The Buddha sculptures

Figure 2

Guardian figure of the upper cave, unique in that it is the only sculptural form carved directly from the limestone bedrock.

Figure 3

Sculptural group, showing the size and number of sculptures as seen from the interior of the lower cave.

The focus of Lao traditional art has been religious; since the fourteenth century, it has been primarily Buddhist and heavily influenced by Thai culture and its artistic styles (Seckel 1968:62). The Tam Ting caves contain sculptures that stylistically represent Lao, Thai, and some Chinese forms, with differences in robe and headdress types, suggesting a chronology of styles. The sculptures range from larger than life-size statues to smaller than finger-length figurines (Fig. 3).

Lao sculpture of the sixteenth to eighteenth centuries, at the height of the kingdom of Lan Xang, is most distinctively Laotian. Sculptures were usually made of bronze, stone, or wood; and the subject was invariably the Buddha. In the Tam Ting caves, most of the figures were carved from wood, but a few were also fashioned out of tree resin (sometimes covered with silver sheeting), horn, and ceramic. A few bronze sculptures may still be found in the caves, although most of these, as well as gold and rock crystal sculptures, have been removed since 1975. Virtually all the sculptures found in the caves are lacquered and gilded. The lacquer applied was usually black, but sometimes red lacquer was added over the black. Like other Buddhist sculptors, Lao artisans emphasized features thought to be representative of the historical Buddha, including a beaklike nose, extended earlobes, tightly curled hair, and so on.

Two types of standing Buddha images are distinctively Lao. The first is the “calling for rain” posture, which depicts the Buddha standing with hands held rigidly at his sides, fingers pointing toward the ground. This posture is rarely seen in other Southeast Asian Buddhist art traditions. The flat, slablike earlobes, arched eyebrows, and aquiline nose are uniquely Lao, as is the commonly upward-curled bottom hem of the Buddha's robe. Many sculptures of this style are found in the Tam Ting caves.

The other original Lao image type is the “contemplating the bodhi tree” Buddha. The bodhi tree, also called the “tree of enlightenment,” refers to the large banyan tree in Bodhgaya, India, beneath which the historical Buddha was said to have been sitting when he attained enlightenment in the sixth century b. c.e. In this depiction, the Buddha is standing in much the same way as in the “calling for rain” pose, except that his hands are crossed at the wrist in front of his body. Very few examples of this form are found at Tam Ting.

Although not uniquely Laotian, the Tam Ting caves contain many sculptures of the Buddha seated in the “calling the earth to witness” position—his left hand in his lap and his right hand palm down over his knee. Another style found in the caves is the “meditation” position, with the Buddha sitting cross-legged with his hands cupped, palms upward, in his lap. A rarer form depicts the Buddha walking. A sculpture of the Buddha lying on his side depicts the Buddha in death, but this form was not observed in the Tam Ting caves.

Buddhist sculptures in Lao are not found only in temples or shrines. They also are found on high shelves, or altars, in homes and shops.

Environmental Context