Editing Thai art (section)

==History==
===Prehistory===
{{see also|Prehistoric Thailand|Ban Chiang}}
One of the earliest examples of artistic expression in Thailand can be found in over 410 documented [[rock art]] sites across the country, featuring both [[prehistoric]] and [[historic]] art.<ref>{{cite web |url=https://thesiamsociety.org/activity/prehistoric-rockart/ |title=Symbols and Meaning of Prehistoric Rock Art in Thailand |author=The Siam Society Under Royal Patronage |date=2022-02-10 |website=The Siam Society |access-date=2023-04-22}}</ref> The majority of these sites showcase monochrome red pictograms that depict animals, humans, geometric shapes, and handprints.<ref>{{cite journal |title=Rock Art Research in Southeast Asia: A Synthesis |author=Tan, Noel H. |journal=Arts |volume=3 |issue=1 |pages=73–104 |year=2014 |doi=10.3390/arts3010073|s2cid=62160170 |doi-access=free |url=http://pdfs.semanticscholar.org/feec/d5b40533c084b4b659715ec94e77316b615c.pdf }}</ref>  While the dating of many sites remains unknown, some rock art sites have been reported to date back 3,000–5,000 years ago.<ref>{{cite book |url=https://www.researchgate.net/publication/333651518|title=Rock art in East Asia: a thematic study |author1=Clottes, Jean |author2=Smith, Benjamin |publisher=ICOMOS |year=2019 |isbn=978-2-918086-27-7}}</ref>

''Nong Ratchawat'', situated in [[Suphanburi province]], is an important prehistoric site that provides valuable insights into the lifestyles of the people who settled in the area around 2000–500 BCE. Excavations have unearthed evidence of rice cultivation, animal husbandry, hunting, fishing, building construction, the creation of polished stone axes and pottery using locally available materials. The inhabitants were skilled in weaving [[textile]]s from plants possessing strong fibers, such as flax, [[hemp]], and [[ramie]].  During the [[Iron Age]], ''Nong Ratchawat'' became a prominent trading hub in the [[Mae Klong River|Mae Klong River Basin]] and the [[Tha Chin River|Tha Chin River Basin]], attracting merchants from different parts of the world and leading to cultural and ethnic diversity. The river watersheds surrounding the site have yielded a plethora of artifacts, including [[pottery]], bronze and iron tools, glass beads, ivory dice, [[Roman coin]]s, and [[Lingling-o]] earrings.<ref>{{cite web |url=https://smartmuseum-v2.finearts.go.th/en/exhibitions/%e0%b8%9b%e0%b8%a3%e0%b8%b0%e0%b8%95%e0%b8%b4%e0%b8%a1%e0%b8%b2%e0%b8%81%e0%b8%a3%e0%b8%a3%e0%b8%a1%e0%b8%82%e0%b8%b8%e0%b8%99%e0%b8%ab%e0%b8%a5%e0%b8%a7/ |title=Home Page Virtual Museum Archaeological Objects and Buildings Living Art Eng |website=Smart Museum |access-date=2023-04-22}}</ref> [[Ban Chiang]] is another important archaeological site in Thailand, located in [[Udon Thani province]]. It showcases the artistic achievements of a prehistoric culture that existed from about 2000 BCE to 300 CE. The people of Ban Chiang were skilled metalworkers, and evidence of early metallurgy, including copper and bronze artifacts, has been found at the site. The site also features diverse ceramics, some of which are decorated with distinctive red-on-buff swirl designs painted by hand.<ref>{{cite web |url=https://smarthistory.org/ban-chiang-archaeological-site/ |title=Ban Chiang, a prehistoric archaeological site – Smarthistory |author=Rod-ari, Melody |date=2022-06-15 |website=Smarthistory |access-date=2023-04-22}}</ref>
<gallery mode="packed" widths="170px" heights="170px">
Thailandabteilung in Ethnological Museum Berlin 05.JPG|Vessel in the form of a water buffalo from [[Lopburi]]; 2300 BC; ceramic; height: 18&nbsp;cm (7{{fraction|3|32}} in.)
Thailandabteilung in Ethnological Museum Berlin 02.JPG|Bowl; from [[Ban Chiang]] site; painted ceramic; height: 32&nbsp;cm, diameter: 31&nbsp;cm
B570119-A-0431.JPG|Painted pottery, [[Ban Chiang]].
Ban Kao Pottery 2.jpg|Tripod earthenware, Ca. 4,000 – 3,600 years ago, [[Ban Kao]], [[Kanchanaburi province]].
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===Dvaravati art===
{{see also|Dvaravati art}}
The [[Dvaravati]] period, lasting from the 6th to the 12th centuries CE, witnessed the spread of [[Theravada Buddhism]] throughout [[central Thailand|central]], [[northern Thailand|northern]], [[northeastern Thailand|northeastern]], and [[southern Thailand]]. While Theravada Buddhism was the dominant religion during this time, there is also evidence of other religious influences, including [[Mahayana Buddhism]] and [[Hinduism]]. Dvaravati art, which employed hard blue [[limestone]] or [[quartzite]] to produce intricate [[sculpture]]s, [[stucco]], and [[terracotta]] decorations,{{sfn|Lippe|1961}} featured symmetrical [[Buddha]] images standing or seated on thrones and the [[dharmachakra|Wheel of the Law]].<ref>{{Citation|title=Dvaravati|url=https://thai-heritage.org/dvaravati/|access-date=March 7, 2023}}</ref> The art style of Dvaravati owed its influence to the art of the [[Gupta Empire|Gupta]] and Post-Gupta periods in [[northern India]], as well as the Buddhist art of [[Amaravati]] in [[southern India]].<ref>{{cite web |url=https://www.finearts.go.th/ratchaburimuseum/view/31460-%E0%B8%A8%E0%B8%B4%E0%B8%A5%E0%B8%9B%E0%B8%81%E0%B8%A3%E0%B8%A3%E0%B8%A1%E0%B8%97%E0%B8%A7%E0%B8%B2%E0%B8%A3%E0%B8%A7%E0%B8%94%E0%B8%B5 |title=ศิลปกรรมทวารวดี |author=พิพิธภัณฑสถานแห่งชาติ ราชบุรี |date=2022-12-13 |website=กรมศิลปากร |access-date=2023-04-22 |language=th}}</ref> People of Dvaravati were likely the [[Mon people|Mons]], as evidenced by various inscriptions during this period.<ref>{{cite web |url=https://www.southeastasianarchaeology.com/2019/10/28/old-mon-inscriptions-and-the-dvaravati-culture/ |title=Old Mon inscriptions and the Dvāravatī culture |date=28 October 2019 |website=SEAArch – Southeast Asian Archaeology |access-date=April 25, 2023}}</ref> The Dvaravati period played a significant role in the dissemination of Buddhism across the region, with noteworthy examples of Dvaravati towns including Nakhon Pathom ancient city in [[Nakhon Pathom province]], [[U-Thong]] in [[Suphanburi province]], Chan Sen in [[Nakhon Sawan province]], [[Si Thep Historical Park|Si Thep]] in [[Phetchabun province]], [[Hariphunchai]] in [[Lamphun province]], [[Mueang Fa Daet Song Yang]] in [[Kalasin province]], Champasi in [[Maha Sarakham province]], Sema in [[Nakhon Ratchasima province]], Baan Dong Lakorn in [[Nakhon Nayok province]], [[Ku Bua]] in [[Ratchaburi province]], and Yarang in [[Pattani province]].
<gallery mode="packed" widths="100px" heights="100px">
Dvaravati art 2.jpg|Dvaravati period stone buddha, Phra Pathom Chedi National Museum.
Dvaravati art 22.jpg|Dvaravati period stone sculpture, Phra Pathom Chedi National Museum.
Dvaravati art 19.jpg|Dvaravati period stone jar, Phra Pathom Chedi National Museum.
Khao_Khlang_Nak-004.jpg|An ancient Dvaravati-style stupa dating back to the 8th-9th century CE in [[Si Thep Historical Park|Si Thep]]. It now stands as a large laterite base.
Sithep Museum-003.jpg|Si Thep Historical Park, Statue of [[Surya]], Dvaravati period.
Dvaravati art 1.jpg|Dvaravati period stone sculpture located in [[Phra Pathom Chedi National Museum]]
Khao Khlang Nai-005.jpg|The Buddhist wheel of the law [[dharmachakra]] is located at Khao Khlang Nai in [[Si Thep Historical Park]].
Dvaravati art 20.jpg|Dvaravati period stone [[dharmachakra]], Phra Pathom Chedi National Museum.
Dvaravati art 8.jpg|Dvaravati period lion stucco, Phra Pathom Chedi National Museum.
</gallery>

