Journal of Buddhist Arts

The Creation of Contemporary Art Inspired by the Transcription of the Phra Dhamma Bai Lan Lanna Story about Kussaraj

Phra Aphiphu Buntalhu, Siriranya Na Chiang Ma, Lipikorn Makaew — Fri, 20 Jun 2025 00:00:00 +0700

This research focuses on the creation of contemporary paintings by integrating concepts derived from Lanna literature, aiming to reinterpret and apply them in contemporary art that resonates with modern society. The objectives of this study are: 1) to transcribe the Phra Dhamma Bai Lan Lanna text of ìKussarajî from Lanna script to Thai script, analyze its content, summarize the main ideas, and identify the key concepts present in the literature; 2) to develop new interpretations from the ìKussarajî Jataka, linking religious and Lanna cultural concepts with contemporary social contexts, and using them as inspiration for the creation of artworks; and 3) to create contemporary paintings that reflect new interpretations of Lanna literature, organize an art exhibition to disseminate knowledge, and promote the conservation of Lanna culture. This research employs qualitative methods, studying both primary and secondary sources such as the Phra Dhamma Bai Lan Lanna (three volumes), three Lanna language experts, and three artists whose works serve as creative guidelines.

The findings reveal that: 1) the transcription and content analysis of the Phra Dhamma Bai Lan Lanna highlight ìdelusionî as a central theme; 2) the creation of contemporary paintings demonstrates the connection between Lanna literary concepts and modern life, categorized into three themes: Delusion of Emptiness, Delusion of Thought, and Delusion of the World; and 3) an exhibition of six creative works was held, showcasing new interpretations that link Buddhist teachings with the current social context. All artworks were created using acrylic paint on canvas (120x100 cm), conveying perspectives of contemporary art.

Creative Lanna Dharma Chests : Creating Decorative Patterns of Lampang Identity

Phramaha Attadet Jantarawekin, Siriranya Na Chiang Mai, Lipikorn Makaew — Fri, 20 Jun 2025 00:00:00 +0700

The research article titled ì Creative Lanna Dharma Chests : Creating Decorative Patterns of Lampang Identityî has the following objectives: 1) To study the history, design, and distinctive characteristics of Lanna Dharma chests found in temples within Mueang Lampang District, Lampang Province, in order to establish an accurate and beneficial database for art research. 2) To develop creative designs and patterns for Lanna Dharma chests by integrating contemporary artistic concepts that reflect the cultural identity of Lanna in Lampang Province. 3) To disseminate knowledge about Lanna Dharma chests in ways that promote learning and conservation through educational activities and accessible, sustainable media. This study employs both qualitative and quantitative research methods. The research area includes 55 temples within Mueang Lampang District, Lampang Province, with a total of 148 Lanna Dharma chests examined. Data collection was conducted through field surveys, document analysis, and the development of learning activities. A total of 14 participants, including monks and laypersons aged between 15 and 17 years, took part in the learning activities.

Research Findings : 1) Lanna Dharma chests were used to store palm-leaf manuscripts inscribed with Lanna script. These chests are typically made of wood with a top-opening lid. The chests generally have a trapezoidal shape, with the top widening out and tapering toward the bottom. The study identified six distinct forms of Dharma chests found in temples within Mueang Lampang District, Lampang Province: (1) Trapezoidal shape (2) Rectangular shape
(3) Square shape (4) Urn shape (5) Prasat (temple-like) shape (6) Cabinet-style Dharma chest 2) The data on the designs and patterns of Lanna Dharma chests were collected and analyzed to create new patterns. These patterns were presented through the techniques of traditional painting, including the Kham (letter) design, Kern (interlocking) design, and gold leaf decoration. The design focused on the identity of Lampang, using the Sai-Moo Wiang Lakorn pattern as the central motif. Additionally, the study displayed patterns found on the Dharma chests, presented in the form of plywood structures, with the outline of the Lanna Dharma chest shape. A total of 5 pieces of artwork were created. 3) A workshop was organized to showcase the creative works related to Lanna Dharma chests. The activity focused on helping participants understand the design, patterns, and techniques used to create decorations on Lanna Dharma chests. The workshop also served as a platform to share data from the research surveys, with the goal of preserving and promoting the role of Lanna Dharma chests, ensuring their continued existence for future generations.

Semiotics in Buddha Image Board (Phra Phaeng Maii) of Chiang Rai - Phayao provinces

