Thai classical art is conventionally divided into five main eras and several lesser ones. The five most important are Srivijaya, Khmer, Sukhothai, Ayutthaya and Rattanakosin. The first two overlapped and were both pre-Thai. The Sukhothai era followed in the 13th and 14th centuries, the Ayutthaya era in the 15th to 18th centuries, and the Rattanakosin era from 1782 to the present.

The establishment of Sukhothai kingdom was a cornerstone in Thai history. The adoption of pure Buddhism as the national religion, as opposed to the Khmer blend of Hinduism and Buddhism, led to the construction of a different kind of temple.

Sukhothai artisans had to turn to Buddhist scriptures for guidance about the alignment, shape, dimensions, and appearance of their temples and Buddha images. The result is sublime, conveying the sense of peacefulness which permeates the teaching of Theravada Buddhism and which characterises the period. Sukhothai is commonly held up as the pinnacle of much of Thai classical art.

Art developed was thoroughly cosmopolitan. Chinese artisans had already helped Sukhothai to produce classical ceramics. Now they introduced to Ayutthaya multi-coloured painting, lacquerwork, mother-of-pearl inlay and at least some forms of music.

This last innovation immediately combined with Indian myth and a Malay tradition of drama to produce an entire range of superb musical theatre from khon (Thai classical dance) all the way down to the bawdy likae, or folk play.

Today, the kingdom's treasury of arts can be seen from the magnificent architecture of temples and murals, from the many Buddha images in various styles and postures, from a range of crafts and performing arts as well as traditional music and folk play.

Architecture
Thai classical architecture reached its peak in Ayutthaya, but much of its temples and palaces were destroyed. What can now be seen was actually built afresh in Bangkok shortly after the destruction of the old city. The best place to go is the Grand Palace.

Its plan, including its alignment with the Chao Phraya River and the location of the various buildings in the courtyard as well as their architecture, is intentionally identical in almost every detail to that of the former royal palace at Ayutthaya. The Temple of the Emerald Buddha is another example. Following convention, scenes from Buddhist cosmology cover the wall behind the Buddha images.

Sculpture
Sukhothai Buddha images represent the apogee of Thai classical sculpture. One good example can be seen at Bangkok's Wat Benchamabopit (Marble Temple) which has a 2.2-metre tall Sukhothai bronze walking Buddha. The same temple also has an exact replica of one of the most venerated Buddha images in the whole of Thailand. This is the 3-metre Phra Buddha Chinnaraj image. The original is at Wat Mahathat in Phitsanulok. The style was developed independently at Sukhothai direct from Sri Lankan Theravada Buddhist texts. Therefore, it represents a kind of orthodox originality that greatly honours its developers. Buddha images were also made using many other materials besides bronze, stone, brick and stacco, terra cotta and wood.

Temple murals
Temple murals reached their glory and perfection in the early Rattanakosin period. Bangkok's Wat Suthat is one of the best places to go. The superb murals, on both plastered masonry and wooden partitions, depict in exquisite detail and with consummate skill both sacred and profane scenes. Other superb examples can be seen at Wat Suwannaram and Wat Thong Thammachart in Thon Buri. Wat Thung Sri Muang in Ubon Ratchathani, Wat Phra Singh in Chiang Mai and Wat Sra Bua Kaeo in Khon Kaen are justly renowned for their fantastic murals. In southern Thailand, visit Wat Huai Toei in Pak Phayun District, Pattani Province.

Traditional music
Thai traditional music originated in the Sukhothai era. The basic melody is set by the composer but, because no intonation is used, each musician varies the tune. The musician will adopt the character of their instrument, like actors in a play. There are two major kinds of Thai ensemble. The first is a tuned percussion ensemble called Pi Phat. This kind of ensemble accompanies theatre performances and Thai boxing matches. The other is mahori which includes stringed instruments.

Classical dance
The diverse arts and culture of Thailand have a fascination of their very own, and one of the most fascinating is Thai classical dance and its rituals and traditions. Visitors don't really feel they have seen Thailand until they've witnessed at least one performance of Thai classical dancing ?but many understand very little of what they see. It's beautiful and it's different, but its background escapes them. Thai classical dance was initially influenced by Indian culture since the ancient time. Later it was refo med as Thailand's own traditional style in the reign of King Rama II.

