1. Art is a primarily visual medium used to express human experience and ideas about the world. 2. Early art from the Paleolithic period included small sculptures like the Venus of Willendorf that may have represented fertility. Neolithic art included large megalithic structures like Stonehenge. 3. Greek art emphasized naturalism and the human form. Roman art incorporated Greek influences while commemorating historical events through structures like the Colosseum. Gothic cathedrals used flying buttresses and stained glass to open interior spaces.

1. History of Art

2. Visual Literacy

6. ‘What you see is what you see.,
-- Frank Stella, 1990

9. “Seeing comes before words. The child looks and recognizes
before it can speak.”

12. What is ‘Art’?

25. Artis a primarily visual medium that is used to
express ideas about our human experience and the world
around us.

28. A human phenomenon

29. Art is strictly a human phenomenon.

31. But they do not consider the
aesthetics of their tools, or
attempt to carve beautiful
handles for them.

32. They do it out of natural instinct.

33. 1. to better understand their life experience
2. to communicate ideas about the world to others

34. Towards a definition of art

35. Art has a visual form.

36. Materials from which the
artwork is made
Formal elements, such as
line, shape, color, texture,
mass, volume, space, and
so on.
Overall composition, size,
internal balance, and so
on.

37. Art functions.

38. 1. Art assists us in rituals that promote our spiritual or
physical well-being.
2. Art communicates thoughts, ideas, and emotions.
3. Art gives us pictures of deities, or helps us conceive
what divinity might be.
4. Art serves and/or commemorates the dead.
5. Art makes evident the power of the state and its rulers.
6. Art celebrates war and conquest, and sometimes also peace.
7. Art is a means for protesting political and social injustice.
8. Art promotes cohesion within a social group.
9. Art records the likenesses of individuals and the context in
which the individuals exist.
10. Art educates us about ourselves and the world around us.
11. Art entertains.

39. O lowe of Ise. Veranda Post: Female
Caryatid and Equestrian Figure, 1930.
Equestrian Statue of Marcus Aurelius, Rome, c. 175
CE. Bronze, approx. 11’6” H Musei Capitlini, Rome.

40. Even though they are from different traditions from different parts of the world, they
are both performing the same function that is to visually reinforcing the rulers’ power,
be it a local king or an emperor.

41. Art has content.

42. 1. art's imagery
2. art’s surroundings where it is used or displayed
3. symbolic meaning
4. customs, beliefs, and values of the culture that uses it
5. text incorporated in the work, or writings about the work

44. Sandro Botticelli, The Birth of Venus, C. 1482. Tempera on Canvas, approx. 5’8” x 9’1”,
Uffizi, Florence.

45. Art is an aesthetic experience.

46. Art has has effects on individuals and cultures.

48. Formal Elements
Art’s Early Manifestation

49. Paleolithic Period
30000 - 10000 B.C.

51. paleolithic
primitive humanity emerged and manufactured unpolished stone tools

52. SOCIETY: bands of edible-plant gatherers and hunters (25–100 people)
ECONOMY: hunting and gathering
DWELLING: nomadic Lifestyle— caves or huts, mostly by rivers or lakes
TECHNOLOGY: handmade tools and objects found in nature
RELIGION: religious and spiritual behavior such as burial and ritual

53. The first artists were the Cro-Magnon
people who were the ancestors of
modern Europeans.

54. “Venus” of Willendorf
Limestone, 30,000-25,000 B.C., 11.1 cm (Naturhistorisches Museum, Vienna, Austria)

57. gridded design = elaborate hairstyle
face lacks description
arms strategically crossed on
enormous bosom
navel is a natural cavity of stone
bulging stomach and prominent
genitalia might hint at fertility
lower legs only sketchily indicated

58. • bulbous roundness of the form that recalls an egg-shaped “sacred pebble”
• an image of fertility, as some kind of magic charm, perhaps to be held in hands

59. Neolithic Period
c. 8000- 3000 B.C.

60. During this time, humans
learned to raise crops and keep
domestic livestock, and were
thus no longer dependent on
hunting, fishing, and gathering
wild plants.

