Other Buddha in Angkor

 This period dates from the abandonment of Angkor in 1431 to the XX century. For structures that do not require hard materials like sandstone (vihara, kuti, pagoda, image of the Buddha) or in case of lack of sandstone, Cambodians used wood as a substitute. This does not mean that there are no pieces made of stone these do exist, but there are very few.Other masterpieces include the bas-relief of temples where an art style inspired by Theravada Buddhism begins to appear. Despite its hardness, wood is much more delicate than stone and is easily damaged by nature and other factors. As a result, very few wooden sculptures remain today. In addition, during the Pol Pot Regime, there was a general destruction of artworks in the Pagodas, considered centers of cultural heritage because Cambodians do not usually keep art objects in their home. Because of this, the lack of post-angkorian art creates many challenges for researchers.

Style in Lao Buddha image.

The post-Bayon khmer style influenced early Lao Buddha images as in the Pra Bang, which was the prototype. Later this model became the principal Lao style, especially with respect to the form of the head and hair shape and lasted until the late era, being influenced by the Lanna and Sukhothai styles especially in Buddha seated with folded legs in the Maravijaya posture, the art of Luang Prabangs craftsmen. Later when Laos further developed its relationships with Ayutthaya and Rattanakosin, the two styles appear in combination with Vientiane craftsmanship. The Ayutthaya and Rattanakosin styles were closely interrelated and were in the same cultural line as Lao art, as were Lanna and Sukhothai.

The adjoining styles from the neighboring states of Cham and Vietnam had almost no influence on Lao art because they were distant from the Lao style and derived from a different cultural basis. The art of the Lao Buddha image is conservative and traditional, adopting only influences that blended rather than clashed with it. Thus, present-day Lao Buddha images differ little from those created in the past. A distinctly Lao identity still prevails, and it can be classified into two main periods:
the Early and the Late Eras of the art of the Lao Buddha image.

Wood Buddha in Lanna style.

 

The Lanna Art demonstrates the continuation with the art before the Lanna Period or Chiang Saen'. The art in this period started its formation since the time of King Meng Rai the Great, who was the 25th king of the Lao Dynasty in 1261 AD. The city of Nopburi Sri Nakhon Ping Chiang Mai was the capital in 1296 AD. The study in the field of art history reveals that the Lanna Art can be divided into 4 periods. They are 1st Period-the Establishment of the Kingdom (1261-1355 AD), 2nd Period-the Prosperity of the Kingdom (1355-1547 AD), 3rd Period-the Burmese Colonial State (1558-1774 AD) and 4th Period-the Thai Colonial State (1774-1939 AD).
The upper northern area of Thailand is the center of different families of artisans, which has been affected by the political and environmental realms. Thus, the Lanna Art can be divided into the following artisan families:

List of art style and type Buddha in lanna.

>1. The artisan family from the capital of Chiang Mai (13th-20th centuries AD),
>2. The Chiang Saen artisan family of Lanna period (14th-18th centuries AD),
>3. The Chai Prakarn and Fang artisan families (15th-18th centuries AD),
>4. The Nan artisan family (14th-19th centuries AD),
>5. The Haripunchai Artisan family of Lanna period (14th-18th centuries AD),
>6. The Phrae and Lampang artisan families (15th -18th centuries AD) and
>7. The Phayao artisan family (15th-18th centuries AD),

Therefore, the Lanna Art, the northern art of Thailand, is relatively difficult to classify in comparison with the arts from different smaller kingdoms within the Thai Kingdom.