Journal of Buddhist Arts

Sacred Trees as Sites of Enlightenment and Functional Space

Onumpai Samkhuntod — 2025-12-23

The Bodhi Tree is the tree of enlightenment of the Buddha, including other trees related to the Buddha, such as the Sala Tree, Indian Oak, etc. These trees have been planted in the temple as a symbol of Buddhism and memorial to the Buddha. They also help create shade and functional space under the trees. This article aims to study trees in Buddhism which are considered sacred trees and to suggest how to create functional spaces by those trees. Information about trees related to the Buddha is collected through document research in order to know the names of the trees. The most prominent trees are selected as examples, to combine botanical characteristics, then suggest guidelines for using trees in the design and creation of outdoor areas. Trees are an important element used to create space, connect spaces and imply the boundaries of an area. From the Tipitaka it is found that trees are one of the Buddha’s places, and the place where all Buddhas attained enlightenment is under the tree. There are six important trees, namely Bodhi tree, Sala tree, Banyan tree, Indian oak, Milky tree, and Mango tree, which are large and long-lived trees. When planting, it should be considered in terms of utility and creation of space for use, taking into account the botanical and physical characteristics of the tree, the use of space under the tree, as well as the impact and maintenance. To enable the planted trees to grow well and make efficient use of the area under the trees.

An Analytical Study of Motivation Theory in Creative Painting within Surrealist Art

Chanisara Vorayotha — 2025-12-24

This study of surrealist painting aims to analyze the theory of motivation as reflected in surrealist artworks an artistic movement that flourished in the 20th century, characterized by its unique ability to express dreams, the unconscious mind, and irrational imagery beyond the confines of logical reasoning. This research employs a qualitative analytical approach through the examination of the works of four surrealist artists: Salvador Dalí, René Magritte, Leonora Carrington, and Max Ernst. The analysis focuses on the expression of gender identity, desire, fear, and the inner emotional states of the human psyche.

The findings reveal that Surrealism is not merely a space for the expression of the
unconscious, but also a platform that profoundly reflects perspectives on gender and inner
motivations, particularly concerning femininity, masculinity, and power relations within the artistic sphere. Moreover, Sigmund Freud’s theories are found to have greatly influenced the concepts and symbolism in these artworks, serving as a framework for analyzing thought processes that lead to creative production.

This article aims to broaden the understanding of the interconnection between gender and art by proposing a new approach to viewing Surrealist paintings through the dimensions of
personal motivation and the underlying social structures of gender embedded within creative works.

Analysis of stucco decorations on the stupa of Wat Pa Sak, Chiang Saen, Wat Suwannasiriphothikham and Wat Thongthip Phatthanaram, Ton Pheung, Laos

Teerapong Jatuma — 2025-12-30

This study aims to conduct a comparative analysis of stucco motifs found in Chiang Saen, Chiang Rai Province, Thailand, and Ton Pheung, Bokeo Province, Lao People’s Democratic Republic, to highlight their artistic identity, style, construction techniques, and cultural relationships. The study employs art historical and archaeological methodologies, utilizing field surveys, pattern analysis, and historical document analysis. The main study areas include the Wat Pa Sak stupa in Chiang Saen and stucco evidence unearthed from excavations in the Mekong River, preserved at Wat Thongthip Phatthanaram and Wat Suwannasiri Phothikham in Ton Pheung. Laos.

The results show that the stucco motifs in Chiang Saen are characterized by their thickness, volume, and complexity, reflecting early Lanna art influenced by Hariphunchai, Bagan, Sukhothai, Khmer, and Sri Lankan art. In contrast, the stucco motifs in Ton Pheung are more airy, slender, emphasizing symmetry and order, consistent with 21st-century Lanna art. A comparison of various pattern types, including kanok patterns, floral patterns, leaf patterns, and vine-like kanok patterns, reveals both differences in sculpting techniques and similarities in style. This reflects the cultural exchange and transmission between communities on both sides of the Mekong River.

This study indicates that Chiang Saen and Ton Phueng had a close historical and cultural relationship in the past, even before the demarcation of nation-states during the colonial era. The stucco patterns serve as important artistic evidence in explaining the social, religious, and cultural dynamics of the Mekong River basin. The results can be used as a database for comparative studies of art in the region, as well as for planning the sustainable conservation and restoration of stucco art heritage.

The Traditional Creation of Chiang Saen Buddha Amulets

Chaiwoot Punyalert — 2025-12-30

This academic article aims to study and analyze the process of creating Bodhi Tree–Sheltered Chiang Saen votive tablets. The findings indicate that these votive tablets were produced using molds, resulting in the widespread creation of similar forms. Their production served religious purposes, including offerings for Buddhist worship, ritual practices, and merit-making activities, based on beliefs in spiritual merit. The creation of such votive tablets was conducted on auspicious occasions and led by kings, monks, members of the royal family, nobles, or patrons of high social status.