61. Neolithic cultures made more useful stone tools by grinding and polishing relatively
hard rocks, rather than merely chipping softer ones down to the desired shape.

62. The cultivation of cereal grains enabled Neolithic peoples to build permanent
dwellings and congregate in villages,

63. The release from nomadism and a hunting-gathering economy gave them the time to
pursue specialized crafts.

66. Stonehenge, Salisbury Plain, England, Bluestone, C. 2500–1800 B.C., Diameter 29.6 m

67. What we see today is the result of series of distinct building campaigns, beginning in
the New Stone Age and continuing into the Early Bronze Age.

69. First, a nearly continuous circle (henge) was dug into the chalk ground.

70. A silted ditch was added as was the avenue down to the Avon River.

71. The sandstone circle of evenly space trilithons, consisting of uprights (post)
and horizontals (lintel), was created in the early Bronze Age.

73. Finally, this arrangement was echoed in two similarly marked circles and smaller
horseshoe that enclose and altar-like stone at the center.

78. •It appears that Stonehenge was originally aligned with the major and minor
northern moonrises.
•Only later did the structure became oriented toward the sun when the heel stone
and fallen slaughter stone along with other stones were rearranged with the axis.

79. Stonehenge probably served a
worshipping ritual that must have
been related to a large cosmology.

80. From Greek myths to Pax Romana

81. Greek Civilization
6th -1st Centuries B.C.

82. Accomplished sailors
Maritime trade-based economy

83. ECONOMY
based on agriculture, pottery and metal objects

84. RELIGION
polytheism/ anthropomorphic gods / human-like personalities &
conflicts / participate in human events

86. “Man is the measure of all things.”
-- Protagoras, the Greek philosopher, 5th C. BC

87. Measurements
related to human scale and organic
forms

88. Artists
signed their works, changing status

89. ART
• Emphasis on the individual
• Naturalistic and idealistic treatment of human and nature

90. HUMANISM
the dignity and beauty of the individual human being

91. HUMANISM
physical and psychological interplay among human beings are the
subject, the goal, and the final determinant

92. Kallikrates & Iktinos, Parthenon, Athens, Greece, 447–432 B.C.

93. CELLA
wide and short, so as to accommodate the large cult statue of
Athena Parthenos (Athena the Virgin)

94. Statue of Athena Parthenos (Athena the Virgin)

97. Hellenistic Period
3rd – 1st Centuries B. C.

98. --, Laocoön, late 2nd century B. C., marble, 7' 11”, Vatican
Museums, Rome

99. HUMAN PSYCHOLOGY
The incredible agony and suffering is contained in the face of
Laocoön with a head titled

100. HUMAN PSYCHOLOGY
His hand reaching towards the sky, beckoning a reason for his
suffering.

101. HUMAN PSYCHOLOGY
The distended muscles show the intensity of his struggle against
sea serpent biting his side.

102. The emotions and the
excitement of the
Laocoon’s struggle frozen
in one single pose.

103. Roman Period
1st C. B.C. – 3rd C. A.D.

104. Map of Roman Empire from A.D. 14 – A.D. 284

105. “Caput Mundi”
Encompass,
govern, assimilate
cultures by laws,
religions, and
language
POLITICAL SUPREMACY
SOCIAL CHARACTERS
GLOBAL POLITICS
GREEK
50 yrs
Culturally unified
Superiority over
the world but
never long-term
political unity
ROMAN
500 yrs
Melting pot of
different cultures
& ideas

106. inconsistent
RELIGION (S)
ART
STYLISTIC
DEVELOPMENT
GREEK
Greek
Idealization based
on myths
consistent
ROMAN
Roman based on
Greek Christianity
added
commemorative&
narrative based on
history

107. ROMAN ARCHITECTURE
1st C. B.C. – 3rd C. A.D.

109. NEW TYPOLOGIES
to accommodate increased population.

110. NEW TYPOLOGIES
Empire supplied the citizens with everything they needed, from
water to entertainment on a grand scale.

111. NEW TYPOLOGIES
An unprecedented grand scale requires new forms be invented,
cheaper materials, quicker construction methods had to be
used.

