The Characteristics And Meanings Of Annamese Sculptures On The Northeastern Buddhist Temples

Abstract

This article is part of the study on The Characteristics and Meaning of Annamese’ sculptures on the Northeastern Buddhist temple to the souvenir design. The study aimed to examine the characteristics and meanings of Annamese sculptures in northeastern Buddhist temples using qualitative research methods, including document analysis, field surveys, non-participant observation, and interviews with individuals involved with Annamese sculptures. The research focused on selected provinces in northeastern Thailand that had been influenced by Annamese craftsmanship in Buddhist temples, particularly those featuring Annamese sculptures from 1917 to 1957. The collected data was analyzed using semiotic theory and principles of artistic composition. Research findings were presented through descriptive analysis.The research findings revealed that Annamese sculptures in northeastern Buddhist temples from 1917 to 1957 were found in eight provinces. A total of 27 Buddhist temples featuring Annamese sculptures were crafted by Annamese artisans residing in the region. These sculptures were primarily found on Isan Sim, Ho Jaek, and Taad Isan. They were classified into three types: base relief sculpture, high relief sculpture, and round relief sculpture. The selection of temples for the study was based on the presence of Annamese sculptures, which were categorized into three stylistic approaches: realistic, semi-abstract, and abstract. Theoretical analysis revealed that semiotics served as a system of representation that enhanced perception and understanding of the origins of Annamese sculptures. It conveyed both explicit and implicit meanings through various forms of sculptures, contributing to their symbolic significance. These sculptures reflected cultural beliefs that auspicious symbols should be incorporated in northeastern Buddhist temples. This also involved symbols of power, protection, and the safeguarding of religion. Additionally, other positive cultural beliefs were also incorporated into northeastern Buddhist art. The researchers categorized the meanings of Annamese sculptures found in northeastern Buddhist temples into three major groups: (1) Animal Group, which included natural animals, Naga and dragon figures, and mythical creatures; (2) Human Group, representing human figures; and (3) Nature and Floral Vase Group, featuring decorative floral and vase motifs. These categories were expressed through the lens of Annamese artistic symbolism and belief systems. All of these sculptures conveyed auspicious meanings and served as symbols of power, bravery, and resilience. They functioned as protective element guarding against malevolent forces. Additionally, their implicit meanings were safeguarding Buddhism and preserving cultural heritage.