===Srivijaya art===
During the 8th-13th centuries CE, [[Southern Thailand]] may have been influenced by the [[Srivijaya|Srivijaya Kingdom]], which encompassed [[Sumatra]] and the [[Malay Peninsula]]. This resulted in similarities between Srivijaya art in Southern Thailand and Central Java art in [[Indonesia]], specifically in bronze sculptures and votive tablets. The ancient sites in [[Chaiya]], Southern Thailand, also bear resemblances to [[Central Java]] art, with Wat Phra Borommathat Chaiya being the most similar. The majority of sculptures discovered in Southern Thailand are of religious significance, depicting figures such as the [[Avalokitesvara]], Buddha protected by a [[Nāga]], and clay votive tablets with Buddhist iconography. Srivijaya art in Southern Thailand, from [[Surat Thani]] to [[Songkhla]], displays the influence of Indian art styles such as [[Gupta empire|Gupta]], post-Gupta, and [[Pala Empire|Pala]]–[[Sena dynasty|sena]], indicating a strong connection to [[Mahayana Buddhism]].<ref>{{cite journal |url=https://so04.tci-thaijo.org/index.php/NAJUA-Arch/article/view/46192 |title=ศิลปะสมัยศรีวิชัย พุทธศตวรรษที่ ๑๓-๑๘ |author=นิลเดช เ. |date=2016 |journal=NAJUA: Architecture, Design and Built Environment |volume=14 |pages=45 |language=th}}</ref>
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Borom That Chaiya.jpg|Wat Phra Borom That Chaiya, [[Surat Thani province]].
Bodhisattava Avalokiteshvara, Chaiya Art พระอวโลกิเตศวรโพธิสัตว์ ศิลปะไชยา 03.jpg|c. 9th Century, Bronze Bust of [[Avalokiteshvara]], Wat Phra Borom That Chaiya, Surat Thani province.
Chaiya Wat Kaew.jpg|Ruins of Wat Kaew, Chaiya, [[Surat Thani province]].
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===Khmer art in Thailand – Lopburi art<ref>{{Cite web |title= Lop Buri |url= https://thai-heritage.org/lopburi/ |access-date=2023-11-13 |website=Thai Heritage |quote= The style was comparable with those styles of Khmer sculptures and architectures in Cambodia, therefore, the ‘Ancient Khmer Style of Thailand’ is used as an alternative term for ‘Lopburi Style’. }}</ref>===
Between the 11th and 13th centuries CE, [[central Thailand|central]] and [[northeastern Thailand]] was ruled by the [[Khmer people|Khmers]] of [[Cambodia]]<ref>{{Cite web |title= Crowned Buddha Thailand (Lopburi) 12th–13th century (architecture) |url=https://www.metmuseum.org/art/collection/search/832287 |access-date=2023-11-13 |website=MET Museum |quote= This crowned Buddha image was cast in Lopburi, the Khmer provincial capital located in central (modern day) Thailand in the early centuries of the second millennium. }}</ref> and as a result, [[Brahmin]]–[[Hinduism]] emerged. It led to the development of artistic styles, sculptures, and architecture similar to the [[Khmer people|Khmer]] also known as Khom in [[Thai language]]. This artistic expression is known as the Lopburi style, named after the ancient city of [[Lopburi]] or [[Lavo Kingdom|Lavo]] and refers to both the [[Khmer people|Khmer]]-influenced and genuinely [[Khmer people|Khmer]] artistic movement in Thailand.<ref>{{Cite web |last=Boisselier |first=Jean |title= Lopburi |url= https://www.universalis.fr/encyclopedie/lopburi/ |access-date=2023-11-13 |website= Encyclopædia Universalis France |language=fr |quote= La ville de Lopburi (à 130 km au nord de Bangkok), qui a donné son nom à l'école khmérisante, et authentiquement khmère, de Thaïlande, est située à la bordure nord-est du Delta}}</ref><ref name="lpa">{{cite journal |last=นิลเดช |first=เ. |date=2016 |title=ศิลปะสมัยลพบุรี พุทธศตวรรษที่ ๑๖-๑๘ |journal=NAJUA: Architecture, Design and Built Environment |volume=14 |pages=53 |url=https://so04.tci-thaijo.org/index.php/NAJUA-Arch/article/view/46194 |access-date=23 April 2023}}</ref>

Lopburi artists were primarily associated with Brahmin-Hinduism, and later, [[Mahayana Buddhism]]. Surviving examples of their art are mainly stone and bronze carvings. The Lopburi architectural style used bricks and stones, with the ''Prang'' style being the most common, influenced by the Khmer [[Angkor]] style.<ref>{{Cite web |title= Prang (architecture) |url= https://memim.com/prang-architecture.html |access-date=2023-11-13 |website=Menim |quote= The Thai word refers on the one hand on the Angkorian tower structures, on the other hand on towers that build on this heritage style. }}</ref> In the 13th century AD, the [[Sukhothai Kingdom]] was established, and the [[Lavo Kingdom|Lopburi Kingdom]] came under its influence. During this time, artistic works aimed to establish a Thai identity.<ref name="lpa"/>
<gallery mode="packed" widths="170px" heights="170px">
ปรางค์สามยอด 2020.jpg|[[Phra Prang Sam Yot]], a [[Khmer people|Khmer]] temple in [[Lopburi province]]<ref>{{Cite web |last=Albert |first=Melissa |title= Lop Buri |url= https://www.britannica.com/place/Lop-Buri |access-date=2023-11-13 |website=Britannica |quote= The Prang Sam Yod ("Three-Spired Sanctuary"), the symbol of the Lop Buri region, was built by the Khmers. }}</ref>
ปราสาทพนมรุ้งและปรางค์น้อย.JPG|[[Phanom Rung]], a [[Khmer people|Khmer]] temple in [[Buriram province]]
057 Siva, 11c, Lopburi (35252885885).jpg|[[Shiva]], 11th century, Lopburi.
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===U-Thong art===
[[U-Thong]] art, also known as Suphannaphum-[[Ayothaya (town)|Ayothaya]] art, emerged in [[central Thailand]] between the 12th and 15th centuries CE, contemporaneously with [[Chiang Saen]] and Sukhothai art. This style received its name from the U-Thong Kingdom, which was centered in the [[U Thong District]], although this kingdom's existence is ambiguous. It is characterized by a Buddha image style influenced by [[Dvaravati]], [[Lavo Kingdom|Lopburi]], and [[Sukhothai Kingdom|Sukhothai]] arts, with the Dvaravati influence being the most prominent. The resulting architecture and fine arts are collectively referred to as U-Thong and can be found in various provinces, including [[Suphan Buri province|Suphanburi]], [[Nakhon Pathom province|Nakhon Pathom]], [[Chai Nat province|Chai Nat]], [[Lopburi province|Lopburi]], and [[Phra Nakhon Si Ayutthaya province|Ayutthaya]].<ref name="uthong">{{cite journal |last=นิลเดช |first=เ. |date=2016 |title=ศิลปะสมัยอู่ทอง พุทธศตวรรษที่ ๑๗-๒๐ |journal=NAJUA: Architecture, Design and Built Environment |volume=14 |pages=69 |url=https://so04.tci-thaijo.org/index.php/NAJUA-Arch/article/view/46198 |access-date=23 April 2023}}</ref>