112. ARCHES
VAULTS
New Construction System

113. NEW CONSTRUCTION MATERIAL
Roman arch and vaulting systems are strong and self-sustaining

117. CONCRETE
STRONG /CHEAP/FLEXIBLE
New Construction Material

118. CONCRETE
A mixture of mortar and gravel with rubble, was invented in the
Middle East more than a thousand years earlier. But the Roman
made it their chief building technique.

120. --, Colosseum, Rome, inaugurated in 80 A.D., 187.5 x 155.5m

121. The concrete cone, with its miles of stairs and barred and groin
vaulted corridors, was concluded to ensure the smooth flow of
traffic to and from the arena.

122. The exterior dignified and monumental reflects the interior
circulation of the structure.

123. Exterior: balance between vertical (Columns) and horizontal
(Entablature)

124. The framework of engaged
columns and entablatures
expresses balance between
verticality and horizontality.
Engaged columns
Entablature
}
Engaged columns
Engaged columns

125. CORINTHIAN
IONIC
DORIC
LIGHTENING OF
PROPORTIONS
Structurally irrelevant
Aesthetic function
Human scale

126. The Secret and the Profane
The Medieval, Romanesque and Gothic Art and Architecture

127. A new religion

128. Jesus Christ crucified in AD 33

129. 330 AD
Constantine founded a new eastern capital, Constantinople,
at Byzantium where Christianity was firmly established.

131. 380 AD
Constantine became the first Christian emperor.

132. 5th century
Christian hegemony had rapidly changed the Roman Empire's identity.

133. Spread of Christianity in Europe
to AD 600
Spread of Christianity in Europe
to AD 325

134. before 313 AD
Christians worshiped in private homes to avoid prosecution.

135. after 313 AD
They became free to construct places of worship.

136. The Age of Great Cathedrals
Gothic Art and Architecture

137. HUMAN SPIRIT
seemed to blossom with hope
as Gothic cathedrals pushed
upward to the heavens

138. ARCHITECTURAL & SPIRITUAL TRANSFORMATION
Getting away from the dark, massiveness of Romanesque
architecture, the new Gothic style opened and lifted up interior
spaces

139. NEW ECONOMIC OPPORTUNITIES
became more available in growing urban centers

140. CATHEDRAL SCHOOLS & UNIVERSITIES
took the place of monasteries as center of learning

141. RIBBED VAULTGROIN VAULT
NEW CONSTRUCTION TECHNIQUE
A rib going across the top of each vault, giving the structure a
lighter feel.

143. BUTTRESSES: STANDARD VS FLYING BUTTRESSES
A. FLYING BUTTRESSES stand detached from the exterior walls,
and are connected by only an arch.
B. STANDARD BUTTRESSES hug the structure by butting
directly up the exterior walls.

144. FLYING BUTTRESSES
give cathedrals an "airy" and weightless feeling.

145. High Gothic Period
Early 13th Century
[French High Gothic]

146. --, Notre-Dame, Paris, 1163+

147. EMPHASIS ON
LONG AXIS
compact and
unified
DOUBLE
AMBULATORY
of the choir
continues directly
into the façade.

148. WEST FACADE
the simple harmonic
rhythm created by the
four buttresses

149. TRIPARTITE PLAN
Facade divided into
thirds horizontally and
vertically, representing
the trinity

150. ROSE WINDOW
In the middle of the
facade, which keeps the
eye focused on the
Madonna in the center.

152. KING’S GALLERY
a line of statues of the
28 Kings of Judah and
Israel

153. PORTALS
adorned with jam figures
and detailed tympanums

154. Royal Portal
“Last Judgment”
Right Portal
“Portal of St. Ann”
Left Portal
“Portal of the Virgin”

156. FLYING BUTTRESSES
Flying buttresses and arches give the structure a weightless
feeling

158. FLYING BUTTRESSES
The weightlessness is
also felt in the interior,
where a tall, slender
nave lifts our eyes
upward.

159. CLERESTORY
WINDOWS
Huge clerestory windows
allow light to flood the
floor of the nave, adding
to the weightless
atmosphere.