Sirisak Apisakmontree, Chatuphon Keawnime — Fri, 20 Jun 2025 00:00:00 +0700

Buddha Image Board (Phra Phaeng Maii) are wooden panels that are systematically decorated with Buddha images, numbering from one or more. In the past, they could be found in every area of Lanna. However, at present, the creation and culture related to buddha Image board (Phra Phaeng Maii) have greatly decreased, resulting in the knowledge about buddha Image board (Phra Phaeng Maii) being almost lost. This research article is part of the research on Lanna buddha Image board (Phra Phaeng Maii): creative and conservation
processes. This research aims to analyze buddha image board (phra phaeng maii) in Chiang Rai and Phayao provinces based on Charles Sanders Peirceís semiotic theory. This research is qualitative research. The population is a buddha Image board (Phra Phaeng Maii) in Chiang Rai-Phayao province, totaling 14 panels. The research results found that out of the 14 panels, there were inscriptions on 2 panels. The styles of buddha image board (phra phaeng maii) found, arranged from most to least, consisting of 3 panels of Naga arch frames, 2 panels of
Banphathan arch frames, 2 panels of lotus petal frames, 2 panel of arch-shaped arch, 1 panel of glass house-shaped arch, 1 panel of rounded arch-shaped arch, 1 panel of castle-shaped arch, 1 panel of Tung-shaped arch, and 1 panel of
triangular frames. The iconic Mode of the buddha image board (phra phaeng maii) include the Buddha amulets that represent the Lord Buddha and the wooden panels that represent the Gandhakuti or the building where the Lord Buddha. The indexical Mode of the buddha image board (phra phaeng maii) appears in the decoration of the Buddha images on the wooden panels, which represents the many Buddhas of the past. The decoration of the buddha images with 28 images is the most common, which represents the 28 buddha families.
As for the symbolic form (Sign, Symbol) of buddha image board (phra phaeng maii), it appears in the wishes at the end of the inscription, which are related to three kinds of happiness: sensual pleasure, meditation pleasure, and nirvana pleasure.

Greating Art With Metaverse to Disseminate Knowledge of Important Buddha Images in Kanchannaburi Province

Punnawich Shakhai — Fri, 20 Jun 2025 00:00:00 +0700

The Creation of Art through Virtual Reality (Metaverse) Technology for Disseminating Knowledge of Significant Buddha Images in Kanchanaburi Province This research aims to achieve three objectives: (1) to study the historical background,
significance, beliefs, and iconographic styles of Buddha images; (2) to analyze the characteristics of significant Buddha images in Kanchanaburi Province; and (3) to create artistic works using virtual reality (Metaverse) technology to disseminate knowledge regarding these significant Buddha images.

Research Methodology, This study employs a qualitative research methodology. Primary and secondary data were collected from Buddha images housed in 15 temples across 13 districts within Kanchanaburi Province. Data collection involved fieldwork, document analysis, and interviews with 20 individuals, including monks and community experts. Subsequently, five significant Buddha images were selected based on the recommendations of three subject-matter experts.

Research Findings, 1) The study of the historical background, symbolic beliefs, and stylistic features of Buddha images reveals that Indian Buddhist art comprises several stylistic schools, including Gandhara, Mathura, Amaravati, Gupta, and Vakataka-Chalukya styles. As Buddhism spread into Thailand, various Thai artistic styles of Buddha images emerged, corresponding to distinct historical periods such as the Dvaravati, Srivijaya, Lopburi, Chiang Saen, Sukhothai, Ayutthaya, and Rattanakosin periods. The creation of Buddha images reflects beliefs related to serenity, compassion, liberation from defilements, as well as wishes for blessings, fortune, love, and rainfall. These beliefs also foster religious engagement and establish the Buddha image as a focal point for communal spiritual life.

2) The analysis of significant Buddha images in Kanchanaburi Province identifies four primary stylistic categories: (1) local styles influenced by Khmer art, (2) local styles influenced by Sukhothai art, (3) local styles influenced by Ayutthaya art, and (4) local styles influenced by the Rattanakosin period.

3) The creation of art using virtual reality (Metaverse) technology for disseminating knowledge about the significant Buddha images in Kanchanaburi demonstrates that the five selected Buddha images (1) the Buddha image at Tharuea temples, (2) the Buddha image at Kanchanaburikao temples, (3) the Buddha image at Nongbua temples, (4) the Buddha image at Intharam temples, and (5) the Buddha image at Ban Thuan temples enable users to engage in immersive, interactive 3D environments. Users can interact with and respond to the virtual surroundings, enhancing their learning experience.

Conclusion, The creation of artistic works through virtual reality (Metaverse) technology for disseminating knowledge of significant Buddha images in Kanchanaburi Province emphasizes the integration of digital innovation in promoting greater accessibility and comprehension of Buddhist iconography. This approach reflects the potential of harmonizing traditional Buddhist art with contemporary technology as a means of preserving and transmitting cultural heritage.

Arokayaram Dhamma Park, Wat Pan Sao Master Plan: Concept and Architectural Design

Phra Khru Theerasutthapoj , Phra PENG SENGMANY, Charnnarong Srisuwan — Fri, 20 Jun 2025 00:00:00 +0700

This article delineates the conceptual framework and physical development strategy for the ìArokayaram Dhamma Parkî project, whose objective is to
transform Wat Pan Sao, Mueang District, Chiang Mai, into a focal point for communal well-being and spirituality. Initiated in 2022, the project advances the vision of a ìTemple of Health and Dhamma,î grounded in two complementary dimensions: arogya the holistic health of body and mind and dhamma inner cultivation leading to liberation. The implementation extends over a 15 year horizon and proceeds through three sequential phases: (1) preparation of a preliminary master plan (Conceptual Design); (2) detailed architectural and landscape development (Design Development); and (3) formulation of a final development scheme ready for execution (Final Design).