U-Thong architecture is closely related to [[Theravada Buddhism]] and features low-roofed ubosot, vihāra, and chedis constructed with wood. A unique style of U-Thong chedi has an octagonal base, eight-sided structure, lotus crystal-adorned roof, and bell. These chedis are commonly found at various temples, such as [[Sankhaburi District|Sankhaburi]] in Chai Nat province or some temples in Suphanburi. Another type of U-Thong chedi is found at Wat Phra Borommathat in [[Chai Nat province]] and shows similarities to Srivijaya art.<ref name="uthong"/>

Bronze sculptures from the U-Thong period exemplify elaborate casting, inheriting from the earlier Dvaravati art. Sukhothai art mixed with U-Thong art, resulting in lighter Buddha statues with flame auras, eventually becoming characteristic of early Ayutthaya art. The U-Thong or Ayothaya Kingdom was dissolved with the establishment of the [[Ayutthaya Kingdom]].<ref name="uthong"/>
<gallery mode="packed" widths="170px" heights="170px">
วัดพระบรมธาตุวรวิหาร_รหัสโบราณสถานคือ_0000732.JPG|Wat Phra Borommathat Worawihan, [[Chai Nat province]]
Wat_phanancherng_04.jpg|Phra Phuttha Trairattananayok, Wat Phanan Choeng, [[Ayutthaya province]]
</gallery>

===Sukhothai art===
Sukhothai art emerged in the 13th to 15th centuries CE, coincided with the establishment of the [[Sukhothai Kingdom]]. This art form was influenced by [[Theravada Buddhism]], which was propagated from [[Ceylon|Lanka]] through [[Nakhon Si Thammarat]].<ref>{{cite journal |last=Piyabhani |first=Phramaha Nantakorn |title=Sukhothai Kingdom: The Golden Age of Buddhism |journal=Journal of International Buddhist Studies |volume=7 |issue=2 |year=2016 |pages=123–131 |url=http://ojs.mcu.ac.th/index.php/JIBS/article/download/662/12 }}</ref> One of the most notable characteristics of Sukhothai art is the authentic Sukhothai-style chedi, also referred to as [[Phum khao bin pattern|''Phum khao bin'']], which has a distinct lotus-shaped design.<ref name="sktar"/>

Another defining feature of Sukhothai art is the Buddha images' graceful and elegant form, which exhibits refined proportions, a distinctive flame-like halo around the head, and a serene expression. These Buddha images are typically seated in the half-lotus posture with the right hand performing the earth-touching gesture or walking with one foot forward and the right hand raised to the chest. The walking Buddha, in particular, is a unique style closely associated with Sukhothai.<ref>{{cite thesis |last=Prudtikul |first=Pornchai |title=The iconography of the walking Buddha posture in Sukhothai art |type=Master's thesis |publisher=Silpakorn University |year=2006 |url=http://www.sure.su.ac.th/xmlui/handle/123456789/1475 }}</ref>

The Sukhothai Kingdom was also renowned for its exceptional glazed ceramics, which were produced in the [[Sangkhalok ceramic ware|Sangkhalok style]]. These ceramics featured delicate blue-green or grayish-green tints and intricate designs painted in black or a darker hue of the glaze. They were fired at high temperatures, resulting in a durable and robust body.{{sfn|Bhirasri|2015b|page=23}}<ref>{{citation|title=สังคโลกสู่การเป็นสินค้าส่งออก|url=https://www.finearts.go.th/promotion/view/25895-%E0%B8%AA%E0%B8%B1%E0%B8%87%E0%B8%84%E0%B9%82%E0%B8%A5%E0%B8%81%E0%B8%AA%E0%B8%B9%E0%B9%88%E0%B8%81%E0%B8%B2%E0%B8%A3%E0%B9%80%E0%B8%9B%E0%B9%87%E0%B8%99%E0%B8%AA%E0%B8%B4%E0%B8%99%E0%B8%84%E0%B9%89%E0%B8%B2%E0%B8%AA%E0%B9%88%E0%B8%87%E0%B8%AD%E0%B8%AD%E0%B8%81|language=th|access-date=March 7, 2023}}</ref> Despite its short-lived existence, the Sukhothai Kingdom's artistic legacy remains influential to this day. The kingdom's artistry and craftsmanship were absorbed into the [[Ayutthaya Kingdom]], which succeeded it.<ref name="sktar">{{cite journal |last=นิลเดช |first=เ. |date=2016 |title=ศิลปะสมัยสุโขทัย พุทธศตวรรษที่ ๑๘-๒๐ |journal=NAJUA: Architecture, Design and Built Environment |volume=14 |pages=63 |url=https://so04.tci-thaijo.org/index.php/NAJUA-Arch/article/view/46197 |access-date=23 April 2023}}</ref>
<gallery mode="packed" widths="100px" heights="100px">
Sukhothai Historical Park.jpg|The ruins of Wat Mahathat, [[Sukhothai Historical Park]]
Wat Si Chum in Sukhothai.jpg|Phra Achana, [[Wat Si Chum]], Big Buddha image, Sukhothai
Architectural Finial in the Form of a Mythical Creature LACMA M.86.345.20.jpg|Sawankhalok, depicted a [[Makara]] mythical creature.
Dish with Chrysanthemum Spray and Floral Scrolls LACMA M.73.119.11.jpg|14th century, Sawankhalok.
Bangkok_National_Museum_-_2017-04-22_(111).jpg|Relief containing a scene from the Gojaniya jātaka, Sukhothai art, 14/15th century AD, [[Wat Si Chum]], [[Sukhothai Historical Park]], [[Sukhothai province]].
Phra Phuttha Chinnarat (II).jpg|Phra Phuttha Chinnarat at Wat Phra Si Rattana Mahathat, [[Phitsanulok province]].
</gallery>

===Lanna art===
Lanna art, also known as Chiang Saen art, denotes an artistic tradition that emerged in [[northern Thailand]], spanning the period from the 14th to the 19th century AD. Its inception was in [[Chiang Saen District|Chiang Saen]]; however, the establishment of the [[Lanna Kingdom]] with [[Chiang Mai]] as its capital caused a shift in artistic production.  Lanna art is deeply entrenched in [[Theravada Buddhism]], which was the dominant religion in the region. While initially, it drew inspiration from [[Hariphunchai]] art, it gradually evolved its distinct style.<ref>{{cite web |url=https://issuu.com/sarakadeepress/docs/issu_book__________________________ |title=เจดีย์ในประเทศไทย |publisher=SARAKADEE-MUANG BORAN |date=2017-10-12 |access-date=23 April 2023}}</ref><ref name="ln1"/>