160. Gargoyle
allowed rainwater to fall free of the cathedral, thus preventing
damage to the masonry.

161. Gargoyle
Warning to those who might
underestimate the power of evil.

162. THE DAWN OF INDIVIDUALITY
Qualities of the Renaissance and Mannerist Art

163. Florence: Birthplace of the Renaissance

164. The intellectual and culture-
rich Florentines fought off
more powerful Milan
Athens defeated the more
Persian army

165. A sense of civic pride blossomed, eventually it proclaimed itself
the new “Athens” and the heir of ancient “Roman
republicanism.”

166. The victory of the mind over the sword
elevated the "liberal arts" (which included the visual arts) to a
position of prestige and respect.

167. Artists and architects became the new heroes/celebrities of
Florence.

168. * artist is seen as a part of the educated social elite
* the gifted, temperamental genius who discovers truth in paint or
stone.

169. The Age of Humanism

170. “Man is the measure of all things.”

171. * looked back to the Classical Greece and Rome for inspiration
* revived the ideals embodied in the ancient Greek maxim

172. Greek: art as an imitation of the ideal
Florentines: art becomes as expression of human emotion
and ability

173. “ How great and wonderful is the dignity of the human body;
secondly how lofty and sublime the human soul, and finally how
great and illustrious is the excellence of man himself made up
of these two parts. –Gianozzo Manetti

174. 1400 - 1600
a change of consciousness toward, a celebration of the ability
of mankind to think, create and reason.

175. The Renaissance was an era of collective "high self-
esteem" as people realized that they could not only reproduce
the art and the ideals of Classical culture, but actually
surpass them.

177. High Renaissance Period
1500 ‑ 1520
[Culture: Central Italy]

178. Leonardo da Vinci, c. 1452‑1519

179. Leonardo’s first and official position was that of a military
engineer for the Duke of Milan.

180. da Vinci has both the interest and expertise in engineering,
medicine, music, art and philosophy.

181. Proposed the idea of the centrally planned Church

183. Leonardo da Vinci, The Last Supper, c.1495-1498, Santa Maria
delle Grazie, Milan

184. 184

185. The Last Supper is the first masterpiece of the High Renaissance
because of the relationship between the figures and the
visual space of the painting.

187. Figures look like a mere line-up or a frieze.

188. The perspective pulls you in

189. 1. The Position of Jesus
* Jesus is placed right at the center of the picture
* framed by the window, a separate portrait within the painting
* separated from the apostles by grouping them in threes

190. 2. "One of you shall betray me." Chaos and Order
* showing confusion while maintaining order in the composition.
* Each disciple has a dynamic pose, an attitude of imbalance, but
each is a part of a group of three in tight composition.

191. 3. The Triangle of Christ
A triangle gives a subliminal effect of stability. Here, Jesus forms a
triangle, while the disciples form high-tension shapes.

192. 4. What, No Halo?
Leonardo made the halo look realistic; there's nothing unreal in
this picture. He placed the sun behind Christ's head.

194. Michelangelo Buonarotti, David, 1502, marble, 4.34 m.
(Accademia, Florence)

195. 195

196. Commissioned as a symbol of the Florentine Republic by civic
leaders in 1501, at 14 feet tall, it was one of the first monumental
sculptures of the Renaissance.

197. A moment before the battle.

198. The sling goes over David’s left
shoulder

199. The stone lies in the hollows of his right hand but he is about to
launch it.

200. He stands alert in body and spirit, every muscle vibrant with
Michelangelo’s anatomical knowledge

201. ability to communicate the
life of the spirit through the
beauty of the body.

202. APPREHENSION
Creased forehead and strained neck muscles portray
apprehension as he sighted his opponent.

203. proportions & psychology
correspond more to the
Hellenistic than to classical
style.

204. David’s hands are oversized and his veins and muscles seem to
be bulge from beneath his skin.

205. more relaxedtense and watchful

206. David was meant to illicit a sense of determined fortitude and
civic-patriotism, and therefore put in Florence's main square, in
front of the seat of Florentine government.

