Buddhist votive tablet 'Three Buddhas' – Terracotta – Thailand - Earthenware - 19th-20th century

Phra Sam Lamphun – Buddhist votive tablet “Three Buddhas” – Terracotta – Thailand

Interesting Thai Buddhist votive tablet Phra Sam (“Three Buddhas”), made in unglazed terracotta, impressed with a mold and attributed to the northern Thailand Lanna artistic tradition, with a revival of Hariphunchai models.

The recto presents a distinctive triadic composition, led by a central, larger seated Buddha, flanked by two minor Buddhist figures. The three images are set within an arched structure; above the main figure there is a vegetal decoration attributable to the conventional representation of the Bodhi tree.

The central Buddha is depicted seated on a high pedestal, with the right hand lowered toward the knee, in the maravijaya / bhumisparsa iconography, associated with the Buddha’s victory over Mara.

The composition belongs to the Thai typological family known as Phra Sam, literally “Three Buddhas.” Medieval specimens and prototypes of this type are documented in the Lamphun area and are linked to the Hariphunchai tradition and to Khmer/Lopburi artistic influences.

The present example is, however, not proposed as a medieval object without rigorous scientific testing. On the basis of stylistic characteristics, surface, and commercial provenance, private cataloguing proposes a late production in northern Thailand, dating to the 19th century, which preserves an iconographic formula of medieval origin.

Material: unglazed terracotta, mold-pressed
Dimensions: about 6 × 5 cm
Proposed attribution: Northern Thailand, Lamphun/Chiang Mai area
Tradition: Lanna, after Hariphunchai models
Proposed dating: 19th century
Commercial provenance: purchased from a specialist dealer in Oriental art

Condition report

The object shows wear and surface alterations compatible with its typology, with abrasion of the more prominent parts, tiny cavities and inclusions in the paste, light and dark deposits in the relief depressions, small marginal losses, and irregularities in the upper part.

The relief is worn but still clearly legible. Based on visual examination and the available photographic documentation, no evident restorations are identifiable.

The specimen is accompanied by a private cataloging sheet with photographic documentation, iconographic description, and bibliographic comparisons.

Note on attribution: the dating and attribution indicated are cataloguing proposals and do not constitute scientific or archaeological certification. The label “Lamphun” should be understood as a typological-cultural attribution and not as archaeologically documented Provenance.