14.4 Influence of local beliefs and practices on Buddhist art

Southeast Asian Buddhist art blends local beliefs with Buddhist traditions, creating unique styles across Thailand, Myanmar, and Indonesia. This fusion of indigenous elements and Buddhist iconography made the religion more accessible to local populations, aiding its spread throughout the region.

The incorporation of local deities, spirits, and artistic motifs into Buddhist art reflects the adaptability of Buddhism. This syncretism allowed for a gradual transition from indigenous religions, reducing potential conflicts and fostering the integration of Buddhism into Southeast Asian cultures.

Syncretism in Southeast Asian Art

Blending of Religious and Cultural Elements

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• Syncretism refers to the blending and merging of different religious or cultural elements into a new, unified system or tradition
• In Southeast Asia, the arrival of Buddhism led to a syncretism with pre-existing indigenous religious beliefs, practices, and artistic traditions
• The syncretism of Buddhism and indigenous religions is evident in the iconography, symbolism, and styles of Southeast Asian Buddhist art
  • In Thailand, the influence of animistic beliefs and Hindu traditions can be seen in the depiction of mythical creatures, nature spirits, and local deities alongside Buddhist figures in temple art and architecture (Wat Phra Kaew, Wat Arun)
  • Indonesian Buddhist art often incorporates elements of Javanese Hindu-Buddhist traditions, such as the depiction of the Bodhisattva Avalokiteshvara in the style of the Hindu god Shiva (Candi Mendut, Borobudur)
• The incorporation of indigenous religious elements into Buddhist art served to make Buddhism more accessible and relatable to local populations, facilitating its spread and acceptance in Southeast Asia

Role of Syncretism in the Spread of Buddhism

• Syncretism played a crucial role in the successful dissemination and establishment of Buddhism in Southeast Asia
• By incorporating familiar religious elements and artistic motifs, Buddhist teachings and practices became more appealing and understandable to local communities
  • The inclusion of local deities and spirits as protectors of the Buddha and the dharma helped to bridge the gap between pre-existing beliefs and the new religious system (Thai spirit houses, Burmese nat shrines)
• Syncretism allowed for a gradual transition from indigenous religions to Buddhism, reducing the potential for conflict and resistance
• The adaptability of Buddhism and its willingness to absorb local religious elements contributed to its successful integration into the cultural fabric of Southeast Asian societies

Local Deities in Buddhist Iconography

Incorporation of Local Deities and Spirits

• In many Southeast Asian cultures, pre-existing beliefs in local deities, nature spirits, and ancestral spirits were incorporated into Buddhist iconography and art
• Local deities and spirits were often depicted as protectors of the Buddha, the dharma, and the sangha, or as guardians of specific temples or sacred sites
  • In Burmese Buddhist art, the nat (local spirits) are frequently depicted alongside Buddhist figures, serving as guardians or attendants (Shwedagon Pagoda, Shwezigon Pagoda)
  • Thai Buddhist temples often feature statues or shrines dedicated to local deities and spirits, such as the phi (ghosts) and thevada (celestial beings), alongside images of the Buddha (Erawan Shrine, Wat Pho)
• The incorporation of local deities and spirits into Buddhist iconography helped to legitimize and elevate their status within the new religious framework

Assimilation of Folkloric Creatures

• Folkloric creatures, such as the naga (serpent deity) and the garuda (mythical bird), were assimilated into Buddhist iconography, often representing important Buddhist concepts or serving as vehicles for enlightened beings
  • The naga is frequently depicted in Southeast Asian Buddhist art as a protector of the Buddha and a symbol of the Buddha's wisdom and power (Wat Phra Kaew, Angkor Wat)
  • The garuda, a mythical bird-like creature, is often portrayed as a vehicle for the Buddha or as a symbol of the Buddha's spiritual authority (Borobudur, Wat Arun)
• The incorporation of folkloric creatures into Buddhist iconography demonstrates the adaptability and inclusivity of Buddhism, as it absorbed and reinterpreted pre-existing mythological elements
• The assimilation of local folklore into Buddhist art helped to create a sense of continuity and familiarity for local populations, easing the transition to the new religious system