The undertaking is propelled by a participatory design process led by the Faculty of Architecture, Chiang Mai University, in concert with the monastic community, governmental agencies, private stakeholders, and local residents. The design approach couples the conservation of heritage structures with
context-sensitive new interventions, including expanded green areas, meditative walking paths, mindfulness plazas, and an integrated religionñhealth learning center linked to nearby hospitals and educational institutions. The anticipated outcome is a contemporary, balanced, and sustainable sacred landscape that nourishes both the physical health and the devotional life of the community, positioning Wat Pan Sao as a model for future urban temple revitalization.

Buddhist Art as a Medium of Dhamma: A Powerful Tool for Cultivating Ethics in the Age of Globalization

Passorn Konglert — Fri, 20 Jun 2025 00:00:00 +0700

Corruption and moral decline are pressing issues that threaten the stability and development of the nation. While religion plays a key role in fostering morality within society, many individuals struggle to access or understand core religious teachings, contributing to the erosion of ethical values. Buddhist art has long served as a medium for moral cultivation, offering a means to communicate Dhamma quickly and effectively without requiring extensive textual engagement.

This study aims to analyze the role and effectiveness of Buddhist art in communicating Dhamma principles. It examines the forms of expression and public interpretations of Dhamma as conveyed through Buddhist art, while also proposing methods for adapting such art to contemporary social contexts. Comparative analysis is conducted on the evolution of religious art in both Christianity and Buddhism in response to changes in communication paradigms. The study further explores the challenges and factors influencing the modes of Dhamma communication through Buddhist art. The findings lead to recommendations for the development of national moral policies and an effective moral evaluation system. The study proposes a model in which temples and communities are
interconnected through state support, aiming to build sustainable moral
foundations for Buddhism and Thai society.

Lanna Royal Monastery Layouts under Sri Lankan Theravada: Cosmological and Architectural Concepts

Wed, 25 Jun 2025 00:00:00 +0700

This paper aims to present the conceptual underpinnings and singular attributes of the spatial organization of royal monasteries (Wat Luang) in Lanna, which were subject to the impact of Sri Lankan Theravada Buddhism. Prior to an examination of the architectural facets, a contextualization of Sri Lankan Theravada Buddhism is furnished to demonstrate the interconnectedness of religious
history and artistic production, and their consequent impact.

Empirical observation indicates that royal monasteries in Lanna adhering to the Sri Lankan Nikaya (sect) frequently enshrine significant relics of the Buddha, commonly originating from Sri Lanka. This has substantially modulated the distinctiveness of their architectural configuration, differentiating them conceptually and in detail from monasteries of the indigenous Nikaya. These monastic complexes manifest a discernible primary axis, typically featuring the Viharn (assembly hall) and the Chedi (stupa), alongside a secondary axis accommodating supplementary structures such as the Viharn Thit (subsidiary hall). The operational zones are explicitly demarcated into the Buddhawat (sacred precinct) and the Sangkhawat (monastic residential precinct). Furthermore, the prevalence of the quadripartite Sangkhawat concept overseeing the central Buddhawat is evident.

The spatial design of these sites symbolically articulates fundamental Buddhist tenets, cosmology, and the integrated beliefs in tutelary spirits and the supernatural (animism). This amalgamation of beliefs and worldviews has engendered the unique architectural and artistic expressions intrinsic to Lannaís Sri Lankan Theravada Buddhism.

Development of the High Relief Metal Sculpture Creation in Lanna

Thirayut Ninlamun , Woralun Boonyasurat — Thu, 26 Jun 2025 00:00:00 +0700

This academic article focuses on the developmental knowledge of the high relief metal sculpture which is Lanna unique technique. The previous background to present works is underneath the context of contemporary art and culture. The data are collected from religious objects and places such temples and museums, the works belonged by the artists of Wualai and Nantaram villages, Mueng district, Chiang Mai province. These are focused on the patterns, techniques, new dimensions of material science, the factors of development in contemporary works and value of works. The development and identity of the metal sculpture that is created by the cultural mixture of multi ethnicity in Lanna, since King Kawila reigned until present. These are the positive factors that create the power to drive the high relief metal sculpture, which has more freedom to design. Both religious objects, universal items and souvenirs. Although, the technique and material are adjusted and changed to be more modern, the identity of original technique still be conserved. Anyway, the equipment usage for convenience at present reduces the limitations, that is good such reducing production to respond to the customer needs. Because of these factors, new artists can create their unique works as well. Furthermore, the artist skill development is adjusted and changed from the ideal concept to being more practical and trying to make them more absolute, perfectly practical and high creation. Then, these are back to the ideal thar let some works are almost
abstract. However, the adjustment and changing materials, patterns and techniques do not affect the value of pattern that can reflect the identity of ethnic groups and the value of philosophy and concept which can be reflected through the high relief metal sculpture still has appeared since the previous time