Early influences
The ancient ceramics unearthed during archaeological excavations are characterized by their simplicity. Much later, the influence of the primitive Khmer kingdoms was felt from the early 9th century, as evidenced by the Vat Phou site, or Temple of the Mountain, erected in the south of the country. This Khmer temple, probably built in honour of Shiva, shows the extent to which Khmer culture flooded an immense territory, including present-day Laos. At the entrance, a sculpture of an elephant that seems to be surprisingly moulded in stone has been welcoming visitors for centuries. Hindu gods and apsaras carved into the bas-reliefs mark this plunge into the heart of the origins of Lao culture, on this exceptional site that continues to be revered by the Lao people.
In 1353, Lan Xang, or Land of a Million Elephants, was founded by Fa Ngum. The kingdom was consolidated thanks to the support of the Khmer king, his father-in-law. It was also he who offered his son-in-law a sacred image of the Buddha, the Phra Bang, which became the palladium of the new kingdom. Following this, Laos adopts Theravada Buddhism, the "Doctrine of the Elders", considered to be the most faithful to the Buddha's teaching.
In spite of contacts with other cultures, notably Khmer, Thai and Vietnamese throughout its history, the art of Laos manages to develop from the 14th century onwards a real originality which can be felt in architecture as well as in the plastic arts.A religious art
It is good to keep in mind that Lao art is fundamentally religious. Buddhist paintings and sculptures constitute the majority of artistic creations. Far from seeking naturalism, the artists endeavoured to faithfully follow the codes of representation elaborated from the texts. This is why one notes in certain sculptures an extreme stylization which is never gratuitous. This process makes it possible to render, for example, a luminous body through a monastic garment. Innumerable works of art are preserved in monasteries, vat. The sumptuous decorations, gracefully painted or engraved, enhance the splendour of the buildings. Their primary role is not aesthetic but to protect the sanctuary. Guardians sculpted on the doors, roofs lined with nâga
- the polycephalous snakes that watch over the treasures -, deities on the pediments of the façades. The plant motifs also have a beneficial function, as lianas or stylised trees grant wishes. The traditional Lao Buddha is characterized by an oval face and sharply curved eyebrow arches. His eye may be inlaid with mother-of-pearl or silver. From the 18th century onwards, his bushy nose evolved into an eagle's beak shape and his earlobe stretched in a stylized manner. Theushnisha, the protruding protuberance on her head crowned with tightly curled hair, is surmounted by a flame or spike. The monastic habit covers the whole body or shows a shoulder to represent the Blessed Buddha. Two mudras or hand positions are only found in Laotian sculpture. The "Call of the Rain" presents Buddha standing with his arms along his body and fingers pointing down to the ground, while in the posture of "Meditation under the Tree of Enlightenment" Buddha crosses his arms on his chest at wrist level.Lao sculpture
.Sculptors used a wide range of techniques: among the metals used, bronze is the most common. Precious metals are reserved for small objects, with rare exceptions in gold such as the 16th century Phra Say or the Phra Bang, of uncertain origin. In 1798, Laos came under the control of Siam (Thailand) until the end of the 19th century. Sculpture is strongly influenced by the Ayutthaya and Bangkok styles.
Bronze, a copper alloy called samrit
, may contain precious metals or a high percentage of tin, which gives the statues a dark grey brush-like appearance. Other images are composed of a high percentage of copper and gold which allows the tones to be modulated, such as the Buddha of Vat Chantabouri in Vientiane. Bronze facilitates the making of colossal images, such as those found profusely in Laos. Among the most famous and oldest colossal statues are the Phra Ong Teu (16th century, Vientiane), the Phra Ong Teu of Sam Neua, the sculpture of Vat Manorom (14th century, Luang Phrabang). Only the head and torso of the Buddha of Manorom remain, but these remains shed light on the design of ancient monumental sculptures, which were made in parts before being assembled. The French colonial period marks the decline of Buddha representations. Traditional Lao art makes a remarkable turn in the fantastic sculpture garden created by the Thai artist and spiritual leader Bunleua Sulilat (1932-1996), 25 km from Vientiane. The Buddha Park is home to monumental works of reinforced concrete with characteristics of naive art and art brut. The sculptor stated that he had never tried his hand at sculpture before this project.Wood engraving
In the past Laos was largely covered by forest. Its resources favoured the emergence of woodworking. Woodcutting thus acquired the status of traditional art and with the rise of Buddhism, this discipline played an increasing role in the production of images of Buddha. It was also used to embellish temple and palace door frames, pillars, roofs, lintels and decorative friezes. During the Lane Xang period, skilled carpenters were hired to produce thrones and all kinds of wooden furniture. At the beginning of the 20th century, with the emergence of a middle class in demand for beautiful works, their work exploded. Unfortunately, the 1970s were accompanied by a decline in traditional Buddhist practices and consequently a loss of the ancestral methods of woodcutting.