Artistic Traditions and Buddhist Art

Influence of Pre-existing Artistic Traditions

• Prior to the arrival of Buddhism, each region in Southeast Asia had its own distinct artistic traditions, styles, and techniques
• These pre-existing artistic traditions significantly influenced the development and expression of Buddhist art in each area, leading to unique regional styles
  • In Cambodia, the pre-existing Khmer artistic tradition, known for its intricate stone carvings and grand temple architecture, heavily influenced the development of Cambodian Buddhist art, as seen in the famous Angkor Wat temple complex
  • The Dvaravati artistic tradition of central Thailand, characterized by its stucco and terracotta sculptures, had a lasting impact on Thai Buddhist art, even after the rise of the Sukhothai and Ayutthaya kingdoms (Wat Phra Pathom Chedi, Wat Phra Phai Luang)
• The influence of pre-existing artistic traditions on Buddhist art highlights the importance of cultural context in shaping the expression of religious art

Adaptation and Incorporation of Indigenous Motifs

• In some cases, pre-existing artistic motifs, such as floral designs, geometric patterns, and stylized depictions of animals, were adapted and incorporated into Buddhist art, creating a fusion of indigenous and Buddhist artistic elements
  • The kala, a monstrous face motif derived from Hindu iconography, was frequently incorporated into the decoration of Buddhist temples and monuments in Java and Bali (Borobudur, Prambanan)
  • Traditional Thai floral and geometric patterns, such as the kranok and lai Thai, were often used to decorate Buddhist manuscripts, mural paintings, and architectural elements (Wat Phra Kaew, Wat Pho)
• The adaptation and incorporation of indigenous artistic motifs into Buddhist art demonstrates the flexibility and adaptability of Buddhism to local artistic sensibilities
• The fusion of indigenous and Buddhist artistic elements created a unique and culturally relevant form of Buddhist art that resonated with local populations

Patronage and Buddhist Art Expression

Role of Patronage in the Development of Buddhist Art

• Patronage, particularly by rulers, aristocrats, and wealthy merchants, played a significant role in the development and expression of Buddhist art in Southeast Asia
• Patrons commissioned the construction of temples, monasteries, and religious monuments, as well as the creation of Buddhist sculptures, paintings, and other artworks
  • The patronage of Buddhist art was often motivated by a desire to gain religious merit, legitimize political power, or demonstrate wealth and status (Borobudur, commissioned by the Sailendra dynasty; Wat Phra Kaew, patronized by Thai kings)
• Patronage provided the financial resources and political support necessary for the creation and maintenance of Buddhist art and architecture
• The preferences and tastes of patrons could influence the style, content, and iconography of Buddhist art, leading to the development of distinct regional styles and artistic traditions

Impact of Religious and Political Agendas on Buddhist Art

• The religious and political agendas of patrons could influence the style, content, and iconography of Buddhist art, as artworks were often created to convey specific messages or to align with particular religious or political ideologies
  • The construction of the Shwedagon Pagoda in Myanmar was closely tied to the political legitimization of the Mon kings, who sought to establish their authority through the patronage of Buddhism (Shwedagon Pagoda)
  • The reliefs and sculptures at Borobudur in Indonesia were designed to convey specific Buddhist teachings and cosmological concepts, reflecting the religious agenda of the Sailendra dynasty (Borobudur)
• Shifts in political power and religious allegiances could also impact the expression of Buddhist art, leading to changes in artistic styles, the destruction or alteration of existing artworks, or the creation of new works reflecting the prevailing religious and political climate
  • The rise of Islamic kingdoms in Indonesia led to the decline of Buddhist art patronage and the abandonment or destruction of many Buddhist monuments (Borobudur, Sewu Temple)
• The study of patronage and religious politics in relation to Buddhist art provides insight into the complex interplay between religion, power, and artistic expression in Southeast Asian societies