Lanna chedis are typically bell-shaped, evolving from a round plan to a polygonal plan as seen in the pagoda at [[Wat Phra That Doi Suthep]]. Some chedis, for example, the one containing [[Tilokaraj|King Tilokaraj]]'s ashes at [[Wat Chet Yot]], were influenced by [[Sukhothai Kingdom|Sukhothai]] architecture. The Buddha images of Lanna are frequently depicted with specific attributes like a round face, a smiling expression, and curled-up hair or an egg-shaped face with a halo of flames.<ref name="ln1">{{cite journal |last=นิลเดช |first=เ. |date=2016 |title=ศิลปะสมัยเชียงแสน พุทธศตวรรษที่ ๑๗-๒๔ |journal=NAJUA: Architecture, Design and Built Environment |volume=14 |pages=57 |url=https://so04.tci-thaijo.org/index.php/NAJUA-Arch/article/view/46196 |access-date=23 April 2023}}</ref>
<gallery mode="packed" widths="170px" heights="170px">
Twilight temple.jpg|Wat Lok Moli, [[Chiang Mai]]
Phra That Doi Suthep 01.jpg|[[Wat Phrathat Doi Suthep]], [[Chiang Mai]]
Wat Phra Sing, Chiang Mai (III).jpg|[[Wat Phra Sing]], Chiang Mai
Dish with trefoil leaf design MET DP-19227-001.jpg|Kalong ware, 15th–16th century
</gallery>

===Ayutthaya art===
Ayutthaya art thrived between the 14th and 18th centuries CE, during the rise and dominance of the [[Ayutthaya Kingdom]] across much of mainland Southeast Asia. It inherited the artistic traditions of late U-Thong art and developed a distinctive style that blended various cultural influences from Sukhothai, Lopburi, India, Persia, China, Japan, and Europe.<ref name="ay1">{{cite journal|last=นิลเดช|first=เ.|date=2016|title=ศิลปะสมัยอยุธยา พุทธศตวรรษที่ ๑๙-พ.ศ.๒๓๑๐|journal=NAJUA: Architecture, Design and Built Environment|volume=14|pages=73|url=https://so04.tci-thaijo.org/index.php/NAJUA-Arch/article/view/46199|access-date=2023-04-24}}</ref><ref>{{cite journal|last=Chularatana|first=Julispong|date=2017|title=Indo-Persian influence on late Ayutthaya art, architecture, and design|journal=The Journal of the Siam Society|volume=105|pages=43–72}}</ref><ref>{{cite journal|last=วิชญรัฐ|first=ว.|date=2020|title=ญี่ปุ่นในศิลปกรรมไทยโบราณภาพสะท้อนการเรียนรู้โลกของสังคมไทย ในสมัยอยุธยาและต้นรัตนโกสินทร์|journal=วารสารสหวิทยาการ|volume=14|issue=1|pages=58–73|url=https://so06.tci-thaijo.org/index.php/citujournal/article/view/246603|access-date=2023-04-24}}</ref> Ayutthaya also exerted its artistic influence over its vassal states of [[Angkor]] and [[Lanna]].<ref>{{citation|last1=Polkinghorne |first1=M. |last2=Pottier |first2=C. |last3=Fischer |first3=C. |title=Evidence for the 15th Century Ayutthayan Occupation of Angkor  |year=2018 |publisher=Siam Society |location=Bangkok |pages=98–132}}</ref><ref>{{cite web |title=ศิลปะล้านนา |url=https://welovemuseum.files.wordpress.com/2011/02/e0b8a5e0b989e0b8b2e0b899e0b899e0b8b2.pdf |access-date=April 24, 2023|publisher=ศักดิ์ชัย สายสิงห์}}</ref>

The art of Ayutthaya was characterized by a diverse array of techniques and styles, including the grand palaces and monasteries decorated with chedis, prangs, and Buddha images. Religious icons were often adorned with regal attire and crowns, emphasizing the close relationship between the king and the Buddha.<ref name="ay1"/> Artisans showcased their expertise in the creation of [[lacquerware]] and mother-of-pearl inlay, producing functional and decorative objects with intricate designs and vivid paintings. These techniques were frequently used to decorate religious objects such as Buddha images.<ref name=":19">{{citation|title=Thai Lacquerware: From Nature to Fine Art|url=https://www.thailandfoundation.or.th/th/culture_heritage/thai-lacqueware-in-brief/|access-date=March 8, 2023|website=Thailand Foundation}}</ref>

''Chang Sip Mu'', which means ''Ten Essential Traditional Craftsmanship'', played a crucial role in both civilian and military fief houses during the Ayutthaya period. This is evidenced by its recognition under the [[Three Seals Law]] implemented by [[Borommatrailokkanat|King Borommatrailokkanat]]. Despite the name suggesting only ten groups of highly skilled craftsmen, the group actually comprised more than ten groups who were experts in various fields.<ref name="csm1:1">{{cite web |url=https://www.silpa-mag.com/art/article_96093 |title=ช่างสิบหมู่ มี 10 ประเภทเลยไหม มีช่างอะไรบ้าง และพัฒนาการมาอย่างไร ? |trans-title=Chang Sip Mu: Are there 10 types? What are the crafts and how did they develop? |website=Silpawattanatham |language=th |access-date=2023-04-24}}</ref> However, after the Burmese army burned down the city in 1767 CE,<ref>{{cite journal|last=Phungwong|first=Naratorn|date=2012|title=The Interpretation of European Settlements (Portuguese, Dutch and French) on the Chao Phraya River during the Ayutthaya Era|journal=Veridian E-Journal, Silpakorn University (Humanities, Social Sciences and Arts)|volume=5|issue=2|pages=91–119|url=https://he02.tci-thaijo.org/index.php/Veridian-E-Journal/article/download/28184/24221|access-date=2023-04-24}}</ref> various branches of fine arts that had thrived during the late Ayutthaya period had to disperse because craftsmen were taken away.<ref name="csm1:1"/> Despite this unfortunate event, the city's artistic heritage can still be appreciated today at the archaeological site of the historic city and in various museums.
<gallery mode="packed" widths="120px" heights="120px">
Phra Phuttha Nimit Wichit Mara Moli.jpg| Crowned Buddha, Wat Na Phra Men.
Ayutthaya Temples.jpg|[[Wat Chaiwatthanaram]]
วัดพระศรีสรรเพชญ์1.jpg|Wat Phra Si Sanphet
Sangphet Prasat Throne Hall.jpg|Sanphet Prasat Throne Hall, Ayuthayan kings' palace, replica in Muang Boran
</gallery>

===Rattanakosin art===
Rattanakosin art is a style of art that emerged in 1780, when the [[Rattanakosin Kingdom]] was founded by [[King Rama I]]. The king wanted to revive the artistic traditions that had been lost during the destruction of the [[Ayutthaya Kingdom]] by the Burmese. He re-established ''Chang Sip Mu'', a group of ten craftsmen who were responsible for creating fine art in Bangkok. Later, this group became part of the [[Fine Arts Department]].<ref name="csm1:1"/><ref name="rtks1">{{cite journal |last=เดช |first=นิล |year=2016 |title=ศิลปะสมัยรัตนโกสินทร์ พุทธศตวรรษที่ ๒๔- ปัจจุบัน |journal=NAJUA: Architecture, Design and Built Environment |volume=14 |pages=83 |url=https://so04.tci-thaijo.org/index.php/NAJUA-Arch/article/view/46202 |language=th}}</ref>

The early Rattanakosin art was influenced by the late Ayutthaya art, which was characterized by the use of bright colors, gold leaf, and solid backgrounds in paintings. The artists also restored some of the art forms that had been damaged or lost, such as lacquerware and mother-of-pearl inlay.<ref name="rtks1"/>

