Art

Laos has experienced several major wars and occupations since the eighteenth century. Laos holds distinction as the most heavily bombed country in world, as a result of the wars against the communist revolutions in Laos, Vietnam and Cambodia during the 1960s and 1970s. Years of economic isolation have also taken a toll. The international trade in antiquities has also taken a toll on Laos’ artistic heritage due to persistent poverty. As a consequence much of the traditional art and architecture in Laos has been pillaged, sold, destroyed or suffered significant damage over the past three centuries.

The first attempts at preservation outside the local wat occurred with both French academics working in the early 1900s for the École française d'Extrême-Orient (EFEO), andPrince Phetsarath in the 1950s as part of the early nationalist movement. International non-governmental organizations geared toward cultural preservation have been allowed to operate since the early 1990s, but are normally connected to a particular ministry or government organization so their activities can be monitored. Most of Laos’ cultural heritage is stored or protected in monasteries throughout the country. Museums are few, with the Haw Phra Kaew in Vientiane, and the Royal Palace Museum in Luang Prabang housing much of the remaining Lao art and cultural items of significance.

Weaving

Weaving is the dominate form of artistic cultural expression in Laos, it is common across all ethnicities and is the most widely recognized cultural export abroad. Lao mothers will often pass their weaving skills on to their daughters as a sign of eligibility for marriage. Patterns, techniques and colors vary according to region or ethnic group.

Women traditionally raise the silk worms on a constant diet of mulberry leaves, the silk is woven on hand looms in the north or (less commonly) on foot looms in the south. Each region and ethnic group has their own traditional weaving techniques. In the south weaving is characterized by intricate patterns of elephants, temples, khmer influenced designs and features intricate beadwork. The northeast is known for using raw silk and cotton, and tye-dying raw silk known as matmii or ikat. Central Laos runs along the Mekong River and is known for natural indigo dyes and diamond patterns which symbolize the protective scales of the mythical naga. In the former royal city of Luang Prabang embroidery using delicate gold and silver threads is also preserved. The art was passed from mother to daughter and both patterns and pieces would be embellished with each passing generation.

Sculpture

Buddhist motifs dominate Lao decorative art forms. Sculpture is among the most prominent form of traditional Lao art. Sculptures of the Buddha were traditionally cast in bronze, silver, gold or thong which is a gold and silver alloy. Wooden Buddha images were made by individuals seeking merit are common at the local village level. The sculptures follow conventional forms and mudras found throughout Theravada Southeast Asia, with two forms being almost uniquely Lao in origin. The most common form is the standing Buddha in a “calling for rain” mudra, with hands at his side in a downward position, and a symmetrical flowing robe on both sides. Another less common Lao mudra is again standing, with hands crossed in front at the wrists in a “contemplation” mudra. These images have their origins in the sixteenth century, and are further characterized by longer facial features, and thinner more aquiline noses.

The most culturally and religiously significant sculpture in Laos today is the Phra Bang a gold statue from which the city of Luang Pra Bang takes its name. According to legend the Phra Bang was cast in Ceylon, transferred to the Khmer Empire and then came north to Lan Xang at the request of Fa Ngum’s Khmer queen. Other historically significant Buddha images include the colossal bronzeBuddha images found in Wat Ong Teu and Wat Manorom. Smaller images are also found at the Haw Phra Kaew, and Wat Sisaket inVientiane or in the many temples like Wat Visoun in Luang Prabang. These Buddha images were produced in Laos and show many of the hallmarks of traditional craftsmanship.

A number of significant Buddha images to Lao history have been lost or taken during the conflicts of the nineteenth and twentieth century. The most significant is the “Emerald Buddha,” or Phra Kaew, which resides at the Grand Palace in Bangkok as the palladiumof Thailand. Similarly the Phra Phutta Butsavarat, or “Crystal Buddha,” was the palladium of the Kingdom of Champasak and was taken to Bangkok in the nineteenth century. Several other important images which originated in the Kingdom of Lan Na were taken to Laos by King Setthathirath (who was briefly King of Lan Na) in the sixteenth century. These images were crafted for each of his daughters from solid gold, and include the Phra Sae Kham (housed at Wat Pho Chai in Nong Khai, Thailand), Phra Seum (housed at Wat Patum Wanaram, in Bangkok, Thailand), and the Phra Souk. These images were taken by the Thai armies in the nineteenth century to Isan and were ultimately bound for Bangkok. Ironically the Phra Souk or “Lucky Buddha,” sank in the Mekong during the storm which occurred when the three images were being moved by the Thais, the legend is depicted in murals at the Wat Pho Chai. In Amnat Charoen Province, Thailand the Phra Lao Thep Nimit is another fine example of Lao sculpture which now resides in Thailand. Other sets of royal Buddha images were lost entirely during the era of French colonialism. Many were sold or taken as souvenirs, a number of royal images were lost in 1910 when the French gunboat the La Grandieresank on the Mekong en route to a Paris exhibition.

Woodworking

Laos has a history of sophisticated craftsmanship in wood. Traditionally used in temples, many homes and government buildings have some richly carved elements today. Richly carved furniture, elephant howdahs, river barges, and funerary carts can also be found among the private collections of the elite or the Royal collections at the Palace Museum in Luang Prabang.

The first detailed European accounts of exploration to Laos in the sixteenth century described in detail the delicate bas reliefs which were found on the temples and palaces. Among the most outstanding examples of the craft are found along the temple frieze of Wat Mai, and the royal funerary chapel at Wat Xieng Thong in Luang Prabang.

Folk carvings are also quite popular with votive Buddha images being the most common form, and animist totems being found throughout the areas of the Lao Theung and Lao Sung.

Handicrafts

Lao metalwork in gold and silver is experiencing a resurgence from its high point in seventeenth century Lan Xang. Silver work is especially prized and popular among ethnic minorities including the Hmong and Yao, and can be found as popular elements of traditional dress among married women.

Laos produces a number of handicrafts which use bamboo and other forms of basketry. Traditionally Lao use intricately woven bamboo mats in homes and temples, although much of the art form has been lost due to the availability and durability of plastic substitutes. Basketry is quite common and is traditionally seen in various forms of domestic kitchen equipment, or even in the house where bamboo thatching is still commonly used.

Mulberry leaves which are not used for silk worm production are frequently used for the production of saa paper. Saa paper is a traditional art form which has been incorporated into a number of crafts for the tourist industry around Luang Prabang.