus HK: 2000, p. 97.

[4]:

Ibid.

[5]:

See the picture.

[6]:

See the picture.

[7]:

See the picture.