During the reign of [[King Rama III]], Rattanakosin art began to incorporate elements from other cultures, such as European and Chinese. This was especially evident in architectural art, which blended Thai and Chinese styles. For example, the [[Grand Palace]] and [[Wat Pho]] were built with Chinese-style roofs and decorations.<ref name="rtks1"/>

[[King Rama IV]] introduced more changes to Rattanakosin art, as he was interested in Western science and culture. He adopted European architectural styles and techniques, such as [[Gothic architecture|Gothic]] and [[neoclassical architecture|neoclassical]], and also learned about linear perspective from Western paintings. He hired [[Khrua In Khong]], a talented painter who applied linear perspective to Thai paintings and created realistic scenes of nature and society.<ref name="rtks1"/>

[[King Rama V]] continued the modernization and westernization of Rattanakosin art, as he traveled to Europe and brought back new ideas and materials. He commissioned many buildings that combined Thai and European styles, such as the [[Ananta Samakhom Throne Hall]] and the [[Vimanmek Mansion]] and mixed-style such as [[Chakri Maha Prasat Throne Hall]].<ref name="rtks1"/> He also supported the production of [[Benjarong]], a type of porcelain with colorful patterns that had previously been imported from China with Thai patterns but later began to be produced locally.<ref>{{cite web |url=https://www.sacit.or.th/uploads/items/attachments/406c841592c4176af37a6fc376bef0b6/_8abdbe6e318df920f8690d8b81713399.pdf |title=เครื่องเบญจรงค์ ศิลปะสมัยรัตนโกสินทร์ |author=สำนักพิพิธภัณฑ์และวัฒนธรรม |date=2017 |publisher=กรมศิลปากร |language=th |access-date=2023-04-25}}</ref>
<gallery mode="packed" widths="120px" heights="120px">
วัดพระศรีรัตนศาสดาราม_2.jpg|[[Wat Phra Kaew]]
พระบรมมหาราชวัง 1.jpg|[[Chakri Maha Prasat Throne Hall]]
Templo_Wat_Arun,_Bangkok,_Tailandia,_2013-08-22,_DD_04.jpg|[[Wat Arun]]
03-วัดพระเชตุพนวิมลมังคลาราม.jpg|[[Wat Pho]]
Ananta_Samakhom_(I)_(cropped).jpg|[[Ananta Samakhom Throne Hall]]
Castles house in The Ananta Samakhom Throne Hall.jpg|Memorial Crowns of the Auspice
</gallery>

====Contemporary art====
Contemporary Thai art emerged in the 1990s, blending old and new Thai cultural features with a diverse color palette and patterns to create modern and appealing art.<ref>{{cite web |url=https://goterrestrial.com/2020/10/15/contemporary-thai-style/ |title=Contemporary Thai Style |website=Goterrestrial |publisher=Goterrestrial Co., Ltd. |date=2020-10-15 |access-date=2023-04-25 }}</ref> However, its roots can be traced back to [[Khrua In Khong]], the first Thai artist to adopt the Western realist style in his paintings, which added more depth and realism to his works.<ref name="c:1"/>

[[Silpa Bhirasri]], an Italian sculptor who came to Thailand in 1923 and founded the ''School of Fine Arts'', which later became [[Silpakorn University]], played a pivotal role in introducing modern art concepts and techniques to Thai artists and students. He taught them perspective, anatomy, composition, and color theory, and established the National Art Exhibition in 1949, providing a platform to showcase and promote Thai art.<ref>{{cite web |url=http://www.art-centre.su.ac.th/the-national-exhibition-of-art.html |title=The National Exhibition of Art |website=Silpakorn University Art Centre |publisher=Silpakorn University |date=2022-12-01 |access-date=2023-04-25 }}</ref> Silpa Bhirasri's famous sculptures and paintings reflected his artistic vision and appreciation of Thai culture and history, making him widely regarded as the father of Thai contemporary art.<ref name="c:1">{{cite journal |last1=Bhirasri |first1=Silpa |last2=Jamuni |first2=Pairoj |date=2010 |title=The Father of Contemporary Art in Thailand |url=https://www.thaiscience.info/Journals/Article/SUIJ/10499156.pdf |journal=Sripatum University International Journal |volume=4 |issue=1–2 |pages=14–25 |access-date=2023-04-15 }}</ref>

Silpa Bhirasri's influence can be seen in the works of [[Fua Haripitak]] and {{ill|Sawasdi Tantisuk|th|สวัสดิ์ ตันติสุข
}}, who were Thailand's [[avant-gardes]] in the 1950s and 1960s. These artists challenged the conventional norms and expectations of Thai art by creating abstract and expressive works that explored their personal feelings and experiences. They used bold colors, shapes, and textures to convey their emotions and ideas, incorporating elements of Thai culture and spirituality, such as Buddhist symbols, folk motifs, and astrological signs, into their works. Their trailblazing efforts paved the way for many more artists of later generations, such as Damrong Wong-Upraj, Manit Poo-Aree, Pichai Nirand, and Anant Panin, to experiment with new forms and styles of expression.<ref name="c:1"/>

In the mid-1990s, a group of artists created the [[Chiang Mai Social Installation]], which brought art and performance out of the traditional gallery setting and into the streets of [[Chiang Mai]].

The [[Bangkok Art Biennale]], launched in 2018, provides a platform for artists to showcase their work on an international stage. These developments reflect a growing interest in Thai contemporary art and the increasing willingness of artists to experiment with new forms of expression<ref>{{cite web |url=https://www.theartnewspaper.com/2018/11/02/bangkoks-first-biennial-is-a-blissed-out-affair |title=Bangkok's first biennial is a blissed-out affair |last=Ruiz |first=Cristina |date=2 November 2018 |website=The Art Newspaper |access-date=25 April 2023}}</ref>
<gallery mode="packed" widths="170px" heights="170px">
Sanctuary of Truth 2016-02-19-01.jpg|[[Sanctuary of Truth]]
Rongkun.jpg|[[Wat Rong Khun]]
</gallery>
<!--
== Visual arts==
===Painting===
====Traditional====
[[File:016 The Marraige of King Suddhodana and Queen Maya (34443939153).jpg|The mural painting at Phra Thinang Phuttai Sawan depicts the marriage of [[Śuddhodana|King Suddhodana]] and [[Maya (mother of the Buddha)|Queen Maya]].|thumb|250px]]
[[File:วัดช่องนนทรี เขตยานนาวา กรุงเทพมหานคร (53).jpg|thumb|The mural painting at Wat Chong Nonsi are divided into sections using a technique called "Sinthao".]]
[[File:Khrua 13.jpg|thumb|Mural painting at the Temple of [[Wat Borom Niwat]] by [[Khrua In Khong]]]]
[[File:Khrua_03.jpg|thumb|Another example of mural painting influenced by Western-style made by [[Khrua In Khong]].]]
Traditional Thai painting is an ancient art form that has been passed down through generations in Thailand. The art form evolved through the Sukhothai, Ayutthaya, and Rattanakosin periods, with each era contributing unique elements to the style. The paintings typically feature flat images with lines as the main boundaries, and use secondary elements such as trees, mountains, streams, and rocks as dividing events or areas of the image. The use of color is flat paint and does not show shadows. Natural colors derived from earth elements, minerals, rocks, metals, plants, and some parts of animals are used in traditional Thai painting.<ref name="สมชาติ">สมชาติ มณีโชติ. ( 2529). ''จิตรกรรมไทย''. กรุงเทพ ฯ : โอเดียนสโตร์</ref> The colors are often monochromatic, but there are also five-color variations called [[benjarong]].