The experimental reconstruction employed traditional techniques, using termite mound soil for mold-making and open-fire firing, with lead used for casting the votive tablets. The results demonstrate clarity of form and structural completeness, reflecting traditional craftsmanship and local wisdom embedded in the production of Chiang Saen votive tablets.

The Sculpture of Nang See Wei from the Muralpainting of Tamon Temple, Long District, Phrae

Tanyarat Thongjai — 2025-12-23

This creative research study had two main objectives 1) to collect and publish the history of the mural paintings at Tamon Temple, and 2) to create a sculpture of Nang See Wei, inspired by the mural of Nang See Wei, to highlight the distinctive beauty and cultural identity of the Tamon community.

The research methodology combined creative art research with a quantitative
approach. The study population and sample consisted of 171 individuals, divided into two groups (1) a sample of 118 people used to survey the community’s needs and suggestions for creating the Nang See Wei sculpture prototype and (2) a sample of 53 people who evaluated the satisfaction with the sculpture prototype.

The study’s findings were as follows 1) the collection and dissemination of the history of Tamon Temple murals broadened public understanding and conveyed the knowledge, values, and historical significance of the paintings, which serve as cultural symbols connecting the
community’s way of life and beliefs to a wider audience and 2) The researcher successfully
created a three dimensional sculpture of Nang See Wei, inspired by the two dimensional mural, translating the essence of the two dimensional artwork into a contemporary three dimensional form. This piece conveys the community’s identity and aesthetic value in a new dimension.
The satisfaction evaluation of the Nang See Wei sculpture prototype showed a very high level of satisfaction, with an average score of (x̄ = 4.81, S.D. = 0.42). The participants specifically
appreciated that the sculpture’s color resembled the original mural and that its composition was beautiful. This creative work highlights the importance of contemporary art as a medium to connect people with their local history, wisdom, and identity in a harmonious way. Additionally, the process of experimentation and refinement led to new technical knowledge, creating a learning innovation that can be applied to other art forms. This work also fosters a sense of pride and builds a collaborative network for the preservation and continuation of cultural heritage.

An Art-Historical Analysis of Prang-Style in Kanchanaburi Province

Punnawich Shakhai — 2025-12-23

The analysis of prang-style stupas in Kanchanaburi Province is historical art research conducted through qualitative methodology. The objective of the study is to analyze the architectural characteristics of prang-style stupas in the province.

Research Methodology This study employed qualitative research methods, focusing on seven selected prang-style stupas in Kanchanaburi. Data were collected from both primary and secondary sources, including field surveys, documentary studies, and interviews with seven monks and local experts. The selection of the seven stupas was verified by three specialists in the field.

Research Findings The analysis revealed that the seven prang-style stupas studied are: (1) Wat Nang No Prang, (2) Wat Khao Rak Prang, (3) Wat Khun Phaen Prang, (4) Wat Inthararam Prang, (5) Wat Srakrabeung Prang, (6) Wat Than Kan Prang, and (7) the Three Pagodas. These stupas can be classified into four stylistic groups based on the design of their spires: 1) Corn-shaped spires: Wat Nang No Prang and Wat Khao Rak Prang, dating to the Early Ayutthaya period. 2) Slender spires with star fruit-shaped top: Wat Khun Phaen Prang, dating to the Middle Ayutthaya period, while Wat Inthararam Prang and Wat Srakrabeung Prang belong to the Late Ayutthaya period. 3) Large-headed prang: Wat Than Kan Prang, dating to the Late Ayutthaya period. And 4) Double-tiered base prang: The Three Pagodas, dating to the Late Ayutthaya period.

Conclusion The artistic features of prang-style stupas in Kanchanaburi reflect strong influences from Ayutthaya art and architecture, while also displaying distinctive local characteristics. Notably, the large-headed prang at Wat Than Kan demonstrates a unique form of local artistic development within the religious and cultural context of Kanchanaburi.

Models of Conservation and Promotion of Lanna Dharma Chests as Cultural Heritage

Phra Jamrat Chotithammo — 2025-12-23

This article has three main objectives: 1) to study the belief systems associated with Lanna Dharma chests as cultural heritage 2) to examine the contexts, problems, and current
conservation of Lanna Dharma chests in six temples within the study area; and 3) to propose models for the conservation and promotion of Lanna Dharma chests as cultural heritage.

Research Methodology This study adopts a qualitative research design and employs three methods: documentary research, in-depth interviews, and focus group discussions. The sample and its size consist of 18 key informants from temples in Chiang Mai, Lamphun, and
Lampang Provinces.

