n many old Thai wats or temples all over the country, detailed tapestry of painted scenes covers part of the dado up to the ceiling. The effect is one of quiet and glowing beauty although this has little to do with the primary aims of the murals.
While the subject matter of temple murals, paintings on cloth and koi paper, manuscripts, and bookcases generally illustrate the life of the legendary and historical Buddha there are exceptions.
Diviations include paintings that illustrate Sang Tong, The Prince of Golden Conch and the Triphoum, the Buddhist cosmology of heaven, earth and hell that contain a certain amount of Hindu materials. The Thai version of Ramayana and guardian figures appearing on the inner side of doors and window shutters of temples are also commonly painted.
The subject matter may appear restricted, yet in the hands of the Thai artist it can include the whole life of human and superior being as well as that of animals. Some manuscripts sometimes even illustrate purely secular themes: boxing, massage, medical treatments and horoscopes.
Most of the paintings in the temples appeared in the 18th and 19th century when literacy was rare among the ordinary public. However, if they could not read the lines of script that sometimes describe the Jataka, it did not matter. Common iconography identifies certain personages and objects.