During the [[Sukhothai Kingdom|Sukhothai]] and [[Ayutthaya Kingdom|Ayutthaya period]]s, traditional Thai painting evolved and was influenced by elements of the culture, including monochromatic and various colors. The paintings were found at various locations such as the [[ubosot]], prang, [[viharn]], sermon hall, [[ho trai]], kuti, dharma cabinet, [[Folding-book manuscript|samut khoi]], and phra bat. Ayutthaya period has more surviving examples of paintings, with many found in the form of murals on temple walls featuring Buddhism-related subjects such as history of the [[Buddha]], [[Mahanipata Jataka]], and Thep Chumnum.<ref>สันติ เล็กสุขุม และกมล ฉายาวัฒนะ. จิตรกรรมฝาผนังสมัยอยุธยา. กรุงเทพฯ : สถาบันไทยคดีศึกษา มหาวิทยาลัยธรรมศาสตร์</ref>

In the [[Rattanakosin Kingdom|Rattanakosin period]] traditional Thai painting was inspired by the events of the country, life, society, traditions, costumes, houses, temples, castles, palaces, nature, and various animals. Portraits and architecture stand out in groups, using strong colors and strongly contrasting opposite colors. The contrasting colors are balanced and harmonized. The composition of the picture often features the Tri Bhum image behind the principal Buddha image and a picture telling the story of the [[Lord Buddha]] and the [[Jataka tales]] on the side. Traditional Thai painting from this period is characterized by a heavy dark background and a heavy use of [[gold leaf]].<ref>ปรีชา เถาทอง. ( 2548). ''จิตรกรรมไทยวิจักษ์''. กรุงเทพ ฯ : อมรินทร์การพิมพ์.</ref>

From the end of the reign of [[King Rama III]], the influence of Western painting began to flow into Thailand. This resulted in a modification of traditional Thai painting styles in various Buddhist places. The original flat images were transformed into deep, three-dimensional images that look more realistic, influenced by the Western style of painting. An important painter during the reign of [[King Rama IV]] was [[Khrua In Khong]]. He was one of the first Thai painters to experiment with the Western style of painting while maintaining the traditional Thai art form.

Many of the images in traditional Thai painting tell stories of the [[Lord Buddha]], the [[Jataka tales]], or important events in [[Thai history]]. The paintings often feature intricate details and designs that are specific to [[Thai culture]], such as the [[Traditional Thai clothing|traditional Thai costumes]] and [[Thai architecture|architecture]]. Traditional Thai painting is still practiced today, with modern artists combining the traditional art form with contemporary techniques and styles.
<gallery>
075 Ramakien Murals (9148549111).jpg|The mural painting at [[Wat Phra Kaew]] depicts a scene from the [[Ramakien]], an epic Thai poem, where [[Hanuman]] expands his gigantic body to protect [[Phra Ram]]'s tabernacle. 
071 Ramakien Murals (9148597633).jpg|The mural painting at [[Wat Phra Kaew]] depicts Hanuman and the mermaid-like creature [[Suvannamaccha]].
139 Ramakien Murals (9147853979).jpg|This mural painting depicts the traditional Thai architecture of [[Wat Phra Kaew]].
Watsuthathimaphan.jpg|The [[Himaphan]] mural paintings depict mythical animal creatures commonly found in the mythical Himaphan forest of Thai folklore.
</gallery>
====Contemporary====
One of the pioneers of modern Thai painting is [[Khrua In Khong]], who is highly regarded for his expressive and atmospheric works that break free from traditional painting rules. His art emphasizes the value of painting beyond just theoretical reasons, inspiring future generations of Thai artists to create unique and innovative works. Starting from 1957, the influence of European art movements such as [[Impressionism]], [[Cubism]], and [[Surrealism]] became more evident in the works of Thai painters, including [[Fua Haripitak]], Sawat Tantisuk, Kiettisak Chanonnart, Ithipol Thangchalok, Tuan Thirapichit, and Decha Warachoon.<ref>{{citation|lang=th|title=จิตรกรรมไทยร่วมสมัย|date=April 21, 2017|url=https://www.trueplookpanya.com/knowledge/content/57538}}</ref>
=== Sculpture ===
{{see also|Buddhist art#Southern Buddhist art|Buddha images in Thailand}}
Thai sculpture is a diverse and intricate art form that encompasses various styles and techniques, from the shallow depths of bas relief to the three-dimensional forms of high relief and floating round reliefs, and is often used for religious purposes as well as for decorative and functional objects such as pottery.<ref>{{Citation|lang=th|url=http://www.info.ru.ac.th/province/sukhotai/art2.htm|title=ประติมากรรม|access-date=March 8, 2023}}</ref>
====Wood carving====
[[Wood]] is one of the most commonly available materials in [[tropical]] regions. In Thailand, the most commonly used woods for carving are [[teak]], [[Hopea odorata|takhian]], [[Dalbergia oliveri|rosewood]], [[Pterocarpus macrocarpus|padu]], and [[Sindora siamensis|makha]]. Wood carving has been a traditional craft in Thailand for centuries, with skilled artisans creating a wide variety of objects, including decorative items and functional pieces such as doors, windows, Buddha images, and decorative patterns for buildings and furniture.<ref>{{Citation|lang=th|access-date=March 9, 2023|url=http://www.dn-wood.com/article/3/%E0%B8%9B%E0%B8%A3%E0%B8%B0%E0%B8%A7%E0%B8%B1%E0%B8%95%E0%B8%B4%E0%B8%A8%E0%B8%B4%E0%B8%A5%E0%B8%9B%E0%B8%B0%E0%B8%81%E0%B8%B2%E0%B8%A3%E0%B9%81%E0%B8%81%E0%B8%B0%E0%B8%AA%E0%B8%A5%E0%B8%B1%E0%B8%81%E0%B9%84%E0%B8%A1%E0%B9%89%E0%B9%83%E0%B8%99%E0%B9%84%E0%B8%97%E0%B8%A2|title=ประวัติศิลปะการแกะสลักไม้ในไทย}}</ref>{{sfn|Bhirasri|2015c}}
====Stone carving====
Thai [[sculpture]] almost exclusively depicts [[Buddha image|images of the Buddha]], being very similar with the other styles from [[Southeast Asia]], such as [[Cambodian art|Khmer]]. Most of the sculptures depict Buddha. An exception is the ''[[dvarapala]]''.
<gallery widths="190px" heights="190px">
Bangkok National Museum - 2017-04-22 (016).jpg|Lintel depicting the Hindu god [[Narayana|Nārāyaṇa]] sleeping upon the serpent [[Shesha|Śeṣa]] in the middle of the [[Kshir Sagar|Milky Ocean]]; around 12th century; obtained from the Ku Suan Taeng Temple ([[Ban Mai Chaiyaphot District]], [[Buri Ram Province]]); [[Bangkok National Museum]]
Dvarapala.JPG|Guardian figure ([[dvarapala]]); 15th century; glazed stoneware; [[Harn Museum of Art]] ([[Florida]], USA)
</gallery>
====Fruit and vegetable carving====
{{main|Thai fruit carving|Vegetable carving}}
==Crafts and decorative arts==
Chang Sip Mu refers to ten different types of craftsmen highly respected in Thai culture. The term "Chang" means a skilled artisan or technician, while "Sip Mu" means ten groups. This tradition dates back to the [[Ayutthaya Kingdom|Ayutthaya period]], where there were even more groups of craftsmen. Each group has a specific skill set, including drawing and painting, carving, engraving, turning, casting, molding and sculpting, model building, lacquering, metal beating, and plastering. For centuries, these craftsmen have passed down their skills through generations. Their works of art include Buddha images, lacquerware, metalwork, and decorative patterns.<ref>{{citation|lang=th|url=https://www.bareo-isyss.com/service/art-culture/%E0%B8%8A%E0%B9%88%E0%B8%B2%E0%B8%87%E0%B8%AA%E0%B8%B4%E0%B8%9A%E0%B8%AB%E0%B8%A1%E0%B8%B9%E0%B9%88/|title=ช่างสิบหมู่|access-date=March 9, 2023}}</ref><ref>{{citation|title=ช่างสิบหมู่|journal=SWU EJournals System|author=รอด บุญ|date=2015}}</ref>
===Basketry===
Wicker weaving has been an integral part of Thailand's handicraft tradition for centuries. Thai craftsmen have honed their skills in creating wicker products made from various materials such as [[bamboo]], [[rattan]], [[palm leaves]], coconut leaf, [[Lepironia|krajood leaf]], [[Lygodium|lipao]], and other plant-based materials. These products are commonly found in Thai households and range from furniture pieces like [[chair]]s and tables to smaller items like [[basket]]s, [[tray]]s, lamps, and other. The craft is typically passed down through families and small workshops, where the next generation of craftsmen learns the techniques and intricacies of wicker weaving.<ref>{{citation|title=เครื่องจักสาน|lang=th|date=April 19, 2017|url=https://www.trueplookpanya.com/knowledge/content/59979/-blog-timhis-tim-artfin-art-his-cul-}}</ref><ref>{{citation|lang=th|url=https://saranukromthai.or.th/sub/book/book.php?book=22&chap=3&page=t22-3-infodetail05.html|title=เครื่องจักสานภาคกลาง}}</ref>
===Ceramics===
{{main|Thai ceramics}}
<gallery>
Benjarong Thai 19th cent Ayuthaya porcelain Jim Thompson Museum IMG 7100.jpg
Glazed_stoneware_dish_from_Thailand,_Kalong_ware,_15th_century,_HAA.JPG
File:Bowl_with_Incised_Peony_Designs_LACMA_AC1997.252.1.jpg
Covered_Box_LACMA_M.84.213.183a-b.jpg
</gallery>
===Dolls===
{{main|Tukkata chao wang}}
===Glass blowing===
[[Glass blowing]] has evolved over time, with the introduction of new techniques to enhance the beauty and artistic value of the work. Sandblasting is used to create a turbid surface, while gilding with gold leaves and coating with flaxseed oil are common methods to create a value-added product that is more attractive and worthy of collection. These tactics have contributed to the popularity of glass blowing as an art form, with a range of works produced in Thailand since its introduction in 1977. Today, there are training courses and institutions that produce scientific tools, making glass blowing accessible to both children and adults. The works produced vary in price and complexity, ranging from inexpensive animal figures to collectible sculptures like the mythical [[Royal Barge Procession|Royal Barge Suphannahong]] and other creatures.<ref>{{Citation|title=Glass Blowing|url=https://www.sacit.or.th/uploads/items/attachments/25e646de1d14a0538e631e7f3605eb12/_c83a30fa7e0c68e79c381c87e243f9a5.pdf|access-date=March 9, 2023}}</ref>
===Textiles===
{{expand section|date=March 2023}}
===Patterns and motifs===
Patterns in Thai art and design are often inspired by nature, including [[plant]]s and [[animal]]s. These patterns are commonly used to adorn buildings, clothing, and household items for various occasions. Thai artists and craftspeople draw inspiration from a variety of natural elements, such as [[lotus flower]]s, [[garland]]s, [[smoke]], [[incense]], and candle flames, to create unique and diverse patterns. [[Lotus (plant)|Lotus]]es, including the [[Nelumbo nucifera|sacred lotus]], double red lotus, and magnolia lotus, have served as inspiration for many of these patterns, while others have been inspired by the swaying flames.<ref>{{citation|title=ศิลปะลายไทย|lang=th|url=https://www.lib.ru.ac.th/journal2/?p=12009|date=February 26, 2019|author=นุชจรีย์ เมืองแตง}}</ref>