Lacquer work & pearl inlay
Thailand's amazing artisans have elevated both lacquer work and mother-of-pearl inlay arts to such astonishing heights that they must be considered full arts. Places to see them are prestigious temples in Bangkok, including Wat Ratchabopit where the mother-of-pearl inlay on 10 doors and 28 window panels is one of Thailand's glories. For lacquer work, there is nowhere better than the 44 window panels of the ordination hall at Wat Pho. In Phetchaburi, Wat Chantrawas, Wat Phra Song and Wat Lad each has a lacquered cabinet whose workmanshipis simply breathtaking.

Khon masked dance
Khon is Thailand's classical masked dance that is regarded as one of the most refined of performing arts. It was originally limited to the royal court. Performances are extremely expensive to produce, requiring lavish costumes, elaborate masks and headgear, and stage accessories that require highly-skilled craftsmen to create. The scenes performed in the traditional khon are taken from the Ramakien, a series of significant episodes in Thai literature based on the Indian epic of classical mythology the Ramayana that greatly influenced the literature of almost all nations in Southeast Asia.

Nang Yai
Nang Yai or shadow theatre came to Thailand through the southern part of the country, from Malaysia and Indonesia. It is believed to have originated during the period of the Srivijaya Empire. The puppet figure in Nang Yai sometimes stands two metres tall. It is made of leather, pierced with a figurative and decorative pattern to depict a particular scene in the story. Light bamboo rods are attached to the figure so that the puppeteer can hold it aloft in front of or behind a screen. The puppeteer actually dances with the puppet to musical accompaniment. The story is told with a singing and recitative voice, and ever changing puppet figures. The flickering light from a live bonfire, using smoke-free dried coconut shells as fuel, helps to bring the puppet to life.

Likae
Likae is a kind of folk performance with simpler and more rapid story lines meant to be enjoyed by common people and country villagers. The sources of the stories performed are varied: romance between charming princes and bewitching beauties, courtship, and politics. Each performance is accompanied by traditional music and Thai dance patterns. The prelude to a likae performance is called ok khaek. This is followed by a brief narration of the background to the story. The script is delivered both in verse and ordinary speech, usually impromptu with much improvisation, both for fun so as to communicate with the audience. Likae performances are staged by wandering troupes at temple fairs, makeshift community gatherings, or events such as the opening of markets.

Nang Talung
Nang Talung is another version of the shadow puppet but using much smaller puppet figures and is handled by a seated puppeteer. Nang Talung shadow theatre normally depicts folk tales with a raucous sense of humour which often lampoons current social or political situations. The figure is fixed to a single stick handle. Thin rods are fixed to the hands and the arms are jointed at the shoulder, elbow and wrist.

The puppeteer makes expressive movements while speaking the part. There is a musical accompaniment, using the folk ensemble of oboe, drums, gongs and clappers.

Hun Lakhon Lek
Hun Lakhon Lek are the traditional Thai small puppets that are rarely seen today. The puppet master, the 78-year-old Sakorn Yangkhiawsod (more widely known as Joe Louis) has devoted his life to the revival of Hun Lakhon Lek. He is the founder of the Hun Lakhon Lek Joe Louis troupe, the country's last small puppet performers. For his contribution to the preservation of a national treasure, Sakorn Yangkhiawsod was consecrated "National Artist" in 1996.

The puppet master made his first puppet when he was 20 and over the years, has crafted a fine collection of 50 traditional Thai puppets, both large and small. The most popular play performed by the Joe Louis puppet troupe is the famous Ramayana epic.

Today his troupe remains the only one in Thailand that still performs the Hun Lakhon Lek Thai traditional small puppet play. A visit to the theatre also includes an opportunity to witness the painstaking process of crafting a Thai traditional mask known as the hua khon, as taught by venerable artist Joe Louis to his students.

The Joe Louis Theatre is located at 96/48 Moo 7, Soi Krungthep-Nonthaburi 12, Nonthaburi, tel: 0 2527 7737, fax: 0 2527 2008.