207. NEW HUMANISM
takes root during the Renaissance.
* an individual who accomplished the
unthinkable, overcoming a Giant.
* a metaphor of the increased
awareness of the accomplishments
and the possibilities that surround
mankind.

209. THE MAKING OF THE MODERN WORLD
European art in the late-19th and early-20th Centuries

210. Impressionism Period
Zenith in the 1870's
[Culture: French]

211. idealized
“grande genre” Historicism
classical, religious, mythological, allegorical subjects
sober colors
glossy, finished surface
IMPRESSIONISM
Société anonyme des artistes
peintres, sculpteurs et graveurs
ACADEMIC PAINTING
Académie des Beaux-Arts
loose imagery
modern life
common, contemporary subjects
bright, unblended colors
unfinished, sketch-like appearance

212. Painted indoor Painted outdoor
ACADEMIC PAINTING
Académie des Beaux-Arts
IMPRESSIONISM
Société anonyme des artistes
peintres, sculpteurs et graveurs

213. SUBJECT MATTERS
landscape or scenes depicting the modern contemporary daily life

214. SUBJECT MATTERS
Depicting the bourgeoisie's leisurely activities + artists as urban
flâneur

215. WORKING METHODOLOGY
working outdoors, depicting the effects of sunlight, shadows, and
direct and reflected light on natural objects, surfaces, and
atmospheric spaces.

216. PAINTING TECHNIQUE
* Loose imagery constructed with visible brushstrokes
* paint applied directly and spontaneously on canvas, rather than
finely delineated pictures

217. COLOR USAGE
*Pure, vibrant color palettes
*Contrasting colors rather than mixing hues

218. PHOTOGRAPHIC INFLUENCE
unusual visual angles+ “Snapshot”
“for the first time pictures created by light and light alone could be
made permanent”

220. Japanese Woodblock Prints
Edo Period
1600-1868
[Japanese]

221. The Paris Universal Exposition 1867

222. Japanese Pavilion, The Paris
Universal Exposition, 1867

224. Katsushika Hokusai, Great Wave of Kanagawa, from the series
Thirty-Six Views of Mount Fuji, 1831. Woodblock print;
25x37.1cm. (Victoria and Albert Museum, London)

225. A series of similar views of Mt. Fuji at different times of day and in different seasons

226. * Prussian blue in this print enhances the wave’s naturalism
* Dramatic rise and nearness of the wave to the picture plane
create impressive effect.

227. a convincing portrayal of the rhythmic power of a swelling
wave, even though the wave is flat, patternistic quality seems
to arrest its movement.

228. NATURALISM
In the distance, Mt. Fuji is
small and insignificant by
comparison.The foaming
water rises to embrace the
mountain.

229. NATURE VS HUMAN
The fishermen are tossed about
by the sea that wells up in a
giant claw but somehow they
seem respectful of nature’s
power.

231. Claude Monet (1840‑1926, Impression, Sunrise, 1873, Musée Mannottan, Paris.

232. A mere sketch or "impression," not a finished painting.

233. Technique:
1. short, broken brushstrokes that
barely convey forms giving an effect
of spontaneity and effortlessness
that masks their carefully
constructed compositions.
2. an emphasis on the effects of
light, rather than neutral white,
grays, and blacks, shadows and
highlights rendered in color.
3. pure unblended colors

234. Photographic Influence painting intended to correspond to the image the eye sees in
an instantaneous glimpse, a new language with which to depict modern life.

235. Post-impressionism
1880's ‑ c.1900
[Culture: French]

236. Contention: dissatisfied with the limitations of impressionism

237. Continuation: 1. using vivid colors 2. thick application of paint 3. distinctive brush
strokes 4. real-life subject matter.

238. Innovations
1. Emphasis on geometric forms
2. Distorting forms for expressive
effect
3. Using unnatural or arbitrary
colors

239. Vincent Van Gogh
(1853‑1890, Dutch - Holland until 1886; France: Arles, S. Remy, Auvers)

241. Vincent Van Gogh, Starry Night, 1889, Museum of Modern Art (MOMA), N.Y. [Dutch]

242. - Impressionism did not provide the artist with enough freedom to express his emotions
- Painting as a vessel for personal emotions

243. - Art alone made his life worth living.