'''[[Kranok pattern]]:''' The pattern is usually represented as a triangular shape with unequal sides or a lotus bud shape and is composed of three parts: the body, the tail, and the top. Skilled craftsmen create the intricate designs using knotting techniques. Kranok is derived from nature, based on the four elements of earth, water, wind, and fire, and must consist of the five elements of flora, which include clumps, sheaths, branches, and leaves. These elements are tied together in a pattern to form Kranok. The pattern has been widely used in Thai art, architecture, and crafts and is still celebrated today as a symbol of Thai heritage and culture.<ref>{{citation|title=ลวดลายของชาติไทย|lang=th|url=https://www.finearts.go.th/storage/contents/2021/04/detail_file/MPchmInFQSuCt2938hOSFPHEmzjOjYO0DwT97vjL.pdf|access-date=March 10, 2023}}</ref><ref name="lai">{{Citation|lang=th|url=https://goterrestrial.com/2020/09/03/thai-art/|title=ศิลปะไทย ลวดลายสวยมีเอกลักษณ์เฉพาะตัว|author=Angkana Saenkhati|date=September 3, 2020}}</ref>

'''Krajung pattern:''' The structure of the pattern is in the form of an equilateral triangle, resembling the petals of a lotus or sugarcane leaves. The sides are pointed and separated, as if being pulled apart. This pattern is commonly used as a decorative border, such as on traditional Thai wooden furniture or on the top of Thai architectural features.<ref>{{citation|lang=th|url=https://sites.google.com/site/pawaritlines/lay-kracang|title=ลายกระจัง|access-date=March 10, 2023}}</ref>

'''Prajam yam pattern:''' The structure of the pattern is in the form of a square, resembling a four-petal flower. It is a popular decorative motif in Thai art and can be used to create continuous patterns or as individual floating flowers. The Prajam yam pattern is commonly used as a repeating motif in decorative patterns, such as on textiles, pottery, and architecture.<ref>{{citation|lang=th|url=https://sites.google.com/site/pawaritlines/lay-praca-yam|title=ลายประจำยาม|access-date=March 10, 2023}}</ref>

'''[[Phum khao bin pattern]]:''' The structure of the pattern is in the shape of a cluster of rice seeds, or the shape of a lotus bud. This pattern is often seen in Thai architecture, such as the chedi dated to the Sukhothai period.<ref name="lai"/>

'''Kap pattern:''' A tall pattern used to decorate or wrap around the base of poles or various rectangular shapes in architectural works. It resembles sugarcane or bamboo, and the pattern itself has protruding parts.<ref>{{citation|lang=th|url=https://sites.google.com/site/pawaritlines/lay-kab|title=ลายกาบ|access-date=March 10, 2023}}</ref>

