| Abstract: |
This thesis focuses on the archaeological and art historic evidence for the earliest form of Buddhist boundary markers (sema) in Southeast Asia. Located in northeast Thailand and central Laos spanning the 7th - 12th centuries CE, they represent some of the earliest and clearest evidence for the emergence of Buddhism in the Khorat Plateau. The research looks at sema from three angles and approaches
their distribution throughout the region, their artwork, and the different forms and types that exist. The distribution analysis recontextualises sema into their physical and cognitive landscape and in doing so traces the spread of the tradition into the Khorat Plateau, along the Chi, Mun and Mekong river systems. It divides sema into eight distinct clusters within the aforementioned river systems and analyses the relationship between sema and settlement patterns, particularly moated sites, as well as the distribution of sema artwork throughout the region. The analysis of the art and iconography of sema discusses the possible textual sources and the identification of narrative art. It analyses motifs such as stupa, stupa-<i>kumbha</i> and </i>dharmacakras and proposes interpretations for these symbols. Also considered is the question of how much influence and appropriation there is from neighbouring Khmer or Dvaravati art and culture and the thesis attempts to identify a uniquely Khorat Plateau aesthetic for the artwork on sema. A typology is proposed which functions primarily as an analytical and research tool to aid archaeologists identify sema in the field. The problematic claim that sema arose out of a pre-existing megalithic culture is also discussed and the evidence for and against the theory is reviewed and debunked. In conclusion, this thesis illustrates that sema represent a unique form of evidence to explain the spread, nature and development of Buddhism in the Khorat Plateau during the Dvaravati period.
|