The findings reveal that: 1) Lanna dharma chests are containers for the Tipiṭaka and palm-leaf manuscripts. They reflect beliefs in merit-making and the perpetuation of Buddhism, originating from the dissemination of Buddhism into the Lanna region and developing into a
distinctive local art form. Their creation relies on the skills of carpentry, woodcarving, lacquer
gilding, and intricate Lai Rod Nam decoration. They are used in religious ceremonies as sacred symbols, and the tradition of making and using dharma chests has been transmitted through temples, communities, and local craftsmen. Although they are currently facing deterioration and a decline in successors, they still retain significant value as cultural heritage that must be preserved. 2) Field surveys reveal that Lanna dharma chests display a wide range of forms, such as vernacular Lanna types and hybrid forms that combine local and Ayutthaya artistic influences. Most are
primarily wooden, decorated with simple local motifs, while other chests are adorned with carved ornament, gilded lacquer, Lai Rod Nam patterns, and colored glass inlays. However, many chests are in a state of decay, with peeling or faded surfaces, lack continuous restoration, and are not stored appropriately. 3) The proposed models for the conservation and promotion of Lanna dharma chests as cultural heritage consist of two main approaches (1) Conservation models – creating registries and digital databases, establishing learning centers and museums, and mobilizing funding from all sectors; and (2) Promotion models – disseminating knowledge through digital media and creative exhibitions, developing contemporary forms of dharma chests, and advocating for their registration as cultural heritage at both national and international levels.

Creative Patterns and Inhering the Art of Sculpture of Lampang Temple

Phra Kanitsorn Thanissaro (Rueankaew) — 2025-12-23

This academic article has three main objectives: 1) to study the history and identity of stucco art, 2) to explore the creation and transmission of stucco art, and 3) to analyze and propose creative and inheritable models of stucco art in temples in Lampang Province. The research methodology employed qualitative and documentary research, including in-depth interviews and analysis of data from open-ended questionnaires. Descriptive content analysis was applied to information obtained from 6 key informants.

The findings reveal that: 1) The history and identity of stucco art in Lampang temples are characterized by intricate decorations, including floral patterns and legendary creatures from the Himavanta forest in traditional Lanna art style. Temple doors, windows, and vihāras are adorned with detailed stucco motifs and vase sculptures drawn from literature, blending traditional
techniques with contemporary designs. 2) The creation and transmission of stucco art in Lampang
temples are systematically planned. Skilled craftsmen, predominantly using local materials,
produce valuable works of art. The techniques and knowledge are passed down through
observation and skill practice within kinship networks, continuing from the past to the present.
3) The creative and transmissible models of stucco art in Lampang temples are distinguished by figurative sculptures of deities, mythical creatures such as Garuda and Nāga, and depictions of Thai kings. Rooted in religious beliefs, these works are preserved and promoted for future generations as invaluable heritage while also contributing to cultural tourism and integrating with contemporary design.

Analysis of Buddhist mural painting in Chiang Mai Province

Nittaya Singkong — 2025-12-29

Buddhist painting in Buddhism depicts the history of Buddhism and the way of life of the local people, related to beliefs, customs, and art and culture. This research article aims: 1) to study the historical background, Buddhist beliefs, and characteristics of mural paintings in Chiang Mai Province; and 2) to analyze the styles, techniques, artistic elements, and artistic values of mural paintings in Chiang Mai Province.

The research methodology adopts qualitative research employing documentary research in conjunction with survey-based field research to systematically examine data relevant to the research issues. Data were collected from a wide range of scholarly sources, including
academic documents, related research, books, and other materials, included by field surveys within the designated research sites focusing on 5 temples namely : (1) Wat Umong, (2) Wat Phra Singh, (3) Wat Prasat, (4) Wat Buak Krok Luang, and (5) Wat Tha Kham. These sites served as
primary sources of qualitative data, which were subsequently analyzed and synthesized in fulfilling the established research objectives.

The findings reveal that: 1) Buddhism is the primary institution that promotes knowledge among citizens, with temples and monks serving as the center of society. Beliefs and doctrines are reflected through mural paintings in temples, which serve two main functions: (1) decoration and (2) instruction for worshippers. This is achieved through painted murals and printed lacquered designs (lai kham). The themes depicted in the murals include the life of the Buddha, the history of temples, ways of life, folktales, Jataka tales, the Sutta Pitaka, Buddhist teachings, beliefs, traditions, culture, and children’s games. 2) The forms can be classified into two main lineages. The first is the artistic lineage, which comprises 8 groups: Sukhothai, Ayutthaya, Rattanakosin, Lanna, Lan Chang, Tai Yai (Shan), Burmese, and Chinese. The second is the craft lineage, which consists of 4 schools: the local Thai artisan school, the Lanna artisan school, the Tai Yai (Shan) artisan school, and the Chinese artisan school. In terms of techniques, there are three types: the division of pictorial panels, the printing of lai kham patterns, and the use of frames. The values of mural paintings
include the preservation of art from all eight groups, the use of techniques and artistic elements as sources of study, the use of narrative content for instruction, and the conservation and transmission of cultural heritage.