'''Nok khab and Nak khob pattern:''' This pattern features the face of a bird or naga with its beak covering or incorporating other patterns. The design is typically located at the joint where the stem connects to the flower or leaf, and is a common decorative element in Thai art and architecture.<ref>{{citation|title=ลายนกคาบและนาคขบ|url=https://sites.google.com/site/pawaritlines/lay-nk-khab-laea-nakh-khb|lang=th|access-date=March 10, 2023}}</ref>
===Metalworks===
====Damascene====
[[Damascening|Damasceneware]], also known as Kram in Thai, involves inlaying refined silver or gold stripes into a carved pattern on steel objects like scissors, cane heads, and royal weapons. It is believed to have been influenced by the [[Persians|Persian]]s who traded with Thailand during the [[Ayutthaya Kingdom|Ayutthaya period]]. The method of inlaying silver is called Kram Ngern and gold is called Kram Thong. As the weapons of troop leaders during the Ayutthaya and early Rattanakosin periods were also used by the kings, they needed to be beautifully decorated. However, as the weapons were made of iron, it was impossible to use precious stones or enamel for decoration. The only option was to use inlay work. This technique was also used for decorating the costumes of royal family members and auspicious royal articles like regalia, which symbolized regal authority.<ref name=":09"/><ref>{{citation|title="คร่ำ" อัตลักษณ์แห่งสยาม|url=https://www.meetthinks.com/identityofsiam-10/|date=January 4, 2019}}</ref>
====Niello====
[[Niello|Nielloware]], also known as Thom in Thai, is a technique used to decorate silverware and goldware. The technique involves carving intricate patterns onto a metal surface and filling the grooves with a black mixture, making the pattern more visible. Historically, nielloware was used as rank decorations and was considered exclusive to the upper class. There are several categories of nielloware, including silver or black nielloware, gold nielloware, Thom Ta Thong, and Thom Chuthathut. Thom Ta Thong involves silver nielloware with gold painted on certain places, while Thom Chuthathut is an inlay technique on silver plates. The art of nielloware has been passed down through generations of artisans. To create nielloware, the artisan carves the desired pattern onto the metal surface, then applies a black mixture to the grooves, making the pattern more visible. The technique requires a steady hand and a great deal of patience to produce the intricate designs that are characteristic of nielloware.<ref name=":09"/>
===Lacquerware===
====Lai rot nam====
{{main|Lai rot nam}}
The art of Lai rot nam is a time-honored tradition in Thailand that involves using gold leaf and black lacquer to decorate various objects with intricate and delicate designs. This art form requires exceptional skill and precision to execute properly, as the gold leaf must be applied in various designs that can range from simple geometric patterns to intricate depictions of mythical creatures and scenes from Buddhist mythology. The use of black lacquer, which is made from the resin of the [[Gluta usitata|Rak tree]], creates a contrast against the gold leaf and enhances the visual impact of the overall design.<ref>{{Citation|lang=th|url=https://www.sacit.or.th/th/detail/2021-02-09-10-35-58|title=งานเขียนลายรดน้ำ|access-date=March 9, 2023}}</ref>
<gallery>
Watrakhangdoorpano0609.jpg
Bangkok wat suthat 016.JPG
State Gifts Commemorative Plate.JPG
Schwarzgoldlack-Malerei.JPG
Bangkok Nang Nong temple 007.JPG
</gallery>
====Long rak pid thong====
Long rak pid thong is a refined and intricate Thai art form that employs gold leaf to embellish lacquered surfaces. This technique involves layering [[Gluta usitata|Rak]] resin onto a chosen material and allowing each layer to dry before proceeding to the next. Once the surface is smooth, artisans meticulously apply gold leaf by hand or brush, carefully following engraved lines and intricate patterns. Long rak pid thong is used to adorn various objects, including furniture, utensils, religious artifacts, and architectural elements such as chofa, bairaka, and arches.<ref>{{Citation|url=https://www.sacit.or.th/uploads/items/attachments/cdeb62ca10f63c94f575fa8f7f7a2b1f/_456c46f4d69bfc94f5c67b243b2fc025.pdf|title=Lacquering and gilding|access-date=March 8, 2023}}</ref><ref name=":19"/>
====Mother-of-pearl inlay====
Mother-of-pearl inlay, also referred to as Muk or Pradab muk in Thai, involves the meticulous process of engraving and decorating small pieces of shell onto utensils using a binder called [[Gluta usitata|Rak]]. The iridescent colors produced by the reflecting shells create a stunning contrast against the black background. In the past, Muk was mainly used in royal institutions and Buddhist sacred sites. Today, the craft is primarily utilized for creating small souvenirs like pedestal bowls, [[tray]]s, [[cigarette case]]s, and [[lighter]]s due to its time-consuming production process.<ref>{{Citation|title=ประดับมุก - ประเภทมุก|lang=th|url=https://www.sacit.or.th/uploads/items/attachments/d8e1d5073bde1c96433e0463f000bb35/_fe975817e6810da243b6755147534cd7.pdf|access-date=March 8, 2023}}</ref><ref name=":09">{{citation|title=Livelihood, Arts and Crafts of Thai People|url=https://archive-api.sacit.or.th/documents/media/book/media-book-tblFuR7GDk.pdf|access-date=March 8, 2023}}</ref>
<gallery>
028 Mother of Pearl Badge (9180231639).jpg
WatPhoPutthaBat030624b.jpg
136 Cabinet, Mother of Pearl Door, Rattanakosin (34408626784).jpg
Mother of Pearl Inlay on Buddha's Foot.jpg
Bangkok Wat Pho 01.jpg
</gallery>
====Pradab krachok====
Another variation of Thai lacquer art is Pradab krachok, which involves the use of lacquer and mosaic decorations on traditional utensils, [[Khon]] apparel, and architectural details. Thai craftsmen follow a traditional method of first coating the chosen material with Rak lacquer before placing small glass pieces. They then apply a special mixture of boiled resin and powder made from burnt coconut shell, bricks, dried banana leaf, or rak samuk, which is a mixture of Rak resin and the ashes of dried banana leaves or grass. As the mixture seeps between the glass pieces and forms a seal, it prevents water from entering.<ref name=":19"/>
====Lacquer painting====
[[Lacquer painting]], or Lai kammalor in Thai, is a technique that involves the use of powdered color and [[Gluta usitata|Rak]] varnish or its sun-dried raw form to create intricate works of art. The black resin board serves as the painting's background, and it is often accentuated by gold leaf or powder. Lacquer paintings are typically found on doors, windows, cabinets, partitions, and gold-gilded surfaces in Thailand. Although the technique had disappeared after the fall of [[Ayutthaya Kingdom|Ayutthaya]], it was revived successfully during the reign of [[King Rama III]]. However, the art form slowly declined again after his death.<ref name=":19"/>
====Khrueang khoen====
Khrueang khoen involves a lacquering technique that creates [[wooden]] and [[rattan]] items with a Rak resin latex surface. The surface is decorated with motifs created through scratching techniques or the application of vermillion or gold leaves. The craft originated from the Khün people who migrated into [[Northern Thailand]] from [[Kengtung]] in [[Shan state]], [[Myanmar]].<ref name=":19"/>
===Paper===
[[Samut khoi]] is an ancient type of Thai book that has been crafted for centuries from the bark of the [[Streblus asper]] tree. This type of paper is highly valued for its durability and is perfect for writing important documents and texts. Thai paper-making also involves the use of mulberry tree fibers to create [[Rice paper|Sa paper]]. This paper is known for its strength and versatility, making it ideal for use in traditional crafts such as [[lantern]]s, [[umbrella]]s, and [[parasol]]s, which are often embellished with vibrant patterns and colors. Mulberry paper is also used in the intricate art of [[khon]] mask-making,<ref>{{citation|title=Khon Mask|url=https://www.sacit.or.th/uploads/items/attachments/c7174a563613088e59471c70d9d2c09e/_7003c23511e2dac67a829577ba968869.pdf|access-date=March 9, 2023}}</ref> as well as in the creation of wao, colorful kites that are flown during festivals and competitions.<ref>{{Citation|title=เครื่องกระดาษ|lang=th|url=https://www.saranukromthai.or.th/sub/book/book.php?book=13&chap=3&page=t13-3-infodetail09.html|access-date=March 9, 2023}}</ref>
<gallery>
โคมแขวนที่ประตูท่าแพ ๑ - Hanging lanterns (khom khwaen) at Tha Phae Gate 1.jpg
Ayutthaya_Studies_Institute_3.jpg
Thai_manuscript_Jim_Thompson_Museum_IMG_7170.jpg
</gallery>
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