244. Dynamism: landscape filled with ecstatic movement: earth and sky pulsate with an
overpowering turbulence; the trees spring flamelike from the ground; hills and clouds
heave with the wavelike motion.

245. Brushstroke: Dynamism in every brushstroke makes of each one not merely a deposit
of color but an incisive graphic gesture.

246. Color: determined the expressive content: Yellow = faith/triumph/love; Carmine =
spiritual color; Cobalt = divine; Red & Green = terrible human passions

247. Religion
Sukhothai

248. Faculty
of
Architecture
and
Planning
Thammasat
University
Religion
Sukhothai
Sukhothai:
The
capital
of
the
first
Thai
Kingdom
and
center
of
communi;es
along
the
Ping
and
lower
Yom
river
basins
during
the
late
13th
to
15th
C.

249. Faculty
of
Architecture
and
Planning
Thammasat
University
Religion
Sukhothai
Sukhothai:
The
emergence
of
Sukhothai
and
its
satellite
towns
represented
a
shi>
from
a
small
community
to
a
cluster
of
towns
with
dis;nc;ve
poli;cal
and
cultural
organiza;on.

250. Faculty
of
Architecture
and
Planning
Thammasat
University
Religion
Sukhothai
Hinayana
Buddhism
In
the
fourteenth
century,
Sri
Lanka
sent
monks
to
Sukhothai
to
spread
Lankavamsa
sect
of
Hinayana
Buddhism.
During
the
15th
and
16th
Centuries,
Hinayana
Buddhism
flourished
in
Burma,
Thailand,
and
Laos.

251. Faculty
of
Architecture
and
Planning
Thammasat
University
Hinayana
Buddhism
The
role
of
religion
was
no
longer
confined
to
a
spiritual
sense.
Religion
defined
a
town’s
stance
and
legi;macy
of
the
ruler.
Religion
Sukhothai

252. Faculty
of
Architecture
and
Planning
Thammasat
University
Hinayana
Buddhism
Rulers
who
asserted
their
role
as
religious
patrons
could
more
easily
win
flavor
from
the
subjects
as
ideal
leaders.
The
rulers
are
natural
protectors
and
promoters
of
Buddhism.
Religion
Sukhothai

253. Faculty
of
Architecture
and
Planning
Thammasat
University
Lankavamsa
Buddhism
The
prac;ce
of
Lankavamsa
Buddhism
gave
rise
to
religious
structures
and
works
of
art.
Religion
Sukhothai

254. Faculty
of
Architecture
and
Planning
Thammasat
University
Stabilizing
Buddhism:
Wat
Chang
Lom
Religion
Sukhothai

255. Faculty
of
Architecture
and
Planning
Thammasat
University
Wat
Chang
Lom:
The
construc;on
of
the
chedi
with
elephant
sculptures
surrounding
its
base
followed
Lankavamsa
Buddhist
tradi;on
in
that
the
elephants
are
considered
auspicious
animals,
symbols
of
stability,
and
thus
supporters
of
Buddhism.
Religion
Sukhothai

256. Faculty
of
Architecture
and
Planning
Thammasat
University
Wat
Chang
Lom:
Wat
Chang
Lom
exemplifies
the
style
of
wat
architecture
that
is
characteris;cs
of
Sukhothai
style.
Religion
Sukhothai

257. Faculty
of
Architecture
and
Planning
Thammasat
University
Lotus-­‐bud
Chedi:
The
defini;ve
style
of
Sukhothai
architecture.
The
origin
of
this
type
of
chedi
remains
unknown
as
the
it
did
not
appear
in
any
pre-­‐
or
post-­‐Sukhothai
period.
Religion
Sukhothai

258. Faculty
of
Architecture
and
Planning
Thammasat
University
Lotus-­‐bud
Chedi:
The
chedi
rests
on
a
high
square
base
with
indented
corners.
The
top
part
of
the
chedi
is
shaped
like
a
lotus
bud,
from
which
the
name
is
derived.
Religion
Sukhothai
Top
Middle
Base

259. Faculty
of
Architecture
and
Planning
Thammasat
University
Religion
Sukhothai
Lotus-­‐bud
Chedi:
Wat
Mahatat.

260. Faculty
of
Architecture
and
Planning
Thammasat
University
Religion
Sukhothai
Buddha
images
The
excep;onal
beauty
of
Sukhothai
Buddhist
is
the
product
of
the
years
the
ar;sts
spent
honing
their
skills
and
crea;vity
to
uphold
Buddhism,
coupled
with
relentless
patronage
from
the
monarch.