There are innumerable wood carvings of Buddha. The famous cave near Luang Prabang is worth mentioning. It is here that over the centuries hundreds of wooden sculptures have been collected by locals and pilgrims on the ground and along the walls of Pak Ou (at the mouth of the Ou River).Buddhist painting
The frescoes and bas-reliefs, as well as the painted hangings used for meditation and teaching are the major forms of Laotian painting. Among the religious themes, the images of Jataka, the Laotian version of the Râmâyana, were illustrated without perspective, using simple lines and monochrome flat tints, without shadow play or shading. The characters meet strict standards. The frescoes that adorn Laotian temples are painted on stucco, a medium that makes them fragile and susceptible to crumbling. These murals require frequent restoration work. However, magnificent examples can be seen in Wat Sisakhet (Vientiane), Wat Pa Heuk and Wat Siphouthabath (Luang Prabang). The Vat Pa Huak contains scenes of great finesse and originality. The paintings on fabric, prayer flags suspended on cotton sheets, show scenes from the Jataka or Pharak Pharam. They are hung during the monks' prayers.
Transition to the modern era
Oil paintings and watercolours were imported from the West during the French colonial period. The first school to teach these techniques was founded by the French painter Marc Leguay (1910-2001) who taught drawing and metalwork at the National School of Fine Arts. This artist painted colourful scenes of daily life in Laos and stamp illustrations at the request of the government. However, a contemporary Laotian style is struggling to assert itself. Most courses focus on copying Western masters, so Laos stays away from international trends. Two famous artists of Laotian origin are worth mentioning: Vong Phaophanit (born in 1961 and based in London) combines local materials such as silk, rice and bamboo with light effects in his installations; Phet Cash, born in 1973, composes abstract paintings with her husband Duane Cash, which are very successful in the United States.
For a first approach to modern Lao art, the National Institute of Fine Art exhibits paintings, installations and sculptures by local students in its magnificent building.
Towards tomorrow
Art galleries have been springing up in Vientiane for the past 15 years. The first contemporary art gallery in Laos, Treasures of Asia, opened in 2004. Its collection of contemporary Laotian art, the richest in the country, brings together all styles, from surrealism to abstraction. Founded in 2008, the M Gallery represents the most famous Laotian artists and is expanding its scope to neighbouring Thailand, Vietnam and Singapore. More modest but no less dynamic, the I:cat Gallery has been exhibiting local and international contemporary artists since 2009. In parallel, it organizes concerts, poetry readings, fashion shows, book launches and visual art events.
The French Institute of Laos organizes one of the rare events dedicated to photography: the Biennale de l'Image de Luang Prabang is a multicultural meeting around the art of photography. Its eclectic selection brings together French and Asian artists around the image arts: video art, digital art, conceptual and realistic. At the same time, independent photographers propose their festival off. Throughout the year, local painters exhibit at the Institute. Open to all genres, the institute has notably put street art in the spotlight during a one-off exhibition. Not very widespread in Laos, urban art has the particularity of investing the facades of many sanitary facilities throughout the country. Independent of the houses, these permanent huts are transformed into multicoloured supports. With the agreement of the owners, local artists or passing by, these huts are adorned with graffiti and original paintings.
Still in Luang Prabang, Project Space breathes a wind of novelty on the Laotian cultural scene. Since 2010, the place hosts exhibitions and events on its three floors, completed by a roof terrace. The space partners with many cultural institutions to open up to the international scene and offer a springboard for local artists.