261. Faculty
of
Architecture
and
Planning
Thammasat
University
Religion
Sukhothai
Buddha
images
Sukhothai
Buddhas
have
an
oval
face,
arched
eyebrows,
hook-­‐shaped
nose,
long
ears,
and
thin
lips
with
hint
of
a
faint
smile.
The
face
is
kind
and
the
eyes
looking
down
on
the
worshippers
below;
the
overall
features
imply
calmness
and
self-­‐contentedness.

262. Faculty
of
Architecture
and
Planning
Thammasat
University
Religion
Sukhothai
Buddha
images
Sukhothai
Buddha
images
are
mostly
in
the
medita;on
and
“subduing
mara”
posi;on.
However,
the
unique
and
most
famous
form
of
Buddha
images
is
the
walking
Buddha.

263. Faculty
of
Architecture
and
Planning
Thammasat
University
Religion
Sukhothai
Walking
Buddhas
represent
a
walking
pose
of
the
Buddha
as
he
descended
from
a
visit
with
his
mother
in
heaven.

264. Faculty
of
Architecture
and
Planning
Thammasat
University
Religion
Sukhothai
Walking
Buddhas
of
Sukhothai
period
were
the
first
free-­‐standing
Buddha
images
in
Thailand.

265. Faculty
of
Architecture
and
Planning
Thammasat
University
Religion
Sukhothai

266. Faculty
of
Architecture
and
Planning
Thammasat
University
Religion
Sukhothai

267. Faculty
of
Architecture
and
Planning
Thammasat
University
Absolute
monarchy
AyuGhaya
Fusing
secular
power
with
religious
a8ainment
is
evident
in
the
Phra
Wichitmarnmolee
si
Sanpetch
Borommatrailokanat,
the
adorned
Buddha
image
in
the
ordina;on
hall
of
Wat
Na
Phra
Men.
According
to
AyuGhaya’s
belief,
the
image
portrays
a
posture
of
the
Buddha
when
manifes(ng
himself
as
an
emperor.

268. Raja
Secular
Leader

269. Faculty
of
Architecture
and
Planning
Thammasat
University
Absolute
monarchy
AyuGhaya
Secular
Leader:
The
lo>y
status
of
the
Kings
of
AyuGhaya
was
reflected
in
regalia,
utensils
and
costumes,
which
were
made
of
precious
materials
with
intricate
embellishment
by
skilled
workmen.

270. Faculty
of
Architecture
and
Planning
Thammasat
University
Absolute
monarchy
AyuGhaya
Secular
Leader:
The
grandeur
of
the
royal
barge
procession,
featuring
several
hundred
boats
of
exquisite
decora;on,
cap;vated
foreign
visitors
who
had
a
chance
to
witness
it.
Many
of
them
actually
recorded
the
fascina;ng
scene
in
pain;ngs

271. Faculty
of
Architecture
and
Planning
Thammasat
University
Absolute
monarchy
AyuGhaya
Secular
Leader:
The
mural
on
the
wall
of
Wat
Pradu
Songdharma’s
vihara
shows
a
royal
procession.

272. Faculty
of
Architecture
and
Planning
Thammasat
University
Absolute
monarchy
AyuGhaya
Secular
Leader:
Pa
lai
yang
paGerns
feature
designs
that
Thai
people
made
and
then
sent
to
India
for
produc;on
The
chintz
would
then
be
sent
back
for
sale
in
Siam.
The
pa-­‐lai-­‐yang
paGerned
tex;le
was
expensive
and
considered
a
luxury
fit
only
for
royals
or
nobles.